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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 30th, 2012

threads:
modern-composition
minimalism-drones

edition rz (germany) #rz 1026-28 cd

jakob ullmann “fremde zeit addendum” triple compact disc set

  • disappearing musics for six players (more or less) (1989-1991)

  • solo i + ii + iii (1992/1993/2010)

  • komposition für streichquartett 2 (1997-1999)
  • praha: celetná - karlova - maiselova (2004-2007)
edition rz press release...
experimental german composer jakob ullmann creates quiet music in order to give himself and his listeners the opportunity to hear more, and better. this comes about because our ability to hear is augmented when listening to quiet music.

we hear better because we make an effort to hear better. that is why ullmann likes to locate his sound-sources at the periphery, so as not to make it too easy for the ear. in order to let sounds develop and move in their own time, the pieces are usually longer than the general concert norm dictates. the opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening.

- bernd leukert

players include:

"disappearing musics for six players (more or less)" (1989-1991):

maruta staravoitava (flute)
pavlos serassis (clarinet)
patrick stadler (saxophone)
orsolya sepsi, éva csizmadia (violin)
lucie martin, hans-peter schulz (clavier)

"solo i + ii + iii" (1992/1993/2010):

molly mcdolan (oboe da caccia)
dafne vicente-sandoval (bassoon)
hans-peter schulz (organ)

assistenten des organisten: philipp kusin, markus putzke

"komposition für streichquartett 2" (1997-1999):

pellegrini-quartett:

antonio pellegrini, thomas hofer (violin)
fabio marano (viola)
helmut menzler (violoncello)

"praha: celetná - karlova - maiselova" (2004-2007):

jardena flückiger, stimme (gesang/sprecherin)
christoph bösch (flute)

dafne vicente-sandoval (bassoon)
helena winkelman (violin)

oliver margulies (viola)

ellen fallowfield (violoncello)
clara gervais (contrabass/percussion)

stephan schmidt (voice)

leonardo idrobo arce (electronics)

realization: jürg henneberger.

expected on or around ::
june 5th, 2012

bureau b (germany) #bb 096 lp

günter schickert “überfällig” long playing record

  • puls (14:39)
  • in der zeit (5:10)

  • apricot brandy ii (11:50)
  • wanderer (9:50)
bureau b press release...
no sooner had electronic music broken through in germany, principally aligned in the two schools of düsseldorf and berlin, than günter schickert also began his first musical experiments. although gam, the group he founded in 1973, did not then release a record, he did issue his first solo effort, samtvogel, a year later -- an album which was eagerly snapped up and re-released by the brain label.

it would take five years for sky records to release his next lp, entitled überfällig (trans. "overdue"), which proved to be the last for a number of years. this album, as its german title suggests, was long overdue. günter schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of german electronics. in spite of the clearly discernible influence of music from the so-called berlin school (tangerine dream, ash ra tempel etc.), schickert is anything but a copycat. schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. he is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. similar experiments had also been attempted by manuel göttsching (inventions for electric guitar) and achim reichel (a.r. & machines: die grüne reise), but without stretching the multifaceted nature of their music to the point of microtonality, as schickert dared to do on überfällig. his own take on minimalism places him closer to the likes of steve reich and glen branca, free from the reach of klaus schulze and tangerine dream. schickert's use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s.

in 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. günter schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. the reissue of überfällig was, in a word, overdue.

- asmus tietchens

expected on or around ::
june 5th, 2012

bureau b (germany) #bb 096 cd

günter schickert “überfällig” compact disc

  • puls (14:39)
  • in der zeit (5:10)
  • apricot brandy ii (11:50)
  • wanderer (9:50)
bureau b press release...
no sooner had electronic music broken through in germany, principally aligned in the two schools of düsseldorf and berlin, than günter schickert also began his first musical experiments. although gam, the group he founded in 1973, did not then release a record, he did issue his first solo effort, samtvogel, a year later -- an album which was eagerly snapped up and re-released by the brain label.

it would take five years for sky records to release his next lp, entitled überfällig (trans. "overdue"), which proved to be the last for a number of years. this album, as its german title suggests, was long overdue. günter schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of german electronics. in spite of the clearly discernible influence of music from the so-called berlin school (tangerine dream, ash ra tempel etc.), schickert is anything but a copycat. schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. he is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. similar experiments had also been attempted by manuel göttsching (inventions for electric guitar) and achim reichel (a.r. & machines: die grüne reise), but without stretching the multifaceted nature of their music to the point of microtonality, as schickert dared to do on überfällig. his own take on minimalism places him closer to the likes of steve reich and glen branca, free from the reach of klaus schulze and tangerine dream. schickert's use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s.

in 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. günter schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. the reissue of überfällig was, in a word, overdue.

- asmus tietchens

expected on or around ::
june 5th, 2012

threads:
1970s-electronic
1980s-electronic

edition omega point (japan) #opa 016 cd

kazuo uehara “obscure tape music of japan vol. 16 • early works” compact disc

  • seoul 1982 (9:49) 1982
  • music for contemporary dance - dedicated to takao kusuno (26:51) 1975
  • science technology expo '85 - music for "cell universe" (3:31) 1985
  • homage to xenakis (4:50) 1983
edition omega point press release...
'seoul 1982' was composed using recorded sounds as raw material to reassemble the 'historical' soundscape of korea's capital city, seoul, in the early 1980s. during this time, despite the political chaos and the tension in the city under the korean military government, i felt the lively energy in people's lives. the raw material comprised a wide range of different sounds, including the street cries in the downtown, cheerful voices of children in the namsang area, noise of arterial streets, and conversations of from students at the seoul national university. apart from that, the encounter with the korean traditional percussion music group, samul nori, was such a precious moment in my fieldwork. i would like to dedicate this piece to the people in korea, especially the original members of samul nori, and also to the french photographer henri cartier-bresson who captured the decisive historic moments.

'music for contemporary dance' is dedicated to takao kusuno. in the 1970s, the art space jean-jean in shibuya served as a popular venue for experimental music, theater, dance, etc. within this movement, i did collaborative works with takao kusuno who performed as an artist and dance director. in the 1980s, kusuno moved his base to brazil where his outstanding performances won numerous awards until his early passing. this piece was composed in collaboration with kusuno to explore new approaches for dance. the work has two consecutive parts, subtitled 'crows habit' and 'i am a clown.' it was not merely contemporary dance, nor butoh, but it indicated the contemporary room for the dance scene of the time. his work returned home with brazilian dancers and was staged in japan in 2009.

'science technology expo '85 - music for 'cell universe'' was specially composed for the health and sports pavilion at the international exposition, tsukuba, japan, 1985. the space was comprised of 27 multiscreen films and stereophonic space. the uniquely designed space controller, the system for moving sound image, made it possible to control the electronic acoustic sound image to create virtual 3d space.

'homage to xenakis' was composed at a upic workshop held in tokyo in the 1980s where the composer iannis xenakis made remarks on each presented work. the musical composition tool, upic, was created by xenakis, and was developed at the centre d'etudes de mathématique et automatique musicales (cemamu) in paris. this unique sound synthesis system allows the user to create music by drawing lines on the board. xenakis originally envisaged this tool to be used for pedagogical purpose. other than musicians, the workshop drew participants from children to adults. the piece was composed in collaboration with the computer graphic artist masao kohmura and others.

- kazuo uehara

expected on or around ::
june 5th, 2012

edition omega point (japan) #opa 015 cd

kazuo uehara “obscure tape music of japan vol. 15 • event ‘73” compact disc

  • diffusion (16:49)
  • condensation (18:31)
  • chaos (17:31)
  • revolution (4:20)
edition omega point press release...
from 1972 to 1973, i was based in new york for my creative activities and live performances. new york at this time was in its golden age of experimental music. towards the end of my stay, i held a live performance entitled event '73 to sum up my creative works in new york.

the venue for the performance was the kitchen of the mercer arts center that provided spaces for innovative and emerging artists. this cd consists of a mixture of sounds that were created at a studio prior to the live performance and the sounds recorded live at the performance. i used the buckla synthesizer for electronic sound and also for transformation of the sound. the work has four different segments:

1) diffusion
2) condensation
3) chaos
4) revolution.

each segment's meanings and sounds itself doesn't necessarily correlate to each other. yet, the images that are evoked by each word express the chaotic world of the day.

- kazuo uehara

expected on or around ::
june 5th, 2012

m=minimal (germany) #minimal 011 lp

martin brandlmayr / werner dafeldecker / christian fennesz “till the old world’s blown up and a new one is created” long playing record

  • till the old world’s blown up and a new one is created - part i

  • till the old world’s blown up and a new one is created - part ii
m=minimal press release...
martin brandlmayr – werner dafeldecker – christian fennesz – till the old world’s blown up and a new one is created
mm-011lp
release date: 14.05.2012

„the rebirth of cool“

m=minimal is pleased to release a masterpiece of the early 21st century on vinyl. “till the old world´s blown up and a new one is created” is an outstanding work of reductionism and minimalism. martin brandlmyar ( radian / trapist / kapitalband 1 ), werner dafeldecker ( polwechsel, david sylvian, autistic daughters) and christian fennesz ( touch / mego / thrill jockey ) on this record created a new kind of cool jazz coupled with a big portion of new york school ( cage, feldman, brown und wolff).

it’s hard to describe the music with words. this work reveals his secrets only after listening to it a couple of times. it grows with each time you listen to it. in this work, silence and noise are never used as an end in itself. as equal parameters they stand in the composition that also has space for some tonal “flowers”. our recommended listening time is – round about midnight.

the cd version is available on mosz.

expected on or around ::
june 5th, 2012

recollection grm (austria) #regrm 002 lp

guy reibel “granulations-sillages • franges du signe” long playing record

  • granulations-sillages: granulation 1 (5:15)
  • granulations-sillages: tutti médium (3:10)
  • granulations-sillages: granulation 2 (5:24)
  • granulations-sillages: tutti aigu (2:44)
  • granulations-sillages: balancement (3:50)
  • granulations-sillages: sillage (3:00)
  • granulations-sillages: tutti large (3:11)

  • franges du signes (26:26)
recollection grm press release...
regrm 002 /  guy reibel
granulations-sillages / franges du signe
lp

release date 05.06.2012

cut by rashad becker at dubplates & mastering, berlin, march 2012
layout: stephen o'malley
translations: valérie vivancos
coordination grm: christian zanési & françois bonnet
executive production: peter rehberg

franges du signe (1974)

franges du signe, the third part of an electroacoustic triptych completed in 1973-1974, is the first major "purely acousmatic" work composed by guy reibel. franges du signe explores the mathematical idea of the limit by translating it musically, searching for unstable states of equilibrium.

thus, several conflicting tendencies or logics act upon the sounds. they overlap and fight, each one seeking to assert its trace on the phenomenon in progress, generating de facto an ambiguity that is unique to all phenomena that obey the "logic of the living".

granulations-sillages (1976)

granulations-sillages develops an idea glimpsed at in franges du signe: the existence of extreme times, at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realise. two natures of phenomena, opposed in all respects (the granulations-trails and the tutti), alternate through seven movements that constitute the piece.

the work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room).

© 2012 recollection grm
released in association with editions mego
courtesy of ina-grm.


expected on or around ::
june 5th, 2012

threads:
1970s-electronic
analogue-synth

recollection grm (austria) #regrm 001 lp

pierre schaeffer “le trièdre fertile” long playing record

  • plutôt dynamique (étude banale) (3:29)
  • plutôt harmonique (4:25)
  • plutôt mélodique (6:53)
  • moins banal (interlude, ou impromptu) (3:23)

  • toccata et fugue (4:50)
  • baroque (second interlude) (3:58)
  • strette (8:03)
recollection grm press release...
regrm 001 /  pierre schaeffer
le trièdre fertile
lp

release date 05.06.2012

cut by rashad becker at dubplates & mastering, berlin, march 2012
layout: stephen o'malley
translations: valérie vivancos
coordination grm: christian zanési & françois bonnet
executive production: peter rehberg

le trièdre fertile full version 1975-1976, with the participation of bernard dürr.

this trihedron, schaeffer's last piece, echoes the physicists "reference trihedron" linked to the three fundamental measurements of sound: frequency, duration and intensity. the basic signs of traditional sol-fa that enable to transcribe pitches, rhythms and nuances also correspond to these three measurements. however, it is precisely outside or beyond these parameters that, all through his life, schaeffer researched music. hence, qualifying this trihedron as fertile, is the confession "of a late repentance"

on the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by bernard dürr. it is pierre schaeffer's only purely electronic music work. here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge.

© 2012 recollection grm.
released in association with editions mego
courtesy of ina-grm.


expected on or around ::
june 5th, 2012

threads:
beat-research
digital-musics

skam (uk) #ska 001 lp

lego feet “lego feet” double long playing record set

  • part 1 (19:42)

  • part 2 (17:20)

  • part 3 (21:46)

  • part 4 (15:03)
skam press release...
legofeet - ska001lp

as part of our unofficial 0.2 century celebrations

full length 2lp

double vinyl edition with a nice uv-finished sleeve.

skam reissues recordings by the mythical lego feet, otherwise known as legendary electronic duo autechre. this four track cd contains over 70 minutes of classic, mind-bending, futuristic electronic-acid-industrial-cut-up fuckery that, at the time of its release in 1991, was virtually uncategorizable.

legendary electronic duo autechre went on to advance the most seismic paradigm shifts in the sound of the late 20th century, and their seminal early release is presented here with two tracks of material that have never been heard before. all tracks have been re-recorded from the original master tapes.

1991 was an eventful year in human history -- the dow jones topped 13,000 for the first time; boris yeltsin got elected; freddie mercury died -- but among mankind's greatest accomplishments was the creation of the skam label. at the time, hardly any record store bought the label's first 12". it wasn't until much later, after autechre had established themselves as a pioneering experimental electronic group and some genius coined the term "idm" to classify this baffling type of music, that the original lego feet release would become one of the true holy grail records.

expected on or around ::
june 5th, 2012

taiga (usa) #taiga 019 lp

alan lamb / garry bradbury / david burraston / oren ambarchi / robin fox “wired open day 2009” double long playing record set

  • alan lamb & garry bradbury

  • alan lamb & david burraston

  • oren ambarchi

  • robin fox
taiga press release...
catalog number: taiga 19
artist: alan lamb, garry bradbury, david burraston, oren ambarchi & robin fox
title: wired open day 2009
format: 2xlp
total running time: 75:06

release date: 5 june 2012

wired open day 2009 is a vinyl-only release documenting live performances by alan lamb, garry bradbury, david burraston, oren ambarchi and robin fox. held outdoors during the evening of october 31 at the wired lab, in rural south west, new south wales, australia, this 2xlp is a document of the event; the result of an artist in residence program to explore the sonic possibilities of the wires, landscape scale installations in rural nsw.

the wired lab is an artist run initiative founded in 2007 to foster art/science collaborations in a rural environment. the initial focus of this project was to establish a site to preserve and expand on the wires a distinctly australian invention that was pioneered by australian artist alan lamb since the 1970’s. wiredlab.org notes that, “lamb’s formal investigations of the wires started in 1976 with his discovery of a 1km stretch of abandoned telegraph wires on a farm in the great southern region of western australia... lamb learnt to record them and later devised compositions with these recordings. when these telegraph lines eventually decayed, lamb commenced building wire installations primarily for recording. like the scale of the original telegraph wires, these purpose built wire installations were not of a domestic scale, they too had a deep connection with nature and spanned 100’s of metres across the rural landscape. although principally functioning like a giant æolian harp, it is not only wind that ‘plays’ the wires, it seems that on their own accord the wires often harmonically ‘sing’, vibrate or roar as they react to environmental factors, thereby creating a unique and infinite instrumentation of itself and its surrounds, in the words of david burraston “... they are nature's microphone”.

the 4 sides of wired open day 2009 display the expansive range of the wire installations built by the wired lab. commencing at sunset, garry bradbury and alan lamb coax a gentle eco with acoustic recordings into deep and sonorous reverberations on side a. david burraston and alan lamb focus on droplets of zaps and wire oscillations at twilight, with side b culminating in a downpour of crackling spray. at nightfall, oren ambarchi applies his mastery of condensed and layered tones on side c, with shuddering overtones, husky drones and rich clusters of sustain. robin fox concludes, in the dark, on side d, mashing off-kilter rhythms with a tumble of staccato bursts and fuzzy crunch.

an edition of 500 double lps in hand-numbered matte-varnished stoughton tip-on gatefold jackets, wired open day 2009 was mastered by james plotkin, cut direct to metal and pressed on 200g virgin vinyl. this release features photographs from the site and text by sarah last, founder of the wired lab and curator of wired open day 2009.

expected on or around ::
june 7th, 2012

kraak (belgium) #k076 lp

bear bones, lay low “el telonero” long playing record

kraak press release...
cat: k076 
artist: bear bones, lay low
title: el telonero
format: lp

it took ernesto gonzalez more than three years to record the follow-up for his 'vallée de dith', but it was definitely worth the waiting! 'el telonero' is a tribute to the art of opening up for other bands. this album was created during a period in which gonzalez got more comfortable on stage, often setting the vibe for the night. concentrating on the ultimate tuning-in quality. the loose kraut-inspired jams of his second record are pretty much absent here. the focus is on analog synths and old drum computers, but unlike the whole neo-ambient just-bought-something-analog-and-ran-it-through-my-loopstation-scene this album is a well constructed and elaborated piece of art. taking his inspirations from old masters such as mort garson, bruce haack, angel rada and martin rev, 'el telonero' became a throbbing head spinner that is as much an ambitious third ear experience as an exotic library dream. the whole is heavily fueled by catchy mind melodies. 


expected on or around ::
june 7th, 2012

kraak (belgium) #k076 cd

bear bones, lay low “el telonero” compact disc

kraak press release...
cat: k076 
artist: bear bones, lay low
title: el telonero
format: cd

it took ernesto gonzalez more than three years to record the follow-up for his 'vallée de dith', but it was definitely worth the waiting! 'el telonero' is a tribute to the art of opening up for other bands. this album was created during a period in which gonzalez got more comfortable on stage, often setting the vibe for the night. concentrating on the ultimate tuning-in quality. the loose kraut-inspired jams of his second record are pretty much absent here. the focus is on analog synths and old drum computers, but unlike the whole neo-ambient just-bought-something-analog-and-ran-it-through-my-loopstation-scene this album is a well constructed and elaborated piece of art. taking his inspirations from old masters such as mort garson, bruce haack, angel rada and martin rev, 'el telonero' became a throbbing head spinner that is as much an ambitious third ear experience as an exotic library dream. the whole is heavily fueled by catchy mind melodies. 


expected on or around ::
june 7th, 2012

kraak (belgium) #k075 lp

floris vanhoof  “cycles of confusion ” long playing record

kraak press release...
cat: k075 
artist: floris vanhoof 
title: cycles of confusion
format: lp

connecting his many worlds, ideas and influences into highly personal live performances and recordings, floris vanhoof keeps on amazing people here and abroad. after his vinyl debut on ultra eczema, this is his second outing on wax. cycles of confusion unites two different aspects of vanhoof's work. side a is a live piece recorded to four tracks and mixed in his home studio. it shows vanhoof's riley inspired side, focussing on consciousness outside the mind as evoked by modular synth sounds. side b is a very unique composition based on various field recordings, ranging from a classical orchestra tuning their instruments to the sound of an old pinball game. a true masterpiece of this young artist. 


expected on or around ::
june 12th, 2012

spectrum spools (austria) #sp 018 lp

plvs vltra “parthenon” long playing record

  • flowers to bees
  • the level
  • sweet tooth
  • yume
  • parthenon

  • world in words
  • fender benderz
  • like spice
  • sunkissed
  • birthday party
  • closer
spectrum spools press release...
sp 018 /  plvs vltra
parthenon
lp

release date 12.06.2012


expected on or around ::
june 12th, 2012

threads:
sound-art
sound-installation
electro-acoustic-composition

western vinyl (usa) #west 093 cd
small music (germany) #small music no. 3

rolf julius “raining” compact disc

  • raining (53:40) 2007
  • weitflächig (15:38) 2004
  • music for a glimpse inward (4:26) 2005
western vinyl press release...

expected on or around ::
june 15th, 2012

pan (germany) #pan 32 cd

eli keszler “catching net • installations - compostions” double compact disc set

  • cold pin 1 (13:10)
  • cold pin 2 (14:19)
  • cold pin 3 (25:36)

  • catching net (16:27)
  • cold pin (13:19)
  • collecting basin (10:00)
pan press release...

eli keszler 'catching net (installations - compostions)' (pan 32)

visionary composer/percussionist/multimedia artist eli keszler hits the spotlight in early june with a new double-cd compilation titled catching net,released tuesday, june 5 on the berlin-based pan label. catching net brings together new and previously-released versions of his acclaimed installation-based work cold pin, including the title track with string quartet and piano. cold pin has been featured on npr, was just performed at the juried mata festival, and has earned keszler finalist status in the 2012 gaudeamus international composers award competition (the winner is announced in september).the handsomely packaged catching net set includes a booklet with notes, installation sketches, schematic diagrams, score excerpts, and documentary images, contained in a hand-silkscreened, heavy vinyl cover with a drawing by keszler.

in conjunction with the cd release, keszler’s monumental new work, l-carrier, will be unveiled on thursday, june 7 with a performance event at eyebeam art & technology center in chelsea, nyc. commissioned by issue project room and turbulence.org, l-carrier is keszler’s most ambitious creation to date, functioning simultaneously as a large-scale installation, score, ensemble composition, and remote website. the space opens at 6 pm for viewing the installation; a live ensemble performance begins at 7:30 pm, streaming at http://turbulence.org/works/l-carrier. the opening-night performers include keszler on drums and crotales; anthony coleman, organ and celeste; ashley paul, saxes and clarinet; alex waterman, cello; spencer yeh, violin; catherine lamb, viola; geoff mullen, guitar; and reuben son, bassoon. following the opening event, the l-carrier installation will remain on view at eyebeam through june 23.

together, catching net and l-carrier form a portrait of a musical thinker who, at the age of 28, is blazing new paths for the 21st-century avant-garde – merging high and low technology, digital sophistication and visceral impact.  

born in brookline, massachusetts, eli keszler (pron. kess-ler) began playing drums at eight, and composing at twelve. before finding an interest in experimental music and improvisation, he played in rock and hardcore bands; his work retains an intense physicality and churning, often ferocious energy. he is a graduate of the new england conservatory, where he studied composition with anthony coleman and ran blake. a self-taught visual artist, his aesthetic outlook owes as much to richard serra and robert smithson as it does to musical icons like xenakis, nancarrow, and ornette coleman. he has collaborated with phill niblock, roscoe mitchell, joe mcphee, loren connors, jandek, and many others, and has recorded more than a dozen cds and lps for esp-disk, rel, and pan.

keszler’s installations employ piano wires of varying lengths; these are struck, scraped, and vibrated by microprocessor-controlled motorized arms, giving rise to harmonically complex tones that are percussive yet resonant. these installations are heard on their own and with accompanying ensemble scores. said keszler in a npr all songs considered interview, “i like to work with raw material, like simple sounds, primitive or very old sounds; sounds that won't get dated in any way. i was thinking of ways i could use strings or acoustic material without using pedals or pre-recordings, so the live aspects appealed to me.” in addition, the patterns formed by the overlapping piano wires allow keszler to create visual components that relate directly to the music, without having to use projections or other electronic equipment. 

expected on or around ::
june 19th, 2012

threads:
musique-concrète
minimalism-drones

editions mego (austria) #emego 132 cd

robert hampson “répercussions” compact disc and digital versatile disc audio set

  • répercussions (stereo) (20:01)
  • de la terre à la lune (stereo) (25:00)
  • antarctica ends here (stereo) (9:34)

  • répercussions (5.1 mix) (20:01)
  • de la terre à la lune (5.1 mix) (25:00)
  • antarctica ends here (5.1 mix) (9:34)
editions mego press release...
emego 132 /  robert hampson
répercussions
cd + 5.1 dvd

release date 12.06.2012

disc one: stereo version
disc two: 5.1 surround mix version

editions mego is very happy to announce the release robert hampson’s 2nd solo album under his own name. released as a special stereo cd and 5.1 surround dvd.

répercussions : an acousmatic multi channel piece commissioned by the groupe de recherches musicales (grm) in paris for a performance the akousma festival, diffused on the acousmonium speaker system in 2011. recordings of percussive intruments of all kinds - piano, drum skins, gamelan, metal grates etc are treated and manipulated to form a dense nonlinear or non rhythmical narrative. each instrument has been ‘remixed’ repeatedly, to change it’s sonic shape or timbre, to try and form new textures from normally recognisable ones. a more direct 2 channel stereo version is available and a 5.1 surround version, mixed at the grm, gives an idication of how the piece was originally conceived as a diffusion.

de la terre à la lune : an acousmatic multi channel piece commissioned by espace mendes france for a performance at the planetarium in poitiers, france, diffused on a 8 channel system. the second piece, following ahead - only the stars (released on ‘vectors’ - touch 2009) which takes it influence from the early nasa missions into space, but more directly from films such as kubrick’s 2001, tarkovsky’s solaris and even earlier films such as pal’s conquest of space. of course, there is also a serious debt to jules verne’s novel of the same name. again, a straight stereo version and 5.1 diffusion mix are available.

antarctic ends here : originally released as part of a split 10” vinyl only issue with cindytalk on edtions mego, this piece has it’s first digital format release in stereo and also 5.1 surround. 3 textural drones, derived from single piano notes, stretched and looped blend with a field recording of large bamboos rustling on a breezy autumn day. overlayed is a simple and repetitive piano motif which gradually disintegrates into a spectral blur. it’s title is in homage to john cale’s final song on the album paris 1919 ‘antarctica starts here’ and the piece is dedicated to him.


expected on or around ::
june 19th, 2012

threads:
harsh-noise
anti-music
analogue-synth
experimental-instruments
live-electronic

editions mego (austria) #demego 026 lp
demand (austria) #demego 026 lp

keith fullerton whitman “occlusions” long playing record

  • occlusion (rue de bitche) (18:17)

  • occlusion (weteringschans) (17:47)
editions mego press release...


demego 026 /  keith fullerton whitman
occlusions
lp (cut at 45 rpm)

release date 19.06.2012

occlusion (rue de bitche)

recorded on february 18th, 2012 at les ateliers de bitche, nantes, france.
performed on a 4.2 quad array, captured in stereo from the performer's perspective
on a zoom h1 handy recorder (auto level :: off)

occlusion (weteringschans)

recorded on february 25th, 2012 at paradiso, amsterdam, the netherlands.
performed on a 4.2 quad array, captured in stereo from the performer's perspective
on a zoom h1 handy recorder (auto level :: on)

occlusion is a loose framework for a multi-channel, freely improvised piece of live electronic music, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. a given realization will last between 10 and 30 minutes ; time is elastic. every effort has been made to avoid divisible rhythms (although mistakes are occasionally made) ... still, i consider it a "kind" of dance music.

these two realizations, recorded a week apart at festivals in france and the netherlands during february 2012, capture the piece (much like those on the “generators” lp) in two entirely different iterations, in states of (a) a mildly inebriated bliss & (b) an arbitrarily triggered blind rage. both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. they sound fantastic.

“occlusions” is a companion piece to “generators” in that they share the same tool-set ... however, it is the free jazz yang to generator's minimalist yin. it is not recommended to those seeking meter, melody, cleanliness, or a clearly outlined organizational sense.


expected on or around ::
june 19th, 2012

threads:
beat-research
machine-music

sensate focus (uk) #focus 05 ep

sensate focus “sensate focus 5” twelve inch single record

  • x

  • y
sensate focus press release...
focus 5 /  sensate focus
sensate focus 5
12"

release date 19.06.2012


expected on or around ::
june 19th, 2012

taiga (usa) #taiga 020 lp

jon mueller / james plotkin “terminal velocity” double long playing record set

  • vestibular apparatus
  • hypnagogia

  • eigenlicht
  • anthypnic
  • praedormitium

  • subvocal

  • microsleep
taiga press release...
jon mueller and james plotkin first combined forces on physical changes, scorching the leading lp side of mueller's 2009 multi-format collaborative investigation. forging mueller's blistering percussion and rolling hills of drums with plotkin's searing guitar and melting electronics, a sturdy alloy was formed. when both musicians were asked to perform at the utech records music festival in june 2011, at which they appeared as a duo, the pair spent the proceeding days spontaneously unfurling terminal velocity.

recorded in rural wisconsin just outside of mueller's native milwaukee, terminal velocity is an effort of concentration. on the brink of implosion, the duo reduces dense washes of percussion and guitar to thick crusts, at times deceivingly with a whispered intensity. sizzling drums meet electronic warbles as two great forces restrain each other to a constant speed.

mastered by plotkin, cut direct to metal and pressed on 200 gram virgin vinyl, terminal velocity is presented in an edition of 500 copies. packaged in a heavy stoughton tip-on gatefold, the jacket is hand-numbered on the spine and features a textured paper to enhance karlynn holland's graphite drawings the album accompanies.

expected on or around ::
june 26th, 2012

ideologic organ (france) #soma 010 lp

sir richard bishop “intermezzo” long playing record

  • dust & spurs (2:14)
  • reversionary tactics (2:31)
  • dance of the cedars (2:29)
  • inner redoubt (14:56)

  • hump tulip (5:14)
  • dhumavati (3:26)
  • molasses (3:05)
  • cranial tap (5:25)
  • khajuraho (5:41)
ideologic organ press release...
soma010 /  sir richard bishop
intermezzo
lp

release date 26.06.2012

all songs composed & recorded by richard bishop. master & vinyl cut by rashad becker at dubplates & mastering, berlin april 2012.

photo by ronald dick. all songs published by karakoram publishing (bmi).

originally self released on cdr by sir richard bishop 2011.

i met richard in 2004 on a crazy tour in australia (oren ambarchi's last "what is music?"). he was a founding member of the sun city girls but he came out to play solo. instantly we were entranced by his playing, so many beautiful elements of why i love guitar come through in his music and presence, without floating around in genre space at all. here on the road with kevin drumm, dead c, residents, gang gang dance, black dice, etc… amongst this insane lineup richard ended up supporting pan sonic and really held it down, as a soloist. a few years later peter rehberg and i (as ktl) were invited to join a tour richard was doing with earth. his incredible communication of atmosphere and texture was even more fluid than i remembered… a real pleasure. if the reason to start a record label is to release the music you are truly enamored by, this is a true example of that philosophy.

- stephen o'malley, paris 2012


expected on or around ::
june 26th, 2012

ideologic organ (france) #soma 006 lp

mats lindström “МИГ” long playing record

  • (11:57)
  • ibm i (2:52)
  • one i (4:52)

  • ibm ii (3:24)
  • one ii (4:13)
  • give us the tools and we will finish the job (8:52)
  • children of paradise (4:21)
ideologic organ press release...
soma006 /  mats lindström
МИГ
lp

release date 26.06.2012

(mig) produced by pro arte foundation for jsc "klimov" aviation engines museum, st petersburg, russia september 2011. recording assistant: vladislav petrov, producer: ekaterina puzankova.

ibm tracks recorded at ems elektronmusikstudion, stockholm april 2012.

one tracks was premiered at san servolo, venezia, italy, december 2008 together with anna koch "scratch memory".

give us the tools .... was premiered at theaterhaus stuttgart, germany july 2006 dedicated to hugh davies.

children of paradise is a tape part remaining from the piece sörmländsk tragedi for childrens string orchestra premiered at kulturhuset stockholm and sveriges radio p2 february 2003photo by erik lee snyder (december 2011).

thanks to the administration of jsc "klimov": alexander vatagin, executive director, alexay gridoriev, general constructor, larissa yanushanets, specialist of museum exposition and to the russian aircraft corporation , moderna museet, konstnärsnämnden, fylkingen, degem, smi, weld, sveriges radio, rikskonserter, ems-staff, manfred fox, eckehard güther, daniel teige, eva-britt gratte, mats persson, leo hermodsson, matilda lindström and the children of paradise

mats lindström works as a composer and a musician, often with strains of live-electronics. he often works with intermedia, scenic elements and visual arts as a complement to the music, and has worked both with music for concerts, theatre and dance as well as radio-art and sound installations. formerly an engineer in the electronics industry lindström has designed and constructed a number of unique electronic musical instruments and apparatuses.


expected on or around ::
july 3rd, 2012

amish (usa) #ami 035 lp
required wreckers (usa) #r/w 5 lp

mike shiflet / pete swanson “bedside b/w college view” long playing record

  • mike shiflet – bedside

  • pete swanson – college view
amish press release...
mike shiflet / pete swanson (ami 035r/w)side a:  mike shiflet – bedside

side b: pete swanson – college view

the artwork for this split will feature a fascinating and provocative collaboration of photographic manipulations of chinese scholar rocks by miranda lichtenstein and cameron martin. the cover art and booklet will include works  from this series, which lichtenstein and martin began working on in 2010.

expected on or around ::
july 3rd, 2012

amish (usa) #ami 034 lp
required wreckers (usa) #r/w 4 lp

gregg kowalsky / jozef van wissem “electronic music for square and sine waves b/w for baroque lute, tapes and resonant space” long playing record

  • gregg kowalsky - electronic music for square and sine waves

  • gregg kowalsky & jozef van wissem – for baroque lute, tapes and resonant space
amish press release...
gregg kowalsky with jozef van wissem (ami 034r/w)

side a: gregg kowalsky - electronic music for square and sine waves
recorded live from activating the medium xiv

side b: gregg kowalsky & jozef van wissem – for baroque lute, tapes and resonant space
recorded live at issue project room (110 livingston)

wade guyton, who has a mid-career retrospective coming up at the whitney this fall, will be supplying the visual component for this release, which will include the front and back covers, as well as a 16-page b/w booklet.

expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 103 lp

conrad schnitzler “(blau)” long playing record

  • die rebellen haben sich in den bergen versteckt

  • jupiter
bureau b press release...
conrad schnitzler: blau lp
bureau b (germany) / bb 103lp
release date: 7/3/2012

on the red album rot, conrad schnitzler laid down the direction his musical artistry would take. his second solo, the blue album blau, originally released in 1974, offered confirmation of his intent. maybe the "red" and "blue" tracks were recorded in the same session. the structure, sound and timbre of both lps are so similar as to suggest that this was the case (an unverified assumption nevertheless!). far more important than this historical pedantry is the fact that schnitzler included two brand-new compositions on blau which followed on seamlessly from the previous album. quite simply, he had found his way, a course from which he would not stray as long as he lived.

the so-called berlin school (berliner schule) -- with conrad schnitzler one of their number -- had developed its own style of minimalist music. clearly distinct from anglo-american pop music, and no less removed from the minimalist art music of steve reich or philip glass, the focus here was on electronics and elementary rhythmics. the berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. with the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise.

blau is an archetypal example of this very phenomenon. courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. inspired by joseph beuys, schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. questions of harmony, melody and strict form were well and truly rejected by schnitzler. his aural crystals shine like pearls on a string. schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity.

schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times.

expected on or around ::
july 3rd, 2012

threads:
1970s-electronic

bureau b (germany) #bb 103 cd

conrad schnitzler “(blau)” compact disc

  • die rebellen haben sich in den bergen versteckt
  • jupiter
  • wild space 1
  • wild space 2
  • wild space 3
  • wild space 4
  • wild space 5
  • wild space 6
bureau b press release...
conrad schnitzler: blau cd
bureau b (germany) / bb 103cd
release date: 7/3/2012

on the red album rot, conrad schnitzler laid down the direction his musical artistry would take. his second solo, the blue album blau, originally released in 1974, offered confirmation of his intent. maybe the "red" and "blue" tracks were recorded in the same session. the structure, sound and timbre of both lps are so similar as to suggest that this was the case (an unverified assumption nevertheless!). far more important than this historical pedantry is the fact that schnitzler included two brand-new compositions on blau which followed on seamlessly from the previous album. quite simply, he had found his way, a course from which he would not stray as long as he lived.

the so-called berlin school (berliner schule) -- with conrad schnitzler one of their number -- had developed its own style of minimalist music. clearly distinct from anglo-american pop music, and no less removed from the minimalist art music of steve reich or philip glass, the focus here was on electronics and elementary rhythmics. the berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. with the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise.

blau is an archetypal example of this very phenomenon. courage, the pioneering spirit and artistic brilliance can be detected in each part of the album's two infinite sequences. inspired by joseph beuys, schnitzler propagated those very tones beyond the musical realm, detached from tradition, the only tones capable of catalyzing the utterly stagnant pop music and new music scene of the day, injecting them with fresh impulses. questions of harmony, melody and strict form were well and truly rejected by schnitzler. his aural crystals shine like pearls on a string. schnitzler uses his ropes of pearls to weave new, fantastic patterns which constantly shift like kaleidoscopes to reveal unexpected facets; they are sign-posts to spatial and temporal infinity.

schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times.

digipak reissue with liner notes by asmus tietchens, rare photos and six bonus tracks.

expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 102 lp

conrad schnitzler “(rot)” long playing record

  • meditation

  • krautrock
bureau b press release...
conrad schnitzler: rot lp
bureau b (germany) / bb 102lp
release date: 7/3/2012

there was a particular type of artist who could only have emerged in the legendary early 1970s. few musicians fit the bill better than conrad schnitzler (tangerine dream, kluster). revolution, pop art and fluxus created a climate which engendered unbridled artistic and social development. radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. the magic words were "subculture," "progressivity" and "avant-gardism." west berlin, with its unique political status, was a crucible of turbulence.

founded in 1968, zodiak free arts lab was the ultimate point of convergence for subculture in west berlin, with conrad schnitzler the driving force behind it. it was also here that tangerine dream and kluster first met up to perform in public.

bureau b presents rot (the "red" album) from 1973, schnitzler's first solo lp.

expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 102 cd

conrad schnitzler “(rot)” compact disc

  • meditation
  • krautrock
  • red dream
bureau b press release...
conrad schnitzler: rot cd
bureau b (germany) / bb 102cd
release date: 7/3/2012

there was a particular type of artist who could only have emerged in the legendary early 1970s. few musicians fit the bill better than conrad schnitzler (tangerine dream, kluster). revolution, pop art and fluxus created a climate which engendered unbridled artistic and social development. radical utopias, excessive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. the magic words were "subculture," "progressivity" and "avant-gardism." west berlin, with its unique political status, was a crucible of turbulence.

founded in 1968, zodiak free arts lab was the ultimate point of convergence for subculture in west berlin, with conrad schnitzler the driving force behind it. it was also here that tangerine dream and kluster first met up to perform in public.

bureau b presents rot (the "red" album) from 1973, schnitzler's first solo lp.

digipak reissue with liner notes by asmus tietchens, rare photos and a 20-minute bonus track.

expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 041 lp

roedelius “wenn der sidwind”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 041 cd

roedelius “wenn der sidwind”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 040 lp

moebius “tonspuren”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 040 cd

moebius “tonspuren”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 038 cd

cluster “curiosum”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 028 lp

roedelius “durch die wurste”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 027 lp

riechmann “wunderbar”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 027 cd

riechmann “wunderbar”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 026 cd

cluster “grosses wasser”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 025 cd

39 clocks “pain it dark”


expected on or around ::
july 3rd, 2012

bureau b (germany) #bb 023 lp

roedelius “jardin au fou”


expected on or around ::
july 3rd, 2012

digitalis vinyl (usa) #digiv040 lp

jean piché “heliograms” long playing record

  • ange (11:48)
  • lameralaube (11:28)

  • helio/ rouge (21:40)
digitalis vinyl press release...
digiv040: jean piché “heliograms” lp

in 1982, a small canadian record label specializing mostly in classical music released “heliograms”. this was the first record by canadian composer and video artist jean piché, and it was also one of the first albums to feature music produced almost entirely with digital synthesizers. but, due to an unfortunate turn of events, the label went bankrupt as soon as “heliograms” was released, therefore relegating this essential piece of electronic music to obscurity.

jean piché recorded “heliograms” between the years 1977-1980 during his time at simon fraser university in vancouver, bc. the music on the lp consists of works for computer, digital synthesis and acoustic instruments, and most of it was composed using the pod interactive compositional system that barry truax had developed at sfu. the four compositions that make up “heliograms” are often dense, harmonically rich pieces that slowly evolve through time. there is a strong use of tonality throughout which characterizes piché’s work during this period. it echoes a fascination with the music of terry riley, steve reich, and lou harrison, placing it firmly in a minimalist approach to electronic music, alongside the contemporary work of american composer laurie spiegel, then working at bell labs.

the initial sounds that would end up constituting the bulk of “ange”, the first piece on the lp, were created on the systems concepts digital synthesizer, also know as the samson box, during a residency at stanford university, california, in the ccrma facilities. the samson box was a powerful machine and the first of its kind. it was designed to synthesize complex musical events in real time using fm synthesis. as soon as piché returned to sfu, he mixed all the tracks in a traditional analog studio and then proceeded to record the voice of joanna anonychuk, as well as his own voice, carefully blending these with the sounds generated with the samson box. the result is a striking oceanic drone of microtonal frequency waves shifting in and out of focus.

remastered by james plotkin from the original tapes and cut to vinyl by rashad becker at d+m berlin.

expected on or around ::
july 3rd, 2012

ideologic organ (france) #soma 009 lp

nazoranai “なぞらない” double long playing record set

  • feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again

  • not a joy to come closer but so-called a sacred insanity has finally appeared

  • getting a bit blurry
    brush up your cartel and devote it to something

  • not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?'
    that exists inside of you, and let that go out of you as a light, or things might get worse, no?
ideologic organ press release...
soma009/ nazoranai
なぞらない
2lp

release date 03.07.2012

feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again

not a joy to come closer but so-called a sacred insanity has finally appeared

getting a bit blurry
brush up your cartel and devote it to something

not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?'
that exists inside of you, and let that go out of you as a light, or things might get worse, no?

keiji haino (guitar, vocals & synth)
stephen o’malley (bass guitar)
oren ambarchi (battery)

recorded by chris fullard at gâité lyrique, paris 8th november 2011.
edited by oren ambarchi in sydney january 2012. mixed by joe talia & oren ambarchi at chinatown, melbourne 8th february 2012.
mastered by joe talia at chinatown, melbourne 17th april 2012. vinyl cut by rashad becker at dubplates & mastering, berlin april 2012.

artwork: lars teichmann bathing girls & nymphos (detail, 2010, photos by annette apel), fever (2010, photo by martino gerosa).

expected on or around ::
july 3rd, 2012

ideologic organ (france) #soma 009 cd

nazoranai “なぞらない” compact disc

  • feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again
  • not a joy to come closer but so-called a sacred insanity has finally appeared
  • getting a bit blurry
    brush up your cartel and devote it to something
  • not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?'
    that exists inside of you, and let that go out of you as a light, or things might get worse, no?
ideologic organ press release...
soma009/ nazoranai
なぞらない
cd

release date 03.07.2012

feel the ultimate joy towards the resolve of pillar being shattered within you again and again and again

not a joy to come closer but so-called a sacred insanity has finally appeared

getting a bit blurry
brush up your cartel and devote it to something

not to leave everything to the light outside of you but to be aware of the prayer 'what do i want to do?'
that exists inside of you, and let that go out of you as a light, or things might get worse, no?

keiji haino (guitar, vocals & synth)
stephen o’malley (bass guitar)
oren ambarchi (battery)

recorded by chris fullard at gâité lyrique, paris 8th november 2011.
edited by oren ambarchi in sydney january 2012. mixed by joe talia & oren ambarchi at chinatown, melbourne 8th february 2012.
mastered by joe talia at chinatown, melbourne 17th april 2012. vinyl cut by rashad becker at dubplates & mastering, berlin april 2012.

artwork: lars teichmann bathing girls & nymphos (detail, 2010, photos by annette apel), fever (2010, photo by martino gerosa).

expected on or around ::
july 3rd, 2012

pan (germany) #pan 28 lp

mika vainio / kevin drumm / axel dörner / lucio capece “venexia” long playing record

  • venexia (1) (19:51)

  • venexia (2) (22:58)
pan press release...
mika vainio / kevin drumm / axel dörner / lucio capece 'venexia' (pan 28)

vainio, drumm, dörner and capece have mainly strong points in common, that have been executed in different contexts. the music map is generally divided into categories that are determined by it’s most evident and often banal elements; if it has beats or not, if it is quiet or loud, if it has raw material or a carefully worked aesthetic. these four musicians have been working using all the previous elements, but these elements did not determine the music, they were used at the service of deeper ideas related to time and perception. how the sound of our environment can become music, how can music be attractive without telling a story, the work of sound in it’s extreme: noise, granular and delicate, digital, electronic, instrumental extended techniques, preparations.

kevin drumm and axel dörner started working together in the late 90’s as part of a trio with paul lovens, as a duo they released an influential album on erstwhile records. vainio and drumm met in 2005 in australia, both as part of the touring festival what is music?. even if both musicians declared to have a great time touring in australia, they did never played together. drumm’s and vainio’s music is often compared by critics. capece has released a duo cd on l’innomable label with axel dörner and a trio one with dörner and tubist robin hayward on azul discográfica label from new york. dörner and capece worked in several projects together, including a residence with keith rowe working on “ treatise” by cornelius cardew. mika vainio and lucio capece have released together the album “trahnie”. an album they worked for three years on, and also did several concerts as a duo.

in may 2008 the quartet made a 6 days residency and concert at vooruit, in gent, followed by a 5 concert european tour, that took them to venice. in 2011 the group played at konfrontationen festival in austria. in the meanwhile capece and vainio have been part of the vladislav delay quartet. capece has played, and toured with kevin drumm in a trio with radu malfatti and dörner has played with drumm in a trio with paul lovens, at the meteo festival, in france. the recording in venice is a multitrack one. it was mixed by capece with minimal edits, basically panning and volume adjustments.

expected on or around ::
july 3rd, 2012

pan (germany) #pan 27 lp

helm “impossible symmetry” long playing record

  • miniatures (10:17)
  • liskojen yö (12:35)

  • arcane matters (7:41)
  • stained glass electric (6:08)
  • above all and beyond (7:10)
pan press release...

helm 'impossible symmetry' (pan 27)

impossible symmetry is the third full length record by helm, the project of london based artist luke younger. it marks a new chapter in the artists’ canon as it’s his first to be informed by live performance rather than studio experimentation. the recording and engineering was primarily a solo venture, with some technical assistance from john hannon on a few tracks. most of the compositions were created out of ideas / improvisations that were conceived in a live context and then fed back into the studio work. the album was recorded over the duration of a year in london with source material culled from acoustic sound sources in a similar methodology to his previous album ‘cryptography’, whilst also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early coil and cabaret voltaire to even traversable wormhole’s industrial minimalism.

his last lp cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, casio mt-40, cymbal and broken guitar strings. younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. this sound is steered through a melange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. for the past ten years, younger has also performed extensively in europe and the us with steven warwick as pioneering avant-drone duo birds of delay.

the lp was 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 silkscreened pvc sleeve with photos by traianos pakioufakis & artwork by kathryn politis & bill kouligas.

expected on or around ::
july 3rd, 2012

spectrum spools (austria) #sp 021 lp

eric lanham “the sincere interruption” long playing record

  • handling noise (1:27)
  • 21:00 (6:20)
  • the sincere interruption (3:18)
  • liminalimit (6:22)
  • wn 689 (2:28)

  • am/er jos (3:57)
  • posistion: bwik 15 (3:35)
  • no ordinates (8:16)
  • sdf 689 (3:51)
spectrum spools press release...
sp 021 /  eric lanham
the sincere interruption
lp

release date 03.07.2012

live improvised music by eric lanham
recorded march 2012 at els
mastered at cgb at d&m
design by robert beaty

it's been a long time coming and it's great to finally announce the release of eric lanham's "the sincere interruption", his first long-playing record under his own name after performing for years under various solo guises such carl calm and palmetto moon electronic group and as one half of the caboladies equation. commissioned back in the summer of 2011, it was finally recorded in march 2012 and it's been well worth the wait.

lanham has crafted a very special set of improvised electronic compositions which rise above many of the contemporaries of his ilk. with an eye on both the origins of electronic music as well as the not so distant past, "the sincere interruption" was recorded in superb fidelity with great attention to sound placement and frequency variations. elements of late 90's-early 00's mille plateaux/warp styled disjointed rhythms are bent into surgically precise and meticulously pieced concrete/electronic form, crammed with information overload situations and infinite variables to one's listening perception. it's a challenge to hear the album the same way twice with the sheer amount of action and peculiarity happening over the duration.

while there are indeed busy moments throughout, tracks like "21:00" and "no ordinates" display an attention to control and deep focus, relying on an idea which develops and evolves seamlessly in subtle variation while retaining a repetitive nature. an outstanding effort and a great addition to the ever evolving spectrum spools catalog.

complete with an outstanding master and cut by cgb and dubplates and mastering.

expected on or around ::
july 3rd, 2012

touch (uk) #to:85 cd

thomas köner “novaya zemlya” compact disc

  • novaya zemlya (1) (11:15)
  • novaya zemlya (2) (12:46)
  • novaya zemlya (3) (12:20)
touch press release...
novaya zemlya (lit. "new land"), also known in dutch as "nova zembla" and in norwegian as "gåselandet" (lit. the "goose land"), is an archipelago in the arctic ocean in the north of russia and the extreme northeast of europe, the easternmost point of europe, lying at cape flissingsky on the northern island. the artwork, by jon wozencroft, includes an essay by thierry charollais, "thomas köner's novaya zemlya: towards a metaphysical geography"... of course we find the unique köneresque glowing drones that we know from his previous works. but we will also be touched by an unrevealed, barely perceptible sense of melody and harmony that köner has gradually developed since kaamos (1998) and nuuk (2004)."

thomas köner (b. 1965) is a pioneering multimedia artist whose main interest lies in combining visual and auditory experiences. over his long, much celebrated career, he has worked between installation works, sound art, minimal soundscapes, and as one-half of porter ricks. he attended music college in dortmund and studied electronic music at the cem-studio in arnhem. until 1994, he worked in the film industry as editor and sound engineer. thomas has extended his concept of time and sound color to images, resulting in video installations, photography and net art. his point of departure was composition of sound in which aspects of a performance and visual language were gradually integrated. at first in the collaboration with film artist jürgen reble and the live performance alchemie (1992). following this, he started to compose film soundtracks and music to accompany historic silent films for the louvre museum and the musée d'orsay, paris, who called him a major innovator in the contemporary music scene, as well as noted his collaborative practice which has led to his working with musicians, filmmakers and visual artists on installations and sound performances, and to his creation of six video works produced in two cycles, starting in 2003.

mastered by denis blackham.

expected on or around ::
july 10th, 2012

spectrum spools (austria) #sp 019 lp

outer space “akashic record • events: 1986-1990” long playing record

  • ellipse (10:33)
  • 11:38 (5:04)

  • the fifth column (8:11)
  • october 27th, 1989 - bay village, ohio (4:48)
  • february 8th, 1990 - ashland, ohio (5:34)
spectrum spools press release...
sp 019 /  outer space
akashic record (events: 1986-1990)
lp

release date 10.07.2012

outer space is a rapidly evolving sound entity headed by john elliott and joined by a constantly rotating cast of midwestern u.s. electronic figures. "akashic record" sees the project grow in many different directions from the self-titled arbor album created throughout 2008 and 2009 while retaining similar aesthetics of synthesizer experimentation and it's esoteric relations.

recorded over the course of a year with close engineering assistance and compositional contributions from andrew veres in home and studio situations, a fresh array of fidelities and ideas previously unexplored have been mined and documented. new contributions from the elusive philip whiteside (of wavehead) and drew mcdowall (past coil / current mirror eye member) expand, stretch and challenge previous working methods. in the tradition of many other past releases, jeff hatfield (of cleveland, ohio's fragments) makes his essential appearance as well. "akashic record" sees the project move on from the stripped down, primitive nature of the old into a more urgent, fractured and aggressive set of reality based compositions.

the work was created based on the events of others in mind; those doomed to circumstances beyond predictability or imagination.

cut at dubplates and mastering

expected on or around ::
july 17th, 2012

threads:
1970s-electronic
1980s-electronic

born bad (france) #bornbad 002 lp

“bippp • french synth-wave 1979-1985” long playing record

  • a trois dans les wc - contagion (4:26)
  • act - ping pong (2:23)
  • les visiteurs du soir - je t'écris d'un pays (4:53)
  • vox dei - terroriste (2:01)
  • comix - touche pas mon sexe (3:13)
  • tgv - partie 1 (3:14)
  • ckc - 20h25 (3:05)

  • marie möör - pretty day (3:00)
  • deux - game and performance (3:38)
  • ruth - polaroid roman photo (5:02)
  • vitor hublot - aller simple (3:44)
  • visible - le jour se lève (3:02)
  • casino music - viol af 015 (2:48)
born bad press release...
increasingly detached from the original punk formula, the modern and arty youth of the early '80s set itself to jettison an art form that had lost much of the nihilistic and exhilarating energy of its halcyon days, stuck, as it was, in an endless and noisy regression. disheartened but eager to experiment and create, a new wave of french musicians followed the beacon of jacno's seminal '79 hit "rectangle," a visionary, digital coup de grâce, courtesy of a former punk which dealt the rickenbacker and fender-era a fatal blow.

the cold and robot-like bips of analogic keyboards took over. casio, korg ms-10 and arp omni were the new paraphernalia of the new generation -- the ideal conveyers of its retro-futurist elegance and self-professed cold arrogance. they were pinnacles and symbols which were just as potent as the electric guitar in the '50s or the laptop in the '90s.

this compilation recalls the glory of a selected few, the cream of the crop of the shooting stars and cult bands that followed in the footsteps of kas product, mathematiques modernes or charles de goal.

expected on or around ::
august 1st, 2012

pan (germany) #pan 30 lp

aaron dilloway / jason lescalleet “burning nest” long playing record

pan press release...
aaron dilloway / jason lescalleet 'burning nest' (pan 30)

expected on or around ::
august 1st, 2012

pan (germany) #pan 29 lp

heatsick “deviation” long playing record

pan press release...
heatsick 'deviation' (pan 29)

mimaroglu music sales forthcoming titles (50)
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