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... happy spring everyone !!! to commemorate our favorite season (and to help get this place back to some sort of workable condition) we're having a "spring cleaning" sale !!! please visit the spring (2013) cleaning page to view a list of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...
mimaroglu music sales forthcoming titles (50)
all information regarding the titles listed below is subject to change ; dates are at best guesswork ...
expected on or around ::
may 28th, 2013

aguirre (belgium) #zorn 24 lp

cvlts “realiser” long playing record

  • realiser
  • brahma weapons
  • dead peasants
  • time debt ii
  • wamego fluff
  • velvet dreams
  • virtual cage
  • sandstone retreat
  • freecasting
  • atm city
aguirre press release...
cvlts - realiser lp

the kansas post-hypnagogia psych enigma cvlts create a strange distillation of improvisation, keyboards, loops and field recordings. song length carpets of sound with the occasional attempt at dream pop.

cvlts are the kings of haze and they will make all your dreams come true.

* art by landon metz
* past-on cover art
* insert
* edition of 150 copies

expected on or around ::
may 28th, 2013

aguirre (belgium) #zorn 18 lp

panabrite “sub-aquatic meditation” long playing record

  • slipping into the deep
  • atoll
  • whirpool
  • fissures
  • neptune visions in the crystal rift
  • these are barnacles
  • octopus in your dreams
  • sunlight dive
  • memory tank
  • acquario
aguirre press release...
panabrite - sub-aquatic meditation lp

sonic natural wonders created by norman chambers.

panabrite is the solo project of seattle-based norman chambers, utilizing analog synthesis, vintage drum machines, various effects and occasional guitar. inspired by science fiction, new age music, soundtracks and library production music, nature/science documentaries, and vintage electronic sounds...

his first lp release sub aquatic meditation is an exciting record replete with underwater tunes. the outer space & the deep blue sea collide into two sides of spellbinding adventures reminiscent to the early work of oneohtrix point never, jürgen müller and dolphins into the future.

panabrite works in the hazy, analog-synth-laden zone between kosmische drift and new age waft. he launches beatless symphonies of fibrillating, smeared whorls and drones that make you feel like the star of a weird nature documentary or a sci-fi blockbuster from 1977. chambers excels at evoking both the intimate and the epic with his scrupulously wrought arpeggios and ostinatos.

norm also runs the fantastic lunar atrium blog and has previously released tapes, cd-rs on digitalis, hobo cult records, cylindrical habitat modules and gift tapes.

* mastered by norman chambers
* artwork by norman chambers
* pressed on 180gr. vinyl
* limited edition of 300 copies

expected on or around ::
may 28th, 2013

aguirre (belgium) #zorn 17 lp

pulse emitter “aeons” long playing record

  • hermits
  • spaceship

  • pangaea
  • immortality
aguirre press release...
pulse emitter - aeons lp

pulse emitter joins the aguirre catalogue with a stunning new album full of clear cosmic tones for the new space age.

aeons, as the title suggests, is about different periods in time. pangaea is ancient earth, hermits is based on a panel of the ghent altarpiece representing renaissance europe, spaceship is the future, and immortality is an even more distant future where consciousness has been uploaded to computers and people live without bodies.

pulse emitter (daryl groetsch from portland, oregon) began working with synthesizers while in music school in the 90's and took the pulse emitter name in 2003, creating synthesizer pads and patterns which drift through cosmic and nature settings. a veteran of the noise scene of the mid 2000s, the music has returned to something more melodic and layered in recent years. david keenan has said "no one is making synth music that feels so organic, so rapturous and so ‘in tune’ with the contours of outer and inner space as groetsch.

* mastered by daryl groetsch
* artwork by caroline teagle
* pressed on 180gr. vinyl
* limited edition of 400 copies

expected on or around ::
may 28th, 2013

aguirre (belgium) #zorn 15 lp

nova scotian arms / motion sickness of time travel “crystal anniversary” long playing record

  • navigation (devotional)

  • censer
  • lotus flower
aguirre press release...
nova scotian arms / motion sickness of time travel - crystal anniversary lp

this split lp sees the man/wife duo of grant and rachel evans performing under their own solo projects. in the past two years they have released a bunch of awesome tapes and cd-rs on their label “hooker vision”. they also record and perform as droneduo quiet evenings.

this record was created to celebrate the crystal anniversary of the couple. and indeed, on both sides grant and rachel create sounds which sound like the perfect marriage.

with stunningly beautiful collage artwork by grant evans.

mastered by lawrence english
limited to 300 copies
artwork by grant evans

expected on or around ::
may 28th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 134 lp

conrad schnitzler “contempora” long playing record

bureau b press release...
conrad schnitzler
contempora
reissue. originally released in 1981
vinyl (180g)

release: may 24, 2013

“contempora” is a sort of collection of sketches, reflecting schnitzler’s inexhaustible creative powers in condensed form. like light refracting through a multiple prism, shapes and colours constantly change, backgrounds shift through brightness and darkness. each track on the album could easily double or treble in length without relinquishing any of its magic or indeed becoming boring. schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armouries. he opens one door ever so slightly, only to close it again and open another for just a few minutes. improvised sonic comets shimmer over schnitzler’s inimitable sequencer patterns, fleeting melodies fade away. everything happens at breathtaking speed, miniatures without frames or tangible borders.

in the early eighties schnitzler worked primarily with the ems synthi a and korg ms 10 synthesizers, an analog sequencer and analog rhythm machine. all in all, this was neither a particularly complex nor exotic array of equipment for the period. many electronic artists used these inexpensive instruments, or something similar. nevertheless, schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. “contempora” again underlines schnitzler’s noble ethos.

asmus tietchens

(21 untitles pieces ranging from 0:47 to 7:07 minutes)

expected on or around ::
may 28th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 134 cd

conrad schnitzler “contempora” compact disc

bureau b press release...
conrad schnitzler
contempora
reissue. originally released in 1981
cd

release: may 24, 2013

“contempora” is a sort of collection of sketches, reflecting schnitzler’s inexhaustible creative powers in condensed form. like light refracting through a multiple prism, shapes and colours constantly change, backgrounds shift through brightness and darkness. each track on the album could easily double or treble in length without relinquishing any of its magic or indeed becoming boring. schnitzler grants us the merest glimpses into his diverse soundscapes and sonic armouries. he opens one door ever so slightly, only to close it again and open another for just a few minutes. improvised sonic comets shimmer over schnitzler’s inimitable sequencer patterns, fleeting melodies fade away. everything happens at breathtaking speed, miniatures without frames or tangible borders.

in the early eighties schnitzler worked primarily with the ems synthi a and korg ms 10 synthesizers, an analog sequencer and analog rhythm machine. all in all, this was neither a particularly complex nor exotic array of equipment for the period. many electronic artists used these inexpensive instruments, or something similar. nevertheless, schnitzler succeeded in setting himself apart from others in the fraternity, in both sonic and compositional terms. not so much gripped by the need to occupy a unique position, he was simply unable and unwilling to divert from his creative path. “contempora” again underlines schnitzler’s noble ethos.

asmus tietchens

(21 untitles pieces ranging from 0:47 to 7:07 minutes)

expected on or around ::
may 28th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 133 lp

conrad schnitzler / gregor schnitzler “conrad & sohn” long playing record

  • ouvertüre
  • österreich
  • tschak
  • hammond
  • agana wudiov
  • what made you so no good heimat
  • dahomey
  • you know i need zv9
  • hi fidelity
  • china first on mars

  • österreich (roughmix) dahomey (roughmix)
  • agana wudiov (roughmix)
  • you know i need (dub-version)
bureau b press release...
conrad schnitzler
conrad & sohnreissue. originally released in 1981
lp (180g)

release: may 24, 2013

conrad schnitzler is undoubtedly one of the founding fathers of german electronica. and his son, gregor schnitzler, matched the father’s extraordinary level of creative output. they appear to have settled any musical differences amicably. after all, how else could they have “shared” an lp released by conrad schnitzler himself? one half of “conrad & sohn” features music by conrad schnitzler, the other his son gregor. two mini albums on one disc, so to speak. an ideal opportunity to compare them.

judging by the similarities in sound, gregor clearly had access to his father’s music equipment, but the way he uses electronics and his voice could not be more different. industrial (e.g. cabaret voltaire) influences are apparent. the dry minimalism of german new wave (ndw) also left its mark on him. a sense of the end of days in some places gives way to highly charged hysteria in others. for young, modern musicians in the frontline city of west berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. and the “no future” claim had not yet lost its validity. gregor unequivocally took sides; he was with the young.

conrad’s music on this album also shows some signs of contemporary influence. as a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son gregor. leaving the bleak, cryptic text of the first track aside, conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a donald duck voice, followed by electronic particles travelling from anywhere to who knows where. total abstraction. father and son certainly offer up drastically opposing musical concepts to our ears.

asmus tietchens

(17 untitled pieces ranging from 1:32 to 5:34 minutes. seven tracks by conrad, ten by gregor – on vinyl only five by gregor)

expected on or around ::
may 28th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 133 cd

conrad schnitzler / gregor schnitzler “conrad & sohn” compact disc

  • ouvertüre
  • österreich
  • tschak
  • hammond
  • agana wudiov
  • what made you so no good heimat
  • dahomey
  • you know i need zv9
  • hi fidelity
  • china first on mars

  • österreich (roughmix) dahomey (roughmix)
  • agana wudiov (roughmix)
  • you know i need (dub-version)
bureau b press release...
conrad schnitzler
conrad & sohnreissue. originally released in 1981
cd

release: may 24, 2013

conrad schnitzler is undoubtedly one of the founding fathers of german electronica. and his son, gregor schnitzler, matched the father’s extraordinary level of creative output. they appear to have settled any musical differences amicably. after all, how else could they have “shared” an lp released by conrad schnitzler himself? one half of “conrad & sohn” features music by conrad schnitzler, the other his son gregor. two mini albums on one disc, so to speak. an ideal opportunity to compare them.

judging by the similarities in sound, gregor clearly had access to his father’s music equipment, but the way he uses electronics and his voice could not be more different. industrial (e.g. cabaret voltaire) influences are apparent. the dry minimalism of german new wave (ndw) also left its mark on him. a sense of the end of days in some places gives way to highly charged hysteria in others. for young, modern musicians in the frontline city of west berlin, a mix of depression and anger was the natural prerequisite for their uncomplicated, unsentimental and yet emotional music. and the “no future” claim had not yet lost its validity. gregor unequivocally took sides; he was with the young.

conrad’s music on this album also shows some signs of contemporary influence. as a veteran of the avant-garde and an experienced performance artist, he adopted a different aesthetic stance to that of his son gregor. leaving the bleak, cryptic text of the first track aside, conrad speaks to the knowledgeable listener in a familiar musical language: sequencer shapes with no end and no beginning, then an uncommonly humorous miniature with a donald duck voice, followed by electronic particles travelling from anywhere to who knows where. total abstraction. father and son certainly offer up drastically opposing musical concepts to our ears.

asmus tietchens

(17 untitled pieces ranging from 1:32 to 5:34 minutes. seven tracks by conrad, ten by gregor – on vinyl only five by gregor)

expected on or around ::
may 28th, 2013

editions mego (austria) #emego 168 lp

innode “gridshifter” long playing record

  • dedispersion i (8:13)
  • dedispersion ii (4:07)
  • rotor (2:48)
  • planes and numbers (1:28)
  • peano (1:59)

  • gridshifter 05 (6:11)
  • triggerext (2:11)
  • fs revisited (5:04)
  • cumbre vieja (4:02)
  • skatterakt (1:07)
editions mego press release...
emego 168 / innode
gridshifter
lp

release date june 10, 2013

stefan németh: synthesizers
steven hess: drums (on b-side)
bernhard breuer: drums (on „dedispersion i & ii“)

„dedispersion i & ii“ and „planes and numbers“ orginally written for an exhibition by andrés ramírez gaviria

recorded by christoph amann, bernhard breuer and kassian troyer, various locations, vienna (at) and berlin (de)
mixed by stefan németh
mastering: kassian troyerartwork: julie/c

innode enters the world with an audacious debut of rhythm and sound, space and silence and an astonishing blend of the acoustic and the electronic. spearheaded by stefan németh (co-founder of radian, lokai) in close collaboration with steven hess (locrian, pan.american, cleared) and bernhard breuer (elektro guzzi, tumido), gridshifter is an intense, astonishing sonic experience which navigates the line between formal structures and experimental interplay. conceived as a series of crossbred experiments where, on one side, a human rhythm triggers electronic signals whilst on the other electronic textures sculpt a platform for physical human engagement. the stark dynamics and human/non human interaction manifests itself as a thrilling expose of 21st century rhythm and noise.

the term gridshifter plays on the idea of composed disorder by applying opposing moves upon a template of rigid structure. on certain tracks a strict time line or grid is spiked via grids of a different size being played at the same time, whilst on others, steven and bernhard 'shifted' the grid by overlaying their own rhythms, resulting in a destabilised sonic environment. as németh describes the artwork he sums up the entire modus operandi, "these arrays, or biochips, are samples of dna laid out as a series of microscopic spots bound to a small glass slide. corresponding images look highly organized, but show a lot of tiny imperfections at the same time...this fact makes them especially interesting for me.“

innode explore an exhilarating terrain whereby simple, pure forms, both human and electronic weave together, unfeathered, untarnished, unprocessed and leave a web of intense, extreme sonic dynamics.

expected on or around ::
may 28th, 2013

editions mego (austria) #emego 167 lp

cindytalk “a life is everywhere” long playing record

  • time to fall
  • my drift is a ghost
  • to a dying star

  • interruptum
  • as if we had once been
  • on a pure plane
editions mego press release...
emego 167 / cindytalk
a life is everywhere
lp

release date 13.05.2013

'a life is everywhere' is an ecstatic mix of rhythm, noise, drone, texture and melody. simultaneously heartfelt and not for the faint hearted.

within their self contained world cindytalk continue the unique trajectory that has purveyed their career starting in 1982. this instalment further explores the fearsome terrain that was initiated with previous editions mego releases such as 'the crackle of my soul' and 'hold everything dear'. throughout the 6 tracks on offer the standard fair of music is run through serious level processes leaving, taking rhythm and sound to extreme limits whilst always retaining trace elements of their core. ringing bells are interrupted by artefacts from shredded sound matter, euphoric chords are swamped by chopped rhythms which succumb to an endless storm of electronic bliss. utopia has never been so bold.

the unique positioning of cindytalk's output over a 30+year period is a testament to the will to explore. unfettered by trend, taste and desire. this is unadulterated expression, a future music for those willing to confront the future as a viable option.

expected on or around ::
may 28th, 2013

em (japan) #em 1113 cd

finis africæ “a last discovery • the essential recordings, 1984-2001” compact disc

  • lp version:side-a1. radio tarifa (tarifa radio)2. zoo zulu (zulu zoo)3. triciclos en la chopera (la chopera tricycles)4. pirulo
  • cambia cromos (pirulo exchange trading cards)5. segundos
  • segundos
  • segundos (seconds seconds seconds)6. luna (moon)side-b7. los pobres del mundo tocan el bombo (poor people of the world play the bass drum)8. el abrazo de la selva (the jungle hug)9. los colores de mis botas (the colors of my boots)10. juana y rosalía (juana and rosalia)11. hybla (hybla)side-c12. suite amazónica (amazonian suite)13. dança do corpo (dance of body)14. remontando el purus (going up the purus river)15. hassell
  • el oso hormiguero (hassell the anteater)side-d16. el baile de sara (sara’s dance)17. masai mara (mara masai)18. bahía de los genoveses (the bay of genoa)cd version:same track order as above lp version except two lp only bonus tracks “juana y rosalía” (track 4 on side b) and “remontando el purus”(track 3 on side c). 16 tracks in total.
em press release...
catalogue# : em1113cd & dlp
artist : finis africæ (finis africae)
title : a last discovery: the essential recordings, 1984-2001
media : cd and 2lp

+ first ever world release by the band outside of spain
+ compiled from seven albums from 1984-2001
+ 48khz/24bit digitally remastered
+ liner notes written by ex-leader of the band, juan alberto arteche guel
+ spanish/english/japanese text

cd version:
16p booklet in standard jewel case.

lp version:
double 12" lp set in a gatefold jacket. two bonus tracks. quality pressing + liner notes.

"finis africæ (or finis africae)". words redolent of mystery and myth, of europe looking out to new lands, new worlds, new times. and so it is with "a last discovery", the work of spaniard juan alberto arteche guel and his musical co-adventurers, recorded between 1984 and 2001. after fifteen years of musical success in spain with his band nuestro pequeño mundo, arteche was ready to experiment with new ideas, and with the purchase of a four-track reel-to-reel recorder he did so, exploring imaginary global music-worlds with a core of like-minded explorers. the group, dubbed "finis africæ" by jaa after reading umberto eco's "the name of the rose", where the term refers to forbidden books and hidden knowledge, released seven recordings over an eighteen-year period, the best of which are compiled here.

finis afriae was part of the "new wave" of spanish music which gradually emerged after the end of the francoist regime. using modern electric instruments and traditional acoustic instruments from many cultures blended together via studio alchemy, a magic which grew even stronger with the acquisition of a sixteen-track recorder after their second release, finis africæ created an outward-looking musical multiverse, an unclassifiable amalgam encompassing elements of folk traditions from all over the world, skillfully and lovingly shaped into an inclusive pan-global whole. deeply influenced by african music, the group's reverberant, organic minimal funk will appeal to djs as well as all who yearn for the loving warmth that comes with the embrace of global possibilities.

with liner notes in spanish, english and japanese by jaa, "a last discovery" is available on cd and double vinyl (with two bonus tracks). this is the first release by finis africae outside of their native spain. come take a retrospective journey of discovery. new worlds await.

expected on or around ::
june 1st, 2013

primary information (usa) #pi hecker book

florian hecker “chimerizations” book

primary information press release...

chimerizations
florian hecker
304 pages
6 x 9 inches
474 color illustrations, 30 black / white illustrations
released: april 2013

chimerizations feature a radically new form of documentation of florian hecker’s sound works that dramatize the phenomenon of auditory chimaeras.

“chimeras are integrated bodies that synthesize incompatible modalities, surpassing their respective particularities without fusing them, finding a common ground, or reducing one to the other.” (robin mackay)

the publication presents the documentation of hecker’s recent sound pieces (“magnitude estimation,” 2010; “hecker leckey sound voice chimera,” 2011; “bregman/deutsch chimera,” 2011; “chimerization (mit project),” 2011 “chimerization” 2012; and “hinge,” 2012); the images, installation-reference and productions stills, have been altered by hecker using a sift flow algorithm. the result is varied and idiosyncratic, with the same image undergoing multiple translations, effectively creating a visual parallel to the chimeric phenomenon produced in the sound works they document.

included within this selection are the two texts that the philosopher reza negarestani has contributed to “chimerization” and “hinge”.the libretto negarestani produced for “chimerization (mit project)” and “chimerization,” is set in a partly legible, decomposed and restructured typography programmed by ben m. jordan in 2 99 different fonts. a detailed typographic specimen of the macro and microstructure of this special typographic transformation is featured as well.

chimerizations is introduced with essays by stefan helmreich (professor of anthropology, mit), and catherine wood (curator, tate modern) and has been designed by norm, zurich.

*layout images © peter derbsch, 2013


expected on or around ::
june 1st, 2013

primary information (usa) #pi graham book

dan graham “rock/music writings” book

primary information press release...
rock/music writings
dan graham
b&w, 224 pages.
edition of 3000

the first collection in english of dan graham’s influential body of writing on rock and roll music. stretching from the late 60s to the late 80s, rock/music writings contains the following 13 essays, most of which are currently out-of-print or seen here for the first time in a widely distributed form:

holes and lights: a rock concert special
all you need is love
live kinks
late kinks
country trip
the end of liberalism
punk as propaganda
rock my religion
new wave rock and the feminine
musical performance and stage–set utilizing two–way mirror and time–delay
mclaren’s children
untitled
artist as producer

expected on or around ::
june 1st, 2013

primary information (usa) #pi disband cd

disband “s/t” compact disc

  • the end (1:08)
  • hudson street 1:27)
  • black lung (0:52)
  • fashions (1:15)
  • rebel (3:08)
  • the redneck song (1:12)
  • missiles and pistols 2:22)
  • i'm on the winning side (1:26)
  • the girl's bill of rights (1:33)
  • dow (1:22)
  • bartolucci (0:58)
  • look at my dick (1:21)
  • sad (1:36)
  • missles and pistols (alternate version) (1:14)
  • every day same old way (2:09)
  • perry como (1:20)
  • five more years (1:44)
  • a model's revengeful acquisition (2:25)
  • the snatch song (1:18)
  • never been anywhere (2:33)
  • hey baby (2:15)
primary information press release...

disband
audio cd
31 minutes
edition of 1000

long-lost recordings culled from performances between 1979 and 1982 from the loose group of feminist performers known as disband. ilona granet, donna henes, barbara kruger, ingrid sischy, diane torr, and martha wilson screamed, shouted, sang, and stomped through the heyday of new york city's new- and no-wave scenes, blurring the line between performance art and live music. mirroring the chaos and temporarity of that time, the band split up in 1982 having never produced a record. this is the first comprehensive look at their all-too brief career.

this cd features 21 recordings captured from the band’s live performances between 1979-1982.

expected on or around ::
june 1st, 2013

primary information (usa) #pi chatham lp

rhys chatham “rêve parisien” long playing record

primary information press release...
rêve parisien
rhys chatham
vinyl
edition of 1000

rêve parisien features four new rhys chatham compositions that were performed live at kassay's exhibition at art: concept in paris in 2010, and loosely functions as an audio catalogue to the exhibition.

rêve parisien contains compositions that were both performed live and used as a soundtrack through kassay’s exhibition. these compositions mark a change in direction for chatham, who has abandoned the trumpet style he developed in the nineties for a non-distorted, less effects-driven sound that compliments his minimalist compositions and his free jazz training. the lp is packaged in a stunning gatefold with an arced die-cut cover, which was designed by jacob kassay in collaboration with frank napolski.

expected on or around ::
june 3rd, 2013

editions mego (austria) #emego 162x ep

locust “you'll be safe forever remixes” twelve inch single record

  • fall for me - ulrich schnauss
  • do not fear - coh

  • corporal genesis - nicholas bullen
editions mego press release...
emego 162x / locust
you'll be safe forever remixes
12”

release date june 3, 2013

expected on or around ::
june 8th, 2013

shelter press (belgium) #sp 017 lp

keith fullerton whitman / floris vanhoof “jardin electronique b/w de karekiet van karakas” long playing record

  • keith fullerton whitman - “jardin electronique”

    automatic ping (3:00)
    automatic melody (3:00)
    automatic drums (3:00)
    automatic drums with melody (9:00)

  • floris vanhoof - de karekiet van karakas (19:31)
shelter press press release...

#017 / « split » by keith fullerton whitman / floris vanhoof

5 tracks / 38:00 min / 12 lp / 33 rpm / 2013
first edition of 400 copies / 3 colors silkscreened cover / art by hannah giese
180gr black vinyl / mastered and cut to vinyl by rashad becker at d+m berlin
out on june 1st

new split 12 between two modular experimentalists stretching the world map for this split release. while keith fullerton whitman comes with one of his more accessible / danceable piece to date, floris vanhoof had full reign to record a dark and hazy drone piece for the flipside. using purely analog synths, both build very unique although complementary compositions.

keith fullerton whitman – you already know him – is an american electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock.

making music since the 90 , he started recording using his own name in 2001, and most of his work recorded today is under that name. he studied computer music at berklee college of music, where he was exposed to modern electronic music composition and synthesis. whitman has released albums on many labels such as edition mego, pan, kranky, root strata, planet mu.

connecting his many worlds, ideas and influences into highly personal pieces, everything floris vanhoof put his hands on turned into a highlight. not only his solo lps on ultra eczema and kraak, but also an extensive list of stunning performances.

in his live shows vanhoof links new visual ideas to his idiosyncratic musical performances in which homemade synthesizers, exceptional ebay acquisitions and a personal framework are forged into an impressive whole. one of the most versatile and creatively liberated artists in belgium!

this record has been mastered and cut by rashad becker at dubplates & mastering in berlin. pressed on 180g black vinyl and packaged in a 3 colors silkscreened cover printed by hannah geise. edition of 400 copies.

expected on or around ::
june 11th, 2013

alter (uk) #alter 10 cd

liberez “sane men surround” compact disc

  • nema te (1:34)
  • a warning (4:22)
  • nema te (part 2) (7:37)
  • a.c.a.b (5:30)
  • what's mine is mine (5:23)
  • unhomely (4:56)
  • what's mine is mine (part 2) (1:08)
  • my madness offends (6:42)
  • landscape at iden 1929 (3:03)
alter press release...
alt10: liberez - sane men surround cd

sane men surround is the second album to emerge from southend-on-sea’s liberez. following on from their 2011 debut the letter, the 9 tracks here continue to savagely eq percussion, guitar, violin and electronics into abstraction with tracks like a warning and my madness offends bearing the industrial, almost ritualistic, atmospherics of its predecessor, whilst nema te and what’s mine is mine introduce a new style of composition and song writing which pushes the group towards a more bombastic ‘post-punk’ style of abrasiveness. as ominous as it is seductive, sane men surround is a true product of the south-east of england. it is a work of suburban claustrophobia that lurches around britain's industrial past and glares at its future. it is an album with a brain and a heart, evoking the rumbling lorries of essex, its scared sober marshlands, and peace riddled battlegrounds. previously issued as limited vinyl edition of 100 copies on the savory days label, this cd edition features a different master to suit the format.

expected on or around ::
june 11th, 2013

blackest ever black (uk) #blackest 016 lp

shampoo boy “licht” long playing record

  • loch
  • fall

  • gift
  • still
blackest ever black press release...
shampoo boy - licht (blackest016 lp)

shampoo boy is a new guitar, bass and electronics trio from vienna, comprising members christian schachinger, christina nemec and peter rehberg. schachinger and rehberg have played together in various projects over the last 25 years, most notably peterlicker - see last slave (2010) and nicht (2011), both released on editions mego. schachinger was also involved in der scheitel, their album in einem haus das liebe heißt being a classic of german 'schlagermusik'. rehberg currently operates the editions mego family of labels and is a member of ktl, r/s and fenn o'berg as well as working on theatre productions with gisele vienne, and with choreographer margret gudjonsdottir. nemec's background is in avant-rock and industrial outfits such as bray and her own performance group sv damenkraft. she remains highly active as a solo artist, both as chra and under her own name, and she has performed on several occasions with lydia lunch.

licht is shampoo boy's debut release, an lp made up of four improvisations recorded and mixed at twisted, wien between april 2012 and january 2013. mastered by noel summerville at 3345, london. artwork by stephen o'malley.

expected on or around ::
june 14th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 130 lp

der plan “japlan” long playing record

  • ein moment sind zwei sekunden 2 der regen tropft
  • tanzende kakteen
  • fleißige ameisen
  • sechs fingen an
  • das insekt
  • denn alles war nur ein trick
  • schwarzwald
  • schauet her
  • buback
  • gummitwist
  • space bob
  • sirius und alpha zentauri
  • rapwalz
  • alte pizza
  • hey baby hop
  • glitzer-gleiter

  • junger mann
  • gummitwist (instrumental)
  • gorch fock
  • elektro platinum saturn gott
bureau b press release...
der plan
japlan
reissue (originally released 1984)
cd / vinyl (180g)

release date: june 14, 2013

der plan were invited to tokyo in 1984 to play six concerts for seibu, a japanese department store chain. seibu were staging a “german week”. but how did they come to choose der plan, of all bands? why not an oktoberfest combo or the scorpions? moritz reichelt explains: “german new wave was really popular in japan. they knew more about it than people here at home. catalogues and magazines detailed every obscure record and depicted the covers. this particular department store chain was linked to ‘wave’, a record shop and distributor—and they really knew their stuff.”

“japlan” documents the set list from these tokyo shows. featuring previously released songs from the “normalette surprise” album, the “die letzte rache” soundtrack and the double single “golden cheapos”, “japlan” also includes rare instrumentals produced for these very concerts ... and one of the most famous songs by der plan: “gummitwist”.

der plan and japan—a good match, not only phonetically. reichelt: “japan had always been one of our strongest territories. our records were exported there from the very beginning. when i arrived, i understood why. japanese pop culture is really ‘planesque’ in a way. artificiality with a twinkle in the eye. we stepped inside our hotel in 1984 and switched on the television. the first thing we saw was an advert with three dinosaurs singing a song. pretty much like one of our shows.”

the reissue is graced with new artwork due to the fact that the japanese simply adopted the cover of the existing “golden cheapos” ep. the relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. a joke at the expense of the censors fell victim to actual censorship. this re-release could be said to correct an optical error in the band’s discography.

expected on or around ::
june 14th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 130 cd

der plan “japlan” compact disc

  • ein moment sind zwei sekunden 2 der regen tropft
  • tanzende kakteen
  • fleißige ameisen
  • sechs fingen an
  • das insekt
  • denn alles war nur ein trick
  • schwarzwald
  • schauet her
  • buback
  • gummitwist
  • space bob
  • sirius und alpha zentauri
  • rapwalz
  • alte pizza
  • hey baby hop
  • glitzer-gleiter

  • junger mann
  • gummitwist (instrumental)
  • gorch fock
  • elektro platinum saturn gott
bureau b press release...
der plan
japlan
reissue (originally released 1984)
cd / vinyl (180g)

release date: june 14, 2013

der plan were invited to tokyo in 1984 to play six concerts for seibu, a japanese department store chain. seibu were staging a “german week”. but how did they come to choose der plan, of all bands? why not an oktoberfest combo or the scorpions? moritz reichelt explains: “german new wave was really popular in japan. they knew more about it than people here at home. catalogues and magazines detailed every obscure record and depicted the covers. this particular department store chain was linked to ‘wave’, a record shop and distributor—and they really knew their stuff.”

“japlan” documents the set list from these tokyo shows. featuring previously released songs from the “normalette surprise” album, the “die letzte rache” soundtrack and the double single “golden cheapos”, “japlan” also includes rare instrumentals produced for these very concerts ... and one of the most famous songs by der plan: “gummitwist”.

der plan and japan—a good match, not only phonetically. reichelt: “japan had always been one of our strongest territories. our records were exported there from the very beginning. when i arrived, i understood why. japanese pop culture is really ‘planesque’ in a way. artificiality with a twinkle in the eye. we stepped inside our hotel in 1984 and switched on the television. the first thing we saw was an advert with three dinosaurs singing a song. pretty much like one of our shows.”

the reissue is graced with new artwork due to the fact that the japanese simply adopted the cover of the existing “golden cheapos” ep. the relationship of form and content was thus absent and one significant change was made: the image of a faint square covering the exposed lower body of a lady in the hay was replaced by an opaque black square. a joke at the expense of the censors fell victim to actual censorship. this re-release could be said to correct an optical error in the band’s discography.

expected on or around ::
june 14th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 129 lp

der plan “die letzte rache” long playing record

  • die wüste
  • sechs fingen an
  • aufbruch
  • am grab des sohnes
  • im unterirdischen waserkanal
  • denn alles war nur ein trick
  • zur alten dschunke
  • das denkmal des scheiterns
  • es ist schön
  • schön zu sein
  • donnerwetter!
  • oh oh oh
  • der kommissar 1
  • ich bin es
  • junger mann
  • früchte radio special
  • des kerkers loch
  • die unterirdische fabrik
  • oder nicht?
  • der kommissar 2
  • der chor der gefangenen
  • der assisitenten-song
  • der chor der ausgebrochenen 23 schauet her!
  • schönheit der macht
  • die zerstörung der großen stadt 26 das zimmer der tochter
  • showdown
  • so wurden wir zu ihm gemein 29 das ende
  • der todesmonolog

  • der grottenolm
  • miletti 1
  • die grotte der olme
  • arktischer dialog
  • miletti 2
  • am strand
bureau b press release...
der plan
die letzte rache
reissue (originally released 1983)
cd / vinyl (180g)

release date: june 14th, 2013

retrospectively, it makes perfect sense that der plan created a soundtrack. for one thing, visuals were almost as important to der plan as their music. and if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, der plan went further—with scenery, masks and album covers designed by moritz r® they invented their own universe. indeed, the sounds of everyday life woven into der plan’s music contributed to the filmic quality of their sound.

thus frank fenstermacher, moritz r® and pyrolator were not slow in responding to their old friend rainer kirberg’s request to work on his latest film “die letzte rache”. the director kirberg, born in 1954, studied film in düsseldorf. they all knew each other from shared lodgings, political meetings and the local hangout ratinger hof. as well as playing his part in the music, moritz r® also came up with the sets, whilst frank fenstermacher secured a minor role as the inspector’s sidekick. (rainer kirberg’s latest film, the highly acclaimed “das schlafende mädchen” hit the screens in january 2013.)

but back to the music: “letzte rache” was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. with the aid of the emulator 1, der plan succeeded in recording something which could also work as a diverting radio drama without moving images. in contrast to the two previous albums “geri reig” and “normalette surprise”, which defined the “plan sound” and virtually did without any musical quotations, echoes of jazz can be heard on “die letzte rache” and, of course, film music. andreas dorau weighs in with a bona fide pop hit in the guise of a “junger mann”.

ah yes, the film itself, what is it actually about? following the aesthetic tradition of 1920s german expressionist cinema, “die letzte rache”—the last revenge—tells the hair-raising tale of a ruler who charges the “worldly” with the task of finding him a successor. the problem is: idiots abound. the worldly’s search is fruitless and—sometimes the most obvious solutions are the most practical—he decides to seize power himself. at the end of the day: the ruler’s empire in ruins, the worldly goes mad, the inspector in jail (arrested by his own assistant!), the ruler badly injured yet immortal, suffering terrible agonies.

expected on or around ::
june 14th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 129 cd

der plan “die letzte rache” compact disc

  • die wüste
  • sechs fingen an
  • aufbruch
  • am grab des sohnes
  • im unterirdischen waserkanal
  • denn alles war nur ein trick
  • zur alten dschunke
  • das denkmal des scheiterns
  • es ist schön
  • schön zu sein
  • donnerwetter!
  • oh oh oh
  • der kommissar 1
  • ich bin es
  • junger mann
  • früchte radio special
  • des kerkers loch
  • die unterirdische fabrik
  • oder nicht?
  • der kommissar 2
  • der chor der gefangenen
  • der assisitenten-song
  • der chor der ausgebrochenen 23 schauet her!
  • schönheit der macht
  • die zerstörung der großen stadt 26 das zimmer der tochter
  • showdown
  • so wurden wir zu ihm gemein 29 das ende
  • der todesmonolog

  • der grottenolm
  • miletti 1
  • die grotte der olme
  • arktischer dialog
  • miletti 2
  • am strand
bureau b press release...
der plan
die letzte rache
reissue (originally released 1983)
cd / vinyl (180g)

release date: june 14th, 2013

retrospectively, it makes perfect sense that der plan created a soundtrack. for one thing, visuals were almost as important to der plan as their music. and if every self-respecting pop band pays attention to wearing the right clothes at the right time (or the completely wrong ones at the right time) and designing pretty album covers, der plan went further—with scenery, masks and album covers designed by moritz r® they invented their own universe. indeed, the sounds of everyday life woven into der plan’s music contributed to the filmic quality of their sound.

thus frank fenstermacher, moritz r® and pyrolator were not slow in responding to their old friend rainer kirberg’s request to work on his latest film “die letzte rache”. the director kirberg, born in 1954, studied film in düsseldorf. they all knew each other from shared lodgings, political meetings and the local hangout ratinger hof. as well as playing his part in the music, moritz r® also came up with the sets, whilst frank fenstermacher secured a minor role as the inspector’s sidekick. (rainer kirberg’s latest film, the highly acclaimed “das schlafende mädchen” hit the screens in january 2013.)

but back to the music: “letzte rache” was a kind of revue with silent film qualities, so the soundtrack was a decisive factor. with the aid of the emulator 1, der plan succeeded in recording something which could also work as a diverting radio drama without moving images. in contrast to the two previous albums “geri reig” and “normalette surprise”, which defined the “plan sound” and virtually did without any musical quotations, echoes of jazz can be heard on “die letzte rache” and, of course, film music. andreas dorau weighs in with a bona fide pop hit in the guise of a “junger mann”.

ah yes, the film itself, what is it actually about? following the aesthetic tradition of 1920s german expressionist cinema, “die letzte rache”—the last revenge—tells the hair-raising tale of a ruler who charges the “worldly” with the task of finding him a successor. the problem is: idiots abound. the worldly’s search is fruitless and—sometimes the most obvious solutions are the most practical—he decides to seize power himself. at the end of the day: the ruler’s empire in ruins, the worldly goes mad, the inspector in jail (arrested by his own assistant!), the ruler badly injured yet immortal, suffering terrible agonies.

expected on or around ::
june 15th, 2013

dom bartwuchs (germany) #scie 1012 lp

in camera “rumours” long playing record

dom bartwuchs press release...
in camera : 'rumours'

lp - dombw 08 - 2012
edition of 400 copies

live recording from 2006 vpro radio session.

expected on or around ::
june 15th, 2013

faraway press (uk) #fp 020 cd

elodie “la lumière parfumée” long playing record

faraway press press release...
elodie : 'la lumière parfumée'

cd - fp 020 - 2012
2nd pressing with handmade miniature lp jacket by andrew chalk

2nd album by andrew chalk & timo van luijk

expected on or around ::
june 15th, 2013

la scie dorée (belgium) #scie 1012 lp

in camera “frampton comes alive” long playing record

la scie dorée press release...
in camera : 'frampton comes alive'

lp - scie 1012 - 2012
edition of 400 copies

new studio recordings + live recordings from 2006 vpro radio session.

expected on or around ::
june 15th, 2013

la scie dorée (belgium) #scie 0912 lp

af ursin “trois mémoires discrètes” long playing record

la scie dorée press release...
af ursin : 'trois mémoires discrètes'

lp - scie 912 - 2012
edition of 400 copies

3 introspective instrumental (english horn, flute, percussion, double bass, hammond organ) compositions performed, recorded and mixed by timo van luijk during 2010-2012.

expected on or around ::
june 15th, 2013

threads:
modern-composition
electro-acoustic-composition

la scie dorée (belgium) #scie 0608-2 lp

af ursin “aika” long playing record

  • esclarmond
  • marche arrière
  • sortilège

  • ombre oubliée
  • un reveil
la scie dorée press release...
af ursin : 'aika'

lp – scie608 - 2011

expected on or around ::
june 15th, 2013

metaphon (belgium) #metaphon 004 lp

lucien goethals “ipem - institute for psychoacoustics and electronic music : '50 years of electronic and electroacoustic music at the ghent university'” triple long playing record boxed set

metaphon press release...
ipem - institute for psychoacoustics and electronic music : '50 years of electronic and electroacoustic music at the ghent university'

vinyl version comes out late may in an edition of 300 copies and contains 3lp's (same material as the cd version) in a linen box + 2cd + book.

in commemoration of ipem’s 50th anniversary, metaphon presents a lavishly illustrated 88 page book (all text in dutch and english) with two cds featuring lucien goethals, didier gazelle, louis de meester, david van de woestijne, stefan beyst, helmut lachenmann, boudewijn buckinx, karel goeyvaerts, emmanuel van weerst, peter beyls, raoul de smet, frank nuyts, ricardo mandolini, peter schuback, stephen montague and yves knockaert. all tracks were recorded at the ipem studio and mastered from the original tapes. most tracks are previously unreleased.

expected on or around ::
june 15th, 2013

metaphon (belgium) #metaphon 004 cd

“ipem - institute for psychoacoustics and electronic music : '50 years of electronic and electroacoustic music at the ghent university'” double compact disc boxed set

metaphon press release...
ipem - institute for psychoacoustics and electronic music : '50 years of electronic and electroacoustic music at the ghent university'

2cd + 88 page book - metaphon 004 - 2013 edition of 700 copies
31 x 31 cm, 880 grams

in commemoration of ipem’s 50th anniversary, metaphon presents a lavishly illustrated 88 page book (all text in dutch and english) with two cds featuring lucien goethals, didier gazelle, louis de meester, david van de woestijne, stefan beyst, helmut lachenmann, boudewijn buckinx, karel goeyvaerts, emmanuel van weerst, peter beyls, raoul de smet, frank nuyts, ricardo mandolini, peter schuback, stephen montague and yves knockaert. all tracks were recorded at the ipem studio and mastered from the original tapes. most tracks are previously unreleased.

vinyl version comes out late may in an edition of 300 copies and contains 3lp's (same material as the cd version) in a linen box + 2cd + book.

expected on or around ::
june 15th, 2013

musée de arts contemporaines` (belgium) #mdac oosterlynck book

baudouin oosterlynck “le fil jaune” book

musée de arts contemporaines` press release...
baudouin oosterlynck : 'le fil jaune'

book - musée des arts contemporaines (grand hornu) - 2011 hardcover, 256 pages, full colour, text in french and english 24 x 27 cm, 1500 grams

'le fil jaune' is the first monography devoted to the work of baudouin oosterlynck (kortrijk, 1946), pioneer in performance and sound installation since the mid 1970s. this book depicts the many facets of his work and shows us the way the artist listens to the world, how he explores the relationship between body, space, sound and silence. through sound objects in the form of hearing aids, sheet music or silenced instruments and incorporating participation of the public. this monography reproduces his major works and also contains a critical essay by eric de visscher (director of the museum of music - cité de la musique in paris) and an analysis of specific pieces written by laurent busine (director of mac's) and denis gielen.

expected on or around ::
june 24th, 2013

ideologic organ (france) #soma 012 lp

okkyung lee “ghil” long playing record

  • the crow flew after yi sang (6:24)
  • two to your right, five to your left (3:04)
  • strictly vertical (4:02)
  • the space beneath my grey heart (9:16)

  • cheol-kkot (1:02)
  • hollow water (2:04)
  • two perfectly shaped stones (3:30)
  • meolly ganeun (6:51)
  • over the oak
  • under the elm (8:02)
ideologic organ press release...
soma012 / okkyung lee
ghil
lp

release date june 24, 2013

recorded during spring of 2012 in various locations in oslo, nesodden and rjukan, norway.
produced by lasse marhaug.
mastered by marcus schmickler at peilthopraxis, köln march 2013.
vinyl cut by cgb at dublates and mastering, berlin april 2013.
cover photograph by c. spencer yeh.

thank you: greg pope, amel mahl, harald fetveit and agnes hvizdalek.
a native of korea, cellist/composer okkyung lee has been developing her unique voice in both improvised and composed music by blending her wide interests and influences. since moving to new york in 2000, she has worked with numerous artists ranging from laurie anderson, david behrman, douglas gordon, vijay iyer, christian marclay, jim o’rourke, evan parker and john zorn just to name a few, while leading her own projects and releasing more than 20 albums and touring extensively in the us and europe. okkyung was a recipient of foundation for contemporary arts grant in 2010.

ghil was recorded and produced by the norwegian artist lasse marhaug. instead of recording in what has become the standard in modern contempoary music, with high-end equipment and in controlled studio settings, marhaug wanted to record ghil in an expressionistic way – to purposely use crude equipment and unorthodox microphone placement in order to give a more raw and direct depiction of okkyung playing her music. marhaug says if it they were making a film, it would be like shooting on grainy 16mm black&white with close-ups instead of 35mm colour cinemascope.

thus all of ghil was recorded on a portable cassette recorder from 1976 that marhaug had just bought second hand. the sessions for the album were done during spring of 2012 in and around the oslo area. the locations varied from places like marhaug's studio; a back alley in oslo center; a cabin in the forest on the nesodden peninsula; and a former hydroelectric powerplant in the mountains outside rjukan.

the recordings have been edited, but no overdubs or other post-manipulation other than mastering.

expected on or around ::
june 24th, 2013

threads:
beat-research
digital-musics

sensate focus (germany) #focus 1.666666666 ep

sensate focus “sensate focus 1.666666666” twelve inch single record

  • x

  • y
sensate focus press release...
focus 1.666666666 / sensate focus
sensate focus 1.666666666
12”

release date june 24, 2013

written and produced by mark fell and sasu ripatti

mix & master by sr

expected on or around ::
june 25th, 2013

annihaya (lebanon) #end 007 lp

rabih beaini “albidaya” long playing record

  • light within a light
  • maples and rocks
  • kessara1
  • taranta3000
  • ya shater
  • kessara3
  • song of extreme happiness
  • kessara2
annihaya press release...
albidaya in arabic means "the beginning," which in the case of rabih beaini's, might be the return to the beginnings, or the start of the path. the album is conceptually a revisiting of the traditional and early psychedelic arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. includes musicians from upperground, piero, bittolo, bon, and tommaso cappellato. commissioned by annihaya in lebanon, by sharif sehnaoui, raed yassin, and hatem imam -- includes artwork by maria kassab.

expected on or around ::
june 25th, 2013

annihaya (lebanon) #end 007 cd

rabih beaini “albidaya” compact disc

  • light within a light
  • maples and rocks
  • kessara1
  • taranta3000
  • ya shater
  • kessara3
  • song of extreme happiness
  • kessara2
annihaya press release...
albidaya in arabic means "the beginning," which in the case of rabih beaini's, might be the return to the beginnings, or the start of the path. the album is conceptually a revisiting of the traditional and early psychedelic arabic music, all through distorted paths and instruments, remashed and deconstructed sounds, recreating patterns with diverse instruments to give a different perspective of the sound itself. includes musicians from upperground, piero, bittolo, bon, and tommaso cappellato. commissioned by annihaya in lebanon, by sharif sehnaoui, raed yassin, and hatem imam -- includes artwork by maria kassab.

expected on or around ::
june 25th, 2013

edition omega point experimental music of japan (japan) #opx 012 cd

veltz “hommage to home electronics” compact disc

  • 1st movement: sound source from transistor television. all effects are on voltage variation by light regulator only
  • and it makes pulse beats on some specific voltage level.
  • 2nd movement: sound source from vacuum tube-style television
  • only out-tuned noise and no effects.
  • 3rd movement: sound source from transistor television. this track is made from the operation of voltage variation by light regulator.
  • 4th movement: sound source from transistor television. the sound -- like early electronic music -- is made from influence by video transmitter set near the tv.
  • 5th movement: ensemble by 18 portable cassette players. they are tuned differently from each other. the sounds are not using cassette tapes and are only motor-sounds.
  • 6thmovement: one machine version
  • 7th movement: three machines version. sound source from junk video players has a weakened motor.
  • performance by dragging six metal plates. based on la monte young's early work "poem for chairs
  • tables and benches."
edition omega point experimental music of japan press release...
i have been interested in junk materials and have made sound works since several years ago. before then, i listened to experimental music as a fan, but the border between music and non-music became meaningless from encounters with fluxus, sound-art, media-art and others. since then, i love the texture of sound itself. i collected abandoned analog televisions when the transmitting system of broadcast signals was changed to digital format in 2011. they are one of my favorite instruments at present, and i hold live performances and installations using them. on this cd i used analog tv, cassette tape recorder, and video players. however, the sounds are not manipulated, and i recorded their spontaneous machine-noise only. it this 'experimental music?' i think it may be 'discovered music.' obviously, i cannot get away from the fascination with ordinary equipment in my life.

- veltz

housed in a cardboard paper gatefold sleeve. includes newly-written liner notes in japanese and english by the artist himself. limited edition of 300 copies.

expected on or around ::
june 25th, 2013

edition omega point experimental music of japan (japan) #opx 011 cd

toshi ichiyanagi “music for piano • 1959-1961” compact disc

  • music for piano no. 1
  • music for piano no. 2
  • music for piano no. 3 (1st movement)
  • music for piano no. 3 (2nd movement)
  • music for piano no. 4
  • music for piano no. 5
  • music for piano no. 6
  • music for piano no. 7
edition omega point experimental music of japan press release...
the music for piano series was written under john cage's influence in his new york years. this cd is the premiere complete recording without simultaneous playing. the series was played and recorded by pianist takuji kawai at ken in tokyo in october 27, 2012. "music for piano no. 1-no. 7" was composed between 1959 and 1961. all the works were written using graphic notations (no. 1, no. 2, no. 5 and no. 6) and instructions (no. 3, no. 4 and no. 6).

this period of my compositions such as 'music for electric metronomes,' 'stanzas for string instrument,' 'duet for piano and string instrument,' and 'sapporo' were all written by graphic notations, which expanded my idea of space in music in later compositions. the premiere of 'music for piano no.2' took place in 1959, performed by david tudor at living theatre in new york. no. 5 was by yuji takahashi, no. 4, no. 6 and no. 7 were by myself. this is the first time collecting all seven pieces played open to the public and recorded at the same time. various techniques as well as different qualities of the sounds were created in an amazing manner by pianist takuji kawai through my graphic notations. he played all the noises and concrète sounds without using any electronic device but with live natural sounds only to reflect 1950s to early '60s social situations.

- toshi ichiyanagi

expected on or around ::
june 25th, 2013

nna tapes (usa) #nna 060 lp

ryan power “identity picks” long playing record

nna tapes press release...
nna060: ryan power “identity picks” lp

over the last decade, burlington, vermont songwriter/producer ryan power has tirelessly embarked on the quest to write the definitive song-based music, full of accuracy, refinement, deliberation, and perfectly-placed shifting harmonic puzzles. ryan’s latest “identity picks” for nna tapes is an eight track song cycle that dances through lush jazz pads, aquatic smooth jazz funk styles, and the sensitive side of progressive rock. these songs are long, shifting compositions, slowly unfolding and patiently circulating within a refreshing variety of stylistic modes. throughout these colorful arrangements, ryan creates a polyphonic choir with his own voice, adding symphonic embellishments to his calculated and catchy hooks. ryan addresses contemporary issues in his subject matter, including the music industry, lust, self-evaluation, identity crisis, and the contemplation and acceptance of a world gone mad. unlike the phobic, neurotic head spaces of 2012 s “i don’t want to die”, “identity picks” is a life assessment, a meditation on putting yourself out there and the struggle to maintain integrity under scrutiny. the production is astonishingly hi-fi – recorded, engineered, mixed and performed entirely by power himself, aside from the occasional guest appearance from members of his newly-formed live band. according to the artist, the songs on this album were written “to help give my life meaning” through the purity and timelessness of classic, addictive songwriting. in an era of technological a.d.d. and fleeting vogue, “identity picks” is a record to listen to over and over again, finding new meaning and appreciation with each revolution.

expected on or around ::
june 25th, 2013

nna tapes (usa) #nna 059 lp

nate young / regression “blinding confusion” long playing record

nna tapes press release...
nna059: nate young-regression “blinding confusion” lp

over the past few years, iconic noise artist nate young has been carefully crafting his own signature solo sound, as evidenced through his progressive recordings and performances with american experimental music staples such as wolf eyes, stare case, demons, and moon pool & dead band. after the completion of his recent regression trilogy (part one being the self-titled disc on ideal in 2009; 2011 s “stay asleep” lp on nna as part two; and part three “other days” on japanese label rockatansky in 2012), young begins a new chapter in his personal sound world, and it is perhaps his biggest leap forward musically thus far. regression “blinding confusion” enters a new era, retaining the techniques and studies from his previous work and raising them to new levels. intense compositional building and structure seep through each track, traversing new ground melodically while still upholding nate’s patented over-bearing weight of dread and slow-burning darkness at all the right moments. deep, percussive brutality and pulsing neurosis mesh with somber burial hymns, held together by young’s technical prowess and mastery of his chosen gear. each frequency is given it’s own unique role and characteristic voice, deeply chilled by the arid space of decay via tape manipulation/disintegration, howling its way through the grooves of the record like a cold wind of dead space that billows throughout, unrelenting. atonal, morphing, and modulating bass lines pulse and plod their way through, like the unseen presence of the undead ascending a creaking stairway, leading upwards toward a nebulous void. this establishes a truly horrific atmosphere while honoring primitive technology, refined with a thick dose of originality. self-recorded at burning log studios and m.u.g. in young’s native zone of detroit, michigan, combined with high definition mastering and cutting by lupo at calyx in berlin, germany, make “blinding confusion” the defining artifact by one of the united states’ most talented voices in noise and experimental music.

expected on or around ::
june 25th, 2013

sub rosa (belgium) #sr 300 cd

“an anthology of noise & electronic music • volume 7” triple compact disc set

  • henry jacobs - sonata for loudspeakers (1953-1954) (9:20)
  • tziga vertov - radio-ear - radio pravda (1930) (2:58)
  • bebe & louis barron - bells of atlantis (1952) (9:00)
  • luciano berio - thema (omaggio a joyce) (1958) (6:12)
  • bülent arel - electronic music (1961) (8:37)
  • don preston - analog heaven #6 (1975) (3:04)
  • slawek kwi + siobhan mcdonald - lava samples (2:03)
  • benjamin thigpen - thread (2011) (5:24)
  • helmut schäfer - infuse (2005-2006) (7:36)
  • thanasis kaproulias/novi_sad - the insolence of a poppy (2011) (13:23)
  • saule - paperfilm (2002) (11:22)
  • édouard-léon scott de martinville - au clair de la lune (1860) (0:16) john oswald - vertical time (9:58)
  • israel quellet - pour percussion et saturation (2007) (2:21)
  • dennis wong/sin:net - decomposition (5:03)
  • alan courtis - mind broncoespasmo (2:36)
  • fausto romitelli - trash tv trance (2002) (10:10)
  • justin k. broadrick - guitar three (1995) (10:21)
  • storm bugs - cash wash/eat good beans (1980) (3:41)
  • e.a.r. - beyond the pale (1992) (14:49)
  • henry cow - from trondheim (1976) (13:06)
  • osso exotico - rota de inverno (1994) (4:45) eugeniusz rudnik - collage (1965) (4:59)
  • eduardo polonio - transparencias (2011) (7:07)
  • cabaret voltaire - chance versus causuality (1979) (5:47)
  • mika vainio - transformer in 7 (2011) (5:59)
  • alma laprida + juan jose calarco - contorso (2011) (2:36)
  • klangkrieg - korpus 1 (1996) (3:37)
  • gintas kraptavicius - 4m (2011) (7:19)
  • warong rachapreecha - shambles (2012) (0:56)
  • the new blockaders - blockade is resistance (1983) (8:12)
  • gx jupitter-larsen/the haters - fuechen (1985) (5:20)
  • the rita - skate (2009) (4:59)
  • to die - terhempas luka/jurang nestapa (2011) (1:03)
  • agro/brandon spivey + richie anderson - only those who attempt the impossible will achieve the absurd (1995) (4:08)
  • jamka - wild rosa tree (2010) (5:48)
  • erin sexton - suspend/2 electromagnetic amplifiers (2011) (4:52)
  • gustavo serpa - astro metal (2008) (6:04)
  • anonymous - untitled (unknown) (0:23)
sub rosa press release...
sub rosa presents the seventh and final volume in their an anthology of noise & electronic music series. these seven volumes represent a strong listening base, as incomplete as it may be -- the basis for a near-infinite exploration through one's self, in the present tense. all in all, there are 176 tracks, created between 1921 and 2012, for a total of almost 18 hours of music. the sphere of geographical propagation was kind of programmed at the start (between 1952 and 1970 there have been over 100 national studios, mostly tied to radio, on all five continents), but it accelerated exponentially with the appearance of the first home studios, and later with the advent of the laptop computer.

following the spread with each surge of emerging creators, 42 nations are represented. in europe: united kingdom, ireland, france, belgium, the netherlands, germany, austria, switzerland, greece, italy, spain, sweden, norway, finland, denmark, poland, hungary, czech republic, slovakia, slovenia, bulgaria, lithuania, russia. in the americas: united states, canada, mexico, argentina, peru, chili, brazil. in the middle east: israel, iran, turkey. in the far east asia: japan, china, hong kong, south korea, thailand, indonesia. in africa: egypt. in oceania: australia, new zealand.

this triple cd of concrete, destructured and electronic music contains rare or unpublished works by henry jacobs, tziga vertov, bebe & louis, luciano berio, bülent arel, don preston, slawek kwi + siobhan mcdonald, benjamin thigpen, helmut schäfer, novi_sad, saule, bebe & louis barron, e-l scott de martinville, john oswald, sin:net, israel quellet, alan courtis, fausto romitelli, justin k. broadrick, storm bugs, e.a.r., henry cow, osso exotico, eugeniusz rudnik, eduardo polonio, cabaret voltaire, mika vainio, alma laprida + juan jose calarco, klangkrieg, gintas kraptavicius, warong rachapreecha, the new blockaders, the haters, the rita, to die, agro, jamka, erin sexton, gustavo serpa , and anonymous noise. it also includes a 84-page booklet of critical and biographical notes.

expected on or around ::
july 1st, 2013

em (japan) #em 1114 lp

saboten “floor et satie” double long playing record set

  • emerald no yamabiko (emerald echo)
  • hebitsukai no uta (the snake charmer's song)
  • hikui isu (the low chair)
  • yokei na yokan (useless foresight)

  • accel.
  • hinomaru (the rising sun)
  • etenraku (etenraku)
  • knee guitar
  • kanojo (she)
  • yorokobi (pleasure)
  • uma (horses)

  • (choral inappétissant/unappetizing chorale - improvisation)
  • (la balançoire/in a swing)
  • (etenraku - bain de mer/sea bathing)
  • (les courses/race)
  • (tango)
    mirai no kioku* (memory of the future) (1984)
  • (golf) (1984)
  • hakoniwa (miniature garden) (1984)
  • (bicycle)* (1992)
  • shima no seikatsu (island life)* (1992)
em press release...
catalogue# : em1114dlp
artist : saboten
title : floor et satie
media : 2lp only

late june in stock
< 2lp >

+ double 12" lp set, quality pressing
+ printed inner sleeve four sides/many scarce photos
+ newly remastered
+ liner notes written by satomi matsumoto and izumi miyakawa of saboten and shunji tsutaki of totsuzen danball
+ english/japanese text

formed in 1981 in tokyo, saboten must now be considered one of the great lost post-punk bands. rejecting the traditional rock group hierarchy of lead guitar and/or preening vocalist supported by a rhythm section, saboten were true masters of band-as-unit, with the trio meshing and melding in a non-grandstanding manner that wonderfully emphasizes their individual contributions to the group sound. one of the original impulses that led to the formation of the group was a desire to hear the results of an electric rock combo playing erik satie, and the french composer's sense of whimsy and feeling of openness are well-represented. there are even a number of satie "covers" here, but far from being pastel homage, they are imaginative reconstructions, aided by the late lol coxhill on several pieces. the band, despite the satie influence, are most definitely a rock unit of the post-punk variety, masters of a tight, brittle funk and a supple sense of propulsion and interlocking instrumentation that will appeal to fans of groups like the slits, the raincoats, znr and even esg, but with a unique element that is all their own.

floor et satie is available on vinyl only, and provides an excellent overview of an excellent band. disc 1 (side a/b) is a newly re-mastered version of their first album saboten, which was originally produced by the late great eiichi tsutaki of totsuzen danball and issued as the first release of tsutaki's own label floor records in 1982.

disc 2 (side c/d)ranges from the charmingly lo-fi satie pieces, to some selections from a d.i.y. self-released seven-inch, two songs from their second album awake, and a piece produced by fred frith. saboten means "cactus", and like their namesake, they are spiky and yet oddly beautiful.

expected on or around ::
july 1st, 2013

threads:
modern-psych
guitar-themed
electro-acoustic-improvisation
minimalism-drones
live-electronic

kranky (usa) #krank 180 lp

ken camden “space mirror” long playing record

  • spectacle
  • eta carinae
  • moon
  • trapezium
  • antares
  • dominic sunset
kranky press release...
artist: ken camden
title: space mirror
catalog#: krank180
formats available: lp
release date: july 29, 2013

space travel is the dream of many and the reality of few. since yuri gagarin first shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere.

ken camden travels to space while still grounded on terra firma. his vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears.

the glimmering sound fields he forms could be a soundtrack to an epic 60 s science-fiction film, or a long forgotten grade school educational film strip explaining how humans would be living on mars early in the 21st century.

camden s narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space.

the album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical kosmos.

this is the second solo album from ken camden who lives and works in chicago. he also plays in the implodes sound quartet.

expected on or around ::
july 1st, 2013

threads:
modern-psych
guitar-themed
electro-acoustic-improvisation
minimalism-drones
live-electronic

kranky (usa) #krank 180 cd

ken camden “space mirror” compact disc

  • spectacle (5:29)
  • eta carinae (6:54)
  • moon (6:31)
  • trapezium (6:52)
  • antares (7:24)
  • dominic sunset (7:31)
kranky press release...
artist: ken camden
title: space mirror
catalog#: krank180
formats available: cd
release date: july 29, 2013

space travel is the dream of many and the reality of few. since yuri gagarin first shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere.

ken camden travels to space while still grounded on terra firma. his vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears.

the glimmering sound fields he forms could be a soundtrack to an epic 60 s science-fiction film, or a long forgotten grade school educational film strip explaining how humans would be living on mars early in the 21st century.

camden s narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space.

the album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical kosmos.

this is the second solo album from ken camden who lives and works in chicago. he also plays in the implodes sound quartet.

expected on or around ::
july 1st, 2013

kye (usa) #kye 24 lp

good area “french antarctica” long playing record


expected on or around ::
july 26th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 142 lp

asmus tietchens “spät–europa” long playing record

  • spät-europa
  • frautod graffito
  • mythos und gummibärchen 4 lourdes extra
  • poanpo
  • nervenfalls
  • größenwarnung
  • bescheidenes vergnügen
  • schöne dritte welt
  • herrmannstrohm
  • erloschene herzen
  • endspannung
  • betablocker
  • tretboot zum schafott
  • ausverkauf
  • bockwurst a la maitresse 17 passaukontrolle
  • wein aus wien
  • stille häfen
  • epitaph
bureau b press release...
asmus tietchens
spät–europa
reissue. originally released 1982
cd / lp (180g) / download

release date: july 26, 2013

whilst tietchens planned to head off “into the future” (in die zukunft) with biotop (1981), spät-europa witnesses his arrival. released on sky records in the year 1982, the second album in the “zeitzeichen” phase not only continued in the style of its predecessor, it managed to refine it a little more precisely.

spät-europa also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist’s parallel lines of development.

what is new on spät-europa is a greater concentration of form, concise and pointed in the sense of musical economy. tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the “miniatures” lasted exactly two minutes. nevertheless, he only missed his ideal target by a few seconds here and there. the concept of biotop as an album of twenty tracks two minutes long recalls the residents’ commercial album (1980) which contains forty tracks, each a minute in length— although these were designed to be played in groups of three in order to create a regular “pop song”. tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the american band, having “organized crusades” for their albums at this time. traces of their influence may be discernible, but tietchens has placed them in an entirely new context.

like biotop, spät-europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. epitaph introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. but the headstone etched in readiness to mark his musical career proved unnecessary—before the year was out, günter körber had requested a further album for his sky label. this would be the opus entitled in die nacht.

expected on or around ::
july 26th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 142 cd

asmus tietchens “spät–europa” compact disc

  • spät-europa
  • frautod graffito
  • mythos und gummibärchen 4 lourdes extra
  • poanpo
  • nervenfalls
  • größenwarnung
  • bescheidenes vergnügen
  • schöne dritte welt
  • herrmannstrohm
  • erloschene herzen
  • endspannung
  • betablocker
  • tretboot zum schafott
  • ausverkauf
  • bockwurst a la maitresse 17 passaukontrolle
  • wein aus wien
  • stille häfen
  • epitaph
bureau b press release...
asmus tietchens
spät–europa
reissue. originally released 1982
cd / lp (180g) / download

release date: july 26, 2013

whilst tietchens planned to head off “into the future” (in die zukunft) with biotop (1981), spät-europa witnesses his arrival. released on sky records in the year 1982, the second album in the “zeitzeichen” phase not only continued in the style of its predecessor, it managed to refine it a little more precisely.

spät-europa also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist’s parallel lines of development.

what is new on spät-europa is a greater concentration of form, concise and pointed in the sense of musical economy. tietchens sought to accentuate this aspect even more acutely, but lacked the technical means to ensure that each of the “miniatures” lasted exactly two minutes. nevertheless, he only missed his ideal target by a few seconds here and there. the concept of biotop as an album of twenty tracks two minutes long recalls the residents’ commercial album (1980) which contains forty tracks, each a minute in length— although these were designed to be played in groups of three in order to create a regular “pop song”. tietchens does not go that far, but he shares the musical, metatextual and humorous sensibilities of the american band, having “organized crusades” for their albums at this time. traces of their influence may be discernible, but tietchens has placed them in an entirely new context.

like biotop, spät-europa finishes with an emphatically unwieldy piece, the artist passing comment on himself perhaps. epitaph introduces a shrill warning tone, joined by nerve-shattering, serrating sounds and ominous screams; piano tones subsequently soften the impact as quiet approaches. but the headstone etched in readiness to mark his musical career proved unnecessary—before the year was out, günter körber had requested a further album for his sky label. this would be the opus entitled in die nacht.

expected on or around ::
july 26th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 141 lp

asmus tietchens “biotop” long playing record

  • in die zukunft
  • miss ann trope
  • die elektrische horde
  • räuschlinge
  • geisel des monats
  • blutmund
  • cretin statique
  • gasmaske in blau
  • moderne arroganz
  • stressmen
  • tango fellatino
  • sauberland
  • trümmerköpfe
  • sekundentanz
  • träumchen am fenster 16 biotop
bureau b press release...
asmus tietchens
biotop
reissue. originally released 1981
vinyl (180g)

release date: july 26, 2013

in retrospect, we might suspect that asmus tietchens was deliberately leading us up the garden path with the discordant pseudo pop of his early musical productions. four albums between 1981–83 and a handful of individual pieces comprise the “zeitzeichen” (time signal) phase which, in the words of their creator, was characterized by the implementation of “rhythmic-harmonic set pieces and gaudy record sleeves”. these albums do indeed feature elements of the noisy-abstract structures which tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. yet to understand “zeitzeichen” as a period of transition, a mere curiosity, would be wide of the mark.

günter körber released the biotop, spät-europa, in die nacht and litia albums on sky records. his label specialized in contemporary electronic music, often cosmic or kraut-like, but also offered a platform to unagitated- cryptic experiments. tietchens was well acquainted with the sky programme, both as a listener and through personal friendships—with dieter moebius, hans-joachim roedelius and michael rother. hence establishing contact presented little difficulty. sixteen tracks had been produced for biotop but, in 1980, saw no genuine prospect of a release, so signing to sky was a logical move.

the sky series is markedly different, surpisingly so, from the debut album nachtstücke, rife with “soft rhythms and harmonic bliss” as tietchens acknowledges today. not something which can be said of biotop. in keeping with the sleeve’s garish colour scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. but there was more than ironic intent in the disjointed rhythms and sliding melodies. these blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music.

biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. the hectic piece moderne arroganz is notable for a voice listing types of insurance; from behind this “unbeatable idiocy” (guido sprenger) a critical reflex emerges which can be taken as social commentary—it is no coincidence that sauberland resounds with squeaky absurdity, taking itself none too seriously. one would not be wrong, therefore, to divine the artist finding himself in the banefully piercing title track, which rejects the alleged harmlessness of the album, a contrary “i’m here too”, attenuated only by the remark “let’s see how things go”. but tietchens’ half hoping, half sceptical stance—underlined as an endless groove on the initial pressing—proved unfounded.

expected on or around ::
july 26th, 2013

threads:
1980s-electronic

bureau b (germany) #bb 141 cd

asmus tietchens “biotop” compact disc

  • in die zukunft
  • miss ann trope
  • die elektrische horde
  • räuschlinge
  • geisel des monats
  • blutmund
  • cretin statique
  • gasmaske in blau
  • moderne arroganz
  • stressmen
  • tango fellatino
  • sauberland
  • trümmerköpfe
  • sekundentanz
  • träumchen am fenster 16 biotop
bureau b press release...
asmus tietchens
biotop
reissue. originally released 1981
cd

release date: july 26, 2013

in retrospect, we might suspect that asmus tietchens was deliberately leading us up the garden path with the discordant pseudo pop of his early musical productions. four albums between 1981–83 and a handful of individual pieces comprise the “zeitzeichen” (time signal) phase which, in the words of their creator, was characterized by the implementation of “rhythmic-harmonic set pieces and gaudy record sleeves”. these albums do indeed feature elements of the noisy-abstract structures which tietchens would be in a position to release from 1984 onwards in a more industrial setting, figuring prominently in his main body of work. yet to understand “zeitzeichen” as a period of transition, a mere curiosity, would be wide of the mark.

günter körber released the biotop, spät-europa, in die nacht and litia albums on sky records. his label specialized in contemporary electronic music, often cosmic or kraut-like, but also offered a platform to unagitated- cryptic experiments. tietchens was well acquainted with the sky programme, both as a listener and through personal friendships—with dieter moebius, hans-joachim roedelius and michael rother. hence establishing contact presented little difficulty. sixteen tracks had been produced for biotop but, in 1980, saw no genuine prospect of a release, so signing to sky was a logical move.

the sky series is markedly different, surpisingly so, from the debut album nachtstücke, rife with “soft rhythms and harmonic bliss” as tietchens acknowledges today. not something which can be said of biotop. in keeping with the sleeve’s garish colour scheme, derision, idle pathos and dissonance in abundance are flung sardonically at the expectations of pop. but there was more than ironic intent in the disjointed rhythms and sliding melodies. these blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music.

biotop is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. the hectic piece moderne arroganz is notable for a voice listing types of insurance; from behind this “unbeatable idiocy” (guido sprenger) a critical reflex emerges which can be taken as social commentary—it is no coincidence that sauberland resounds with squeaky absurdity, taking itself none too seriously. one would not be wrong, therefore, to divine the artist finding himself in the banefully piercing title track, which rejects the alleged harmlessness of the album, a contrary “i’m here too”, attenuated only by the remark “let’s see how things go”. but tietchens’ half hoping, half sceptical stance—underlined as an endless groove on the initial pressing—proved unfounded.

expected on or around ::
august 1st, 2013

em (japan) #em 1116 lp

naffi sandwich “hoochie pooch / space alligator • freddie viaduct at naffi h.q., 1979-83” long playing record

  • track listing:=naffi sandwich
  • 1979-81=1. intro naffi [1:21] 2. hoochie pooch [4:15] 3. slice one [2:18]4. tara-la [1:16]5. skank rank [4:07]6. we are willing [2:59] +7. the hutch [2:45]8. slop it [4:10] 9. on this occasion [3:38] ++10. new chinese funk [3:05] ++=freddie viaduct at naffi h.q.
  • 1979-83=11. space alligator [2:15]12. toxteth train time [2:43] *13. slow train to viaductsville [2:50] **14. watch them [2:03] * 15. i don't understand [2:07] 16. naffi dread [2:17]17. more like beans [3:06] **18. yes
  • i'll take you home [3:08]19. don't forget [2:21] **+ recorded in 1983 ++ cd only bonus track* previously unissued** previously unissued full-length version
em press release...
catalogue# : em1116cd & dlp
artist : naffi sandwich
title : hoochie pooch/space alligator: freddie viaduct at naffi h.q., 1979-83
media : cd and lp available in july
cover art drawn by ryo takematsu
cd version:
+ two cd only bonus tracks.
+ liner notes written by freddie viaduct and captain catchpole. english-japanese text. scarce photos.

lp version:
+ mastered for vinyl. quality pressing
+ 4c printed innersleeve including the liner notes written by freddie viaduct and captain catchpole. scarce photos.

delving further into the brenda ray/naffi multiverse, following our releases of brenda ray's walatta [em1071cd] and her work with naffi in d'ya hear me! [em1108cd/lp], here is hoochie pooch/space alligator. this release focuses on the contributions of freddie viaduct to the delightfully strange world of the variously-named naffi sandwich/naffi, the former being the earlier incarnation of the group as a trio, the latter a duo. less vocal-driven than the poppier d'ya hear me! tracks, these mainly instrumental pieces emphasize the group's "instant or not at all" ethos, an emphasis on spontaneity and in-the-moment freedom, allied with the creative freedoms offered by the band's ever-growing mastery of their naffi h.q. recording studio. the strong influence of american funk and jamaican roots music is clearly felt in viaduct's forceful and spacious bass playing; jamaica is also present in the dub-influenced use of reverb, echo and other effects. captain catchpole's drums and ray's multi-instrumental work fill out the trio sound, resulting in a pleasingly vast aural territory, with the aforementioned reggae/dub elements blending with euro-improv, free jazz and post-punk viruses to create a subtly mind-bending, rhythmically compelling, and texturally varied diy dandy, described as "weird instrumental psychedelic dub-up reggae funk" by one learned aficionado.
originally released on cassette and vinyl and extremely rare, released under the naffi sandwich and naffi monikers, the tracks have been compiled here, along with two previously unissued pieces and three previously unissued full-length versions, as hoochie pooch/space alligator and are presented for your listening pleasure in lp vinyl and cd formats, with the cd featuring two bonus tracks.
this release is a vital companion piece to d'ya hear me!, the two releases together providing the yin-yang dichotomy essential to full comprehension of the naffi sandwich circle.

expected on or around ::
august 1st, 2013

em (japan) #em 1116 cd

naffi sandwich “hoochie pooch / space alligator • freddie viaduct at naffi h.q., 1979-83” compact disc

  • 1. intro naffi [1:21] 2. hoochie pooch [4:15] 3. slice one [2:18]4. tara-la [1:16]5. skank rank [4:07]6. we are willing [2:59] +7. the hutch [2:45]8. slop it [4:10] 9. on this occasion [3:38] ++10. new chinese funk [3:05] ++=freddie viaduct at naffi h.q.
  • 1979-83=11. space alligator [2:15]12. toxteth train time [2:43] *13. slow train to viaductsville [2:50] **14. watch them [2:03] * 15. i don't understand [2:07] 16. naffi dread [2:17]17. more like beans [3:06] **18. yes
  • i'll take you home [3:08]19. don't forget [2:21] **+ recorded in 1983 ++ cd only bonus track* previously unissued** previously unissued full-length version
em press release...
catalogue# : em1116cd & dlp
artist : naffi sandwich
title : hoochie pooch/space alligator: freddie viaduct at naffi h.q., 1979-83
media : cd and lp available in july
cover art drawn by ryo takematsu
cd version:
+ two cd only bonus tracks.
+ liner notes written by freddie viaduct and captain catchpole. english-japanese text. scarce photos.

lp version:
+ mastered for vinyl. quality pressing
+ 4c printed innersleeve including the liner notes written by freddie viaduct and captain catchpole. scarce photos.

delving further into the brenda ray/naffi multiverse, following our releases of brenda ray's walatta [em1071cd] and her work with naffi in d'ya hear me! [em1108cd/lp], here is hoochie pooch/space alligator. this release focuses on the contributions of freddie viaduct to the delightfully strange world of the variously-named naffi sandwich/naffi, the former being the earlier incarnation of the group as a trio, the latter a duo. less vocal-driven than the poppier d'ya hear me! tracks, these mainly instrumental pieces emphasize the group's "instant or not at all" ethos, an emphasis on spontaneity and in-the-moment freedom, allied with the creative freedoms offered by the band's ever-growing mastery of their naffi h.q. recording studio. the strong influence of american funk and jamaican roots music is clearly felt in viaduct's forceful and spacious bass playing; jamaica is also present in the dub-influenced use of reverb, echo and other effects. captain catchpole's drums and ray's multi-instrumental work fill out the trio sound, resulting in a pleasingly vast aural territory, with the aforementioned reggae/dub elements blending with euro-improv, free jazz and post-punk viruses to create a subtly mind-bending, rhythmically compelling, and texturally varied diy dandy, described as "weird instrumental psychedelic dub-up reggae funk" by one learned aficionado.
originally released on cassette and vinyl and extremely rare, released under the naffi sandwich and naffi monikers, the tracks have been compiled here, along with two previously unissued pieces and three previously unissued full-length versions, as hoochie pooch/space alligator and are presented for your listening pleasure in lp vinyl and cd formats, with the cd featuring two bonus tracks.
this release is a vital companion piece to d'ya hear me!, the two releases together providing the yin-yang dichotomy essential to full comprehension of the naffi sandwich circle.

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