bj nilsen / stilluppsteypa “gó a nótt” long playing record

• gó a nótt 1 (23:29)
  
  
• gó a nótt 2 (21:19)

jan jelinek “primetime” twelve inch single record

• primetime (11:08)
  
  
• hipbird (5:08)
  
• synthsil (unfallmusik) (3:58)
  
• onestar (3:27)

goodiepal “narc beacon / nag nag beacon” double long playing record set

• hitachi's røver stykæ
  
• i kirby's drømmeland
  
• nokia's røver stykæ
  
• ejn anden side afir chupa chups
  
• gamer's in exile's egenskab'er ud i det robotiskeo ~ fæjl!
  
• flap nipp'er
  
  
• (etched drawings)
  
  
• flap nipp'er
  
• dub'er på ikonet
  
• carl bergstrøm ~ nielsen i maskinur'æ
  
• det kom alt sjammen fra oli'en som du lystigt pumpede
  
• bang & olufsen røver stykæ ~ we call it adventure trance
  
• tilbage til tranc'en
  
  
• (etched drawings)

fonal press release...

goodiepal narc beacon / nag nag bacon fonal 2xlp goodiepal or gæoudjiparl van den dobbelsteen, whose real name is parl kristian bjørn vester, is a controversial danish / faroese musician and composer. the eccentric and self-made goodiepal has influenced the course of modern music through radical excursions into computer technology and media art. until recently he has been employed as a teacher at diem (danish institute for electro-acoustic music) at the royal academy of music in aarhus, denmark. goodiepal declared intellectual war against the stupidity in modern computer music and media art, which is to say against the royal academy of music, when he quit the job in 2008. as of 2012 he lives somewhere in europe and is married to the road. narc beacon was first released in 2001 on cd format and in 2003 on a double lp picture vinyl with music on each a-side and etchings on each b-side. the vinyl quickly became a collector’s item, commanding high prices on the second hand market shortly after it was sold out. a few extras were kept in a basement in paris in order to compensate for the high prices which were expected. these are now available for sale and released on fonal records along with brand new gatefold sleeve by a finnish artist pauliina mäkelä. format: 2lp picture / etched total lenght: 40 minutes catalogue number: fr-89lp released: 12.11.2012

container “lp” long playing record

• dripping
  
• paralyzed
  
• acclimator
  
  
• perforate
  
• refract

forma “off / on” long playing record

• off
  
• forma313
  
• forma278
  
• forma286b
  
• forma306c
  
  
• mécanique
  
• forma339/333
  
• forma293
  
• forma358
  
• forma315

tatsuya nakatani “nakatani gong orchestra” long playing record

• a
  
  
• l

“touch. 30 years and counting” double long playing record set

• 1 - 16:58
  
  touch 33 - pont saeson
  fennesz - 55 cancri e
  bruce gilbert - apis
  rosy parlane - awhitu
  oren ambarchi - merely a portmanteau
  
  
• 2 - 17:15
  
  the book depository
  eleh - over woven
  bjnilsen - the cackle of dogs and laughter of death
  nana april jun - high and low and mid plane mass
  
  
• 3 - 18:14
  
  chris watson - brussel-nord
  mika vainio - erstwhile
  carl michael von hausswolff - cleansing of the cruel tyrants chamber
  jana winderen - in a silent place
  
  
• 4 - 17:49
  
  philip jeck - saint pancras
  francisco lópez - untitled#286
  z'ev - the inreadables
  hildur gudnadottir - just this
  senescent
  biosphere - gryfici

touch press release...

tone 33 | "touch. 30 years and counting" 4 tracks - dlp - 70:16 gatefold full colour sleeve with black inners limited edition of 1000 compiled, edited, mixed and produced by mike harding & jon wozencroft mastered by denis blackham at skye, 26th october 2012 30 years and counting is an echo of a time when the world was in a critical condition, and potentially about to blow itself into oblivion at the tail end of the cold war. as such the title is a wry reflection on the situation we find ourselves in today, where the final curtain is less likely to close, but the stakes somehow seem to be more extreme and polarised than ever. as far as touch is concerned, it is an expression of our youthful relationship to the work. mike harding and jon wozencroft invited each of the touch artists to contribute a glimpse of their current practice to what is effectively a group show rather than a compilation. the brief was not only to celebrate a situation, but to remind each other why we are doing it, and make a kind of documentary realism. some artists responded quickly with significant twists and returns to their signature sound and others left it to the last minute. the net result was that mike and jon mastered the lp / cd more or less as live performance in the cutting room, transition, as an expression of the vitality of the project rather than some pre-ordained historical item. the history is built into the cover with two images of the first computer, the ‘colossus’, built in bletchley park during the early 1940’s as a means of cracking the enigma codes… here the pressure of time is at its most compressed. two contra-punctal images were shot only recently, backstage moments of touch 30 situations which as historical events, pale in comparison – they are just personal, memories in a flash. 30 years and counting is a filmic / time-based response from a collective of artists who have made a distinct impression on contemporary music and the way things go. fennesz, eleh, hildur gudnadottir, chris watson, philip jeck, biosphere… we should really list everyone. that’s what they try and do on hip-hop albums. we started with cassettes; this project commenced as a dedication to vinyl rather than digital, a question concerning the art of recording. 30 years and counting is a manifesto after all these transformations. it is available on cd . the vinyl flares with the crackle of the present. - jon wozencroft, november 2012

“touch. 30 years and counting” compact disc

• 1 - 16:58
  
  touch 33 - pont saeson
  fennesz - 55 cancri e
  bruce gilbert - apis
  rosy parlane - awhitu
  oren ambarchi - merely a portmanteau
  
  
• 2 - 17:15
  
  the book depository
  eleh - over woven
  bjnilsen - the cackle of dogs and laughter of death
  nana april jun - high and low and mid plane mass
  
  
• 3 - 18:14
  
  chris watson - brussel-nord
  mika vainio - erstwhile
  carl michael von hausswolff - cleansing of the cruel tyrants chamber
  jana winderen - in a silent place
  
  
• 4 - 17:49
  
  philip jeck - saint pancras
  francisco lópez - untitled#286
  z'ev - the inreadables
  hildur gudnadottir - just this
  senescent
  biosphere - gryfici

touch press release...

tone 33 | "touch. 30 years and counting" cd - 4 tracks - 70:16 edition of 1000 oversized digifiles compiled, edited, mixed and produced by mike harding & jon wozencroft mastered by denis blackham at skye, 26th october 2012 30 years and counting is an echo of a time when the world was in a critical condition, and potentially about to blow itself into oblivion at the tail end of the cold war. as such the title is a wry reflection on the situation we find ourselves in today, where the final curtain is less likely to close, but the stakes somehow seem to be more extreme and polarised than ever. as far as touch is concerned, it is an expression of our youthful relationship to the work. mike harding and jon wozencroft invited each of the touch artists to contribute a glimpse of their current practice to what is effectively a group show rather than a compilation. the brief was not only to celebrate a situation, but to remind each other why we are doing it, and make a kind of documentary realism. some artists responded quickly with significant twists and returns to their signature sound and others left it to the last minute. the net result was that mike and jon mastered the lp / cd more or less as live performance in the cutting room, transition, as an expression of the vitality of the project rather than some pre-ordained historical item. the history is built into the cover with two images of the first computer, the ‘colossus’, built in bletchley park during the early 1940’s as a means of cracking the enigma codes… here the pressure of time is at its most compressed. two contra-punctal images were shot only recently, backstage moments of touch 30 situations which as historical events, pale in comparison – they are just personal, memories in a flash. 30 years and counting is a filmic / time-based response from a collective of artists who have made a distinct impression on contemporary music and the way things go. fennesz, eleh, hildur gudnadottir, chris watson, philip jeck, biosphere… we should really list everyone. that’s what they try and do on hip-hop albums. we started with cassettes; this project commenced as a dedication to vinyl rather than digital, a question concerning the art of recording. 30 years and counting is a manifesto after all these transformations. it is available on cd . the vinyl flares with the crackle of the present. - jon wozencroft, november 2012

gregor cürten / anselm rogmans “planes” compact disc

• planes i (18:06)
  
  
• planes ii (18:10)

entr’acte press release...

gregor cürten & anselm rogmans planes cd (e138) recorded on 11 may 1974 without interrupting the course of the music. composed by gregor cürten & anselm rogmans. initially released in 1974 as a private press lp, this is the first official reissue of planes, produced in close collaboration with gregor cürten. remastered from the original master tapes by giuseppe ielasi. with thanks to ian middleton and clive graham edition of 300 copies

conrad schnitzler “con 3” long playing record

• kohlen
  
• nächte in kreuzberg
  
• hongkong
  
• komm mit nach berlin
  
• wer sind wir denn
  
  
• coca
  
• seemannslied
  
• das tier
  
• tanze im regen

bureau b press release...

conrad schnitzler con 3 reissue (originally released in 1981 on sky 061) vinyl (180g) release date: october 19, 2012 this album saw schnitzler head further in the direction of pop music. like “consequenz”, “con 3” is a collaborative effort with wolfgang seidel, alias sequenza. “con 3” is a really odd mixture of numerous ingredients which schnitzler was capable of combining with dexterity and taste. his musical handwriting is immediately apparent in the foreground. effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever – this is schnitzler alright, this is his musical utopia. then wolfgang seidel, formerly drummer with ton, steine, scherben: an ideal partner for schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. another ingredient in “con 3” is undoubtedly german new wave (neue deutsche welle, ndw). how could it not have touched schnitzler? he lived and worked in berlin! above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of ndw. in this respect, schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. the fourth component of “con 3” is without question the character in the background, peter baumann. as producer and sound engineer, he was to schnitzler what conny plank had been for cluster and harmonia and many others. his gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his paragon studio. years of working with tangerine dream honed his studio experience and his intuitive flair for electronic experiments. those like schnitzler who were able to work in the paragon studio were in exceptionally good hands. there could hardly be a more fertile alliance. “con 3” might have sounded rather disconcerting to schnitzler listeners at the time. he had long since nailed his colours to the mast of the art scene (fluxus, beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. not for the first time, perhaps, but particularly emphatically on this album. many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. not schnitzler. he remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music. - asmus tietchens

conrad schnitzler “consequenz” long playing record

• fata morgana
  
• weiter
  
• tape5
  
• bilgenratte
  
• afghanistan
  
• lügen haben kurze beine
  
  
• nächte in kreuzberg
  
• humpf
  
• ms-477
  
• pendel
  
• wer geht da?
  
• copacabana

bureau b press release...

conrad schnitzler consequenz reissue (opriginally released in 1980 on ks 1004) vinyl (180g) release date: october 19, 2012 commercial schnitzler? how quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. schnitzler fell under such a cloud when, after 1978 his songs, for a time at least, did not exceed the catchy compactness of pop songs, whilst their harmonies and rhythms seemed to be drifting towards pop. produced by peter baumann (tangerine dream) the “con” (1978) album and the “auf dem schwarzen kanal” 12 inch ep (1980) ushered in this phase, and the private release of the "consequenz" album, also in 1980 – as the title suggests – was the logical consequence. "consequenz" is schnitzler’s first collaboration with another musician since the days of kluster long before. in wolfgang seidel, a.k.a. wolf sequenza, he found someone who not only understood the “schnitzler" principle but was able to expand on it with his own input. seidel, like schnitzler, had started early with the development of an alternative language of music, away from the mainstream. schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with "consequenz", illustrating in detail how his music “functions”, which instruments and equipment he used and how the various elements are interconnected. it is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. "consequenz" conveys twelve remarkably short pieces. remarkable in the sense that schnitzler’s early solo works (e.g. “rot” and “blau”) were characterized by unending sequences. not only are the tracks even shorter than on “con” (1978), their form has also shifted. electronic drums can be heard, along with an electric guitar in places; schnitzler and seidel sculpt rhythmic-harmonic structures with an analogue sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. the influence of the german new wave (ndw) may also be detected, but not enough to determine the style of "consequenz". the dozen tracks on the album remain firmly rooted in schnitzler's sonic universe, each an individual facet of his infinitely shimmering aural cascades. and, naturally, “consequenz” is electronic pop music, lacking only the commercial added value which was of little interest to schnitzler anyway – he didn’t give a damn. asmus tietchens

lonnie holley “just before music” compact disc

• looking for all (all rendered truth) (3:08)
  
• here i stand knocking at your door (3:32)
  
• mama's little baby (3:46)
  
• the end of the film era (13:12)
  
• fifth child burning (15:31)
  
• earthly things (6:04)
  
• planet earth and otherwheres (25:30)

november 2012 release ; ... intriguing set of music & songs recorded in 2010 & 2011 by “the sand man” ; noted alabama sculptor & painter lonnie bradley holley ...

dust-to-digital press release...

lonnie holley: just before music description: cd digipak with 20 page booklet featuring lyric transcriptions and artwork by lonnie holley publication date: november 6, 2012 lonnie holley was born on february 10, 1950 in birmingham, alabama, the seventh of 27 children. from the age of five, holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. he lived in a whiskey house, on the state fairgrounds, and in several foster homes. his early life was chaotic and holley was never afforded the pleasure of a real childhood. since 1979, holley has devoted his life to the practice of improvisational creativity. his art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. holley’s sculptures are constructed from found materials in the oldest tradition of african american sculpture. objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events. holley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. his music and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. in holley’s original art environment, he would construct and deconstruct his visual works, repurposing their elements for new pieces. this often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. the layers of sound in holley’s music, likewise, are the result of decades of evolving experimentation. “just before music” features holley’s first studio recordings made in 2010 and 2011.

raglani “real colors of the physical world” long playing record and seven inch single record set

• fog of interruption
  (tongue / men for wire / brutality of the eye / march)
  
  
• terrain of antiquity
  (ferry across marginalia / hollis albion / mild power descending / fireflies of arcadia)
  
  
• the exploded view
  
  
• trampoline dream

editions mego press release...

emego 159 / raglani real colors of the physical world lp + 7" release date 28.11.2012 sounds : joseph raglani speech : melissa meinzer mastered & cut by rashad becker art: jeremy kanappell real colors of the physical world is a title whose parameters of reference may at first seem obvious, but a moments consideration renders it strange. the physical world, as opposed to the phenomenal, is, as we are able to suppose through the insights of science, an invisible place, if it is even enough to count as a place. what, then, are the qualities being named here? by way of an answer, it is worth recalling that musique concrete has not only an historical but a conceptual priority over kosmiche musik. the concrete in the cosmic: electronic music concerned itself from the beginning with getting past the emotional, historical, and religious themes that had defined traditional composition in order to head straight into the very matter of sound. for the concrete composers, this meant literal experimentation, stretching, analyzing, and recombining the properties and limits of auditory material and its perception. the kosmiche musicians conserved those approaches through metaphor as much as technique. the continuity between them involves a vocabulary of fundamental concerns: space, time, shapes, speed .... electronic music arguably allowed for music to become actively self-reflexive, even ontological, for the first time. its natural epic form has always been the cosmogony. the kosmiche focus on space travel and cybernetic futures has its roots in the earlier electro-acoustic renderings of a universe whose deepest origins are electrical and sonic. two tacit, convergent metaphors structure the conceptual explorations of both approaches: that \\\\\\\\\\\\\\\ "electronic composition \\\\\\\\\\\\\\\" accurately describes the activity of the human nervous system; and that cosmic evolution may be legitimately qualified as an act of modular synthesis. but much electronic music today has lost sight of the ambition to map that convergence, giving way instead to an emphasis on superficial prettiness, period nostalgia, the merely pleasant stupor of the new age; or else to a vacuous static of technical fiddling. raglani has never abandoned the grand vision that distinguished his ancestors, and this is his most determinedly comprehensive piece of work. it revisits the promise in the electronic synthesis of sound, implicit from its beginning, to construct a plastic image of the imperceptible dynamics beneath the surface of the world. this is a drama realized at constantly telescoping scales, in all directions. if the disintegration of a divine voice into the skittering communications of machines, or the transformation of a densely alien jungle into the promise of personal redemption, can count as objects of experience, they can do so only here, through the condensation of sound. but this hectic, exotically diffuse rendering has more in common with the world as we know it than does the placid stability of actual things; inner life has its own geometry, its own physics. the cosmic in the concrete: real colors remain within. raglani has been making electronic music since he saw otomo yoshihide perform while under the influence of severe fever. this is his first full length album under his own name since 2006’s of sirens born. - michael ferrer

emeralds “just to feel anything” long playing record

• before your eyes (4:05)
  
• adrenochrome (6:11)
  
• through & through (4:40)
  
• everything is inverted (6:35)
  
  
• the loser keeps america clean (3:40)
  
• just to feel anything (8:53)
  
• search for me in the wasteland (8:12)

editions mego press release...

emego 150 / emeralds just to feel anything lp release date 05.11.2012 written, recorded and mixed in june 2012 at tangerine sound in akron, ohio. recorded by andrew veres. mixed by andrew veres and emeralds. mastered by james plotkin. vinyl cut at dubplates & mastering, berlin, august 2012. artwork and typography by mark fell. front cover photograph by mark mcguire. back cover photograph by steve hauschildt. layout assistance by michael pollard. emeralds is mark mcguire, steve hauschildt and john elliott. thanks to russell brill, mark fell, peter rehberg, jamie stillman and ben vehorn special thanks to andrew veres just to feel anything, the new album by emeralds, surpasses all expectations, just as its predecessor, does it look like i’m here, did in 2010. this expertly recorded new album sees the band deliver plenty of their distinctive aesthetic for old fans to enjoy while offering a new range of fresh, exciting ideas for newcomers. 'before your eyes' begins the record with a steady build-up, which bleeds into humid layers of synthesizer pads and warm guitar. the track sets the tone perfectly for 'adrenochrome', a fast-paced excursion into new territory for the band. the calm after the storm appears in the form of 'through & through', with its contemplative strokes and heart-wrenching atmospherics. 'everything is inverted' is an energetic rush of monolithic guitar leads, pulsing drum machine, and driving sequences. still, it's on the second half of just to feel anything, a triptych of tracks, where emeralds adroitly demonstrate why they are a cut above their contemporaries. 'the loser keeps america clean' kicks off the b-side by diving into the deepest fathoms of their experimental oeuvre. as the final bursts of static dissipate we are led into the opening chords of the eponymous 'just to feel anything' a new zenith in emeralds' repertoire. the album closer, 'search for me in the wasteland' sees mounting layers of brightly strummed guitar chords blossom into a storm of color and expertly crafted textures-- a truly majestic end to an immense album. with just to feel anything, emeralds shine a laser-sharp light into the future, while preserving their uniquely intelligent historical perspective. the long-awaited next chapter in the emeralds discography is finally here, emerging as a sophisticated progression in both sound and structure.

paul flaherty / sam gas can / white limo “mystery triangle” long playing record

• paul flaherty
  
  
• sam gas can
  
• white limo

nhk’koyxeи “dance classics vol.ii” long playing record

• 367
  
• 703
  
• 112
  
• 670
  
  
• 747
  
• 611
  
• 45
  
• 101
  
• 601

pan press release...

nhk’koyxeи 'dance classics vol.ii' (pan 35) kouhei matsunaga's 'dance classics vol.ii' is the continuation of his ongoing development of his more dance oriented material, as seen from his sets with sensational and also his other minimal techno project nhk. not feeling tied down to one genre, matsunaga nestles in the pan roster, and however that isn't to say that he is dance per se as witnessed from his recent collaborations with conrad schnitzler. the album focuses more on bass / base electronics, music for the dancefloor and/or altered state reflection. having composed pieces for wdr based on henri chopin, kouhei is equally at ease jamming with sensational, whilst simultaneously executing a obsessively numerical sequence of dance pieces that borders on hanne darboven-like compulsivity. born in osaka, kouhei matsunaga is a musician and an illustrator. he started drawing during childhood under the influence of his grandfather. he grew up listening to hardcore-techno and hip hop, studied architecture and has been mainly making music since 1992. under many different aliases (nhk, nhkyx, internet magic, koyxen) he has released numerous albums on labels such as skam records, wordsound, raster noton and his first ever album "upside down" on mille plateaux in 1998. he has also collaborated with artists like merzbow, jungle brothers' sensational, autechre's sean booth, mika vainio, conrad schnitzler, anti pop consorium's high priest, rudolf eb.er, puppetmastaz crew, asmus tietchens, ralf 'rlw' wehowsky and so on. his own label flying swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art. the lp is mastered and cut by rashad becker at d&m, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by kathryn politis & bill kouligas.

lee gamble “diversions • 1994-1996” twelve inch single record

• pandemonium institute
  
• emu
  
• m25 echo
  
• razor
  
  
• helicopter
  
• digbeth
  
• dti
  
• 3,4 synthetics
  
• dollis hill
  
• rufige

pan press release...

lee gamble 'diversions 1994–1996' (pan 33) 'diversions 1994-1996' is made up entirely from samples from the collection of lee gamble's jungle cassette mixtapes. the audio has been subjected to analog and digital deformations, whilst trying to extract, expand upon and convey particular qualities emblematic of the original music. the effect is that of a musical body scan, all that is solid melts into air. sounds are unearthed, dissected on the operating table, melted and unlocked, evoking sonics not unlike the heavy dub processes of jah shaka and scion in a ina grm frame of mind or bearing a similar methodological approach with what explored mark leckey in his piece "fiorucci made me hardcore". it can be heard as a ‘memory’ of a period of music and for some could work as a ‘cued recall', which is a form of memory retrieval. lee gamble started out as a teenager dj-ing on pirate radio and on the emerging jungle scene, however his own approach to music has taken a more experimental direction. exploring the outer realms of abstraction through digital synthesis / resynthesis, lee has described his current compositional process as: “…the configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. what you then have left is often the detritus or debris of an idea. phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. this abstraction allows several interests to appear in the works simultaneously…”. he is a also a founding member of the uk-based cyrk collective and has curated/co-curated several cyrk events. he has also produced and curated three radio series for london based radio station resonance104.4fm and he continues to dj. lee has released his computer compositions on the entr’acte label and has collaborated with composer john wall and artists yutaka makino and bryan lewis saunders. 'diversions 1994-1996' e.p is is the beginning of a longer-term collaboration with pan which also includes a full length album later this year. the 12" is mastered and cut by rashad becker at d&m. it is pressed on 140g vinyl which itself is housed in a silk screened pvc sleeve with artwork by kathryn politis & bill kouligas.

forma “off / on” compact disc

• off (4:59)
  
• forma313 (0:59)
  
• forma278 (3:53)
  
• forma286b (4:39)
  
• forma306c (3:51)
  
• mécanique (11:12)
  
• forma339/333 (1:33)
  
• forma293 (3:12)
  
• forma358 (1:27)
  
• forma315 (4:56)

spectrum spools press release...

sp 024 / forma off / on cd release date 12.11.2012 mark dwinell and sophie lam moog lp, moog prodigy, roland sh-1000, roland rs-09, oberheim sem, yamaha cs-15, korg lambda, akai ax73, dsi tetra, dsi mopho, crumar ds-2 george bennett roland tr-707, roland tr-606, alesis hr-16b mécanique recorded and mixed live at wbar, ny, april 2012 all other tracks recorded and mixed live at the schoolhouse, brooklyn, ny, january - august 2012 additional mixing and recording on off, forma 313, and forma 315 by andrew veres at star room ii, cleveland, oh, august 2012 mastered by andrew veres cut at dubplates and mastering, berlin photo by kaja thrastardottir design by zhanna chausovskaya off/on is an evolutionary act of fissure, the opening of a rift in forma’s sonic landscape. the second lp from the brooklyn cosmic synth trio of mark dwinell, sophie lam, and george bennett, off/on’s universe is darker, its terrain more enigmatic and aggressive than 2011’s critically acclaimed s/t. recorded at the renowned schoolhouse space in bushwick, off/on combines swirling arpeggiations, gnarled sequences, and deconstructed motorik rhythms to conjure an atmosphere of entropic propulsion by unseen forces. yet the emotional summits of off/on are greater than those of its predecessor, its crystalline melodic peaks made more pronounced by the shadowed depths below. it is this synthesis that gives off/on its singular vision; a sense of unity forged by its own inner tensions.

bee mask “when we were eating unripe pears” long playing record

• frozen falls
  
• moon shadow move
  
• the story of keys and locks
  
  
• pink drinq
  
• fried niteshades
  
• unripe pears
  
• rain in coffee

spectrum spools press release...

sp 023 / bee mask when we were eating unripe pears lp release date 19.11.2012 that old saw about dancing and architecture notwithstanding, i am like most people who make records in that i do not especially relish the task of writing about them. (better to focus on putting one's pants on both legs at a time and using one's sèvres china every day, if you ask me.) that's not to say that writing about records is a worthless or futile undertaking — far from it; however, as artists ideate in their media of choice, they implicitly challenge the assumption that the written word is the privileged medium of ideation — or at least they do so to the extent that their work succeeds. this truism aside, i seem to have drawn the proverbial short straw, and so it falls to me to tell you something useful about when we were eating unripe pears, a record which i recently completed, and which will be released shortly (perhaps by the time you read this, even) by spectrum spools. the seven pieces on this lp were developed over a period of about five years; rain in coffee is built on a hyperborean trenchtown-era demo, while pinq drinq — sorrel, for the record, and neither guava nor antacid as certain wags have already ventured — was reanimated directly from the cutting room floor, eleventh hour twenty-twelve. as a whole, they should probably be considered the proper "sequel" to canzoni dal laboratorio del silenzio cosmico, extending that record's preoccupation with the dream interiors of post-1965 fellini and synthesizing (pun very much not intended) it with elegy for beach friday's fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on vaporware/scanops. however, in direct contrast to each of those prior works, when we were eating unripe pears draws more deeply on formal ideas from the history of records than any bee mask release to date. toward this end, most of its constituent tracks were hammered into their finished shapes "on the road" throughout 2011 and 2012. those of you who heard me on tour in the united states, canada, australia, and japan, and particularly at voice of the valley, the bunker, and labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar. when we were eating unripe pears was recorded in cleveland and philadelphia between 2007-2012. it was edited and mixed at tranquility base in summer 2012, mastered and cut by rashad becker at dubplates and mastering, and pressed by pallas group. mark price did the photography and layout. special thanks are also owed to jason anderson, katherine brady, matt carlson, john elliott, lawrence english, daniel lopatin, and alex moskos, without whose perspectives this would be a very different and much lesser beast. chris madak, philadelphia, october 2012

jean dubuffet “expériences musicales de jean dubuffet (ii)” double compact disc boxed set

• dimanche (5:49)
  
• sollenités (3:34)
  
• pousse l'herbe (10:52)
  
• trotte matin (10:24)
  
• diligences futiles (4:25)
  
• aggravation (6:24)
  
  
• pleure et applaudit (11:29)
  
• bateau coulé (9:26)
  
• cris d'herbe (6:38)
  
• delibérants (5:39)
  
• aguichements (7:09)

rumpsti pumsti (edition) press release...

jean dubuffet expériences musicales de jean dubuffet (ii) rumpsti pumsti (edition) nummer 13 2cd-box collecting 11 pieces from jean dubuffet's 'expériences musicales' (recorded in 1961) for the first time on cd. including 32 page illustrated booklet with liner notes and texts by jean dubuffet and ilhan mimaroglu in english & french. jean dubuffet (1901-1985) was a french painter, sculptor, lithographer and writer. he was one of the main protagonists of 'art brut' (a term he invented in 1945). the musical experiments of jean dubuffet, recorded in 1961, form a set of 20 pieces. they were released the same year as a box containing six 10” vinyl-records in an edition of 60 copies. in 1991 nine of those 20 pieces were reissued on the cd "expériences musicales de jean dubuffet ou la musique chauve" (circé / mandala / fondation dubuffet). this new double-cd set, subsequently titled "expériences musicales de jean dubuffet (ii)", collects the remaining 11 pieces from the original box and thus makes the reissue of dubuffet’s musical experiments complete and available to the public again. as for the previous cd, the original master tapes preserved by the dubuffet foundation were used, and we have not tried to artificially ‘enhance’ the sound quality of these recordings. dubuffet’s music is contained as raw and uncompromising as he recorded it more than 50 years ago. we also decided to publish again the main text about dubuffet’s musical experiments written by himself in 1961, but it is here completed by ilhan mimaro lu’s account of his discovery of dubuffet’s music. the turkish composer, who lived in new york, was in contact with the artist since 1965 and helped a lot for the diffusion of dubuffet’s music in the usa. (from the booklet editorial)

valeri scherstjanoi “zaum´ - заумЬ 1981-1989” long playing record

• glasnost, für andrej tarkowski
  
• unikale morpheme
  
  
• grabrede an einen albernen vergänger
  
• lexikalische zaum´

tochnit aleph press release...

valeri scherstjanoi zaum´ - заумЬ 1981-1989 lp, tochnit aleph ta109 released for the exhibition "valeri scherstjanoi - auf dem weg zum scribentismus. experimentelle texte und gesten. 1982-1989" at rumpsti pumsti (musik), berlin, june 2012. presenting early phonetic poems by scherstjanoi. black on white hand-silkscreened cover with insert (29 x 29 cm), black polylined innersleeves. edition of 80 numbered and signed copies, of which only 40 are available for distribution. valeri scherstjanoi, born 1950, grew up in krasnodar in the south of the present-day russian federation. he is a sound-poet, writer, and graphic artist since 1968. he is the author of a number of poetry-books and has been writing theoretical texts (his own poetic theory and the practice of ars scribendi) as well as articles and books on the history of russian futurism in magazines, collections, and anthologies. he lives and works in berlin.

gerhard rühm “verlautbarungen” compact disc

• glaubensbekenntnis (1973) (3:49)
  
• gruppendynamik (1982) (2:36)
  
• der wallfahrt lohn (1982) (3:56)
  
• rausch (1972) (3:10)
  
• seufzerprozession (2009) (3:36)
  
• ungleiche brüder (2001) (1:37)
  
• verlautbarung. eine sprechstudie in amtsdeutsch (2006) (3:33)
  
  
• expressionen (1952-1954) (3:45)
  
• gebet (1954) (0:56)
  
• atemgedichte (1954) (0:54)
  
• hymne an lesbierinnen (1956) (1:18)
  
• phonetische meditation (1985) (3:46)
  
• lautgedichte (2000) (2:04)
  
• aleatorische und symmetrische lautstudie (2006) (1:17)
  
• 12! ein zahlengedichte (1979) (2:49)
  
  
• zwei anektdotische sprechduette (2012) (2:15)
  
• pressenotizen (2000) (4:44)
  
• schweine, menschen, engel (2001) (5:59)
  
• glaube liebe hoffnung (2002) (2:45)
  
• getäuschtes vertrauen (2007) (4:46)
  
• gebären und bestatten (2007) (3:45)
  
• schimpfduett (1:11)
  
• sprechtänze (2008) (4:33)

tochnit aleph press release...

gerhard rühm verlautbarungen tochnit aleph ta107 cd presenting 37 solo text-pieces, phonetic poems and poetry duets (with monika lichtenfeld) written and composed between 1952 and 2010. recorded 2011 at piethopraxis tonstudio, cologne by marcus schmickler. comes with 24 page booklet with liner notes by gerhard rühm in english & german. gerhard rühm (b.1930) is an austrian writer, visual artist, composer, performer of experimental / phonetic poetry, radio and theatre author and publisher. he is considered one of the most important artists of experimental poetry. he studied piano and composition at the national academy of music and interpretative arts in vienna and later received private tuition from josef matthias hauer. he lives in cologne and vienna. gerhard rühm was a founding member of the “wiener gruppe” (1954-1960) with friedrich achleitner, h.c. artmann, konrad bayer, and oswald wiener. given the radicalism of their writing, works of art, and happenings, the group is considered to be the first avantgarde movement in austria, thus contributing decisively to the origin of the vienna actionism. rühm belongs to the classics of modern german-language literature. scores of new genres, such as "visual music", "auditory poetry" and "gestural drawing", are among his wide-ranging, heterogenous work that emerges from the interface of literature, visual art and music. his work, which bears the influence of expressionism and dadaism, is often based on ready-made material taken from everyday life, which he then adapts using a particular formula. in a spirit of play, and without subjecting himself too rigidly to self-imposed rules, astounding, multi-layered effects of meaning emerge from an extreme concentration of means.

liberez “the letter” long playing record

• the letter (part one)
  
• - gag
  
• exercise restraint (part one)
  
• atheist rabble
  
  
• i. capt wyclaf
  
• the letter (part two)
  
• move to quell
  
• the letter (part three)
  
• exercise restraint (part two)

white out “asphalt and delay ” long playing record

• fragment d
  
• daughter of the mind
  
  
• möbius strip
  
• white devil black heart
  
• true mad north

frederik croene “le piano démécanisé” long playing record

• réanimation forcée
  
• amour éternel
  
• toccata cardiaque
  
  
• poil palliatif
  
• gonflammation
  
• animation gériatrique
  
• postludium 'pour le piano'

audiomer press release...

artist: frederik croene title: le piano démécanisé released: 2010 artwork: joris verdoodt