Search results for "ung"
| Artist |
Album |
Format |
Label & Cat. Number |
Year |
Price (incl. 19% VAT) |
|
| 5UU'S |
Hunger's Teeth |
CD |
ReR Megacorp ReR 5uu1 |
1994 |
€14.00 |
 |
| ABBILDUNG |
All Demons are horned |
CD |
Winter-Light Win 004 |
2015 |
€13.00 |
|
|
At the Gates of Ouln |
CD |
Winter-Light WIN 020 |
2019 |
€13.00 |
|
| |
The Midnight Aftermovie |
MC |
Essentia Mundi EM031 |
2018 |
€8.00 |
|
| ABBILDUNG & PLATEAU OMEGA |
Anthropocosmos |
CD |
Essentia Mundi EM020 |
2015 |
€13.00 |
|
| ABBILDUNG / KENJI SIRATORI |
The Meaning of Word is Sound |
CD |
Essentia Mundi EM021 |
2014 |
€12.00 |
|
| ABBILDUNGEN VARIETE |
same |
CD |
ABBILDUNGEN VARIETE |
2023 |
€14.00 |
|
| ALIO DIE & LINGUA FUNGI |
Otter Songs |
CD |
Hic Sunt Leones HSL066 |
2012 |
€15.00 |
|
| AUBE / DSCHIM |
Volition |
10inch |
Licht-Ung |
2006 |
€13.50 |
|
| BASHO-JUNGHANS, STEFFEN |
IS |
LP |
Architects of Harmonic Rooms and Records AOHRAR01 |
2009 |
€21.00 |
|
| BATES, MARTYN |
Unsung |
CD |
A-Scale Records A-SCALE 045 |
2012 |
€13.00 |
|
| BAYER, KONRAD |
Dreams of leaving |
CD |
Genesungswerk gw20 |
2003 |
€13.50 |
|
| BLACKSHAW, JAMES |
The Glass Bead Game |
LP + CD |
Young God Records YG40 |
2009 |
€17.00 |
|
| CASCONE, KIM |
Anti-Musical Celestial Forces |
CD |
Störung str006 |
2009 |
€12.00 |
|
| CASTRO, NICK & THE YOUNG ELDERS |
A day without disaster (gold edition) |
10inch |
A Silent Place ASP25 |
2007 |
€19.50 |
|
| CIVYIU KKLIU / TOSHIYA TSUNODA |
1111111 / Fragments for Stereophony |
do-CD |
Bremsstrahlung Recordings 003a |
2004 |
€16.50 |
|
| CLEW OF THESEUS |
The Death Urge |
LP |
Verlautbarung mitteilung 34 |
2011 |
€17.50 |
|
| CUPPLES, AARON |
Island of the Hungry Ghost (OST) |
LP |
PAN - PAN110LP |
2021 |
€24.00 |
|
| DAS AUDIOVISUELLE KOLLEKTIV |
Betrachtung |
CD-R |
Attenuation Circuit ACC 1001 |
2011 |
€8.00 |
|
| |
Verwandlung |
CD-R |
Attenuation Circuit ACC 1004 |
2011 |
€8.00 |
|
| DAS SYNTHETISCHE MISCHGEWEBE |
Neunundvierzig Entgleisungen |
do-10 |
Auf Abwegen AATP23 |
2008 |
€18.50 |
|
| DE JAER, BAUDOUIN |
4 Geomungo Sanjo Vol. II |
CD |
Sub Rosa SR470 |
2018 |
€13.00 |
|
| DERGARABEDIAN, CHRISTIAN (C.D.) y MILAN SANDBLEISTIFT |
Lamentamos informar al Universo |
CD-R |
Licht-Ung |
2007 |
€9.00 |
|
| DEUTSCH, ANDREW |
Lung Cleaner |
CD |
Anomalous Records NOM 24 |
2004 |
€13.00 |
|
| DIE ANARCHISTISCHE ABENDUNTERHALTUNG |
#1 |
LP |
Sub Rosa SR550 |
2023 |
€17.00 |
|
| EINSTÜRZENDE NEUBAUTEN |
Zeichnungen des Patienten O.T. |
LP |
Potomak / Freibank LP 19901 |
2003 |
€22.00 |
|
| EVAPORI / [-HYPH-] |
Bewegungen / Fragmentation itself |
CD-R |
Antiinformation AIC Disc 001 |
2003 |
€9.00 |
|
| FLUTWACHT |
Blut Lounge Vol. 2 |
CD-R |
Mask of the Slave Records MS-003 |
2006 |
€8.00 |
|
| FRANCIS, RICHARD & CLINTON WATKINS // ADAM WILLETS |
split |
7 |
Dungeon Taxis 04 |
2009 |
€8.00 |
|
| FREIWILLIGE SELBSTKONTROLLE (F.S.K.) |
Freiwillige Selbstkontrolle / Teilnehmende Beobachtung |
LP |
A-Musik A41 |
2021 |
€20.00 |
|
| FULLMAN, ELLEN & OKKYUNG LEE |
The Air Around Her |
LP |
1703 Skivbolaget |
2019 |
€18.00 |
|
| FUNGI FROM YUGGOTH / LITURGIA MALEFICARUM |
split |
MC |
Diazepam dzp32 |
2015 |
€6.50 |
|
| GALBRAITH / NEILSON / YOUNGS |
Belsayer Time |
LP |
Time-Lag Records TLR 034LP |
2006 |
€22.50 |
|
| GINNUNGAGAP |
Return to Nothing / Nothing to Return |
mLP |
Misantrophic Agenda mar020 |
2009 |
€23.50 |
|
| GOVERNMENT ALPHA / HIKARI NO OKA |
Schwingend / Obelisk |
CD |
Licht-Ung |
2005 |
€13.00 |
|
| GRODOCK |
Verwerfungen |
CD |
Obfuscated Records OR21 |
2013 |
€12.00 |
|
| HERR LOUNGE CORPS + CADAVEROUS CONDITION |
The Breath of a Bird |
CD |
Klanggalerie gg275 |
2018 |
€14.00 |
|
| HESS, FELIX |
Air Pressure Fluctuations / Luftdruckschwankungen |
CD |
Stadtgalerie Saarbrücken / Edition RZ 10014 |
2001 |
€14.00 |
|
| HUNGNESS, BRANNON |
Virtual Symphony |
CD |
Multimood MRC 019 |
1995 |
€14.00 |
|
| HUNGTAI, ALEX ZHANG / DAVID MARANHA / GABRIEL FERRANDINI |
Eight Black Horses Crown Snake |
CD |
Violante Do Ceu |
2018 |
€13.00 |
|
| INFINITE MUSIC |
A Tribute to La Monte Young |
LP |
Fire Records FIRELP527 |
2018 |
€25.00 |
|
| ISOMER |
Zero Lounge |
CD |
Tesco Organisation 061 |
2005 |
€14.00 |
|
| JARL / ENVENOMIST |
Tunguska Event |
CD |
Zoharum ZOHAR 083-2 |
2014 |
€12.00 |
|
| JUNZO, SUZUKI |
Awake in the Wuthering Heights |
CD-R |
Licht-ung / Spaltung spalt03 |
2013 |
€10.00 |
|
| KALLABRIS |
Shanghai Dortmund |
12inch |
Genesungswerk GW15 |
2002 |
€10.00 |
|
| KAPOTTE MUZIEK & RICHARD RAMIREZ |
Muziek - Mix - Memory |
CD-R |
Licht-Ung |
2009 |
€10.00 |
|
| KAPOTTE MUZIEK / SEYMOR |
split (Keulen...) |
10inch |
Licht-Ung |
2006 |
€13.50 |
|
| KEIMVERBREITUNG |
the K sessions |
CD-R |
Amplexus CDR series |
2004 |
€8.00 |
|
| KEIN ZWEITER |
Teilstück für totalen Schwung |
LP & DVDr |
90% Wasser WVINYL022 |
2016 |
€17.00 |
|
| KISS THE ANUS OF A BLACK CAT |
Weltuntergangsstimmung |
CD |
Zealrecords zealcdee 033 |
2012 |
€12.00 |
|
| KOLACKI, RAFAL |
Hijra. Noise from the Jungle |
CD |
Zoharum ZOHAR 120 |
2016 |
€12.00 |
|
| KOMMISSAR HJULER & GUI RONG |
Erzählung der roten Gaslampe |
MC |
Voluntary Whores VOWHO012 |
2014 |
€8.00 |
|
| LA MONTE YOUNG |
Der Zweck dieser Serie is nicht Unterhaltung - Vol. I |
do-CD |
Mongolian Magno MMCD0000005 |
2019 |
€29.50 |
|
| LA MONTE YOUNG & MARIAN ZAZEELA |
31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta |
LP |
Superior Viaduct SV198 |
2023 |
€29.50 |
|
| |
31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta |
CD |
Superior Viaduct SV198 |
2023 |
€18.50 |
|
| LA MORTE YOUNG / DRONE ELECTRIC LUST (DEL) |
split |
LP |
Killer Records killer 013 / Doubtful Sounds doubt 12 / etc. |
2015 |
€16.00 |
|
| LARSEN |
Rever |
CD |
Young God Records YG19 |
2002 |
€14.00 |
|
| LEE, OKKYUNG & LASSE MARHAUG |
Trost Jukebox Series # 6 |
7inch |
Trost Records TR-JBX006 |
2016 |
€10.00 |
|
| LEE, OKKYUNG / JEROME NOETINGER / NADIA RATSIMANDRESY |
Two Duos |
LP |
Otoroku ROKU027 |
2022 |
€27.00 |
|
| LEGENDARY PINK DOTS (LPD) |
Come out from the Shadows 4 - Live at Lounge AX Chicago 1993 |
do-LP BOX |
Rustblade Rec. RBL078LP |
2021 |
€33.00 |
|
| |
Come out from the Shadows 4 - Live at Lounge AX Chicago 1993 |
3 x LP BOX |
Rustblade Rec. RBL078box |
2021 |
€105.00 |
|
| LEPENIK |
Music with Words - Rhythms for Dancing |
CD |
Genesungswerk gw22 |
2005 |
€10.00 |
|
| LICHT-UNG |
 Kristall |
7 |
Drone Records DR-86 |
2007 |
€7.00 |
|
|
Gieb Fahrt! |
mCD-R |
Tosom XS-003 |
2007 |
€7.50 |
|
|
anfangsrusiwuthsnull / zweiwenigerdreizehnb |
5" |
Licht-Ung |
2002 |
€7.00 |
|
|
Nora |
7 |
Licht-Ung |
2003 |
€5.00 |
|
| |
Die Weiße |
10 |
Licht-Ung |
2003 |
€10.00 |
|
| LICHT-UNG / IRIS GARRELFS |
split |
10inch |
Licht-Ung |
2006 |
€13.50 |
|
| LINGUA FUNGI |
Melankhton |
CD |
Aural Hypnox [AH14] |
2014 |
€13.00 |
|
|
Azure Beyond |
MC-BOX |
Aural Hypnox - Underworld Editions [AHMC08] |
2014 |
€12.50 |
|
|
Flowery Dreams |
CD |
War Office Propaganda WOP 23 (Rage in Eden) |
2006 |
€13.00 |
|
| |
Tlapallan Pantonal |
CD |
War Office Propaganda WOP 32 (Rage in Eden) |
2007 |
€13.00 |
|
| LINGUA FUNGI & SHRINE |
Strange Growths / Wander |
CD |
Corvus Records CRVS008CD |
2008 |
€13.00 |
|
| LOPEZ, FRANCISCO |
Untitled #281 |
CD |
Störung str10 |
2014 |
€15.00 |
|
| LT. CARAMEL / KOMMISSAR HJULER UND FRAU |
Und am siebenten Tag besahen sich Votzegott und Votzefrau ihre Schöpfung: |
LP |
Domestic Violence Recordings DVR-HGA 1 |
2009 |
€23.00 |
|
| M.B. (MAURIZIO BIANCHI) |
Weltanschauung |
LP |
Rotorelief ROTOR0037-C |
2013 |
€23.00 |
|
| MARCLAY, CHRISTIAN & OKKYUNG LEE / MY CAT IS AN ALIEN |
From the Earth to the Spheres Vol. 6 |
CD |
A Silent Place ASP 09 |
2006 |
€6.66 |
|
| MARSEN JULES |
Golden |
CD |
Genesungswerk GW24 |
2007 |
€10.00 |
|
| MERZBOW |
Dead Leaves |
CD |
Licht-Ung |
2008 |
€12.00 |
|
| |
Zara |
10inch |
Licht-Ung |
2010 |
€15.00 |
|
| MILAN SANDBLEISTIFT / AIDAN BAKER / RELAPXYCH.O |
Saite an Saite (a string based compilation) |
CD |
Licht-Ung |
2009 |
€12.50 |
|
| MONOS (DARREN TATE & COLIN POTTER) |
Sunny Day in Saginomiya |
CD-R |
Fungal 057 |
2015 |
€10.00 |
|
| MOURMANSK 150 |
Zwischen Verfall und Veränderung / Between decadence and mutation |
CD |
L.White Records LW-012 |
2003 |
€10.00 |
|
| MUELLER, JON |
Strung |
LP |
Table of the Elements PLUTONIUM Pu94 |
2008 |
€16.50 |
|
| MULTER |
Däghallmy |
LP |
Genesungswerk # 2 |
1998 |
€12.00 |
|
|
Neskt |
10inch |
Genesungswerk GW10 / Werkform 5 |
2000 |
€9.50 |
|
| |
Basisrealität/Armutsgewöhnungszuschlag/Wolkenkuckucksheim |
3 x LP |
Auf Abwegen AATP86 |
2021 |
€46.50 |
|
| N / SEGMENT |
Karnap |
7inch |
Genesungswerk gw13 |
2001 |
€8.00 |
|
| NEBELUNG |
Mistelteinn |
LP |
Temple of Torturous TOT034 |
2016 |
€20.00 |
|
| NIBLOCK, PHILL |
YPGPN (A young Person's Guide to Phill Niblock) |
do-CD |
XI Records XI121 |
2002 |
€14.00 |
|
| NILSEN, BJ & STILLUPPSTEYPA / MILAN SANDBLEISTIFT |
SOV GOTT / Oskar Kastaniens Sterne am Tag |
LP |
Licht-Ung |
2006 |
€17.50 |
|
| NURSE WITH WOUND |
Surveillance Lounge (with bonus remix) |
do-CD |
United Dirter DPROMCD72 |
2021 |
€19.50 |
|
| OBJEKT4 |
Space Jungle Slums |
CD |
Ajana Records ajacd008 |
2007 |
€12.00 |
|
| OCHU |
Lähmung des Wartens |
12inch (45rpm) |
Verlautbarung - [mitteilung 26] |
2022 |
€21.50 |
|
| OGIERMANN, CHRISTOPH |
LebendDurchführungen 13/14 |
MC |
Twisted Knister flapp001 |
2008 |
€8.00 |
|
|
LebendDurchführungen 15/16 |
MC (C-10) |
Twisted Knister flapp002 |
2008 |
€8.00 |
|
| |
LebendDurchführungen 17/18 |
MC (C-10) |
Twisted Knister flapp003 |
2008 |
€8.00 |
|
| ORA |
Morgendämmerung |
10inch |
Die Stadt DS79 |
2004 |
€13.00 |
|
| ORDNUNGSAMT ET LA POLITESSE |
same |
do-CD |
Urknall Tonquelle Nr.57 |
2011 |
€15.00 |
|
| PALESTINE / COULTER / MATHOUL |
Maximin |
CD |
Young God Records YG21 |
2002 |
€14.50 |
|
| PARCA PACE |
Raumspannung |
CD |
Cold Meat Industry CMI140 |
2005 |
€13.00 |
|
| PSICOPOMPO / LORENZO ABATTOIR / HERMANN KOPP |
Synchronicity (Theory of Carl Jung) |
CD |
4iB Records 4iB CD/0115/012 |
2015 |
€13.00 |
|
| RAUMERKUNDUNG |
Flug 4-5-6 |
mCDR |
Taalem alm12 |
2003 |
€5.00 |
|
| RENALDO & THE LOAF |
Song of the Lungfish |
12inch |
Psychofon Records PR 031-C |
2019 |
€25.00 |
|
| REUTOFF VS. DEUTSCH NEPAL |
Kreuzung Vier |
CD |
Ewers Tonkunst HHE 021 CD / Indiestate IST 067CD |
2009 |
€14.00 |
|
| RIEMAN, ERIC GLICK / LESLI DALABA / STUART DEMPSTER |
Lung Tree |
CD |
Recommended Records ReR RDD |
2006 |
€14.00 |
|
| RLW |
Störungen |
LP |
Psych.KG Psych.KG 233 |
2016 |
€20.00 |
|
| ROIGK, STEFAN |
PARKANLAGE |
BOOK & CD |
Junge Kunst e.V. Wolfsburg / Stefan Roigk |
2008 |
€18.00 |
|
| SIJ & SERGEY GABBASOV |
Zhang Zhung |
CD |
Gterma [gterma042] |
2015 |
€13.00 |
|
| STATISCHE MUSEN |
Diskretion . Funktionsmusik Für Verrichtungsboxen |
CD |
Auf Abwegen aatp91 |
2023 |
€13.00 |
|
| SWANS |
The Seer |
do-CD |
Young Good Records YG45 |
2012 |
€20.00 |
|
|
To be kind |
do-CD & DVD |
Mute Records LCDSTUMM364 / Young God YG46 |
2014 |
€22.50 |
|
|
White Light from the Mouth of Infinity / Love of Life |
3 x CD |
MUTE CDSTUMM 377 / Young God Records YG49 |
2015 |
€22.50 |
|
|
The Beggar |
do-CD |
Young God Records YG67 / MUTE Stumm489 |
2023 |
€21.50 |
|
|
Children of God |
do-LP |
Mute - STUMM394 / Young God Rec. YG66 |
2020 |
€20.00 |
|
| |
Public Castration is a good Idea |
do-LP |
Mute - STUMM394 / Young God Rec. YG66 |
2022 |
€25.00 |
|
| TARKATAK |
Mormor |
CD |
Genesungswerk GW23 |
2007 |
€10.00 |
|
| TATE AND LILES |
Without Season |
CD-R |
Fungal 059 |
2015 |
€10.00 |
|
| TATE, DARREN |
Edition |
CD-R |
Fungal 025 |
2007 |
€13.00 |
|
|
Ghost Guitars |
CD-R |
Fungal 23 |
2006 |
€12.00 |
|
| |
Reveal |
CD-R |
Fungal 024 |
2006 |
€13.00 |
|
| TAU CETI |
Todstimmung |
CD-R |
Umbra 023 |
2004 |
€12.00 |
|
| TIETCHENS, ASMUS |
Abfleischung |
CD |
Die Stadt DS108 |
2008 |
€14.00 |
|
| TROUM & REUTOFF |
Kreuzung Zwei: Creatura Per Creaturam Continetur |
CD |
Ewers Tonkunst HHE 019 CD |
2008 |
€13.00 |
|
| UNGER, JON |
Memory Indicator |
mCD-R |
Taalem alm 126 |
2019 |
€5.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Verfassung |
LP |
Hörbar Hamburg |
2005 |
€15.00 |
|
|
How to stay young & healthy in a modern world |
do-CDR |
Abgurd AB-28 |
2006 |
€14.00 |
|
|
A tasty Swarm of small Signals |
DVD-Audio |
Störung str008 |
2010 |
€18.00 |
|
|
Benefiets for Japan |
do-CD |
Licht-Ung |
2012 |
€17.00 |
|
|
Wandlungen Unplump |
CD |
Edition DEGEM ed02 / CD 11 |
2014 |
€13.00 |
|
|
Projekt Neue Ordnung II |
4 x LP BOX |
Tesco Organisation TESCO 111 |
2017 |
€78.00 |
|
|
Ich glaube ich höre Genesungswerk |
CD |
Genesungswerk GW 16 |
2002 |
€8.00 |
|
| |
Struppig Schweben (LES MARQUISES / TROUM / KILLER+LICHT-UNG / ANDREW LILES) |
CD |
Licht-Ung / StRuPpiG tAnZeN |
2023 |
€12.00 |
|
| VON EULER-DONNERSPERG, DITTERICH |
Knüllungen, Wulstungen, Klumpungen |
LP |
MOLOKO+ MOLOKO+080 |
2018 |
€18.00 |
|
| VULTURE CLUB |
Live young, die fast and leave an exquisite Corpse |
CD |
Utech Records URCD004 |
2007 |
€13.00 |
|
| YANAGISAWA, EISUKE |
Into the Cave |
CD-R |
Spalt-ung |
2012 |
€9.00 |
|
| YOUNG GODS, THE |
The Young Gods Play TERRY RILEY in C |
do-LP + CD |
Two Gentlemen Records TWOGTL 101- LP |
2022 |
€32.00 |
|
| YOUNG, DENNIS |
Bella |
LP |
Elevator Bath eeaoa052 |
2020 |
€20.00 |
|
| YOUNG, JOHN |
La limite du bruit |
CD |
Empreintes Digitales IMED 0261 |
2002 |
€12.00 |
|
"ung" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| 15 DEGREES BELOW ZERO |
Open Doors |
CD |
it's a long time ago since we heard of this US American post / ambient industrial trio, this new album of unpublished recordings shows on 9 tracks very best their versatile & cinematic qualities plus "handplayed" approach... lim. 200, mastered by THOMAS DIMUZIO - - "Open Doors ist ein ungemein reichhaltiges Album und jedes enthaltene Stück würde den Stoff für einen kongenialen Filmscore abgeben... " [African Paper]
|
2021 |
€13.00 |
|
| ACTION & TENSION & SPACE |
Skaredalen Funhouse |
LP |
second album for this 'spaced out instrumental lo-fi lounge outfit from Norway' - "If you combine the ambience from THE NECKS, the lounge feel of THE FRIENDS OF DEAN MARTINEZ, and the travelling spirit of NEU mixed together in an apocalyptic THE DOORS vibe - then you get ATS!" - lim. 250 copies
|
2018 |
€18.00 |
|
| ALIO DIE |
Seamlessly Bliss |
CD |
second new A.D. studio album in 2016, three long tracks feat AGLAIA and LINGUA FUNGI; this must be one of the most smooth & delicate ambient albums ever, with wafts of ebbing and drifting bell sounds..
|
2016 |
€15.00 |
|
|
Imaginal Symmetry |
CD |
four long tracks (77 min.) including the epic title-track, creating an extremely full and wide aural space (never sounded STEFANO MUSSO's zither so symphonic), often reaching a choral like beauty and sublimeness... feat. LINGUA FUNGI and AGLAIA (kantele, organ, electronics, effects), recorded in Oulu (Finland) and Tuscany 2011-2015; lim. 300
|
2016 |
€15.00 |
|
| |
An Unfathomable Convergence |
CD |
studio recordings made 2011-2015 in Oulu, Finland and Italy, feat. AGLAIA, LINGUA FUNGI and ENTEN HITTI... two long tracks, sonorous yet lush hallucinogenic dream drones..."when Alio Die produces sound, any sound, a masterful amalgam of stories led by a watershed of powerful emotions is the result. Here I feel as though peacefully drifting in a haunting, yet dreamy atmosphere, provoked by mysterious sounds of past lives in a place never visited." [Brian Bourassa]
|
2016 |
€15.00 |
|
| AMINI, SIAVASH |
A Mimesis of Nothingness |
LP |
already the fourth album on H.G. for this high-class "exp.-drone" artist from Tehran, transfering the photographs from NOOSHIN SHAFIEE into six stunning sound pictures.."..führt sein Publikum in ein Teheran, durch dessen Häuserschluchten und Alleen, über dessen weite Plätze, Parks, Fabrikgelände und Ruinen ein eisiger Wind weht, ein Wind, der Hagelklötze und Staub und Erinnerungen transportiert und all dies sprunghaft in die unterschiedlichsten Richtungen weht" [African Paper] + 8p booklet, on white vinyl
|
2020 |
€22.00 |
|
| BAD ALCHEMY |
No.56 (Nov. 2007) |
mag |
92 pages / GENESUNGSWERK label portrait, LA STPO, MASSACRE, 1000 long reviews... deutsche Sprach! Old issues are now downloadable at the website !
|
2007 |
€3.00 |
|
|
No. 69 (May 2011) |
mag |
Artrock Festival Würzburg 2011, Live: Kayo Dot – CINC; Lache Bajazzo: Über Freaks und Humor; Spotlights: Evelyn Evelyn – Budam – Xavier Garcia; Haunt of the Unresolved: De Nato et de "L'Origine du Monde" + ausführliche Reviews von neuen RUNE GRAMMOFON, TZADIK, FIREWORK EDITION, KORM PLASTICS, eMEGO, LICHT-UNG, M=MINIMAL, PSYCH.KG, NITKIE, STAUBGOLD-Releases. Deutsche Sprach, 88 Seiten, handliches Format, günstig & geistreich !!
|
2011 |
€3.00 |
|
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No. 119 (Mai 2023) |
mag |
ADN (A DULL NOTE)-interview, DARJA KAZIMIRA, KLANGGALERIE, MIDIRA, ALFRED 23 HARTH, CARSTEN VOLLMER, RUNE GRAMMOFON, TROST, AGUIRRE, long reviews CAPRICORNI PNEUMATICI, DESIDERII MARGINIS, COLUMN ONE, THE NECKS, NOCTURNAL EMISSIONS, I SHALL SING.. (Ukraine culture) und vieles mehr aus New Jazz, Impro und anderen bad alchemistischen Spülfeldern, und übliche "personal notes" (Büchertips etc. von RBD).. 88 Seiten (keine Werbung)
|
2023 |
€4.00 |
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| |
Nr. 121 (November 2023) |
mag |
LA STPO beim Artrock Festival 2023, CONSTELLATION Records, JASON KAHN, MARC RICHTER, KLANGGALERIE, DIE ANARCHISTISCHE ABENDUNTERHALTUNG, CYCLIC LAW, NO PART OF IT, DAVID MARANHA, UKRAINE Szene und Kriegst-Ohnmacht, und vieles mehr aus den bad alchemistischen Spülfeldern, 88 Seiten
|
2023 |
€4.00 |
|
| BAKER, AIDAN |
Letters |
MC |
one of the classic / best AIDAN BAKER solo works, originally on Arcolepsy (CDr, 2001), and Basses Frequences (LP, 2008), out again as small MC (C-50) in a tiny edition (50 copies!): "LETTERS war 2001 einer der allerersten CDRs, die wir von AIDAN BAKER ins Programm nahmen... und die Begeisterung war groß! .. zwei lange, verträumte Stücken: guitar, bass, cymbals, vocals und tapes ergeben sinnliche, analog tönende Klangsphären mit genügend experimentellem Potential, insgesamt recht gitarrig.. "
|
2019 |
€8.00 |
|
| BASINSKI, WILLIAM |
Shortwavemusic |
CD |
Wiederveröffentlichung der Raster-Noton LP von 1997, mit Bonustrack! Sanfte Äther-Melodien in endlosen Kurz-Echo Räumen, Musik die ausfranst in einem Meer von seltsamen Effekt-Sounds.. / re-release of LP from 1997 with bonus-track (+ 14 min.), comes in squared clear case with cardboard sheath. BACK IN STOCK
|
2007 |
€16.00 |
|
| |
The Disintegration Loops IV |
CD |
Teil IV der hypnotischen alten tape-loops, die in endlos-symphonischer Wiederholung wie nostalgische Erinnerungen an vergangene Zeiten wirken...sehr ruhig & meditativ." [Drone Rec.] - Muzak like melodies crumble into barely melodic throbbing pulses, swathed in reverb, allowing the already obscured snatches of music, to fade into wispy smears of sound. So beautiful.” [Aquarius Records]
re-issue of album from 2003, re-mastered
|
2014 |
€15.00 |
|
| BATES, MARTYN |
Fireworks & Jewels / The Colour of Amber |
CD |
3rd album in a kind of trilogy of works, that started with "Unsung" (2012) and continued with "Arriving Fire" (2014), being collections of mostly guitar/voice pieces with a focus on SONG... an album about those moments in life that occur like " an elusive, tantalising light that you know is eternal, and forever, and yet it’s somehow, always, always held out of reach" [Martyn Bates]
|
2015 |
€13.00 |
|
| BEEQUEEN |
Sugarbush |
CD |
*Überraschung! Nach zwei sehr ruhigen, eher ambient-fokussierten CD's ist nun die dritte Bee Queen erschienen, welche sich weitaus komplexer, konkreter tönend und abwechslungsreicher darstellt als die Vorgänger. Eine Weiterentwicklung zu einer ganz eigenen Form kreativer Soundentwicklung, sprich: Bee Queen haben ihre ganz eigene Dimension geschaffen und es fällt schwer, überhaupt noch Vergleiche mit anderen Gruppen zu praktizieren. Acoustical psychwork!* - BACK IN STOCK last copies!!
|
1995 |
€8.00 |
|
| BERTHET, PIERRE |
Extended Loudspeakers |
CD |
great SoundArt from this Belgium artist, using cans with loudspeakers connected with long wires.. - "Je nach Klangmodulation des Ursprungslautsprechers ergeben sich verblüffende Veränderungen der Ober- und Zwischentöne, eine klackernde Mechanik wie von einem Meer von lebendigen kleinen Maschinen, die schlingernde Metallwellen aussenden, die sich im Verlauf sehr dynamisch verändern... " [Drone Rec.] - BACK IN STOCK!
|
2009 |
€13.00 |
|
| BÜSSER, MARTIN |
On the Wild Side : Die wahre Geschichte der Popmusik |
BUCH |
MARTIN BÜSSERs immer noch sehr lesenswerte Analyse des "Pop"-Musik Phänomens (v.a. als Rebellion und Gesellschaftskritik, 1966-1999) mit hervorragenden Artikeln über PSYCHEDELIC, KRAUTROCK, PUNK & NEW WAVE, INDUSTRIAL, NDW, INDEPENDENT, TECHNO, GRUNGE, etc.. - inkl Plattentips, Register, 264 Seiten
|
2013 |
€14.9 |
|
| CHASE, BRIAN |
Drums & Drones |
CD & DVD |
"Just Intonation"-drones (based on LA MONTE YOUNGs theory) performed on a specially tuned drum-head, creating rich overtunes;... very reduced & focussed experiments by this percussionist from New York City (also active as drummer of YEAH YEAH YEAHs, etc..) + DVD with videos by URSULA SCHERRER & ERIK Z.
|
2013 |
€18.00 |
|
| CODACHROM |
Plastinka |
10inch |
project of EVGENY VORONOVSK (CISFINITUM) and the long active electronic musician MIGUEL A. RUIZ from Spain => incredible dry old school rhythm electronics, retro-futuristic lounge muzak for fans of very early analogue sounds, drum machines, vocoders... lim. 500
|
2013 |
€13.00 |
|
| COIL |
Theme from the Gay Man's Guide to Safer Sex |
LP |
Coil's soundtrack for educational documentary entitled 'The Gay Man's Guide To Safer Sex' from 1992 (Pride Video, VHS only, otherwise unreleased), feat. a newly reworked "sexy" edit of the main theme, and as bonus tracks re-workings of 'Nasa-Arab' and 'Omlagus Garfungiloops' from the 1992 CD-only 'Stolen And Contaminated Songs'; licensed by DANNY HYDE; purple vinyl- "a unique piece of the impossible jigsaw puzzle that is Coil’s catalogue, and a fine throwback to early ‘90s ambient/downtempo styles." [Boomkat]
|
2019 |
€22.50 |
|
|
Theme from the Gay Man's Guide to Safer Sex |
CD |
Coil's soundtrack for educational documentary entitled 'The Gay Man's Guide To Safer Sex' from 1992 (Pride Video, VHS only, otherwise unreleased), feat. a newly reworked "sexy" edit of the main theme, and as bonus tracks re-workings of 'Nasa-Arab' and 'Omlagus Garfungiloops' from the 1992 CD-only 'Stolen And Contaminated Songs'; licensed by DANNY HYDE; - "a unique piece of the impossible jigsaw puzzle that is Coil’s catalogue, and a fine throwback to early ‘90s ambient/downtempo styles." [Boomkat]
|
2019 |
€14.00 |
|
|
Queens of the Circulating Library (transparent blue) |
LP |
"The forest is a college, each tree a university.." - new vinyl re-issue of this 'long-form-drone' album, originally released at COILs live performance as "Time Machines" in London April 2000.. "the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young... " - lim.sky-BLUE TRANSPARENT edition, glossy printed inner sleeves, DL code
|
2023 |
€25.00 |
|
| |
Queens of the Circulating Library |
CD |
first official re-issue of this 'long-form-drone' album, originally released at COILs live performance as "Time Machines" in London April 2000, feat. vocals by DOROTHY LEWIS (mother of THIGHPAULSANDRA) - "the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young... " - remastered, digipack, new artwork design
|
2023 |
€15.00 |
|
| CONRAD, TONY & FAUST |
Outside the Dream Syndicate |
LP |
the meeting of minimal violin drones and Krautrock, rec. October 1972 at Wümme-studios; first vinyl re-issue of the famous LP from 1973, when TONY CONRAD (the film-maker, sound-artist and member of the THEATRE OF ETERNAL MUSIC with LA MONTE YOUNG who died April 2016) visited Germany... includes double sided insert with liner notes
|
2016 |
€24.00 |
|
| COURTIS / WEHOWSKY |
Return of the Stone Spirits |
CD |
REYNOLS particles meet P16.D4 / RLW dust - we offer the very last copies now for a special, lim. 300 luxus cover: - *sie benutzen Gitarre und verschiedene Violinen, sowie 'stuff in plastic bag' - teils ist das ein furioser Noise-Blast, teils wirkt es wie geräuschflächige Unebenheiten, die wie verschmutzte Partikel durch den Äther wirbeln..aber auch ganz ruhige Kratz- & Summsounds, die wie atmosphärische Störungen scheinen, oder hörbar gemachte Luftdruckveränderungen* [Drone Rec]
|
2007 |
€7.00 |
|
| CURD DUCA |
Waves 1 |
CD + LP box |
now to something completely different;) = 20 years after his "Elevator" series for MILLE PLATEAUX the Austrian sound artist releases a work of 28 short (some longer) pieces, a kind library between instrumental drones, noises and lounge sounds, a versatile cabinet of wonders.... comes in thick printed cardboard box with inlay and CD version of the album !!
|
2020 |
€22.50 |
|
| CURRENT 93 |
Invocations of Almost |
LP |
dark experimental / atmospheric music for DAVID TIBETs art exhibition in Fullerton (Californa, launched on Davids 59th Birthday, March 5), containing 9 untitled tracks with elements of the latest album "The Light is Leaving us all" - the vinyl version has a shorter edit than on the CD and comes on ivory coloured wax..." Fast allen Stücken wohnt etwas (Alp-)Traumhaftes inne, und insofern erinnert es von der Stimmung zum Teil an 'The Stars On Their Horsies'. [African Paper]
|
2019 |
€20.00 |
|
| DAMIAO EXPERIENCA |
Planeta Lamma |
LP |
re-issue of most obscure album from 1974 by this outsider artist and real "Freak" from Rio de Janeiro, who has been compared to MOONDOG, CPT. BEEFHEART, SUN RA, FRANK ZAPPA => *Damião's musical style is impossible to categorize accurately, since he experiments with numerous genres, more prominently freak folk, psychedelic rock, reggae, and experimental music. His songs have no logical sense at first sight, and most of them are sung in a dialect created by him* - 200 copies re-press !!
|
2023 |
€23.50 |
|
| DAO DE NOIZE |
4 Squares |
CD-R |
project from Kharkow (Ukraine) with an interesting album full of chirping, high pitched electronic sounds building unusual patterns, imagine FRANCISCO LOPEZ meeting RYOJI IKEDA in the djungle... to discover!
|
2015 |
€7.50 |
|
| DE FABRIEK |
Quatro-Erogenic-Occupy Theme's |
CD |
recordings from 1997 & 1998 made with many guest-musicians (DE FABRIEK being a collective of 7 people here), going into a more rhythmic - sometimes almost technoid direction, while grazing through different genres, combining abstract sounds and naturalism.... "Music from De Fabriek is like a trip from the urban jungle to countryside jungle, music that sticks
inside the brain and puts the listener on the wrong track by being somewhere else then were you expect it." [FdW/Vital Weekly] |
1999 |
€13.00 |
|
| DEAD MAURIACS, THE |
Beaute des Mirages |
LP |
the French project known for its obscure sound/field recording collages (like an alien form of NWW) with their first LP, exotic plunderphonics from various odd sources, contrasted with cut ups, eerie electronic sounds and noises... a bizarre and weird record as you always wanted it ! - "full of fake(?) vintage atmospheres and armchair jungle hallucinations. An abstract journey into a beautiful (and sometimes scary) world of mirages."
|
2017 |
€19.00 |
|
| DEMEULENAERE, STIJN |
Latitudes - September 2016 |
CD |
this promising field recording artist from Belgium presents his first work, a multi-layered studio composition with audio sources mainly from South Africa and Iceland, lots of water and underwater sounds and mysterious jungle wild-life, all set cleverly together for a captivating head-trip with great spatial resolution... a must if you love TOY BIZARRE, E. LA CASA, YANNICK DAUBY, F. LOPEZ, CHRIS WATSON, etc... comes in oversized full-colour gatefold-cover
|
2017 |
€13.00 |
|
| DEN SORTE DOD |
same |
CD |
extremely melancholic and quiet "cosmic" ambience by this Scandinavian duo, their first more widely available album... - "melts Berlin School ambience with dungeon synth soundscapes, resulting in an album that is comforting and sinister in equal measure. The here is music is lush and deep, pulling the listener under its spell with its gentle pace and emotive tones.." [Hellschreiber] - CD version lim. 500 4 panel digisleeve
|
2021 |
€13.00 |
|
| DERGARABEDIAN, CHRISTIAN (C.D.) y MILAN SANDBLEISTIFT |
Lamentamos informar al Universo |
CD-R |
very nice collaboration of these two Drone Records artists from Germany & Spain (aka LICHT-UNG and EARZUMBA), recorded 2006 & 2007 they spread on 9 tracks a kind of obscure 'ether noise ambient' using electronic sounds as well as strange field recordings, found sounds and drone rumblings in polymorph ways, arrays of highly effected stuff...quite rough but beautiful, recommended! lim. 2nd ed. of 28 copies, we have the last three copies in stock !!
|
2007 |
€9.00 |
|
| DIE FORM (IT) |
La Dimensione Umana |
LP & CD |
the Italian "DIE FORM" (which later re-named into TASADAY) were active around 1982-1984, a collective of young people from Monza influenced by philosophy (BATAILLE, BAUDRILLARD, etc.) => a handplayed open "industrial" sound with punk spirit, aggressive vocals, bass, guitar, sax, clarinett, percussion, in the vein of THE POP GROUP, early CLOCK DVA, TUXEDEMOON or BOURBONESE QUALK; 14 tracks in total taken from the first MC (1982) and unreleased private live cassette, spread on a one sided 12" + CD
|
2016 |
€18.00 |
|
| DOUBLENDS VERT |
Cistern |
CD |
"Ein Quartett (bestehend aus 4 Instrumentalisten mit Violine, Akkordeon, Klarinett und Pauke) hat diese Aufnahmen in einer riesigen unterirdischer Höhle gemacht, den natürlichen Hall ausnutzend. Entstanden sind flirrende, schneidende Obertonwellen, die sich amorph ins Ätherische ausbreiten & allmählich ihre harmonische Struktur ändern. Polyphone Überlagerungen & Frequenzinterferenzen tauchen auf, kein reiner Wohlklang, sondern fremdartige Environments werden hier geschaffen. Erinnert an PAULINE OLIVEROS ähnliche Arbeiten, nur das hier der Sound- & Geräuschaspekt noch stärker im Vordergrund steht.." - lim. 500 cardboard cover
|
2005 |
€14.00 |
|
| DREYBLATT, ARNOLD |
Turntable History |
CD |
installation work (2009) from this US-American composer & media artist living in Berlin (who studied & worked with LA MONTE YOUNG, ALVIN LUCIER & ELLEN FULLMAN); a 5-channel composition based on MRI-scanner sounds with lots of curious sounds & arrangements
|
2011 |
€14.00 |
|
| DUHKHA |
Mariyammal |
LP |
excellent, overlooked LP by this BENJAMIN BEX project with many guest musicians, a highly emotional ambient journey that combines many sounds and sources...- "Ambient-Puzzle aus Frankreich. Zahlreiche Soundlandschaften von Musikern werden zu einer Fläche verbaut. Organisch und handfest. mit einer ganz besonderen, kränklichen, geheimnisvollen Stimmung und irren Vocals. Achtung Sogwirkung!" [NonPop] - 5 tracks, lim. 314 copies, excellent cover art!
|
2015 |
€15.00 |
|
| DÄLEK {DALEK] |
Endangered Philosophies |
do-LP |
the best dark + spheric HipHop around - DÄLEKs album from 2017, with new line-up, released by the prolific IPECAC label (MIKE PATTON) - "Crushing, claustrophobic, educated Hip-Hop. Perfect for the times we live in." [BuiltInThe50s] - *Immer noch sind sie ein seltsames Hybrid - erstaunlich, dass sich sonst niemand an dieser Stilkreuzung versucht hat: hier der urbane, offensive Beat, dort der düstere Hinterzimmer-Soundtüftler-Noise, darauf die kommentierenden, erzählenden Vocals* [OX-Fanzine]
|
2017 |
€29.50 |
|
| EARZUMBA |
Florece Escondido / Hermeso Movimento |
CD |
C.D. [DR-63] proofs his versatility here with his project EARZUMBA, much different from the drone EP, 19 pieces, two albums on one CD with samples from south-american music, ultra-deep drones, djungle-noises, and very nice harmonic spheres at the end..
|
2004 |
€10.00 |
|
| EASTLEY, MAX / STEVE BERESFORD / PAUL BURWELL / DAVID TOOP |
Whirled Music |
LP |
re-issue of rare LP from 1980 (Quartz Publications - the label run by DAVID TOOP) with recordings from London improvisers 1979 (indoors and outdoors), using only "whirled" or swung instruments (traditional and/or home-made), extremely interesting and purely acoustic; at these series of live performance the audience was usually protected with masks... comes with 24 p. booklet feat. archive material & notes by DAVID TOOP
|
2018 |
€23.00 |
|
| EINSTÜRZENDE NEUBAUTEN |
Jewels |
CD |
comes in "Ecolbook"-Cover with 40p. booklet, incl. 40 min film "Acht Lösungen"
|
2008 |
€17.50 |
|
| EITR |
Trees have Cancer too |
LP |
first release by a young Portugesian duo on Saxophon, electronics, and turntables => sound improvisations between dark subtle parts and more noisy attacks, always holding the tension.. "Every time I play this I hear something new, which made me think 'oh, no, its much more electro-acoustic than I thought', 'damn, it's much more composed' or 'what a refined way of improvising'. Excellent record all around." [FdW in Vital Weekly] lim. 150 copies
|
2013 |
€18.50 |
|
| EKIN FIL |
Maps |
LP |
already the fourth LP for the Turkish artist who mesmerizes here with ghostly, intimate 'songs' based on synth-piano, electronics and smoothly aspirated vocals... extremely melancholic, lonely, fragile and haunting..."The saddest songs of The Durutti Column excised of rhythm and those few plunges into sorrow by Harold Budd make for apt comparisons to Maps, in addition to the drone-on classics of Grouper, Slowdive, and Sarah Davachi."
|
2018 |
€19.00 |
|
| ELIZABETH S. |
Gather Love |
CD |
the very first solo album by the long time member of EYELESS IN GAZA and partner of MARTYN BATES, many years in the making.... the 12 tracks show an impressing versatility ranging from experimental soundscapes to intimate, stirring folk songs with enough edges, lyrically focused on loss and existential pain, spoken and sung, performed on acoustic guitar, piano, melodica. subtle electronics, and with clever effect-processing for a fully emotional, deep romantic trip ...
|
2022 |
€15.00 |
|
| FAUST |
Punkt |
LP |
'the never before fully released "lost/last" 5th album (also called "5 1/2") from the recent box set as standalone item, originally planned as their second LP for Virgin! 7 tracks, recorded in 1974 at Musicland Studios in Munich.. - "Das Leben von Faust in ihrer Kernbesetzung war kurz, intensiv, aufregend, extrem kreativ und derart spannungsgeladen, dass es fast zwangsläufig zur Implosion kommen musste..."
|
2022 |
€22.50 |
|
| FERRARI, LUC |
Music Promenade / Unheimlich Schön |
LP |
two of the most fascinating / well known pieces by LUC FERRARI: "Unheimlich Schön" (1971) - for the first time on vinyl; "Music Promenade" (1965-1969) in an edited version for four stand-alone tape recorders, premiered in March 1970: "A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl."
|
2019 |
€19.50 |
|
| FIND HOPE IN DARKNESS |
Locked so tightly in our Dreams |
CD |
a very young (15 years old!) drone ambient newcomer from Ghent, Belgium with his first promising release; subtle drone-clouds of a darker kind are set against whispering micro noises, field recordings, spheric choirs and endless harmonic tones... really dense & ultra melancholic, to discover ! lim. 300
|
2014 |
€12.00 |
|
| FIRST, DAVID |
Privacy Issues (droneworks 1996-2009) |
3 x CD |
overview of 9 dronework-compositions from 1996-2009 by this US composer who has been called "a bizarre cross between HENDRIX and LA MONTE YOUNG"
|
2010 |
€23.00 |
|
| FOR KINGS AND QUEENS & BARBARA KINDERMANN |
Schwarze Himmel von Metall |
CD-R |
poems and fragments from GEORG TRAKL (1887-1914) are sung and spoken by professional vocalist BARBARA KINDERMANN, mutated, cut into pieces and intermingled with the dark experimental noises of FOR KINGS AND QUEENS - again a very expressive and stunning tour de force, carefully constructed; one long track 25+ min.
|
2014 |
€8.00 |
|
| FOX, HARDY (THE RESIDENTS) |
same |
LP |
a very personal solo-album by this founding member of THE RESIDENTS who left the group in 2015 and started to record music under his real name only a short time before his death (Oct. 2018) - pure electronic "avant" pop with spoken vocals...- "An album full of minimal love songs, a portrait of the young Hardy Fox." ; this edition: 350 numbered copies on yellow-green vinyl with additional golden flexi 7"; CD version available as well (Klanggalerie), please ask
|
2019 |
€25.00 |
|
| FREIBAND |
Replicas |
CD |
all sound- & image-sources taken from ASMUS TIETCHENS album "Daseinsverfehlung"
|
2008 |
€13.00 |
|
| GALBRAITH, ALASTAIR & MATT DE GENNARO |
Long wires in dark Museums |
CD |
three long tracks recorded at two different galeries / museums in New Zealand in 1999 in total darkness, sounds made on long polished piano wires that were strung across the venue, so that the drones are coming through the vibrating walls and produce long waving overtunes; performed with additional guitar loops & violin-playing...
|
2002 |
€13.00 |
|
| GOVERNMENT ALPHA / HIKARI NO OKA |
Schwingend / Obelisk |
CD |
back in stock, this split release by the German Drone Rec-artist (aka LICHT-UNG) and the noise-project from Tokyo; very limited edition in glass-frame cover !
|
2005 |
€13.00 |
|
| GRMMSK |
Reality Asylum |
12inch |
experimental dub project by this formerly Hamburg-based artist known as TOTSTELLEN - this sounds unlike anything you would expect as labeled "dub" but still uses its elements and feeling, in another time frame...."Treffend als Doom-Dub bezeichnet, wird durch Time Stretching, Pitch Shifting und weitere Effekte die apokalyptische Seite im Dub übersteigert....könnte auch die Vertonung des Katers nach der Reggae-Party sein: Da war wohl doch was sehr komisches drin im Spliff."[frohfroh] - lim. 200
|
2018 |
€14.00 |
|
| GUTHRIE, ANNE / RICHARD KAMERMAN |
Sinter |
CD |
collaboration by French Horn player & sound artist from Brooklyn ANNE GUTHRIE with another young experimental musician from the US, RICHARD KAMERMAN, using field recordings, objects, electronics to create highly experimental & unusual concrete-scapes and shades..
|
2013 |
€15.00 |
|
| HELM |
The Hollow Organ |
12inch |
four new studio tracks by LUKE YOUNGER aka HELM (who is also a member of BIRDS OF DLEAY) on clear vinyl, very powerful pulsing & repetitive structures again with sharp & metallic sounds & drones... the suspenseful meeting of drone & industrial..
|
2014 |
€16.00 |
|
| HEMATIC SUNSETS |
Aroma Club Adieu 5 |
LP + 12inch |
the cult goes on! -> fifth and last part in the raunchy "Aroma Club" series by the Alter Ego project of ASMUS TIETCHENS (+ other Alter Egos), now successful amongst the young hipsters; the bonus 12" (white vinyl) contains remixes of FELIX KUBIN, the beloved UNKNOWN SINGING OBJECTS, MICHAEL ROTHER (HARMONIA), OKKO BEKKER, etc.. - rarely experimental music has such a charme and absurd wit!! - lim. 300 copies
|
2020 |
€32.00 |
|
| HIGNELL, DANIEL ALEXANDER |
Semblances |
MC & booklet |
young composer from Brighton, UK, presenting his doctorate (!) work in composing for modular synthesizer, "focused on sonic interjections into shared social space"=> 5 pieces of minimal avantgardish structures incorporating field recordings, somewhere between LA MONTE YOUNG & DEMDIKE STARE; comes with 60 page graphic score booklet, lim. 50
|
2014 |
€8.00 |
|
| HORTOBAGYI, LASZLO |
Transociety Relics |
do-LP |
a full double LP (gatefold sleeve) with so far unreleased material by the unique Hungarian composer, dating back to 1974 (Side A) but contains also newer material composed 2010-2019... - "His sound art is simultaneously an expanded ethnography of an invented folklore and a way to preserve his acoustic environments for future generations." - lim. 300 copies only
|
2022 |
€29.50 |
|
| |
Transreplica Meccano (complete edition) |
CD |
first CD re-issue since 32 years of this milestone of ethno ambient / electronic music, HORTOBAGYI was a Hungarian ethnologist who learned to play many traditional Indian instruments himself, combining this with electronic sounds and samples; this "complete" edition comes with three unreleased bonus tracks from the same sessions and re-mastered, lim. 300 copies
|
2024 |
€15.00 |
|
| IKEDA, RYOJI |
Ultratronics |
CD |
newest work by the Japanese installation artist, always focusing on the essence of digitization and, data, arithmetics, genetics, quantum physics and astronomy.... strict digital structures and phormations to CLEAR your mind! - *Ikedas immersive Live-Performances und Installationen verwenden eine aufwändige Orchestrierung von Ton, Bild, Materie, physikalischen Phänomenen und mathematischen Konzepten.* - digipak ed.
|
2022 |
€17.50 |
|
| IKONEN |
Zeitschrift für Kunst, Kultur und Lebensart Nr. 11 (Frühjahr 2008) |
mag |
84 Seiten, grösserer Umfang, Thema "APOKALYPTIK UND POP": MARQUIS DE SADE (GREGOR SEYFFERT), JOACHIM LUETKE, ALEISTER CROWLEY-Film 'Aiwass', "Neofolk im Kontext der postmodernen Philosophie", TESCO-Report, MATTHIAS GRASSOW-Interview, diverse Filmvorstellungen, etc etc..
|
2008 |
€7.00 |
|
| INADE |
The Crackling of the Anonymous (re-press) |
CD |
re-issue of the second album from 2001, a true masterpiece of the dark ambient genre:. - "Der Sound hat sich gewandelt seit Aldebaran, ist noch symphonischer, dichter & melancholischer geworden, geisterhafte Stimmeneinspielungen & Effekte, repetitive Vibrationen und Pulsare tauchen auf... eindrucksvoll werden archaische Erlebnis- und Gewühlsweisen geraufbeschworen... für psychognostische Erfahrungen bestens geeignet & musikalisch von atemberaubender Weite und Schönheit!" [DroneRec]
|
2024 |
€13.00 |
|
| INDO |
Rupa Loka |
CD |
first CD album for this Hungarian ambient project, inspired by the Buddhist notion of 'Rupa-Loka' (the realm of form, of higher beings) - a stunning atmospheric journey using many strange animal & bird-sounds and environmental recordings of forests, water, valleys.. comes with 12p. full colour booklet; filed under: mystic / meditative organic ambience; great start for this new label from Sweden
|
2011 |
€13.00 |
|
| |
Winter in Zangla |
CD |
dark & spheric synthscapes inspired by the travels of Hungarian orientalist and 'founder of Tibetology' CSOMA DE KÖRÖS to Tibet about 200 years ago; comes with 12 page full colour booklet
|
2012 |
€13.00 |
|
| INTERNAL FUSION |
NedenBahe |
mCD-R |
"Nach langer Zeit was neues von diesem ethno-ambient Projekt, bekannt von einer schönen CD auf Staalplaat ! Hier mit zwei großartigen Stücken, wo sie orientalische Percussion & Gesänge & Instrumentalsounds sampeln und zu einer fliessenden, trancig-treibenden Melange verarbeiten.. wie eine Mischung aus MUSLIMGAUZE, RAPOON und TUU, nur besser!" - back in stock non jewel-case edition
|
2002 |
€5.00 |
|
| JARL |
Akatisi / Somnolens Part I-VI |
CD |
lim. 499 in cardboard-folder cover / the solo-projekt of ERIK JARL, one half of IRM : "Advanced Experimental Drone"-Musik von ERIK JARL (eine Hälfte von IRM), das grossartige TANTRIC-Album (aufgenommen bereits 2003); schwelende Geräuschfelder, wummernde Klangflächen, elektro-magnetische Mikrodetail-Statik, zwischen Ent- und Anspannung, voller interessanter Sounds & kontemplativer Kraft !
|
2005 |
€13.00 |
|
| JOHANNSSON, JOHANN |
The Mercy (Original Motion Picture Soundtrack) |
CD |
the last soundtrack from JOHANN JOHANNSSON, composed for the "The Mercy" (2018) from JAMES MARSH [deutsch: "Vor uns das Meer"], 22 tracks, 8 page booklet, digipak.. - "So lässt der Komponist die verschiedensten Facetten der Persönlichkeit von Crowhurst spürbar werden und entwirft er das musikalisch packende Bild eines Mannes zwischen Heldentum, Hybris und Hoffnungslosigkeit."
|
2018 |
€13.00 |
|
| KALLABRIS |
Off Mind |
mCD-R |
„Things happen. This is obviously wrong.“ - Nach langer Sendepause eine weitere Kallabristische Exkursion in abseitige Bereiche! Schon die Verpackung (verschlossene Senftüte mit einer Art Zeitung darin die sowas wie philosophische Aphorismen bzw. logisch aufeinander aufbauende Widersprüche enthält) ist aussergewöhnlich genug, das akustische Sprach- und Musik-Material verwirrt und regt weiter an: verfremdetes endloses erkenntnistheoretisches Geschwurbel garniert mit seltsam halb-rhythmischen Mantra-Strukturen und ebenso seltenen Geräuschen.. wir sind begeistert vor so viel Geist im Nicht-Geistigen. Ein genialer Streich!
_ comes with kind of largely oversized newspaper with philosophic phrases, sealed in plastic bag
|
2006 |
€13.00 |
|
|
Shanghai Dortmund |
12inch |
back in stock some last copies ! / stamped covers, ed. of 300
//
www.genesungswerk.de
|
2002 |
€10.00 |
|
| |
Music for very simple Objects |
10inch |
one of the most mysterious & thought-provoking German experimental projects with a bizarre formation of sequential sounds derived from field recordings; "substantia innominata et principium innominatum" (Kallabris). Edition of 500 copies, great full colour artwork by Mal Hoeschen (Multer, Genesungswerk), transparent flour green vinyl !
|
2009 |
€10.00 |
|
| KANG, EYVIND |
Plainlight |
LP |
three mesmerizing acoustic tracks using traditional instruments from Korea (like the Gayageum and Geomungo) combined with shimmering, mind clearing early morning drones (violin, synths, glass harmonics, organ and guitar); this is the follower to EVVIND KANGs album from 2001, "Live Low to the Earth in the Iron Age"; lim 400
|
2017 |
€23.00 |
|
| KENNEY, JESSIKA & EYVIND KANG |
Aestuarium |
LP |
"minimalist spectral music" with beautiful vocals sung on Latin by JESSIKA KENNEY & viola-sounds by EYVIND KANG, inspired by Gaelic and Tibetan folk traditions. Re-issue of CD-R from 2005. Really breathtaking stuff, highly recommended !
|
2011 |
€20.00 |
|
| KILLER VS VOLLMER |
Noise Generation |
LP + pic-LP |
curious collector's item which uses a "never seen before" format (ca. 300 gr. vinyl!): a picture 12" sticked on an old (German Schlager or whatever) LP, the old LP cover is combined with a cut-out cover, the pic-LP is fully playable on one side & has a loop from the recycled LP on Side B!! Understandable? No? doesn't matter!! => The fierce & furious noise attacks come from the solo project of "Junge" (the EA80 singer) and endless noise worker CARSTEN VOLLMER; lim. 100
|
2017 |
€20.00 |
|
| KINKELAAR, FREEK |
WONDERSOUND. Discovering weird, wild and wonderful music |
BOOK |
a collection of heart-warming and humorous writings (reviews, articles, liner notes) from the dutch musician (BRUNNEN, BEEQUEEN), incl. many cover-picks, feat for example ZOVIET FRANCE, SPK, LA MONTE YOUNG, GEROGERIGEGEGE, VAGINA DENTATA ORGAN, DEREK JARMAN, BRAINTICKET, etc. etc..- with foreword from EDWARD KA-SPEL - 288 pages, hardcover, this is the cheaper standard version with b/w pics !! A must for any collector of obscure music!!!
|
2021 |
€20.00 |
|
| KLEISTWAHR |
This World is not my Home |
CD |
the long going solo-project of GARY MUNDY (RAMLEH) with an epic one-tracker piece (38+ min.) in 7 parts, ranging from harmonic guitar distortion drones to overwhelming noise, with occasional vocals (both sung & spoken) and percussive elements, all very blurred & and drowned in heavy emotions & distortion... lim. 300 gatefold cover
|
2014 |
€13.00 |
|
| |
This World is not my Home |
do-LP |
limited vinyl re-issue of two albums ("Over your Head Forever", 2016; and "This World.., 2014) by GARY MUNDY's (RAMLEH) legendary solo project (starting once with a cassette on Broken Flag in 1983!).. - "..ranging from harmonic guitar distortion drones to overwhelming noise, with occasional vocals (both sung & spoken) and percussive elements, all very blurred & and drowned in heavy emotions & distortion.." [Drone Rec. info]
|
2020 |
€23.00 |
|
| KONTAKT DER JÜNGLINGE |
0 (live Rostock, MS Stubnitz, 10.02.2001) |
CD |
the project of THOMAS KÖNER and ASMUS TIETCHENS, second part: "Submarine sounds, kinda like the 'Skagarak' LP by WERKBUND, ages ago.... More austere then the previous recording by Kontakt Der Junglinge, more dark too." BACK IN STOCK
|
2001 |
€14.00 |
|
| KRAKEN |
Aquanaut |
LP |
"He who gazed into the abyss for too long.." - getreu nach diesem Motto erschaffen KRAKEN abgrundtief düstere Soundscapes, geisterhafte Drones sorgen für Unruhe, vielerlei Effekte schaffen Gänsehaut-Atmosphäre, befremdliche Stimmung, soundtrackartig.. klasse Debut auf schwerem blauen Vinyl... last copies, sold out from the label !
|
1999 |
€16.00 |
|
| KREYSING / PENSCHUCK / STADLMEIER |
Re-Encypher |
CD |
this trio with S. STADLMEIER aka EMERGE did a ghostly improvisation on a dark November night in Münster, Germany, at Nocube: amorphous accordeon drones and tones, unfathomable reverberations of object and instrumental sounds (wood, guitar, a heater), occasional electronics, all loosely hung and cross-linked together with lots of space in this weave... PAULINE OLIVEROS meets the Otherworlds... very nice!
|
2018 |
€8.00 |
|
| KUTIN, PETER |
Burmese Days |
LP |
Austrian composer (also in => DIRAC) who connects 'sound art and journalism/documentation', when the used Burmese metallophones (various gongs), Burmese field recordings (recorded in Myanmar in spring 2012 just after the military dictatorship) and live electronics form something like an abstract sonic essay, expressing his personal experiences (heat, sickness, fear, jungle, rain, radical Buddhism, rebels fighting for freedom or more rights, the sound of mantras, gongs, bells and the language itself..)
|
2014 |
€16.50 |
|
| KÜPPER, LEO |
Digital Voices |
CD |
six newer pieces by this Belgian composer (*1935) who's earlier works had already been published on two POGUS CDs before; very demanding new music using mainly digital processed human voices & singings...."to encourage the internationalization of spirituality through a musical language that accepts both sung and instrumental world sonorities that can be mixed with electronic sounds derived from the voices of the singers."
|
2012 |
€14.00 |
|
| LA CASA, ERIC |
Air.Ratio |
CD |
this album shows the fascination of microscopic field recordings made from air conditionings... a genius work! "Wer hat sich nicht schon einmal im Dröhnen & Rauschen von Lüftungs- und Klimaanlagen verloren? ERIC LA CASA hat hier 30 verschiedene Extrakte von ‘Nahaufnahmen’ gemacht, alle in Paris in verschiedensten Gebäuden auf Fluren, Toiletten, Badezimmern... AIR.RATIO zeigt die Verschiedenartigkeit & Vielschichtigkeit von ‘Rauschen, Dröhnen, Pfeifen, Heulen, Summen, etc.’ auf!"
|
2006 |
€15.00 |
|
| LADIK, KATALIN |
Water Angels |
LP |
second collection of unreleased muscial works by this Serbo-Hungarian avantgarde artist (*1942), working with radio, theatre, film, sound poetry and as performance / body artist... 5 impressive compositions (1989-2019) with the central "Water Angel", comining field recordings, instrumental noises and vocal experiments... - lim. 300, printed inner sleeves
|
2021 |
€22.00 |
|
| LANG, KLAUS |
Sei-Jaku für Streichquartett (20 Jahre Inventionen III) |
CD |
„Die Entfaltung des Gegebenen“ – sehr leise und minimal konkret geräuschhaft klingt diese Interpretation eines Werkes von KLAUS LANG durch das ARDITTI STRING QUARTET, die hier ausschliesslich Streichinstrumente einsetzen (2 x Violine, 1 x Viola, 1 x ioloncello)... sägende, kratzende Geräusche, dann wieder einzelnes Knacken & Stossen...eine Atmosphäre des „kaum Erahnbaren“ entsteht, ein „etwas zieht herauf“... - red digipak, 8 page booklet
|
2003 |
€15.00 |
|
| LEVREA INV:ERNESS |
II: The Destruction of Commercial Music |
CD-R |
this new German (dark) ambient project produces subtle, sparse, and slow surroundings with 'cosmic' / ethno influences, using mellotron, flute, synths, field recordings...- think of very dark ELODIE mixed with ABBILDUNG, SEETYCA or PHELIOS, and portions of meditative ZOVIET FRANCE.. 6 versatile, deeply immersive tracks, self-made cover and burned CD-r, to discover !
|
2022 |
€7.00 |
|
| LEWIS, KLARA & SIMON FISHER TURNER |
Care |
LP |
first collaboration by young Swedish composer KLARA LEWIS (daughter of GRAHAM LEWIS / WIRE) with SIMON FISHER TURNER, know for his various film soundtracks! => "The wide scope of references and constant pull of forces make this debut offering a timeless patchwork of sonic spaces. Care is an album which sways in such a salubrious manner one can’t help but delight in its unique form of location/disorientation." comes with download card
|
2018 |
€18.00 |
|
| LOPEZ, FRANCISCO |
La Selva. Sound Environments from a Neotropical Rain Forest. |
etched LP/USB |
one of LOPEZ most beloved / famous recordings (rainforest on Costa Rica) is finally back in print => as it was impossible to bring it in a complete form onto vinyl, the here included vinyl is EMPTY, therefore a USB audiocard is added with the full audio ("The Ultimate Mix"); LA SELVA is maybe the most intense djungle recording ever made, a different kind of 'absolute music'... numbered ed. 500 copies, signed by FRANCISCO LOPEZ
|
2015 |
€18.00 |
|
| LOPEZ, FRANCISCO / MICHAEL GENDREAU |
Untitled # 185 / Drowning |
LP |
"Split-LP des ex-CRAWLING WITH TARTS Mitglieds M. GENDREAU mit dem spanischen Puristen F. LOPEZ => Vinyl-Kratzer & Rauschen von Auslaufrillen uralter Platten, aber auch die Geräusche der Mechanik & Motoren von antiken Plattenspielern dienten als Klangquelle für diese Bearbeitungen, ein Meer von low-fi Knirschen, Rascheln & Geknister, von multiplen 'white Noise'-Flächen und rhythmisch-repetitiven Mustern, so ungewöhnlich & wie überraschend im Verlauf... lim. 500, signed, covers are bend a bit; LAST COPY!
|
2006 |
€8.00 |
|
| LOPEZ, JAY-DEA |
The Australian Gothic |
CD |
field recordings from Australia, which was for a long time (colonised in 1788) a kind of "dark subsconscious" of Britain, the dungeon of the world, a dangerous and alien place with a strange soundscape... JAY-DEA LOPEZ tried to capture and process daily farm- and landscape-sounds into a composition that shares uneasiness and beauty at the same time... lim. 200
|
2015 |
€14.00 |
|
| LUSTMORD & NICOLAS HORVATH |
The Fall |
do-LP |
pianist NICOLAS HORVATH and LUSTMORD have re-played and de-constructed the famous "November" piece by DENNIS JOHNSON from 1959, one of the first pieces of minimalistic music, influencing LA MONTE YOUNG, etc.. - " the duo strip the original back even further and play subversively with the core elements to deliver ruminative, brooding sounds which shapeshift between classical minimalism and pure drone." [Norman Rec.] - lim. ed. white vinyl
|
2020 |
€22.50 |
|
| MACHINEFABRIEK |
With Voices |
CD |
much favoured MACHINEFABRIEK album with special concept: all 8 tracks feat. the processed voice of different musicians, like: TERRENCE HANNUM (LOCRIAN), PETER BRODERICK, MARISSA NADLER, RICHARD YOUNGS, CHANTAL ACDA, etc.. - "These human voices are featured as musical instruments rather than mere vehicles of lyrical content, resulting in a sub-linguistic mosaic of primordially stirring moods." - CD version in digisleeve
|
2019 |
€13.00 |
|
| |
With Voices (col. vinyl) |
LP |
much favoured MACHINEFABRIEK album with special concept and atmosphere: all 8 tracks feat. the processed voice of different musicians, like: TERRENCE HANNUM (LOCRIAN), PETER BRODERICK, MARISSA NADLER, RICHARD YOUNGS, CHANTAL ACDA, etc.. - "These human voices are featured as musical instruments rather than mere vehicles of lyrical content, resulting in a sub-linguistic mosaic of primordially stirring moods." - lim. ed. RED vinyl
|
2019 |
€20.00 |
|
| MAMA BÄR / MAMA BAER |
Mitten im Wald |
MC |
C-20 with two short & extreme sound-collages using speed-up found sounds from horror-movies combined with scary voice overs, crazy sung pop chants & more hard to stand outflows....11th tape on the great German tape label, always using coloured MC bodies & oversized art-covers (21x21cm) with additional object inside (this time something from the forest), lim. to only 41 copies !!
|
2013 |
€8.00 |
|
| MAROS, MIKLOS |
Maros at EMS. 1970-1979 |
Fylkingen Records FYCD 1025 |
eight electroacoustic compositions realized at the EMS (Stockholm Electronic Music Studio) from 1970-1979 by this Hungarian-Swedish pioneer; evocative stuff combining weird analog electronic sounds & instruments, drones and vocal work...sounds still fresh & unusual, to discover
|
2012 |
€12.50 |
|
| MARTINEZ, ISRAEL |
Exorcizios |
CD |
interesting newcomer / composer from Mexico! "Ein neuer Komponist / Klangkünstler aus Mexiko, der sich zwischen bizarren musique-concrete Passagen & spannungsgeladener Elektro-Akustik bewegt... to explore & discover, special priced! " - his first release !
|
2008 |
€10.00 |
|
| MC NINCH, NATHAN |
A brief audio history of agriculture |
CD |
ORAL ist das Montrealer Experimental-Label von ERIC MATTSON, der Organisator der MUTEK-Festivals. NATHAN MC. NINCH ist ein neuer Name für uns, der mit “A brief audio history of agriculture” ein Werk präsentiert, welches sich über die Verwendung von field recordings mit dem Thema “Agrikultur” auseinandersetzt, um deren “Geschichte” mit ihren ureigensten Sounds zu erzählen... so vernetzt er hier die Klänge von landwirtschaftlichen Maschinen und der Alltags-Agrarwelt sehr sanft und tagträumerisch, so dass eine adäquate Atmosphäre entsteht, die in die nordamerikanischen Weiten entführt...
|
2005 |
€13.50 |
|
| MEESE X HELL |
Hab keine Angst, hab keine Angst, ich bin Deine Angst |
do-LP |
one of German's best known and most controversial artists (= "dictatorship of art"), JONATHAN MEESE as singer of catchy slogans in collaboration with Munich's DJ HELL, created during three experimental studio-sessions and based on minimal technoid beats, feat. BRIGITTE MEESE, the mother of JONATHAN (at the age of 91) on two tracks... "erfasst ganz hervorragend die derzeitige Stimmungslage von gefühlter Sinnlosigkeit bei grundsätzlicher Lebensbejahung." [Die Zeit]
|
2021 |
€25.00 |
|
| MENCHE, DANIEL |
Wings on Fire |
CD |
lim. 555 cardboard cover; two epic tracks of energetic Ur-drones, flickering like an acoustic Dream-Machine!
*In MENCHE’s Musik scheinen archaische Urkräfte entfesselt zu werden, die eine sehr direkte Wirkung auf den Körper haben, denn immer hat die Musik etwas extrem physisches, fast unausweichliches.. * (Drone Rec.) |
2005 |
€13.00 |
|
| MENS, RADBOUD & MATTHIJS KOUW |
3/4 |
do-CD |
third collab release of the new dutch drone stars! => 'On their new album, MENS and KOUW use a 12-meter magnetic string instrument and a modular synthesizer to create 6 carefully tuned pieces. With a total playing time of over 2 hours, ‘3/4’ continues the long-form drone explorations first released on the LP ‘1’ on Moving Furniture Records in February 2017.." - a homage to the drone works of ELLEN FULLMAN, LA MONTE YOUNG and ALVIN LUCIER, ed. of 300 copies
|
2018 |
€15.00 |
|
| MILAN SANDBLEISTIFT / AIDAN BAKER / RELAPXYCH.O |
Saite an Saite (a string based compilation) |
CD |
split-release with three long tracks by AIDAN BAKER, the LICHT-UNG master project MILAN SANDBLEISTIFT, and ex OBJEKT4 from Sweden RELAPXYCH.O, lim. 300, minimal design with booklet
|
2009 |
€12.50 |
|
| MILITIA |
Ambiorix |
CD |
the 'Eco-Anarchists' from Belgium are back with a concept album telling the story (based on CAESAR's writing "De Bello Gallico") of the Belgian king AMBIORIX who resisted against the Roman troops; the typical MILITIA sound (martial-percussive industrial) is set against texts sung in different languages, including Latin and Gaul... comes in special eco-leather bags with 4 different logos printed on the cover (12 versions of the artwork exist) + 3 folded insert; 500 copies made
|
2018 |
€16.00 |
|
| MOLJEBKA PVLSE |
Tamon |
CD |
"Nach seinen meditativen, ruhig-dronigen Werken SADALMELIK und DUHKA zeigt sich der junge Schwede M.P. mit TAMON viel noisiger, obgleich im Effekt ähnlich hypnotisch. Hier scheint MOLJEBKA PVLSE das Auge im Zentrum des Orkans zu suchen, wenn im Noise-Sturm eine ruhige, objekt- & zeitlose Zone entsteht.....MOLJEBKA PVLSE kreiert Trance-Noise, auf eine energetischere Stufe gehievt.. Industrialized microsound at its best!" [old Drone Rec. info[ - BACK IN STOCK last copies
|
2004 |
€13.00 |
|
| MONNIER, THIERRY |
Temps Espace |
LP |
a very abstract and 'a-musical' work of noises, resonances, tones, hums and silences, feedbacking drones in layers, mechanical sounds, reminding on CRAWL UNIT, SMALL CRUEL PARTY, etc.. "DIY musique concrete existing outside of any academism" - first LP for this French composer, member of LA MORTE YOUNG and man behind the DOUBTFUL SOUNDS label ; comes with two postcards
|
2017 |
€17.00 |
|
| MOUCHOIR ETANCHE (=BLACK TO COMM) |
Une Fille Petrifiee |
LP |
" I feel like a reverse Schroedinger cat -- do I exist when nobody sees me?" - debut album from the new MARC RICHTER / BLACK TO COMM project, deeply plunged in surrealism and hallucinogenic sensations... "A surreal piece of shock fiction connects the dots, but its very nature defies categorization.... Seldom has an artist been so impossible to predict, a huge part of Richter’s appeal." [A Closer Listen] - lim. 300 copies
|
2020 |
€18.00 |
|
| N [XX] (HELLMUT NEIDHARDT) |
Anklam [N43] |
LP |
ANKLAM is the 43th release by N (counting everything released, also split albums and single tracks), and contains three tracks where the use of distortion, chorus and hissing goes to the extreme, the wonderful first track 'Daemmerung' operates completely on the border between yearningful guitar polyharmonies, noise and silence, and creates an atmosphere which is pretty unique... all is recorded direct to two-track via guitar & amp, evolving naturally.. lim. 100
|
2016 |
€27.50 |
|
| NADJA |
Corrasion |
do-LP |
re-issue of the album from 2003 / 2007 incl. new versions and one track previously only available as MP3 single; gatefold cover lim. 400, last copies BACK IN STOCK! => "das vielleicht bisher eingängigste NADJA-Album, himmlische Melodien & wuchtige Arrangements, wundersame Drone-Sphären und geisterhaft gehauchter Gesang, im Spannungsfeld und Treffpunkt von Metal, Post-Rock und Sphären-Drone... [Drone Rec. info]
|
2009 |
€25.00 |
|
| NIBLOCK, PHILL |
NuDaf |
CD |
Ein neues Studiostück vom "Monumental" Drone-Altmeister aus New York City (inzwischen 85 Jahre alt!), basierend auf Fagott-Klängen, eingespielt von DAFNE VINCENTE-SANDOVAL, ein 65 minütiger one-tracker der zunächst eher vorsichtig Obertöne und Resonanzen erzeugt, dann in alle Richtungen auszustrahlen scheint.... - "The tones vibrate and glow, the densely packed texture shifting hues like a sonic aurora borealis" [John Rockwell / New York Times]
|
2021 |
€15.00 |
|
| NODDING GOD (DAVID TIBET & ANREW LILES) |
Play Wooden Child |
LP |
a quite bizarre new project by DAVID TIBET & ANDREW LILES, a band that is 666 years old, including the mysterious "Underage Shaitain Boy" - lyrics are for 93% sung in Arkadian language... "This is a masterful record, precisely because it is not po-faced. Singing in an ancient tongue, but with galactic, futuristic overtones, it’s almost as if the voice exists out of time itself, a primal spirit that was there in Akkadia and is there in every corner of the universe." [The Quietus] - lim. vinyl ed. on PINK
|
2019 |
€29.50 |
|
| NOISEGATE |
Nr. 11 |
mag |
60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Electronic Music: The unstable waveform, Big Bang and Beyond, MAX NEUHAUS, DAVID TOOP, Kuess-Pruefung-Installation, How to demolish cars with a hammer head, etc.. |
2003 |
€5.50 |
|
| NURSE WITH WOUND |
Rat Tapes One: An Accumulation of Discarded Musical Vermin 1983-2006 |
CD |
"Ratten-Tapes? 18 Stücke, alle unbetitelt, aus den letzten über 20 Jahren, auffallend oft rhythmisch ausgeprägt (sogar break-beatig 1 x ), natürlich immer an der Pforte zu einem surrealistischen Traumreich, wo Bedrohung und Humoreske zwei Seiten derselben Medaille sind. Ansonsten kann einem hier so ziemlich alles passieren, und diverse Sounds von bekannten Releases tauchen wieder auf... Stimmenexperimente, Tierlaute, Sinustöne, unbeschreibbare Geräusche.. " [Drone Rec.] BACK IN STOCK!
|
2006 |
€13.00 |
|
| |
Huffin' Rag Blues |
CD |
11 tracks (70+ minutes)of NWW lounge music, a surrealistic version of erotic exotica and funk...
features MATT WALDRON, DIANA ROGERSON, COLIN POTTER, PETR VASTL (ARANOS) ; etc... comes in 6-panel digipack
|
2008 |
€15.00 |
|
| O'MALLEY, STEPHEN |
End Ground |
LP |
third and last part of the series with improvised / experimental solo guitar O'MALLEY drones... "End Ground" was recorded live in Paris on 18th October 2013 => "His durational meditations absorb and consume with steady- handed wave after wave of charred, sustained, and sub-harmonised chords casting the mesmerising minimalist practice of La Monte Young into the physicality of Black Sabbath’s original, heavy metal die." 2nd pressing, 250 copies
|
2017 |
€21.00 |
|
| ORGANUM / Z'EV |
Temporal |
CD |
lim. 600 / 3rd release of collaboration series with fantastic, subtle 'transcendental drones'!
- "...hier wird man quasi in eine imaginäre Rothko Chapel teleportiert, magisch ‚beleuchtet‘ und ‚bemalt‘ mit Lichtstrahlen und Farbwolken aus Klang. Es gibt da durchaus ein Moment des ‚Kampfes um die Seelen‘, nur dass Organum & Z‘ev nichts verdammen und nichts versprechen und ihr Angebot in nichts besteht außer einer Anmutung von Intensität, die wie ein schwarzer Monolith, wie ein dunkler Spiegel da steht, auf dem, wenn man ihn behaucht, Wörter auftauchen - PERL - ATOM - POEM - MORAL - PORTAL - TREMOR." [Bad Alchemy]
|
2008 |
€14.00 |
|
| OWWL |
Tree speaks to Stone; Stone speaks to Water |
CD-R |
rough & rusty overtune-drones based on harmonium / reed organ and subtle guitar-feedbacks - first release with four long atmospheric tracks by a promising new duo from Bonn, Germany feat. STEFAN OTTO (NEBELUNG); lim./numb. 70 copies handmade cardboard cover w. inlay
|
2011 |
€10.00 |
|
| PALESTINE, CHARLEMAGNE |
CharleBelllzzz at Saint Thomas |
CD |
unreleased tape recordings from 1966-1968, made in the Saint Thomas Church (New York City) which holds a carillon with 26 bells => two very long pieces (over 30 min. each) of pure church bells resonances and attacks performed by the young PALESTINE... "The sounds became physical, visceral, each crack of the clapper was like a small earthquake."
|
2015 |
€15.00 |
|
| |
Interrvallissphereee |
LP |
also NYC's drone wonderchild got access to the special MOOG studio in UK, the "Moog Sound Lab UK", where he created these two exactly 25 min. long drone pieces... ""Electronic instruments were very rare & exotic in the 1960's. There were Moogs around New York but they were only in universities who preciously guarded them from us young composers. So after all this time visiting The Moog Sound Lab is like a dream come true for me"...
|
2018 |
€21.50 |
|
| PALESTINE, CHARLEMAGNE & RHYS CHATHAM |
Youuu - Mee = Weee |
3 x CD |
the very first recorded collaboration between these two legendary minimal musicians and composers - the full 166 minutes!! - C. PALESTINE: voice, piano, yamaha organ - CHATHAM: trumpet, loop pedal, electric guitar => floating minimal drones with great effect on the mind, all handplayed and sung and slowly shifting, these are acoustically painted Drone-Mandalas !
|
2014 |
€18.50 |
|
| |
Youuu - Mee = Weee (First) |
LP |
lim. LP version of the first CD (two side long pieces) from their epic collaboration; PALESTINE: voice, piano, yamaha organ CHATHAM: trumpet, loop pedal, electric guitar => floating minimal drones with great effect on the mind, all handplayed and sung and slowly shifting, these are acoustically painted Drone-Mandalas.... comes on translucent red vinyl
|
2015 |
€15.00 |
|
| PALESTINE, CHARLEMAGNE / GRUMBLING FUR TIME MACHINE ORCHESTRA |
ggrrreeebbbaaammmnnnuuuccckkkaaaiiioooww!!! |
LP |
stunning recording of a performance that happened at London's 'Cafe OTO' in June 2013: PALESTINE supported by DANIEL O'SULLIVAN (AETHENOR, GUAPO) and ALEXANDER TUCKER (GINNUNGAGAP, etc.) (=GRUMBLING FUR T.M.O.), has some wonderful & wondrous ethereal, ecstatic and weird moments! "processed strings, live tape manipulations, Indian harmonium, shimmering piano clusters, bleating cattle, a Japanese orgy, disembodied vocal harmony..." lim. 500 blue vinyl
|
2015 |
€25.00 |
|
| PERRY, BRENDAN |
Eye of the Hunter / Live at the ICA |
do-LP |
first vinyl re-issue of BRENDAN PERRY's (=DEAD CAN DANCE) first solo-album from 1999, comes with the recordings of a rare live / promo cassette from 1993; w. gatefold cover, vinyls in two different colours... - "Don't remember how many times I listen to this album, home many more times I had sung this songs myselfs to the darkness of room. Alone.Poetry of late night." [audacter]
|
2023 |
€44.50 |
|
| |
Eye of the Hunter / Live at the ICA |
do-CD |
re-issue of BRENDAN PERRY's (=DEAD CAN DANCE) first solo-album from 1999, comes with the recordings of a rare live / promo cassette from 1993; .. - "Don't remember how many times I listen to this album, home many more times I had sung this songs myselfs to the darkness of room. Alone.Poetry of late night." [audacter]
|
2023 |
€16.00 |
|
| PIMMON |
Secret sleeping birds |
CD |
PIMMON-Werk auf dem portugiesischem SIRR-Label, ambienter, melodischer und orchestraler als gewohnt, aber auch mit weirden Collagen/ Loop-Stücken, den Markenzeichen-digital-Effekten und und und...wie immer kaum kategorisierbare, abwechslungsreiche, überraschende NEUE Experimental-Musik. Aus Australien......
LAST COPY! |
2005 |
€8.00 |
|
| POTTER, COLIN |
The Sights of the Drowned Fable |
CD-R |
back in stock this rare CD-R with a live recording from the "Resonater Festival" July 2007: "Ungewöhnlich noisig-rhythmische Klänge am Anfang dieses Mitschnitts, dessen Klangstrom dann immer droniger & geisterhafter wird, wo tiefergestellte Stimmen durch den Äther zischeln, Frequenzmodulationen aus dem Nichts erscheinen, meditative Gongs auftauchen und field recordings von Regen & Donner...." [Drone Rec.] - prof. jewel-case edition, sealed, UK import
|
2007 |
€12.00 |
|
| PÄRT, ARVO |
Fratres |
CD |
9 pieces performed by the Hungarian State Opera Orchestra, December 1995 incl. the genius "Cantus in memory of Benjamin Britten"
|
1997 |
€10.00 |
|
| RAISON D'ETRE |
Alchymeia |
CD |
phantastic new RD studio album, influenced by C.G. JUNGs theories this is meant as a journey to one's unconsciousness, in order to strenghten the 'true self'; using lots of vocal/choir material again, this contains the most deeply melancholic and emotional RD material we ever encountered.. first (?) edition of 500 copies only, a vinyl version will be available soon!
|
2018 |
€13.00 |
|
| |
Daemonum + Daemoniacum |
3 x LP set |
inspired by the ANIMA / ANIMUS archetypes theory of C.G.JUNGian Depth Psychology, DAEMONUM marks the 30th anniversery of the project, a truly mesmerizing subconscious drone release.. - "By learning to listen for the voice of our subconscious self, we can call that voice our Daemon, our internal genius that provide guidance, we can find hidden potential within ourselves." - this the special 3 x LP ed. with bonus album "DAEMONIACUM", SOLD OUT from the label immediately !!
|
2022 |
€47.50 |
|
| RAPOON |
Cultural Forgeries |
CD |
rare Rapoon album with special concept - pure 'acoustic' sources were later effected with delay & reverb to form one long "live" take in 17 different parts => 'Trumpet, Bodhran, Banjo, Pungi, Shehnai, Indian flute, Chinese flute, Irish tin whistle, hand bells, cello, accordion, guitar, one string slide guitar, Ukelele, Kan (Tai bamboo harmonica), mouth harps, percussion', all played by ROBIN TOREY himself....lim. 300 and almost sold out at the label; US import !!
|
2014 |
€14.00 |
|
| REED, RICK |
Dark Skies at Noon |
CD |
Einigen vielleicht bekannt von der schönen BETA LACTAM 10” „Music for the Rothko Chapel"; hier drei neue Stücke von RICK REED, der von KEITH ROWE (Gitarre & Radioempfänger) sowie TRAVIS WELLER (Violine) begleitet wird. Dronige Improvisationen mit bizarren analogen Sounds, Klangfelder voller elektrischer Transmissionen, der Aether aufgeladen mit ominösen Radio-Schwingungen...
- with cardboard-cover / lim 328 copies |
2005 |
€14.00 |
|
| REFORMED FACTION |
Vota |
CD |
"We are like Angels falling down" - the very first album of the project that was first called REFORMED FACTION OF ZOVIET FRANCE (formed by ROBIN STOREY, MARK SPYBEY and ANDY EARDLEY), which had to be re-named later, now fully re-mastered: "fliessende ethno-drones, Stimmenverfemdungen, Kaskaden von Effektprozessorklängen, eine trancig-transzendentale Atmosphäre, die zum versinken einlädt, aber stets von einem Geheimnis durchdrungen scheint...." [Drone Rec.]
|
2022 |
€13.00 |
|
| RENOU, CHRISTIAN |
Flou |
CD |
lim. / numb. 100 copies / fabric-pressed CD , no CDR ! - Der ex-BRUME C. RENOU spinnt hier auf sechs neuen Stücken einen weiteren, wenig angenehmen Trip in die Untiefen des Selbst zurecht, spannungsreiche Geräuschmusik die immer kurz vor der Explosion zu stehen scheint, eiskalt und hart an der Oberfläche, aber von tiefer verzweifelter Emotion im Inneren geprägt... |
2005 |
€16.00 |
|
| REYNOLS |
Fire Music Reloaded |
CD |
FIRE MUSIC appeared in 2003 as a maxi-CD and could be seen as a sister-release to the famous "10.000 Chickens' Symphony" 7", we wrote: "Neben der Erschaffung eher psychedelisch-obskurer Improvisationen betätigen sich REYNOLS auch als Sound-Konstruktivisten erster Güte.. " - this re-issue contains the FULL version of the recordings and re-workings, pure fire sounds, ranging from whispering hisses to deep monumental drones... lim. 200
|
2022 |
€13.00 |
|
| RLW |
Tonlose Lieder |
CD |
22 Stücke aus der Zeit von 1990/1991, kurz bevor das erste RLW-Album "Acht" erschien. Brilliante (De-)Konstruktionen von instrumentellen + Alltags-Soundquellen (Piano, Gongs, MIDI-Keyboard, Rhythmen, Staubsauger) vermischt mit Sample-Technik, gescratchten Platten, obskuren Feldaufnahmen. Eine unglaubliche Fülle von Ideen wird hier schonungslos umgesetzt - meist sehr dynamisches und vitales Material, zwischen Atonalität und Geräuschimprovisation, no easy listening guaranteered! [Drone Rec] BACK IN STOCK
|
2004 |
€13.00 |
|
| RODEN, STEVE |
Berlin Fields |
CD-R |
"a radiator touched with hands", "maracas in the bedroom", "feet on my ceiling", etc.. - delicate & pure field recordings made in Berlin, Paris & Helsinki, with no further processing; on a label from Hungary that - similar to Unfathomless - is releasing field-recording based works only; lim. 222 copies, numbered, oversized full colour cover; LAST COPY!!
|
2012 |
€15.00 |
|
| RODEN, STEVE / IN BE TWEEN NOISE |
The Radio |
maxiCD |
STEVE RODEN schafft es, aus kurzen Samples aus dem Radio sowie durch Verwendung konkreter Geräusche eines Radioapparates ein wunderbar melancholisch-getragenes 18min-Stück zu kreieren, welches durch seinen hohen, WIM MERTENS-artigen Gesang begleitet wird.
Wir meinen: die perfekte Symbiose aus Geräusch & Emotion, highly recommended!! LAST COPY!
|
1999 |
€10.00 |
|
| ROSS, DAVID & CLIVE BELL |
Recovery Suite |
LP |
British duo also known as TWINKLE with jazz / impro / world music roots, creating hard to categorize ethno-electronica / fourth world ambient landscapes with the extensive use of the Shakuhachi, a Japanese bamboo flute, "dystopic lounge ambiance" the label calls it; very curious, unique music... lim. 250
|
2014 |
€15.00 |
|
| ROZMANN, AKOS |
Impulsioni |
CD |
Strong dark–atonal pieces from this Hungarian composer...
|
1999 |
€13.00 |
|
| RUHLMANN, MATHIEU |
This Star teaches Bending |
CD-R |
extraordinary conceptual field recording album made from sounds of the human body of MATHIEU RUHLMANNS mother (!) (with additionals from medical equipment & location recordings) who was diagnosed a rare malicious lung desease; astonishing micro-sounds, very reduced and concrete...forming slow granular drones after a while.. think of JOHN HUDAK, DALE LLOYD, JGRZINICH.. lim. 200
|
2013 |
€10.00 |
|
| SCHNITZLER, CONRAD / PYROLATOR / WOLFGANG SEIDEL / KOMMISSAR HJULER / ETC. |
A Tribute to Anthony Braxton |
LP |
this release in the FLUXUS series by Psych.KG contains rare material by CONRAD SCHNITZLER (collaborations with WOLFGANG SEIDEL and PYROLATOR), KOMMISSAR HJULERs legendary "Gerichtsverhandlung für Eimer und Gießkannen" piece, a very long piece by HJULER UND FRAU named "____ Br/l+T° n_/ " and one track by "ALBRECHT/d.&der mußikant"; about 47 min. of material, lim. 75 w. hand-clinched full-colour sleeve, numbered and signed
|
2016 |
€23.00 |
|
| SEEMANN |
Hemisphäre |
CD-R |
a most spheric 40 min. piece by Hamburg's best kept drone-ambient secret, it develops from ethereal choirs into an ethno-percussive, hypnotrance-drone piece... - "eine hintergründige Spannung zwischen dem Fragment einer russischen Schellackplatte und dem archaischen Splitter einer balinesischen Feldaufnahme...." [Bad Alchemy] - comes w. self-made colour sleeve, not to be missed !
|
2022 |
€8.00 |
|
| SHIBALBA / ALONE IN THE HOLLOW GARDEN & NAM-KHAR |
Yang Trol Le |
CD |
Drone-Mind 6 act NAM KHAR appears on this split & collab album again with ALONE IN THE HOLLOW GARDEN on three stunning tracks (Tibetan drone muzak feat. a huge collection of original instruments, as: Strings, Kantele, Percussion, Horn [Kangling], Flute [Mey Ney & Pungi Flutes], Drums [Damaru], Cymbal [Rol-Mo], Bells, Gong]; three other tracks are from Greeks SHIBALBA, partly in collaboration wtih OF EARTH AND SUN; "to dream beyond the skin of matter & to dream in ecstasy and exaltation"
|
2017 |
€12.00 |
|
| SHRINE |
Nausicaä |
CD |
probably the last ever album by the great Bulgarian ambient project, inspired by a Japanese manga from the 80's named "Nausicaä of the Valley of the Wind": 'a story of Earth's future a thousand years after the collapse of industrial civilization, when most of the planet is covered by a toxic jungle filled with deadly spores that choke all human life. An ode to the relationship between humanity and nature, and a call of awareness to the environmental crisis we all face..' - lim. 300 and not to be missed !
|
2022 |
€13.00 |
|
| STEINBRÜCHEL |
Mit Ohne |
maxi-CD |
*Mit Ohne* is a sound documentation of an audio/visual installation by Yves Netzhammer and Steinbrüchel. The installation entitled 'The Feeling Of Precise Instability When Holding Things' was part of the group exhibition 'Wohnträume/Wohnräume,' exhibited from 26.07. to 28.09.2003 at the Museum für Gestaltung in Zurich, Switzerland. - lim. 500
|
2008 |
€10.00 |
|
| STILLUPPSTEYPA |
Beach Jolanda |
LP |
after more than a decade Icelands STILLUPPSTEYPA is back with a full album working as a DUO again, with 12 tracks recorded at various locations from 2006-2017 and diverse guest musicians involved (as BJ NILSEN or OREN AMBARCHI), showing them at their most curious => "That is the music that deals with organ sounds, rhythm machines, exotic lounge music but then totally torn apart...There is a lot to smile about with this record." lim. 400, full-colour sleeve and insert
|
2018 |
€20.50 |
|
| SUPERSILENT |
11 |
CD |
re-issue of the "11" LP from 2010 which contains 6 tracks from the sessions that lead to the "8" CD, "an album that to a certain degree explored more abstract and mysterious pathways beyond categories and comparisons."...."wie eine Prellung, die schillernd aufblüht, gleichzeitig zeitlupig und gerafft auf eine Stunde, vielleicht weil der Bluterguss einen ganzen Raumquadranten verfärbt." [Bad Alchemy]
|
2014 |
€15.50 |
|
| TARAB + ARTIFICIAL MEMORY TRACE |
Obex |
MC |
OBEX means: "Object Activity Exchange Transformation" - and this title gives you the direction this goes, various field recordings from all kinds of natural and un-natural objects have been gathered and effect-processed, forming a kind of concrete drone ambience, what could be stones, sand, fire, metal objects, soil, but often you don't know esxactly..wonderfully complex and verstatile. => Zwei Meister der Feldaufnahmen-Geräuschkunst sorgen vereint für ungeahnte Komplexität ! lim. 100
|
2018 |
€10.50 |
|
| TARKATAK |
I II III IIII |
CD |
finally after a long break a new album from TARKATAK. shaping gorgeous drone-landscapes, with clouds of ethereal piano shimmers, often the drones move so slow that the time seems to freeze.. - "Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper]
|
2022 |
€13.00 |
|
| TATE, DARREN |
Edition |
CD-R |
New work of the ORA-member on Colin Potters ICR sublabel FUNGAL, with this special kind of reduced concrete drone-minimalism.
First edition 100 copies.
|
2007 |
€13.00 |
|
| |
Ghost Guitars |
CD-R |
re-found: some copies of this rare FUNGAL-release by the ambient-project of this ORA & MONOS member
|
2006 |
€12.00 |
|
| TEARDO, TEHO & BLIXA BARGELD |
Fall |
12inch |
the latest 12" vinyl of this fruitful and unusual collaboration, feat a cover version of NEIL YOUNGs "My My Hey Hey"; 4 tracks in total, many guest musicians on Bass Clarinet, Cello, Viola, and Violin.. + download code
|
2017 |
€22.50 |
|
| TEGH |
Unusual Path |
LP |
rare 12" with a side-long piece by the Teheran based composer, on Side 2 two we find remixes by SIAVASH AMINI and ZENJUNGLE => as with the precursor "Downfall" (CD on Midira), this is a melodramatic, but raw/distorted and organ-like ambience dronescape of a "higher" transcendental beauty,not to be missed! - lim. 100 copies only, blue vinyl, heavy cardboards sleeve and DL code
|
2019 |
€23.00 |
|
| TESTCARD |
# 17 : SEX |
BOOK |
POP-SEXISMUS, DIE LINKE UND DER SEX, TRANSGENDER-BEZIEHUNGEN, QUEER POP, STRAIGHT EDGE & SEXUALITÄT, INDEPENDENT PORNO, RUSS MEYER, SHORTBUS, "Die nackten Wilden des Kapitals", "Im Bett mit MARCUSE",etc etc., reviews, books, films,.. 290 pages, german language
|
2008 |
€14.50 |
|
|
#18 : REGRESS |
BOOK |
Sehr politische neue Ausgabe über den "reaktionären Backlash", den die westlichen Gesellschaften in den letzten Jahren erfahren haben, die Renaissance von Werten wie Religion, Kleinfamilie, Nation & Disziplin; Artikel u.a. "Die Notwendigkeit der Subversion", "Woher kommt der Hass auf Emos?", "Der Fan als idealer Staatsbürger", Beiträge zu Erziehung, Arbeit, Popmusik, Fernsehen als Disziplinierunganstalt, etc. etc. FÜR DAS KRITISCHE BEWUSSTSEIN! AGAINST THE BRAINWASH !! UNBEDINGT LESEN !! 304 Seiten
|
2009 |
€14.50 |
|
|
#23: TRANSZENDENZ - Ausweg, Fluchtweg, Holzweg? |
BOOK |
Hochinteressante Ausgabe gerade für Sphären- & Otherworld- suchende Drone/Experimental/Ambient Industrial-Hörer => Artikel über 'Dronemusic und spätmoderne Zeiterfahrung', 'Vom Pilzkult zur Popkultur', 'Der Geist der Utopie' (Pop=Immanenz+Transzendenz), 'LSD,Musik,Transzendenz', 'Leben in einer Nicht-Zeit', 'Black Metal Theory', 'Die Transzendenz des neuen Atheismus', MOONDOG, SUN RA, 'Die große Transzendenz-Diskografie', etc. etc. Tonträger, Bücher-Reviews, 336 Seiten! TIP !!
|
2013 |
€15.00 |
|
| |
#24: BUG REPORT. Digital war besser |
BOOK |
Thema INTERNET und die digitale Welt, die "binäre bunte Hölle", Artikel z.B. über: Digitale Gegenwart, Digitales ABC, Big Data, Genealogie des Computers, die Sounds der Digitalisierung, digitale/analoge Sound-Effekte, Mensch-Maschinen und Roboter, das Altern der digitalen Ästhetik, Web-Comics, Indie-Computerspiele, etc. etc. sowie Tonträger, Bücher-Reviews, 312 Seiten
|
2014 |
€15.00 |
|
| THAI ELEPHANT ORCHESTRA (TEO) |
Water Music |
CD |
the only album in our catalogue played entirely by ELEPHANTS ! 14 Elephants improvising on giant instruments in the Thai jungle - build by DAVE SOLDIER & RICHARD LAIR - gamelan gongs, wood & metal instruments and percussion, and you can also hear them trumpeting....the only human involved in the sound-creation is a Buddhist prayer at the beginning. Incredible stuff ! A video of the performance is available at mulatta.org !!
|
2010 |
€13.00 |
|
| THIS HEAT |
same |
LP |
luxus re-issue of the first LP from 1979, a true classic of TRUE Avantgarde-'rock' of that time..."Was diese so Band so ausnehmend macht und selbst unter heutigen Maßstäben so ungemindert bestechend, ist in meinen Ohren der Thrill zwischen schwebenden Momenten, in denen die Musik die Luft anzuhalten oder garottiert zu werden scheint und sich enorme Energie aufstaut, und den unglaublich intensiven Eruptionen in Gestalt des ostinaten Drummings und sich ins Gehirn fressender Loops." [Bad Alchemy]
|
2016 |
€26.50 |
|
| TIETCHENS, ASMUS + CV LIQUIDSKY |
Monoposto |
CD |
the 17th issue in the 18part re-issue series of Die Stadt & Auf Abwegen presents the 1991 collab LP with German artist CV LIQUIDSKY, a work with a more improvised, repetitive/rhythmic and almost playful approach, with wonderful track titles such as "Schlotzen" or "Junge Hoden", and a cover version of a NEIL YOUNG song (!); comes with 3 bonus tracks and new liner notes by ASMUS TIETCHENS
|
2020 |
€15.00 |
|
| TIETCHENS, ASMUS + FRANS DE WAARD |
Oordeel |
CD |
two of the key figures of the experimental underworld (as we know it), both active since the 70's / 80's of last century, in their first collaboration => enter micro-catacombs and a jungle with strange metallic sounding birds, frictional surfaces in interaction, finespun glass chants and far-out quasi rhythmic and pulsing chains of machine-like noises.. = very delicate woven surrealistic sound-proceedings! (11 tracks, 47+ min.)
|
2019 |
€13.00 |
|
| TOOP, DAVID |
Lost Shadows: In Defence of the Soul (Yanomami Shamanism, Songs, Ritual, 1978) |
LP |
recordings from 1978 of YANOMAMI ritual songs, shamanistic ceremonies and rainforest sounds, when DAVID TOOP was travelling to the Amazon jungle to meet the fascinating tribe...comes with 40 page booklet with text by DAVID TOOP about the journey
|
2015 |
€15.50 |
|
| |
Lost Shadows: In Defence of the Soul (Yanomami Shamanism, Songs, Ritual, 1978) |
do-CD |
recordings from 1978 of YANOMAMI ritual songs, shamanistic ceremonies and rainforest sounds, when DAVID TOOP was travelling to the Amazon jungle to meet the fascinating tribe...comes with 40 page booklet with text by DAVID TOOP about the journey, and pictures & lots of additional audio compared to the LP version
|
2015 |
€16.00 |
|
| TRANSITIONAL |
Stomach of the Sun |
CD |
second album by this group with ex SKULLFLOWER, HEAD OF DAVID, NOVATRON, etc. members; produced by JUSTIN BROADRICK (GODFLESH, JESU) - *Als hätte es Godflesh nie gegeben, spielen Transitional (Kevin Laska - guitar/voice/electronics/synth/drum programming; Dave Cochrane - basses, u.a. bei Jesu, Greymachine und God involviert) mit der kühlen Eleganz der Industrial-Pioniere, steigern ihre Tracks ins Unermessliche, unglaubliche Gitarrenwände, die Welt auffressende Riffs, wuchtig, massiv und monoton. Heavy! I said HEAVY!*
BACK IN STOCK - special offer !!
|
2009 |
€8.00 |
|
| TURCOTTE, ROXANNE |
Fenetres interieures |
CD |
the third proper release by this highly interesting Canadian composer from Montreal, presenting 8 works (2009-2014), with the intention to open up (inner & outer) windows: wildlife/animal sounds worlds, memories on lost persons and their acoustics, our relationship with time, studies of vibrating strings, the horror of Fukushima, "protest acousmatics" of the younger generation, => all perceived from a poetic and philosopic perspective and transformed into electro-acoustic pieces
|
2014 |
€14.00 |
|
| URBAN SAX |
Urban Sax 2 |
LP + DVD |
re-issue of the second LP (from 1978) by GILBERT ARTMANs Saxophone & Multimedia orchestra, a continuation of the debut-LP...."It features parts 2 and 3 of the pieces contained on 'Urban Sax 1', and shows similarities to the music of La Monte Young, Phil Niblock, Glenn Branca, Steve Reich and Terry Riley." comes again with a full bonus DVD feat. unreleased audio & video material, plus 24 page full colour booklet
|
2016 |
€24.00 |
|
| UZGIN ÜVER |
99 |
CD |
re-issue of the 2nd studio album by this remarkable "ethno/experimental/worldmusic" group from Hungary (you may call it AVANT-FOLK) who use a big array of original ethnic instruments (Kaval, Zurna, Gaida, Duduk, special pipes/trumpets/violin) and east-european & throat singing for their hypnotic & psychedelic folk-groove... 20 untitled tracks sometimes not so far away from the ethno-ambient of RAPOON
|
2015 |
€12.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Guitars undressed |
CD |
japanese comp. with AMBARCHI, SHIFTS, DAVID GRUBBS, LEE RANALDO, RAFAEL TORAL, RICHARD YOUNGS, NAOAKI MIYAMOTO |
2003 |
€12.00 |
|
|
IDIOSCAPES |
CD |
"drone paradise" -compilation with JANEK SCHAEFER, KEITH FULLERTON WHITMAN, RAPOON, KK NULL, C PALESTINE, BASHO-JUNGHANS, TROUM, JAZKAMER, DANIEL MENCHE, and others.. low priced!
|
2007 |
€10.00 |
|
|
Landscape I / The Forest |
CD-R |
drone / folk - compilation lim. 100 in handmade sleeves closed with little tree-branch. With TIM COSTER, CHORA, WE WAIT FOR THE SNOW, NEBELUNG, and others...
|
2007 |
€10.00 |
|
|
TEKNOIR |
do-CD |
crucial compilation which marked a kind of "manifesto of dark technoid music" for the Ant-Zen sublabel, still sound great today: BLACK LUNG, ORPHX, IMMINENT STARVATION, VROMB, SOMATIC RESPONSES, WINTERKÄLTE, ESPLENDOR GEOMETRICO, SYNAPSCAPE, BEEFCAKE, MOTHER DESTRUCTION, etc. etc. SPECIAL OFFER now !
|
1999 |
€8.50 |
|
|
FUCK YOU. Fucking Noise in China now |
DVD |
Is noise political? Is there music after Mao? Impressive film about the new NOISE-scene in China - a 100 minute-trip & road movie filmed 2006 between Beijing & Shanghai, feat. TORTURING NURSE, WANG CHANGCUN, WANG FAN, LI JIAN HUNG/DICKSON DEE, Z. KARKOWSKI, etc.. by GUY-MARC HINANT & DOMINIQUE LOHLE
|
2012 |
€15.00 |
|
|
...plays BAD SECTOR |
mCDR |
BAD SECTOR-fans Achtung! Four different artists worked on new BAD SECTOR-source materials for a stunning result: FREIBAND, IF,BWANA, HYPNOSKULL as 33MHZ, and newcomer dEmutE; excellent tracks all around, lim. 122 copies in oversized (fullcolour) cardboard cover
|
2011 |
€6.00 |
|
|
Six Winners: The Stockholm Electronic Arts Award 1991-1996 |
CD |
outstanding electroacoustic compositions from: RAY GUILETTE, MARK WINGATE, AKE PARMERUD, GILLES GOBEIL, MATHEW ADKINS, JOHN YOUNG - these were the winners of the "Stockholm Electronic Arts Award" from 1991-1996; complex & dynamic NEW music to discover !! Comes with booklet.
|
1999 |
€12.50 |
|
|
5 Composers - Second Coming |
CD |
the oldest available FYLKINGEN CD at this time, presenting Swedish electroacoustic music: ANDERS BLOMQVIST, JONAS BROBERG, AKEMI ISHIJIMA, TAMAS UNGVARY, AKOS ROZMANN; "expressive, dramatic, monumental and humoristic music gives the CD features of a journey within different landscapes of sound"
|
1994 |
€12.50 |
|
|
AUSGEWÄHLTE GERÄUSCHE |
do-CD & BOOK |
jubilee release for this German label and magazine which links the personal history from AUF ABWEGEN from the last almost 25 years with the evolution of the German noise / experimental / drone scene: 29 rare or unreleased tracks (many Drone Rec artists!) AALFANG MIT PFERDEKOPF, MOHR, MAEROR TRI, KALLABRIS, HITHLAHABUTH, CRANIOCLAST, WERKBUND, LICHT-UNG, COLUMN ONE, , N, THOMAS KÖNER, etc... comes with 82 page book with infos & essays, a must have!!!
|
2016 |
€22.00 |
|
|
'... that first Season' - A Winter-Light Compilation |
do-CD |
first label-compilation by this new dutch label, dedicated to various forms of aesthetic, atmospheric and contemplative ambience: exclusive material from STROM NOIR, RAPOON, ABBILDUNG, PHANTOM SHIP, GYDJA (!), SEETYCA, HAKOBUNE, FOETUSDREAMS, NEXUS SUN, HAVDIS, APOCRYPHOS, etc. etc. (16 artists in total!)... a very cohesive compilation, for fans of the GTERMA, CYCLIC LAW, and ZOHARUM-circles...
|
2017 |
€16.00 |
|
|
Fluxus Anthology : A Collection of Music and Sound |
LP |
a collection of various incredible soundworks 1956-1989 that could be labelled as part of the Fluxus movement, by: JOSEPH BEUYS, JOHN CAGE, LA MONTE YOUNG, NAM JUNE PAIK, PHILIP CORNER, YOKO ONO, EMMETT WILLIAMS, MILAN KNIZAK, WOLF VOSTELL, etc.. first released as LP in 1989, comes with replica of the original sleeve design featuring excerpts from various Fluxus writings
|
2017 |
€28.00 |
|
|
Transit |
CD |
we recommend the fine ED.DEGEM compilation series, always centered around one topic and with many interesting sounds and concepts from the Sound Art and Electro-Acoustic scene, incl. booklet. theme: TRANSITION (Übergang, Verwandlung), 8 pieces by some more established composers this time: CLEMENS VON REUSNER, THOMAS GERWIN, MONIKA GOLLA + N: HEYDUCK, HANS TUTSCHKU, KLARENZ BARLOW, DIRK REITH, JOHANNES S. SISTERMANNS, JAN JACOB HOFMANN:::
|
2019 |
€13.00 |
|
| |
Drone Islands : Stellar |
CD |
next in the fine series of "Experimental Drone" Compilations (# 3), 12 artists / pieces from the expanded world of drones (with a focus on astronomical phenomena), lots of new spheres to discover: KLOOB, NIHIL IMPVLSE, TITO+ (India!), INFINEXHUMA, VERONICA MOSER (Greece), BLACK WEALD (Hungary), TARME TIL ALE (Mexico!), GREY FREQUENCY, SIMON McCORRY, PLUHM, MLS, THOMAS GRENZEBACH... lim. 200 copies, digipak
|
2021 |
€13.00 |
|
| VALY, SANDOR |
Early Works 1988-1992 |
MC |
earliest material by this Hungarian noise & ritual industrial artist, who went into a psychiatric hospital (where he studied the Bardo-Thodol) to avoid to be taken by the military service; in 1990 he moved to Finland.=> dark droning and synth-driven post industrial and electronica, recorded on 2 channels with simple equipment in Hungary and Finland 1988-1992; lim. 50 copies
|
2022 |
€9.00 |
|
| VALY, SANDOR & ATTILA KALOCZKAI |
The Agitated Calm of Insubstantial Space |
CD |
two imporant figures of the Hungarian underground from the 80's met again and recorded an album with the "ritual poetry" of ATTILA KALOCZKAI, and the dramatic post industrial tunes of SANDOR VALY; furious drone-waves, heavy drumming, atonal violin & piano, a mixture of melodramatic, ambience and noise, intense & dark! - lim. 300 digipak with 16 pages booklet, on a new label from Finland
|
2022 |
€13.00 |
|
| VELEZ, DAVID |
El Pajaro que Escucha |
CD-R |
deep drones & weird animal sounds - a long one-tracker (60+ min.), based on field recordings made in the Palomino region of Columbia (rainforest & jungle), especially focused on wildlife sounds... "a cultural approximation to the natural" lim. 200, full-colour cover
|
2012 |
€10.00 |
|
| VISHUDHA KALI |
Unfinished Devastation Narrative |
CD |
Sehr ruhiges, spirituell-meditatives Album des St. Petersburger Projekts mit vielen Harmonika-artigen Sounds, gewidmet der Heimatstadt. Beeindruckende Aufmachung mit vielen Vollfarb-Postkarten...
comes with many full colour postcards - LAST COPY! |
2005 |
€13.00 |
|
| VON EULER-DONNERSPERG / WATARU KASAHARA / C. MEHRL BENNETT / MAJA S. RATKJE / POLIZEI-DIENSTHUND HJULER |
ENID BLYTON - Fünf Freunde erzählen Kindergeschichten |
LP |
ACHTUNG: SCHINKENFLUXUS! You look for daring concepts in art = ? = each of the artists on this release appears (conceptually) as a character of ENID BLYTONs "Famous Five", presenting a children's story as a collage... this has a rare live track by MAJA S. RATKJKE, and two tracks by DITTERICH on speed, much sounds fragmented and morphed here in some way... a weird record! lim. 100 with laminated, handmade full colour cover
|
2018 |
€23.00 |
|
| VON EULER-DONNERSPERG, DITTERICH |
Verdunkeln. Der Feind sieht Dein Licht |
BOOK |
first book publication by the "advocate" of WERKBUND and genius writer from Hamburg, industrial words for industrial people: "Knüllungen, Klumpungen, Wulstungen. Zwischen einem Schriftsteller und seinen Lesern sollte immer Krieg herrschen"; 14 lovely provocating lyric monsters like "Die Pein vom Haupte trennen", or "Wie man einen kahlen Frosch entfedert"; German language,150 pages, designed by ROBERT SCHALINSKI (COLUMN ONE). LEARN GERMAN!!
|
2014 |
€16.00 |
|
| WATSON, DAVID |
Fingering an Idea |
do-CD |
back in stock this impressive release with a full CD of eight genius BAGPIPE drone compositions, rec. in parts with a whole ensemble! - "In verschiedensten Harmonie- und Obertonvariationen bewegen sich die hyper-organisch klingenden Dudelsäcke, manchmal sehr dynamisch & schillernd, dann mit Entwicklungen die an HAFLER TRIO's Drone-Werke denken lassen.... unsere besondere Empfehlung!" - CD 2 holds compositions for electric & acoustic guitar; comes w. fold out booklet
|
2007 |
€16.00 |
|
| WHALESONG |
Disorder Deconstructed |
do-CD |
remixes of the first album by the Polish industrial metal band, exclusive tracks by TROUM, SANFORD PARKER (BURIED AT THE SEA), HERR LOUNGE CORPS, SUBMERGED, HOROLOGIUM, MOAN, and many more (20 tracks in total) - a must for everyone into GODFLESH like industrial dub and experimental metal..
|
2018 |
€13.00 |
|
| WICKHAM-SMITH, SIMON |
Love & Lamentation |
CD |
three pieces with quite unusual & fascinating re-workings and deconstructions of vocal (spoken & sung) 'spiritual' material, with unexpected emotional results: christian chanting, buddhistic prayers, multiple layered sound poetry, religious laments with oriental accompaniment, at times heavily processed...you often have the impression that you haven't ever listend to something like this before ! Back in stock, US-import
|
2008 |
€15.00 |
|
| WOOD, CYE & LISA GERRARD |
The Trail of Genghis Khan |
CD |
CYE WOOD (Australian violinist and multi-instrumentalist) and LISA GERRARD (voice and cimbalon) created this album from material recorded for the Australian documentary series "The Trail of Genghis Khan", showing a journey on horseback from Mongolia to Hungary; 10 tracks feat. 'Traditional Music' students from Kazakhstan on Dombra, this all sounds very acoustic and pure and is drenched in melancholy and yearning... highly recommended!
|
2017 |
€14.00 |
|
| YANAGISAWA, EISUKE |
Path of the Wind |
CD |
Aeolian Harp field recordings by this Japanese sound artist (known to some specialists for his 'In the Cave' release on Licht-Ung in 2012), who used a special technique to capture also hints of additional environmental sounds, vibrations of the Aeolian Harp, sounds of ocean and animals, etc.. "The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place. " all unprocessed from different places in Japan, beaches, forest, mountains.. very nice!
|
2018 |
€13.00 |
|
| Z'EV & RAMONA PONZINI |
Ankoku |
CD |
...eine filigrane, düstere Reise zwischen flirrenden Feedback-Drones, den für Z'EV typischen, aber sehr zurückgenommenen Stahlpercussions und der traumwandlerischen Stimme Ponzinis, die klingt, als ob es sich dabei um eine Geisterbeschwörung einer japanischen Yurei oder um mit Schattenwesen aus der Zwischenwelt bevölkerte Filmsequenzen handeln würde: Wenn schon Magick, dann so etwas wie »Ankoku«, dessen spirituelle Kraft an COIL erinnert und auf der die italienische Sängerin ihr Debüt gibt."[Skug]- BACK IN
|
2008 |
€12.00 |
|
| ZSOLT SORES |
Astro-Noetic Chiasm (Ahad's Flux Worlds 2) |
LP |
Z SORES is an Hungarian experimental musician, curator, sound-artist, who worked with J:-H.PERON (FAUST), THANOS CHRYSAKIS and many more.. => this stunning 42 min. multi-layered electro-acoustic drone piece was performed live at "Ultraschall Berlin" in January 2022, feat. for example JUDITH HAMANN on Cello.... *In listening to Astro-Noetic Chiasm by Zsolt Sorés, one quickly has the impression that the sounds being heard are coming from an anomalous nowhere* - lim. 300 GREEN vinyl, DL code
|
2023 |
€20.00 |
|
| 3/4HADBEENELIMINATED |
Theology |
CD |
Die Band mit STEFANO PILIA & CLAUDIO ROCCHETTI, filed under: seltsame atmosphärisch-melancholische Improvisationen im (entfernten) Post-Rock-Gewand [mit späterer effektvoller Nachbearbeitung im Studio ohne das improvisatorische Feeling zu zerstören]; zwei lange Stücke füllen THEOLOGY, schwebend und unfokussiert aber stets im Wandel, unter Einsatz von vielen "echten" Instrumenten (Gesang, Drums, Gitarren, Piano), mitunter blitzen Ähnlichkeiten gar mit A SILVER MT. ZION auf... die ist der "Schwester-Release" zur LP "Religious Experience".
"Soleilmoon Recordings is proud to announce the simultaneous release of 3/4HadBeenEliminated’s new CD and LP, titled “Theology” and “The Religious Experience”, respectively. 3/4HadBeenEliminated was founded in 2002 in Bologna, Italy as a trio, with Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. An eponymous album was released in 2003 by Bowindo. In 2004 the group welcomed Tony Arrabito and became a quartet. The next year Hapna put out their second album “A Year of the Aural Gauge Operation”, and in 2006 the band self-released a 7 inch single “DimethylAtonalCalcine”. The group straddles the line between live improvisation and studio experimentation, blending and shaping raw sounds into living pieces, then gently dissecting the delicately structured songs into disruptive sonic excursions more evocative of moving shadows and swirling leaves than recognizable tunes. Stasis and stability are nowhere to be found here. Instead, an ever-changing dialogue between structure and chaos shifts from one performer to the next, never resting long before launching again into shuddering flight. Accoustic instruments and vocals form a familiar reference point, but studio treatments take the music into psychedelic and cinematic realms. In their words , “Improvisation is a way to experiment without thinking. When our improvisations ‘work’, the music just happens on its own. It reveals itself as if guided by its own logic, its own desire. In fact we don’t even feel like we are actually playing the music. It’s more like a stream that moves and changes autonomously. With composition (editing, overdubs, etc. etc.) we then remodel this stream, trying to make it more complex, ‘forever lasting, forever changing’, in the sense that every hearing will reveal a new perspective of the music. As a live band, we improvise 100%, and it's really risky, but when it ‘happens’, it’s the greatest satisfaction.” “Theology” is presented in a wooden box with a hinged cover decorated with layers of hand-painted tracing paper, and is limited to 450 copies on CD. The companion vinyl LP “The Religious Experience” is a reinterpretation of the recordings made for the CD. The LP is limited to 225 copies. The two albums – and their music – should be considered as mirror opposites. Where theology is a completely artificial system of belief, a religious experience is the immediate experience of the thing itself. Likewise, the music on “Theology” is complex and elaborate, while “The Religious Experience” is much simpler, going directly to the heart of the material comprising “Theology”. Thus, the two works are independent, yet relate to each other as mother and daughter." [press release]
"....and with some imagination you could say that they are a rock band. Well, an expanded rock band that crosses many lines: post rock, singer songwriter, improvisation and above all musique concrete collage techniques. Maybe the stage isn't their place but they should be safely stuck in the studio, where they can freely experiment with sound. Each member plays a wide variety of instruments, except Arrabito, who is just credited for drums. Inside the studio they find a safe place to improvise their music, but not as an end, but as a start. Recordings are separated, deconstructed and rebuilt into something. These two new releases, both lavishly packed with all sorts of nice paper, are best heard together, as mirrors of each other. The CD (limited to 450 copies) and the LP (limited to 225 copies) have however their differences, but the provide a nice view in the kitchen of 3/4HadBeenEliminated. The CD is perhaps more complex in approach. We hear lots of processed guitars, percussive sounds, organ like drones but also contact microphones scratching the surface alongside humming vocals. Not really rock by any rock standard, even when things seems to hint that way. Seemingly things move from atmosphere to atmosphere, gradually, slow, but without doubt moving.." [FdW / Vital Weekly]
"...you'll know to expect fractured and mysterious soundscapes, a densely textured drone-zone constructed from field recordings, record crackle, improvised acoustic instruments, radio static, fragments of piano melody, electronic treatments, whispered Italian voices, turntable scratchings, reel-to-reel tape manipulation, synthesizer sinewaves, scattered percussion, and more. That's a zone we LOVE to visit. There's two long tracks, lots to explore, all manner of curious creakings and cracklings, shifting rhythms and rumblings abounding within 3/4hadbeeneliminated's carefully crafted and/or improvised music. At times quiet and meditative, at others noisier and distorted, but always (to our ears) utterly gorgeous and compelling. Aligns quite nicely with the likes of the Jewelled Antler collective, the Finnish forest foraging of Kemialliset Ystavat, and of course others in the experimental underground Italian scene of which the members of 3/4hadbeeneliminated are a part." [Aquarius Records review]
www.soleilmoon.com
|
2007 |
€19.50 |
|
| 300 BASSES |
Sei Ritornelli |
CD |
"Alfredo Costa Monteiro (accordion, objects), Jonas Kocher (accordion) and Luca Venitucci (accordion, objects). Recorded on november 23th-25th 2011 during a residency at l'Arc Romainmôtier, Switzerland. Mixed by Alfredo Costa Monteiro and mastered by Giuseppe Ielasi. Consisting of Alfredo Costa Monteiro, Jonas Kocher and Luca Venitucci, the trio 300 Basses transforms the conventional accordion approach, and enhances new practices leading to creative and innovative musical paths. 300 Basses states that accordion is ' a box with bellows and buttons. The box was for the resonance, the bellows for vibration and the buttons for building a sonic identity that has remained virtually frozen for centuries. But what would happen if the buttons began to vibrate, the bellows would resonate and the box should start to deconstruct this identity? ' Focusing on a collective sound approach, the three accordionists have a strong fascination for noisy static sounds, complex textures, and their powerful physicality. The trio was formed in 2010 and has performed concerts in Rome, Lyon, Geneva, Biel/Bienne, Lausanne, Zürich, Milano. Alfredo Costa Monteiro. After having studied sculpture/installation with Christian Boltanski at Les Beaux-Arts in Paris, Alfredo Costa Monteiro moved to Barcelona in 1992 and became involved in improvised music, concentrating on electric guitar and accordion. His installations and sound pieces, all of a low-fi character, have in common an interest for unstable processes, raw materials and gestures, where the manipulation of objects as instruments or instruments as objects has a strong phenomenological aspect. Alfredo Costa Monteiro runs several ongoing projects: Cremaster (with Ferran Fages), i treni inerti (with Ruth Barberán), Atolón (with Ferran Fages and Ruth Barberán), and duos with Tim Olive or Pascal Battus. Jonas Kocher. Accordion player and composer born in 1977, Jonas Kocher collaborates regularly in improvised and conceptual contexts with musicians such as Michel Doneda, Christian Wolfarth, Olivier Toulemonde, Duo Diatribes, Jacques Demierre, Burkhard Beins, Bertrand Gauguet, Thomas Lehn, Urs Leimgruber, Lee Patterson... Jonas Kocher's work explores the relationships between tone, noise and silence and the processus of listening. As a composer, he realises projects which are situated between composed theater, installation and concert pieces. Jonas Kocher is also involved as an organizer of different events in Switzerland and runs the label Flexion Records. Luca Venitucci. Living in Rome, Luca Venitucci started from the end of the eighties to take part to the activities of the improvised music scene in Italy and Europe. During the next decade, he played with a large number of musicians, among which Mike Cooper, Peter Kowald, Otomo Yoshihide, Thomas Lehn, Axel Dorner, Tim Hodgkinson, John Butcher, Mario Schiano, Alessandro Bosetti, Michael Renkel... In 1995, with Fabrizio Spera, Elio Martusciello and Maurizio Martusciello, he co-founded Ossatura a major electroacoustical improvising group. From 1996 to 2002 he has been part of Zeitkratzer ensemble, with whom he did performed and recorded contemporary music partitures (Cage, Glass, Stockhausen, LaMonte Young, Tenney) and made original projects and collaborations with several experimental musicians and composer such as Butch Morris, Carsten Nicolai, Keith Rowe, Masami Akita, Mario Bertoncini, Phill Niblock, Radu Malfatti, Thierry Thaemelitz, Lee Ranaldo. In 2001 he realised together with Ulrich Krieger the transcription and arrangement of an ensemble version of Lou Reed's Metal Machine Music." [label info]
www.potlatch.fr
"A trio of accordion players from the world of improvised music - that's perhaps something new. For me it is. The unknown player here is Luca Venitucci, who was from 1996 to 2002 a member of Zeitkratzer, and before that a founding member of Ossatura. The other two players I think should be known if you read these pages every now and then. Alfredo Costa Monteiro and Jonas Kocher have regularly new releases. Maybe you think its cheating, but both Venitucci and Monteiro are also playing objects on their accordion, which seems to expand the sound quite considerably. If you think that this trio will focus on playing sustaining, lengthy pieces of drone music, then you are wrong. In 'Abbandonato' and 'Mala Carne' for instance they sound like an all acoustic noise ensemble, with lots of scratching, scraping and bending of the bellows. Its followed by 'Maledetto', in which the accordion sing like sine waves, carefully but also piercingly loud as the piece progresses. In 'Gira Bile' and 'Fantasma' they reach for a beautiful piece of drone music. Six pieces and almost as many approaches to the world of the accordion. Six pieces of a wonderful great, improvised music on a single instruments, times three." [FdW/Vital Weekly]
|
2012 |
€15.00 |
|
| 400 LONELY THINGS |
Mother Moon |
CD |
The new album from 400 LONELY THINGS, produced by WILLIAM BASINSKI, is a dark ambient, sample-based séance to the Banning Mill - a real-life decaying \"mansion\" and haven for artists, freaks and misfits in the backwoods of the American Deep South in the 1970s-1990s - and an extraordinary piece of art that lived there.
An archaeological excursion in found sound - wandering through the art and memory of a real place, \"Mother Moon\" is an origin story for 400 Lonely Things. In the 1990\'s, Craig Varian was fortunate enough to frequent the Mill in the years before it closed. It was here that he was exposed to the artwork of Richard Scott Hill. The impact is hard to overstate.
Built on the Snake River in the early 1800\'s as a textile mill, it operated until the late 1960\'s and when its doors closed on that era, and reopened on another. In 1971, the Mill was purchased by a young wealthy \"eccentric\" (to use the vernacular of the time). He was openly gay in the deeply bigoted Old South, a collector of fantastic and surreal art, a drug enthusiast, an owner of at least one mental illness, and a self-described entrepreneur with a vision. In the years that followed, he turned this sprawling, mildewed structure into a private hippie art collective, music venue and refuge for Southern misfits - gays and gender-benders, visual artists, musicians, mystics, ghost-hunters, wizards, pagans, intellectuals, poets, nerds and psychedelic explorers by the dozens drifted in and out, creating their own alternate universe in its hundreds of rooms.
One of these artists was Richard Scott Hill. Hill\'s work stood apart from everything else at the Mill. It was all black and white or hand-coloured photography - typically stark portraits of people - almost always wearing masks. These photos were disturbing and disarming, hilarious and crazed, unsettling and aggressively surreal in their confrontational simplicity. His work both captured and fed into the Mill\'s sinister yet playful undercurrents of mania and depression. By the conservative 1980\'s, the Mill became a very different place. A dark and quiet ectoplasmic hangover haunted its rooms with just a handful of tenants, remaining so until its doors closed for good in the late 90\'s.
Varian had friends that lived there, and after hearing quiet legends of the Banning Mill since the late 80\'s, was finally able to visit. While the Mill itself was transformative enough, turning down a disused hallway, Varian encountered the image on the cover of this album and quite simply became a different person. A lifetime spent as a Southern misfit had led to fruitless artistic, philosophical, spiritual and psychedelic pursuits as relief. At this time, an obsession with visual collage and audio sampling had been brewing and upon seeing this image, boiled over. He realized that the sounds and images he\'d been seeking had been sought by many others and that for a time, these seekers had lived here in the secret winding halls of Banning Mill in the wilds of the Deep South. In particular, this nude cow-faced woman was the Minotauress who sat at the heart of that maze.
Since the days of the Mill (and Varian\'s subsequent purchase of Hill\'s \"Minotauress\" shortly before the Mill closed), Varian, along with best friend and musical partner Jonathan McCall, found a thread of music they\'d been consistently making yet had previously failed to notice - melancholic instrumentals with weathered sampling at its core - going back to their earliest recordings in the late 1980\'s. Eventually, this music was called 400 Lonely Things, and eventually an album would be attempted to honor both the Mill and Richard\'s \"Minotauress\".
The Mill has been closed for about 25 years now and all that remains of it is a gutted skeleton covered in yellow caution tape. After a dozen albums, Jonathan McCall has since passed on to the next realm. But this album, born out of that first visit to the Mill, is finally here - an imaginary soundtrack to the many years of solitude the Minotauress spent hanging in that musty hallway.
For this album, Varian reached out to Mr. Hill and a friendship and artistic relationship has developed. Richard - now in his 80\'s and an established figure in the established art world - still creates fantastically bizarre works daily from his home studio, just a mile from the remains of the Mill. He says that the music of 400 Lonely Things is from another dimension and he hopes you enjoy it and his previously unpublished art gracing the cover.
Presented in a 6-panel spot-varnished digipak.
credits
released April 11, 2023
Produced by William Basinski
Additional Mixing and Mastering by Preston Wendel
Covert art by Richard Scott Hill
\"Mother Moon is a cypher that saves an important hidden fragment of cultural history from erasure.\" Ben Ponton, Zoviet France.
\"Mother Moon is darkness calling. It will take you to the outer limits and leave you there. Guaranteed to twist your mind.\" Andrew Hulme, O Yuki Conjugate.
\"A wistful, burrowing, beautiful nightmare.\" Daniel Kraus, NY Times Best Selling Author of The Living Dead with George A. Romero, and The Shape Of Water with Guillermo Del Toro.
https://coldspring.bandcamp.com/album/mother-moon-csr319cd
"It's one of those weeks... Being a former ginger/redhead, I have problems handling the moist 25-30 Celcius) heat in the Netherlands. So I hardly get to do anything, and I get distracted all the time, like work and such. So I have been trying to start a review of "Mother Moon" by 400 Lonely Things several times, and each time I end up just listening and floating away, Drifting on the waves ... And I didn't even feel bad about listening to it over and over and over ...
Produced by William Basinski, 400 Lonely Things is a project by Craig Varian inspired by recordings around, based in, or related to an old mill. A beautiful PDF was sent to us, and it might well be part of the Bandcamp download, but how you get your hands on it when you get the CD: I don't know. The 400 Lonely Things concept focuses on the arrangement of lost and found sounds, and the melancholia is certainly audible in the release. Also, the journey aspect is very well set in this release, the journey being the descriptive part of environments through sound as a medium. So in many areas where the boxes should be ticked to make a release interesting, those boxes are actually ticked.
Musicwise, "Mother Moon" is an absolute beauty. Almost 80 minutes, with deep drones, minimal melodic lines, scarce structural sounds (no rhythms), ambience and, on occasion, a mesmerizing voice preaching solitude and melancholia. And here and there, an ever so slight 'touch of Coil' (for example, in "In Darkness"). So
at this point, I would say: Get the album and don't worry too much about everything else. But the booklet and combined conceptual approach is a bit of a downer for me, as it turns out. I mean: Concepts make many releases I know/heard/have enjoyable, and I know all about it as an artist myself. But in a weird way the conceptual approach is so elaborate and massive that it almost forces me to think about it. And all I want to do is just enjoy the flow, as a psychonaut, ride the waves and not be bothered too much with all that mumbo jumbo. But that's just me. I think... I hope... Other than that: Go Flow, Go Dream, Go Listen, Just 'Be' ..." [BW / Vital Weekly] |
2023 |
€15.00 |
|
| 5UU'S |
Crisis in Clay |
CD |
„Die CD folgt dem auf "Hunger´s Teeth" eingeschlagenen Weg und erscheint mir insgesamt sogar packender, zudem rockiger als der Vorgänger, auch wenn hier ein einzelnes Highlight wie "Well... not chickenshit" fehlt. In den Erläuterungen, die Dave Kerman auf der Website der 5 UU´s zu den einzelnen Songs gibt, wird dieses Mal eine direkte Bezugnahme auf Yes ausdrücklich eingeräumt, und zwar beim Song "What Price Virtue?" Natürlich ist allein Spott der zugelassene Sprachmodus bei diesem Eingeständnis („We poked a bit of fun at the band YES by bludgeoning a section from "Tales from Meretricious Oceans"). Am Faktum ändert sich dadurch allerdings nicht viel. Die Musik der 5 UU´s nähert sich auch auf "Crisis in Clay" (stärker als bei späteren Alben) Mustern des klassischen Progs, wie sie insbesondere von Yes verkörpert wurden. Der Unterschied liegt im völligen Fehlen des hymnischen, naiv-pathetischen Elements und dem daraus resultierenden Wechselbad der Gefühle - dem Auftauchen aus dem wohlberechneten Chaos etwa in "Gates of Delirium", das so viele Hörer nicht nur lieben, sondern brauchen. Die Herzen dieser Hörer zu erobern, wird den 5 UU´s daher kaum gelingen, wobei man davon ausgehen kann, daß ihnen das allenfalls unter finanziellen Gesichts-punkten bedauerlich erscheinen dürfte. Wer jedoch ein komplettes Album erträgt, das aus der Progtradition eher experimentierfreudigen, schrägen Sarkasmus als gemütlichen Bombast zu gewinnen versteht, der ist hier richtig.“ [Ralf J. Günter / Babyblaue Seiten]
“Second installment from monster band 5UU's, featuring rock complexity, extraordinary production (by bassist, singer Bob Drake) and high energy precision mixed with eccentric songwriting. People that work this hard are becoming an endangered species. Extraordinary“ [label info]
www.rermegacorp.com
|
1997 |
€14.00 |
|
| A SILVER MOUNT ZION |
13 Blues for Thirteen Moons |
CD |
Die derzeitige Vorzeigeband des Montrealer Labels (da es GODSPEED nicht mehr zu geben scheint) klingt auf "13 BLUES" noch weitaus wütender, aggressiver, rockiger & lauter als man es gewohnt war. Geblieben ist das verzweifelte Pathos und die ausschweifende bis mitreissende Psychedelik, die immer wieder zu wunderschönen Instrumental-Passagen führt, denn noch immer sind diverse Streicher im Kollektiv dabei.
"Nachdem sich die komplette Band hinter Silver Mount Zion über die letzten drei Jahre etwas rar gemacht hat, kommen sie nun umso eindringlicher um die Ecke. Doch der Reihe nach; denn unsichbar waren sie beileibe nicht. Als Silver Mountain Reveries oder The Silver Maountain Elegies Play War Radio suchten sie diverse Clubs in wecshelnden Bestzungen heim, zuweilen unterstützt durch Hangedup, oder als abgespeckte "Kammer"-Version. Und dann natürlich nicht zuletzt als Backing Band des famosen Vic Chesnutt auf seiner kürzlich absolvierten Tour. Das alles jedoch konnte nicht den Hunger der Fans nach einem neuen Album des Montrealer Künstlerkollektivs stillen. Und hier ist es nun: das neue Album. Nie zuvor waren SMZ eindringlicher, nie zorniger und nie mächtiger. Die Basis dieses Albums ist mehr als je zuvor: DAS Riff! Vom Blues, den es im Titel trägt bis hin zu zornigem Noise und wieder zurück zu ausufernden Klangkaskaden - zwei Gitarren, zwei Violinen, Cello, Kontrabass und Drums können nicht irren! "13 Blues..." ist Donnerhall und Sturmwarnung zugleich - es ist laut und doch fein arrangiert. Kurz: es ist absolut zwingend!"
[thee unknown reviewer]
"The music of the full band (two guitars, two violins, cello, contrebasse and drums) has grown louder, looser, full of spittle and tears. On 13 Blues For Thirteen Moons, riffs are the backbone more than ever. Anchored by new drummer Eric Craven (ex-Hangedup), the band works its slow build and burn with newfound patience, sinuousness and ferocity. Whether methodically framing walls of sound over the four-on-the-floor punk dirge of "1,000,000 Died To Make This Sound" or exploding in sheets of free noise and melody on "Black Waters Blowed", the band has never rocked harder and has never sounded more determined, desperate and driven. A stuttered blues riff is the foundation for the album's title track, making its appearance after a blisteringly minimalist intro. "Engine Broke Blues" features a gorgeous set of chords that build inexorably from multiple guitar, string and organ lines." [press release]
Constellation Records: www.cstrecords.com
|
2008 |
€13.00 |
|
| A WINGED VICTORY FOR THE SULLEN |
same |
CD |
"Debüt des gemeinsamen Projekts der Neoklassiker Adam Wiltzie und Dustin O’Halloran.
A Winged Victory For The Sullen sind Adam Wiltzie (Stars Of The Lid) und der amerikanische Komponist Dustin O’Halloran. Mit verschiedenen Klavieren und Droneklängen experimentierten die beiden auf ihrem selbst betitelten Debüt in extrem tiefen Frequenzbereichen. Aber auch traditionelle Instrumente wie Waldhorn, Fagott und Streicher sind zu hören, immer durchdrungen allerdings von Gitarrenmelodien. Die Aufnahmen begannen mit einer nächtlichen Session auf einem alten Bösendorfer-Imperial-Klavier in der berühmten Grunewaldkirche in Berlin. Die Streicheraufnahmen stammen aus den Ostberliner Räumen des einstigen DDR-Radios. Eine letzte Session gab es auf einem handgemachten Fazioli-Flügel in einem Privatstudio in Italien. Das Ergebnis sind sieben Klanglandschaften harmonischer Wiederkehr, Late-Night-Music, von der man immer geträumt hat. Zu den Gastmusikern gehören die isländische Cellistin Hildur Gudnadottir sowie Erased-Tapes-Labelkamerad Peter Broderick an der Violine. Die Vinylversion erscheint mit einem Download-Code.
//
A Winged Victory for the Sullen is the first installment of the new collaboration between Stars of the Lid member Adam Wiltzie and composer Dustin O'Halloran. The duo agreed to leave their normal home studio comfort zone and develop the recordings with the help of large acoustic spaces, and to hunt down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end. Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began in one late night session in the famed Grunewald Church in West Berlin on a 1950s imperial Boesendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last final session in a private studio deep in the northern cusp of Italy on a handmade Fazioli piano, and the final mixes took place in a 17th century villa near Ferrara, Italy, with the assistance of Francesco Donadello. All songs were processed completely analogue straight to magnetic tape. Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to live dangerously, realizing that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic replicating ingemination. In 'Requiem for the Static King Part 1' (created in memory of the untimely passing of Mark Linkous) they have taken the age old idea of a string quartet and then shot it out a cannon to reveal exquisite new levels of mellow bliss. Of the 13 minute track 'Symphony Pathetique,' Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing.' Notable guest musicians include Icelandic cellist Hildur Gudnadottir, and violinist Peter Broderick. A Winged Victory for the Sullen is not a side project. This is the future of the late night record you have always dreamed of." [label info]
www.brainwashed.com/kranky
|
2011 |
€14.00 |
|
| A.B.G.S. |
Erdlager |
CD |
Dritte (und letzte) CD dieses prä-MULTER-Projekts aus dem CRANIOCLAST-Umfeld, die eine Art nicht-elektronischen "primitive percussive Industrial" erschufen; alle Stücke wurden live in verschiedenen Plätzen aufgenommen, wie z.B. alte Kaufhäuser, Bunker, verschiedene Räume in Fabriken, mit Materialien die dort aufgefunden wurden und Instrumenten wie Flöte und Stimme, ohne jegliche Effekte. So kreierten sie einen Sound der an rituelle & schamanistische Beschwörungen denken läßt... im Digipack mit wunderschön gestaltetem Booklet und ausführlichen liner-notes!
The pre-MULTER project who did a kind of „primitive“ field-recording-ritual industrial...
|
1993 |
€14.00 |
|
| ABOVE THE RUINS |
Songs of the Wolf |
LP |
A long-awaited reissue of the important album in early Neo-folk history, which sold out more than 20 years ago. This for sure will be interesting for those who deep in the new wave/post-punk/neo-folk music and interested in the history of genres. The album was released by legendary “World Serpent” in 1995 but recorded in far 1984 after Tony Wakeford left Death In June. A splendid mix of post-punk, new wave and slightly folky, sound bears resemblance to early Death In June, Tony Wakeford's future project Sol Invictus and Joy Division. “Songs Of The Wolf” was released as a tape in 1984 and as LP in 1986, both well acclaimed and sold out immediately. A new version includes the complete CD album plus two rare bonus tracks. This is absolutely everything that recorded by that short-time project, ever.
This is music by very young people with a hot blood and raw energy. The album like a trip back in old times, makes you feel young again... but not too much and only for a while. Part the money from sales will be donated to charities like “Hunt Saboteurs”, “Southall Black Sisters” and "Animal defense community".
We tried to publish this album since the 2009 year and happy that that is finally done. Now we can enjoy music (!) again and some collections became more complete.
https://infinitefog.bandcamp.com/album/above-the-ruins-songs-of-the-wolf
|
2018 |
€20.00 |
|
| ADLER, GUNTER |
Douches Dames |
mCD-R |
"Jürgen Hall? Bei so einem musikalischen Namen hätte man sich doch nicht so nibelungendeutsch umtaufen müssen. Der mit dem Grönland Orchester (mit G. Reznicek) und Augsburger Tafelkonfekt (mit S. Reier) und Soloreleases auf Staubgold und Mik unter seinem Nom de plume bekannt gewordene Aachener, der nach seinem Studium in Hamburg hängen geblieben ist, steuert zur 1000füssler-Reihe drei überdurchschnittlich attraktive Tracks bei. Das 13-min. Titelstück entstand für eine Installation im Brüsseler Bains::Connective, das in den Räumlichkeiten eines einstigen Jugendstil-Damenbads untergebracht ist. Das hat Adler offenbar zu entsprechend spritzigen Sounds und zu Unterwasserklang angeregt, durchsetzt mit knackend rumorendem Klingklang, zunehmendem Stimmengewirr und Plantschgeräuschen und einer ganz feinen harmonischen Zierlinie, zu der punktuell heptatonische Skalen getupft werden. Das kurze ‚Scheppertones‘ danach meint eigentlich einen Tauchgang auf der Shepard-Tonleiter, jenem scheinbar unendlich absinkenden Glissando aus Sinuswellenfrequenzen, das auch schon Komponisten wie Tenney oder Risset reizte und das Adler mit furzelndem Geprassel durchsetzt. ‚Mousse-Touch‘ schließlich lautmalt einen nuanciert bebenden Fond, mal flirrend aufgehellt, mal wummernd abgesenkt und von Pfeiftönen durchschwirrt aus Zeiten, als Weltraumfahrer noch Nick oder Laika hießen." [Bad Alchemy]
"Douches Dames was part of an ancient indoor swimming pool in Forest/Brussels. Today this elegant Art Nouveau building hosts the eclectic art laboratory Bains::Connective. The music, originally intended as a sound installation, is an amalgam made of field recordings from inside the building, antique heptatonic scales and synthetically produced sounds spread out painstakingly in the first movement, infinitely transposed downwards in the second (Shepard Tones) and finally hidden inside a shady atmosphere in the third, where another stimulating motif is aperiodically interrupted by sudden violent curves. In addition Gunter Adler has compiled a jumbled array of electroacoustic samples forming a zigzagged rather than streamlined path through his archives. During the roaring times, after the melting of the polar caps had begun, visual artist Isabelle Rouquette showed works on this theme from a diversity of sources and engraved them into the trapezoidal patterned floor of the pool. On the day of the opening the interior was illuminated by flowing zebra skin light projections while the music was presented in a sort of live performance, a soundtrack accompanied by a sweeping improvisation on a synthesizer and twiddling with delay effects. It has an opulent and festive character and is at home in both ancient and modern contexts.
Douches Dames 12‘55
Scheppertones 3‘31
Mousse-Touch 5‘00
About the Artist:
Born and raised in Aachen, Germany. At the age of 17 he starts experimentating with synthetically produced sounds (Commodore 64, all data lost). Moves to Hamburg, Germany in order to study physics, philosophy, music theory. From 1992 to 96 works under the nome de plume ANUBIS (see Stora Compilation from 1993). Works out his first sound installations and in 1998 co-founds the GROENLAND ORCHESTER with G.Reznicek.
Invents his alter ego GUNTER ADLER and releases his solo debut on Staubgold. Additionally works on animation film and film scores. Toured continuosly with Groenland Orchester and Gunter Adler and teams up in the duo-improv group AUGSBURGER TAFELCONFECT with Sebastian Reier since 2002. The same year he releases a split album with Klangkrieg, again on Staubgold. Following up to this his next record Minutemusic is released by the polish Mik.Musik label [run by Wojt3k from Retro*Sex*Galaxy] in 2003. Since October 2003 he is running a net label for exquisite electronic music plakatif.net. www.gunter-adler.de "
[label info]
"After reading the press text that comes with this release, I must admit I still have not much idea what it is about. It was originally intended for a sound installation and uses field recordings from ancient indoor swimming pool in Brussels. The text also mentions something about the opening, a live performance and a soundtrack, but Gunter Adler lost me there. Adler is perhaps best known as a member of Groenland Orchester (together with G. Reznicek), and later with Augsburger Tafelconfect and solo as Adler (which is not his real name). The three pieces on this release are made of highly processed field recordings, of which we no longer recognize the origins. Gliding tones, sine wave like, objects that fall to the ground and sound effects working overtime. This is quite a nice, sweet, short and highly enjoyable release, for those who love their microsound to be much more free and not tied to the strict conventions of that scene. Nice indeed." [FdW / Vital Weekly]
www.1000fussler.com
|
2008 |
€6.00 |
|
| AETHENOR |
Faking Gold and Murder |
LP |
"... Diese drei Urprinzipien, das sind hier gleichermaßen STEPHEN O'MALLEY (SUNN O))), KTL), DANIEL O'SULLIVAN (GUAPO) und VINCENT DE ROGUIN (SHORA), die sich mit ihrem neuen Werk nun ein drittes Mal im Æthenor zusammenfinden und mit “Faking Gold And Murder” ein dunkles Manifest alchemistischer Transmutationen niederlegen. Begleitet wird das Trio von den beiden Perkussionisten NICOLAS FIELD und ALEX BABEL, dem Gitarristen ALEXANDER TUCKER und dem hier bereits als ANOK PE auftretenden DAVID TIBET. Was immer sich aus dieser Zusammensetzung bereits herleiten ließe, nichts bereitet einen wirklich auf diese von okkulter Ritualistik geprägten Kompositionen vor, durchsetzt von Tibets apokalyptischen Inkantationen. Tosend setzt in dem ersten der vier übergangslosen und unbenannten Kapitel ein Schlagwerkgewitter ein, umbrodelt von den unterirdisch anmutenden Klängen des Keyboards und der Gitarre, während Tibet zu sphärischen Klängen des Beckens und des Glockenspiels seine mitunter zweistimmig intonierten albtraumhaften Visionen in die Komposition hineinwebt, nur um nach einigen Minuten wieder vom zeremoniell anmutenden Lärmen der Perkussionisten übertönt zu werden. Selbst in seinen leisesten Momenten ist das Ganze so komplex und durchdacht arrangiert, dass es an keiner Stelle seine hypnotisierende Wirkung einbüßt. Längst hat vollkommen unbemerkt das zweite Stück begonnen, traumhaft übergleitend in minimal intonierten Ambient, der nach und nach mit dem Einsatz der regengleichen Klänge des Rhodes und eines anhaltenden Drones an Intensität weiter zunimmt, bis Tibet das Stück mit einer wie aus weiter Ferne gesprochenen Passage zu einem von tiefen Bassfrequenzen dominierten düsteren Ende führt. Spätestens mit dem Beginn des dritten Kapitels wird man gewahr, dass dies alles unaufhörlich in einem stärker werdenden Sog in eine Tiefe zieht, deren Boden unabsehbar geworden ist und in der man längst die Orientierung verloren hat. Eine durch wellenartig geschlagene Handtrommeln aufgebaute Spannung liefert hier die Grundstimmung für die Verstörendste von Tibets Inkantationen, unterstützt und bald überrollt vom infernalischen Rumpeln und Brausen des Schlagwerks und der anderen Instrumente, sich verdichtend zu einem vor apokalyptischer Brachialgewalt starrendem Ende. Wie in einem Nachwort endet mit dem vierten Kapitel das Album im erdigen Drone des Harmoniums und sphärisch darüber flirrenden Keyboardklängen, die den Hörer, zu Tibets fast schon gesprochenem Epilog, auf eine beruhigende Weise erden und das erste Mal nach 35 Minuten wieder frei durchatmen lassen. “Faking Gold And Murder” ist ein für den aufmerksamen Zuhörer ungemein lohnenswertes Machwerk. Wer sich darauf einlässt, dem offenbaren sich die komplexen Kompositionen in einer an Greifbarkeit grenzenden Dimensionalität, der hat Teil an einem archaischen Ritual von schauderhafter Schönheit, gekonnt in Szene gesetzt durch das mal fragile, mal tosende Zusammenspiel der Musiker und intoniert von Tibets geisterhaften Deklamationen. Letztere sind es auch, die “Faking Gold And Murder” eine Dimension verleihen, die die beiden Vorgänger nicht aufweisen konnten und das Album so zum eingängigsten und wertvollsten aller bisherigen Æthenor-Alben machen." [Stefan O. / NONPOP]
"Third earth shattering outing for Vincent De Roguin (Shora), Stephen O'Malley (Sunn0))), KTL) and Daniel O'Sullivan (Guapo). For Faking Gold and Murder, the core trio is joined by percussionists Nicolas Field and Alex Babel, as well as renown guitarist Alexander Tucker and the inimitable David Tibet. Faking Gold is Æ’s heaviest outing, driven by a weighty low end and the full fury of Babel and Field’s free-wheeling drums. The trio’s electronics, guitar, Rhodes, and organ ride the waves of sound in a tightly-controlled blare, leaving plenty of space for Tibet’s declarations of the mystical and supernatural. Tibet is on top form here, rising out of the tempest at just the right moment, almost plain-spoken in places – grounding the squall at times, voicing the apocalypse at others.
“Brooding, primeval, dark alchemical epics are full of a ferocious intensity, sounding more like a starlit night being ripped open by lightning than a musical group. Intelligent and primal, like a dæmonic workshop, battering up Pandemoniums and dreaming of gold and murder, Æthenor are spectacular.”- David Tibet
Cover design by Nicola Todeschini and Vincent De Roguin. CD is in a tri-fold letterpress folio, printed on heavy black art paper by Stumptown. Deluxe LP is 180 gram, pressed at RTI, in letterpress cover on heavy black art stock by Stumptown, with custom gold on black inner. Cut by John Golden. A fantastic sounding and looking item." [label info]
www.vhfrecords.com
|
2009 |
€20.50 |
|
| AGLAIA |
Sacred Waters |
CD |
Neben Solo- und Kollaborationen seines eigenen Projekts ALIO DIE erscheinen auf Stefano Mussos Label auch weitere italienische Musiken aus dem „natural dream ambience“-Feld. Das Duo AGLAIA ist auch so ein Fall, SACRED WATERS ist ihr zweites Album .... Musik die wie flüchtige visuelle Eindrücke funktioniert, die langsam verblassen & neu aufscheinen, in der alles auf sehr sanfte Art und Weise verschmilzt..... down-oktavierte Flöten, Guitars, Synth-Drops & drones, vorbei-huschende field recordings, Wassersounds, lange Echos ....
die Musik ist „nach aussen“ bewegungslos, „nach innen“ jedoch erscheint sie in ständiger Schwingung & Zeitlupen-Oszillation....ein Tag-Traum aus Klang !
“The textural ambient project Aglaia have finally released their second album. After a very good feedback from the first CD "Three Organic Experiences", "Sacred Waters" is the new offertoires to introduce more and more in the amniotic sound dimension, of their music. The layers's quality become more deep here.. in breathing circles where processed voices and acoustic instruments, appear to be evocative and fragmented like in a dream, or just like what an echo can play with sounds in an open landscape, coming from far distances with the wind. The electronics/analog sounds are waves of flowing energy with a powerful relaxing quality, and behind them you can hear sometimes an indian flavour like an incense stick burning. By the way it's not possible at all to explain and describe the originality of this music, his poetry and his psychoacoustic properties, but if you start to listen, it invites you to stay inside yourself, in the motionless, and timeless space that induce, bathing in the Sacred Waters of the infinite ocean of peace and inspiration. Cover paints by Alessandro Savelli, graphics by Hic Sunt Leones.” [label description]
|
2005 |
€14.00 |
|
| AGNIVOLOK & CHAOS AS SHELTER |
Henbane |
CD |
Starkes Album zweier miteinander verbundener israelisch-russischer Projekte: vier Stücke von CHAOS AS SHELTER mit seinem düsteren Katakomben-Drone (erinnert hier z.B. an EMERGE oder TZESNE), fünf von AGNIVOLOK (das Projekt von VERA AGNIVOLOK mit Unterstützung von C.A.S.), die hinter einer dunkel-hypnotischen Klangwand ihre sehnsüchtigen Songs (z.T. mit Gitarren- und Flötenuntermalung) vorträgt... the real "drone folk" !!
"Early Chaos As Shelter’s and the very first Agnivolok's recordings «Henbane» album to be officially released on The Eastern Front label in Spring 2009." [label info]
wwww.theeasternfront.org
|
2009 |
€13.00 |
|
| AGUILAR, LUIS DAVID |
Ayahuasca: Musica Para Cine de Luis David Aguilar 1978-1983 |
LP |
"Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983)" compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work.
Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late 70's and the early 80's.
Aguilar belongs to the so called “Generation of the 70's”, along with Peruvian composers such as Walter Casas, Seiji Asato and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo.
After his graduation from the National Music Conservatory, Luis David Aguilar studied at the Instituto Nacional de Teleducación, starting from 1976, which proved to be decisive. It allowed him to start a career as a composer of music for radio and television, and drove him away from the classical scene. With this experience in hand, he was then able to produce film music and to work in many recording studios in Lima. He also set up his own studio and, as a result, he is the owner of a large archive of recordings, which has been maintained without being published. “During those years I composed a lot of music: children's songs, jingles for various radio shows, as well as music for television series, etc.”, says Aguilar. “The great attraction for me was that all of the music I created was recorded immediately, and because of my academic training, I was able to write scores for symphonic orchestra. My purpose was to introduce the sounds of classical instruments in the auditory memory of a vast audience. I had never experienced this possibility before. As an academic composer, I created works that were rarely performed. Most of them gathered dust in different places or, because of my lack of order and frequent relocations, they simply got lost. But during this period, all of the music I wrote came to life. I was also able to work with different recording studios and use their fantastic technical resources. In addition, this situation allowed me to create job opportunities for classically trained musicians (who at that time were very poorly paid). Over any other consideration, this had a clear social function, and the experience was totally worthy for me. In large measure, this is why I stopped working in academic settings.”
Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca [The Wind of Ayahuasca] (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. Recorded at the ICAIC studios (Cuba), it is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody popularized by the Amazonian cumbia group Juaneco y su Combo, which serves as an introduction to the sound world of the jungle, a dense and hypnotic atmosphere that, without a doubt, places this work as one of the most important compositions of the author's repertoire.
The next track is the music for the documentary Anónimo cotidiano [Anonymous Everyday] (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). It is a clear example of fusion of sound experimentation and timbres from the Andean world.
And finally Los constructores [The Builders] (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos.
About this diversity of genres, the composer says: “Creating film music gave me a wide perspective, because of the possibility of using all the composition techniques that I studied, both traditional and avant-garde, and even inventing some of my own, in addition to giving me the versatile craft that is needed”.
Ayahuasca: Music for Film by Luis David Aguilar (1978-1983) is the second album by Aguilar released by Buh Records, following the celebrated Hombres de Viento/Venas de la Tierra (1978-1982), appeared in 2015. The album is published in vinyl format, in a limited edition of 300 copies, as part of the Essentials Sounds collection. It includes a booklet with notes by Luis David Aguilar. The audio has been remastered from the original reel tapes by Aldo Montalvo. The artwork and design is by About Studio.
This project was awarded with the Economic Stimulus for Culture 2021 of the Ministry of Culture of Peru.
https://buhrecords.bandcamp.com/album/ayahuasca-m-sica-para-cine-de-luis-david-aguilar-1978-1983-essential-sounds-collection |
2022 |
€25.00 |
|
| AGUIRRE, MARCELO |
Contes d'Etonnement |
LP |
Voices, percussion, drums, and rather spooky electronic processing. A minimal structure onto which uncanny atmospheres become kind of interwoven. A sort of heterophony, in the manner of Japanese Gagaku or Indonesian Gamelan. An intriguing inversion seems to unfold, when the drum set takes the lead in the composition's development. We could even say the drums court the shadow of a melody, whilst the voice delivers a litany, enhancing atmospheres that are, to my ears, less sinister than they are elegiac: the longing for a primitive age, a meaningful world now lost and irrecoverable in its healthful entirety. This invocation works by way of an overlapping of sounds, always finding their source in the percussion set and in the vocal intonations.
It becomes apparent that time is the very question here, a time that is intangible and yet ‘absolute’ (if I may incur in this oxymoron), giving up any stringent historical temporality in favor of a sort of sedimentation in geological layers. Just listen to "Malaria C", a post-industrial landscape in the style of Lustmørd that brings to mind images of a universe in stasis, forever frozen in an ancient phase, while the voice underlines this ominous scenery, and the sound of tiny bells towards the end conjures a unique form of consolation as an ephemeral corollary.
In "Krakatoa", an extensive and vast sense of time lingers morosely in aural repetition, varying only slightly in intensity before the layered singing voices invoke an unlikely fulfillment. Those unmistakable chants may also resound in "Only A Mother", sort of a psalmody framed by a vehement and rhythmic acceleration which emphasizes how exacting and unavoidable is time's call.
Yet elusive, ungraspable time, resists being dissected into discrete and symmetrical units, escaping the prison of human perception; the drums go on and on, scanning their disparate metrics in an integral, unrestrained use of every component in the drum kit.
'I will follow the Time' could be guessed within "In Eternal Life". It is the only song which foregoes the drums. However, gongs recorded by close-miking bring to mind and ears the rumble of a synthesizer, coalescing with a jeremiad sung in a somber dialect that is cryptic, never discernible as intelligible language. The voice is merely another instrument, overlapping in disparate layers and warping polyphonic textures as its frequencies collide and clash, one against each other. While a voice recites an eerie mass, an incantation from another world, then punctuated by chants which resound like undulating drones.
It is difficult not to acknowledge the overall effect of some healthy dispossession, of a deliberate shedding of fineries, aimed at reducing everything to minimal expression. It is as if Marcelo Aguirre turns a cold shoulder to the weight of tradition and to the classification of musical experience with definite labels and overwrought categorization, as if he wanted to go beyond any accepted distinction of rhythm and melody, prose and poetry, or noise and harmony. Is his an appeal which knows of no precedent, a longing for an unheard form of music? A music able to transcend time and place while not relinquishing its human and historical fate? I cannot help taking note of a certain kinship that this musical inquiry of Aguirre's crisscrosses the time-honored obsession with Time, held by European philosophers from the late XIXth and early XXth Century. For instance, William James and his brother Henry's 'stream of consciousness', the 'durée' of Henri Bergson, and the transcendental subjectivity understood as an absolute by Edmund Husserl. What Aguirre may share with this company is the search for a language adept to communicate the indefinable, the flow of a temporality that does not allow itself to be captured in any given moment, instead it is music at the service of a primordial intuition. Therefore recovering an original order, harmonizing in a fullness of sense the flow of sounds. An attitude which positions itself at the antipodes of some developments in current electronic music, with its disassembling of the sound reality into beats (or bits and bytes), and an everlasting reiteration of artificial rhythmic structures, always monotonous and symmetrical even in their angularity. It is in this context of predominant musical tendencies nowadays, which blesses in a paradoxical marriage the once hostile fields of pop and experimentation, that these 'Contes d'Étonnement' reinvent a fresh appeal to the liberal imagination; a force as ancient (and eternal?) as the human species is.
[from the inlay, text by NORBERTO CAMBIASSO]
https://marceloaguirre.bandcamp.com/releases
|
2018 |
€17.00 |
|
| AHTI, MARJA |
The Current Inside |
LP |
The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.
The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.
The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.
Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal.
https://hallowground.bandcamp.com/album/marja-ahti-the-current-inside
Composition, production, mixing: Marja Ahti
Voice: Johanna Kalliokulju
Mastered by Giuseppe Ielasi
Cover artwork by Niko Karlsson and design by Juri Puhakka
The Altitudes was commissioned by Ina GRM as part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union. The work was supported in part by Arts Promotion Centre Finland. Synthesizers recorded at EMS, Stockholm and Ina GRM, Paris. Voice recorded at IAC, Malmö. Field recordings from various locations in Finland, Sweden and Croatia.
Thanks to Olli Aarni, Niko-Matti Ahti, François Bonnet, Jason Dungan, Jonna Karanka, Laura Naukkarinen and Remo Seeland.
https://hallowground.bandcamp.com/album/marja-ahti-the-current-inside
|
2020 |
€22.50 |
|
| AIR CUSHION FINSH |
Gezieferreigen |
CD |
»Blauholz« ist ein Buch von Ditterich von Euler-Donnersperg, gelesen von Lippstueck. Henry Marcuse »Eros y Civilisación«, gelesen von jayrope. Mittschnitt der Radio-Sendung »Biesentales« auf Cashmere-Radio vom 06.01.2018
Musik
Daniel Bjarnason »Over light earth«
Murcof & Philippe Petit »The call of Circé« *
Ju..rgen Ploog »Tapes von unterwegs 1971-1976«
Murcof & Philippe Petit »The call of Circé« *
jayrope [live] »Einerlirre«
Pauline Oliveros & Musiques Nouvelles »Four meditations for orchestra«
Dead Mauriacs »Nouvelles fonctions exotiques« *
Songs of Norway »Inner arms and legs«
Felix »As blue as your eyes lover«
jayrope [live] »Zweierfrei«
Column One »Cherokee«
Felix »What i learned from TV«
Dead Mauriacs »Nouvelles fonctions exotiques« *
Dan Hayurst »Great day atonal soda«
Ellen Fullman & Konrad Sprenger »No home«
Murcof & Philippe Petit »The call of Circé« *
Dimitris Petsetakis »The prophecy«
jayrope [live] »Eisglas«
Musik erscheint hier mit Zustimmung der Künstler, insbesondere Murcof & Philippe Petit »First Chapter« [Aagoo Sec./Rev Lab.]
* Ausschnitt
Lippstueck und jayrope danken Cashmere Radio, Berlin, Robert Schalinski und den Musikern und Autoren.
Coverbilder
Jan Focke
Vorderseite: »Picknick« 2015, Öl auf Leinwand, 120 x 150 cm; Innenseite: »Haus mit Leuten« 2016, Öl auf Leinwand, 140 x 180 cm
www.molokoplusrecords.de/finder.php?folder=Label&content=76
|
2019 |
€13.00 |
|
| AKIYAMA, MITCHELL |
Mort aux vaches |
CD |
Wieder ein kleines Verpackungswunder in der MORT AUX VACHES-Serie: glänzendes, 2fach gefaltetes Kupferblech mit Prägung, sieht einfach genial aus! Und auch musikalisch ist dies ein Schmuckstück: Ein one-tracker (43+ min.) mit äusserst zarten, stimmungsvollen Gitarren-Drones, die digital aufbereitet tänzeln und feinste innerliche Resonanzen spürbar werden lassen....
“Packaging comes in embossed copper (no printing). Akiyama's contribution to the Mort Aux Vaches series is an unedited improvisation recorded for VPRO radio in April, 2004. Consisting of guitar washes and digital interruptions, the set was recorded without any use of samples or prepared material. In keeping with Akiyama's ethic of spontaneous composition this recording is a document of a moment. Akiyama's music is a study in fiction and texture. He records compositions and improvisations for piano, strings, and other instruments, and restructures them in his studio in a post-facto montage. Playing on the distortions in causality that recording technology can effect, Akiyama creates music that lays claim to a moment of creation that never happened. Imperfections - fingers scraping strings, breaths and other signs of humanity - are underscored resulting in a digital simulacrum of performance. Located somewhere in the interstices of classical, electronic composition and post-rock, his works vacillate between delicate melodies and confrontational bursts of noise.” [press release]
www.staalplaat.com
|
2004 |
€14.50 |
|
| AKOUSTIK TIMBRE FREKUENCY |
Kthonik Korridors |
CD-R |
Vielversprechender Newcomer aus UK mit "esoterischem" dark ambient, d.h. in diesem Fall ein starker H.P.LOVECRAFT-Bezug - die Musik soll ganz bewusst als Ritualbegleitung für Cthulhu-Okkultismus eingesetzt werden. Man mag dazu stehen wie man will, die sechs langen dronigen Stücke, die sich auf 57 Minuten ausbreiten, erzeugen eine einnehmend geisterhafte und unheimliche Atmosphäre... rituell und fliessend, aber niemals aggressiv oder wirklich krachig. Auf allerlei Instrumenten (Synths, Klangschalen, Flöten, Rasseln) sowie mit grossen aufgespießten Fleischbrocken (!) wird hier die unverstandene Seite des Unbewussten gefeiert. Lim. 100, professionelles Cover & Fertigung.
“Thee new album is a homage to H. P. Lovecraft, to whom I owe so much. It is to be used as bakground atmospheriks for Rites dedikated to thee Kthulhu Mythos. Instrumentation inkludes singing bowls, flutes, rattles, synths and a large chunk of meat set upon with knives, machetes and a pitchfork. Thee kompositions were named using kut-ups of ‘The Call of Cthulhu’ by HPL except Komposition 2 which was kreated as a soundtrak for thee short film ‘Kalibration of thee Gods’ by Madguten.” [label info]
www.myspace.com/23akoustiktimbrefrekuency23
|
2010 |
€11.00 |
|
| AKSAK MABOUL |
Figures |
do-LP |
The legendary experimental pop outfit returns with a brand-new record entitled Figures, written, conceived and produced over the last couple of years by Marc Hollander (founder of Aksak Maboul and of the Crammed label) and Véronique Vincent (former singer with The Honeymoon Killers).
Figures is a double album containing 22 tracks and interludes, resulting from the flow of creative ideas which arose after a gap of over thirty years (see the Aksak story overleaf). Drawing again from the multiple sources which have always inspired the band (from electronic music and pop to experimentation, jazz, minimalism, contemporary classical etc), Aksak Maboul transcends and reconfigures them with its inimitable style, to create an impressive, rich and unclassifiable piece of work.
Seamlessly weaving electronic and acoustic instrumentation, improvisation and programming, songs, beats, found objects and sound collages, the album works as a labyrinth, full of secret passages and interconnections. Figures clocks in at 75 minutes, thus deliberately shunning the laws of instant gratification and the myth of today’s reduced attention span: the Aksak Maboul aficionados will surely be happy to engage in an immersive session of deep listening (in two halves), in order to enjoy the album’s many layers and details.
Véronique Vincent & Marc Hollander wrote the album together, by following parallel courses with their own respective internal logic, while remaining closely connected. Enigmatic and finely chiseled, feeding on her love for painting and literature, Véronique’s texts form a dense fabric which mirrors the sonic kaleidoscope assembled by Marc, who wrote and arranged all the music (aside from a track co-written and sung by Véronique and Julien Gasc). Véronique also made the drawings and paintings which illustrate the cover and inserts.
The two protagonists recorded most of the album in their own studio, with contributions by the young members of Aksak Maboul’s current live line-up: Faustine Hollander (bass, vocals, co-production), guitarist Lucien Fraipont and drummer Erik Heestermans. Also featured are performances by several friends and guests, including revered improvisor Fred Frith, Tuxedomoon’s Steven Brown, members of Aquaserge (Julien Gasc, Audrey Ginestet & Benjamin Glibert), former band members (including Michel Berckmans and Sebastiaan Van den Branden), and several others
https://aksakmaboul.bandcamp.com/album/figures
|
2020 |
€25.00 |
|
| ALDEA, ERIC |
Saturno o Cipolla |
CD |
Erinnert sich noch jemand an die hervorragende französische “Rock”-Band (Rock im Geiste von THIS HEAT wohlgemerkt) namens BÄSTARD? Dies ist das äußerst empfehlenswerte erste Solo-Album des ehemaligen BÄSTARD-Mitglieds ERIC ALDEA, der sich hier in drone-ambiente Gefilde begibt und ein meisterliche Atmosphären & Sounds erzeugt, betörende Drones mit orientalen Blasinstrumenten, Resonanz-Loop-Schichten verschmelzen mit field recordings, glitchig-fremdartige Frequenzfelder tauchen auf, getaucht in warme Klangfarben ... bester deep Ambient & atmospheric Electronic! BIOSPHERE meets ZOVIET FRANCE meets GLITCH.?
“Eric Aldéa was a member of Lyons based post rockers Bästard, whose collaborators included Chicago luminaries Bundy Brown and Casey Rice, and was previously in industrial hardcore merchants Deity Guns. His first solo record betrays few of those influences though; compiled from various pieces written for dance company La Baraka, Saturno o Cipolla ? delivers a warm, organic take on experimental ambient electronics. Aldéas approach is informed more by the lo-fi layering of industrial types like Zoviet France or the tapeloop outings of Fripp & Eno than by the cut 'n paste glitchscapes beloved by the average bald bloke with a Powerbook, though we do get a bit of digital snap crackle n blip on a couple of pieces. Elsewhere Aldéa delicately weaves together shortwave transmissions, field recordings and acoustic instrumentation with rarely heard skill. While countless TV advertised ambient compilations may promise to, er, take the listener on a journey, Aldéas gradual unfolding of his pieces seems to do just that. The thirteen minutes of "02" are especially seductive; opening with a chatter of shortwave crackles and bleeps, an opressive string figure repeats itself to be swept away by a held, suspended chord flecked with bowed double bass harmonics and gurgling synthetics. A phone goes off somewhere; footsteps are briefly heard. A gentle synth loop fires up eventually to be overrun by glassy digital tones and telex bleeps which swarm and multiply before abruptly fading. Here Aldéa's manipulation of acoustic space recalls David Toop and Max Eastleys classic Buried Dreams, though is less likely to give you nightmares. Less successfully, "03" and "04" stray into more conventional electronica territory, with looped sinewave drones, clicks and metallic synthbursts piling up and receding in typical minimal art techno fashion. The closing trio of pieces save the day though; revolving around mournful, muted strings, alternately decorated with bubbling analogue synth, dolorous cello and distant xylophone figures, they evoke a calm tinted with a vague sense of unease, like seeing a single black cloud in a summer sky.Immersive, often beautiful and with a slightly ungraspable quality that makes you want to stick it on again as soon as its finished, Saturno o Cipolla ? may well turn out to be one of the records of the year...” [Peter Mash, BBC website]
|
2001 |
€13.00 |
|
| ALDINUCCI, GIULIO / MATTEO UGGERI |
Bureau |
CD |
Matteo Uggeri : Field Recordings and Beats
Giulio Aldinucci : Field Recordings and Drones
In 2016 Matteo Uggeri took hundreds of pictures during his working days in 70’s building aimed at training and desk work located in the surroundings of Milan
Later that winter the photographs served as inspiration for this album themed on alienation of offices working life. Tracks are based on outdoor field recordings
looped, treated and re-shaped in order to be transformed into beats,rhythms, (Matteo) drones and melodies (Giulio)
https://adnrecords.com/album/giulio-aldinucci-matteo-uggeri-bureau/
"An emotionally absorbing, vibrant and sensitive personal voyage
Matteo Uggeri is one multifaceted and emblematic sound/noise designer artist from Italy—also one founder member of the chamber post-rock collective Sparkle in Grey. His usual signature can be described as composite ambient sceneries where sonic textures meet story-telling minimal sketches and expanding downtempo vibes.
In this new release he collaborates with Giulio Aldinucci, who is a seducing and creative electroacoustic soundscaper whose production (in solo or in collaboration, notably with Francesco Giannico) is largely recognized in the DIY indie community with a fancy for mesmeric, chilled-out then discreet electronic ambient music.
Bureau is an emotionally absorbing, vibrant and sensitive personal voyage through a vast array of emotions, tone colors, flexible tones and kinetic electronic impulses. This is mostly one electronic and ambient-centered atmospheric album with a stylistic inclination for hypnotic organic textures (as in the ravishing “Fire Dome”) and minimal-tinged chilled out soundscapes with more abstract sounds and airy clicks and cuts (in “Inceneritore” “Ghiaccio”), even flirting with glitch-esque vibes (“Ghiaccio”) and hauntology (in the eerie and weirdly “Zoo”).
An easily recommended listening and catchy electronic effort to consider if you are into post-minimal techno, IDM and syncretic ambient waves. Somewhere between Christian Fennesz, Microstoria, Oval, Hecq, and Beequeen."
[Philippe Blache (Igloo Magazine) August 23, 2020]
"Somewhere in the back of my mind, I had already registered the return of ADN Records, erstwhile a cassette label with some great releases (New 7th music, Amok, Pascal Comelade, Bourbonese Qualk etc) in the 80s. They were called (not by me) the Italian version of Recommended Records. They have come back, already some time ago and picked up on a generation of ‘younger’ musicians. Matteo Uggeri took hundreds of photos of his workplace in a ’70s building and that became the inspiration for this work with Giulio Aldinucci. They both use field recordings, but Aldinucci melts the re-processed field recordings into drones and Uggeri into beats. These beats should not be understood as a bunch of big 4/4 rhythms, but minimalist drum patterns of a dark nature. It fits the ditto dark drones as produced by Aldinucci, that are sometimes pretty straight forward sustaining clouds of sound, but most of the time also add a small melodic touch to them. I have no idea where these field recordings were made, only recognizing the fanfare on the street in ‘Chinese New Year‘ and some wind/rain/water sounds in other pieces, or vast empty parking space. Sometimes the beats produced by Uggeri seem almost absent, such as in ‘Inceneritore‘, but maybe they are even more spaced out here. I think it is quite a clever move to work with field recordings in the way these gentlemen do; just treating them into big chunks of abstract ambient music has been done quite enough, but adding minimalist rhythms and re-shaping field recordings into lovely chunks of melodic ambient is also perhaps not unique, but it is not done to death yet (at least, not that I know) and as such, this is a great album." Frans De Waard (Vital Weekly n. 1246)
|
2020 |
€13.00 |
|
| ALE HOP |
The Life of Insects |
LP |
Ale Hop is an artist, researcher, and experimental instrumentalist. She composes electronic and electroacoustic music, by blending strains of noise, pop, avant-garde, ambient and a complex repertoire of extended techniques for electric guitar and real-time sampling devices which she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres.
Her body of work includes immersive multichannel installations, live performances, sound sculptures, video, 3D, composition and sound design for theater, dance and film, releases, academic publications, and workshops. The Life of Insects is her fourth studio album.
The composer began to craft the album The Life of Insects after spending one month living with different types of insects in her home studio, which she bought from a local insect dealer in Berlin and built little terrariums to record them for the sound design of a film she was working on.
Nonetheless, the album is not comprised of compositions based specifically on sound recordings of the insects, but it unfolds as an imagined world recomposed through speculated narrative and abstract elements that seek to portray their lives, assembling sounding stories that could be re-constructed in the mind of the active listener.
For this purpose, the artist came up with a musical language that could hold this fictional universe, comprised principally of several layers and textures of guitars that mimic environmental and atmospheric sounds.
The Life of Insects will be released October 23 on Buh Records
Watch the psychedelic video for the album opener 'La procesión' below.
Listen & Watch: Ale Hop - La procesión (Official Music Video)
www.youtube.com/watch?v=-v4Tqm8wk8E&feature=youtu.be
Side A
1 La procesión
2 The Life of Insects
3 Pollinators
Side B
4 The Way to the Ocean
5 Someday We'll Dance Again
6 The Pearl Diver
7 Jungle Depredation
Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media
All music composed, recorded and produced by Ale Hop
Mastered by Manmade Mastering, Berlin, Germany.
Mastering Engineer: Tim Xavier
Artwork by Ale Hop
https://buhrecords.bandcamp.com/album/the-life-of-insects
|
2020 |
€21.50 |
|
| ALEXANDERSON, MAGNUS |
Stretched in the Dark |
CD |
Drei Stücke von dieser Neuentdeckung für uns, dem schwedischen Elektro-Akustiker MAGNUS ALEXANDERSON; seinen Stil könnte man als "dark & droney electro-acoustic" bezeichnen, v.a. das Titelstück begeistert mit schneidenden, sehr kraftvoll-intensiven Dronescapes...
"Elektron is the record company of SEAMS, the Society of Electro-Acoustic Music in Sweden. Their tenth release is by Magnus Alexanderson (1961). He studied guitar, bassoon and musical theory in his youth and later on computer music. Nowadays he works mainly in the electro-acoustic field. There are three pieces here on this release, one from 1991, one from 1997 and the most recent is from 2000, the opening piece. It's called Stretched In Dark (the word the mentioned in the title is missing here) and is listed as musique concrete, but it's wall of the sound drone could easily be listed as 'amplified electric guitar plays with a chain saw', as it has the heavy saw sounds of an amplified agricultural tool. The midiguitar is part of the second piece, Melting Points (1997) together with a sampler. Similar chainsaw effects are reached here, but it's a much more serious piece of slowly gliding sounds, occasionally interrupted by smaller sounds. The oldest piece is Fu (1991), and it's also the longest piece. It's for computer-controlled synthesizer and of a much more quieter nature. Bell like sounds open the piece, and over the course of almost thirty minutes these get stretched out and are sometimes visited by the bell sounds. A deeply atmospherical piece that is the highlight of the CD, even when the other
www.elektron.nu
|
2005 |
€13.00 |
|
| ALIO DIE |
Le Stanze della Trascendenza |
CD |
Dritter Teil der Trilogie, die mit "Hidden Spring" begann und aus Bearbeitungen von altem Material besteht. ("reworked with modern technologies"), Soundquellen sind ausschließlich akustisch, Drones, Voice (Choräle), Flute, Field Recordings...Mit dem wunderbaren 24minütigen "Melancholic Roots"
label: www.aliodie.com
|
1999 |
€14.00 |
|
|
Sol Niger |
CD |
Sehr nebliges neues Material, eine einzige Verschmelzung aus dumpfen Flöten, sich auflösenden einzelnen Gitarren & Zither-Tupfern, sanft auftauchender Perkussion & Naturaufnahmen, sowie Shortwave-Radioklängen, in einem Ozean aus Hall & bedächtiger Vibration..... erinnert eher an „alte“ ALIO DIE aus der Frühphase, aber ohne die typischen Loops... strahlt eine erhabenene Dunkelheit aus...
“This new cd contains unrealized material recorded by Alio Die in the year 2001, mostly around the time of the winter solstice. The tracks are characterized from the editing of old recordings produced in Milan in 1990, with Massimo Ladarola plays guitar and effects.
The recordings were integrated with radionoise from an old Valvular Model. Some new sounds of flutes and percussions were added from Gianfranco Cualbu.
The recordings were completed with a new tracks displays zither, muezzin voices from the shirt wave space and field recordings made by Alio Die in Notre Dame, Paris Sept 2002.
The sound atmosphere of this release is close in some way of the really first CDs by Alio Die, with a light electronic taste, in the feeling of the dark that pass before a new dawn. SOL NIGER CD is finally out and is ready to be spread around..
You can find more information about titles and look the seed-cover on: http://www.aliodie.com ~ at discography section” [label info]
|
2004 |
€13.00 |
|
|
Suspended Feathers |
CD |
„Die 96er CD des Italieniers Stefano Musso kann man wohl als das bisher ausgereifteste und schönste Werk bezeichnen... wundervoller, sensibler und sinnlicher Ambient, beruhigend und verzaubernd zugleich - hier unterer anderen mit Unterstützung von VIDNA OBMANA..“ [Drone Records info 1997]
“silentes presents another great reissue. suspended feathers is one of the best well know works by ALIO DIE. published originally in 1996 in a ltd.1000 copies in a special package by AQUA/AMPLEXUS and sold out for years... finally it's out again with a totally new artwork in jewel box... 5 tracks included one long track originally composed for "mytical" amplexus series, one track composed togheter with Gregorio Bardini and one track composed with VIDNA OBMANA. After 10 years this album sound again fresh and it's a real ambient masterpiece. A must.“ [label info]
|
2005 |
€13.00 |
|
|
The Flight of Real Image (full version) |
CD |
Re-Release der mcd von 1996 mit über 50 Minuten Bonus-Material!! Auf neuem russischen Label & in liebevoller Aufmachung.
“This is re-released of old MCD (22 minutes) which has been released in 1993 limited edition of 1000 copies and sold out several years ago. But many people continue to ask this CD. Some people tell that it is the best album of the maestro from all time! Now I happy to present full version of this great album, his length 79 minutes. Classical sound of the maestro is harmoniously combined with his new experiments with a zither, salterio, flutes, bells and many other. Old materials was remastering and now sound very well. Release have a 5 cards with installations of italian painter Sara Luciani. This artwork are an integral part of the concept of an album. Limited edition 1000 pieces.” [label info]
|
2006 |
€12.00 |
|
|
Under an holy Ritual |
LP |
Wiederveröffentlichung der ersten ALIO DIE-CD von 1992 in einer schönen Vinyl-Edition !!
"First time on vinyl this amazing Alio Die masterpiece..., a milestone of ritual ambient music!!! "Under an Holy Ritual" was his first CD, released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim.
"Natural and acoustic sounds and selected noises, electronically treated and reworked, are integrated in a meditative and spiritual context that often, in the feeling, becomes close to a prayer. Visible static, this music is rich of hidden sounds, layers of elements to discover at each listening. Alio Die's music, in the consciousness space that creates, it's a melting of technology and mysticism, like a new ritual with echoes of a medieval time, deep and grounded in introspection."
Ghostly incantations from the void, subtly shifting frequencies and moods... Stefano Musso has menaged to resurrect unsettling sounds from a pre-Middle Ages epoch and merge them into a pastiche of gripping, evocative pastures. One might be prone to labelling Alio Die as quasi-active ambient music, but that has become a word so bandied around these days that in this case the meaning far from concise. Alio Die presents in his first seminal work, his personal interpretation of atmospherical music...
Stefano Musso studied art and electronics in his home town of Milan, Italy, and began performing ambient, electro-acoustic music under the name Alio Die in 1989. Characterized by evocative acoustic sounds manipulated and tendered electronically, Alio Die's work builds intimate soundscapes tied to the mystery and majesty of life and nature. His first CD "Under an Holy Ritual", released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim. He subsequently released more than 25 CDs, and collaborated with many well-known artists such as Robert Rich, Vidna Obmana, Mathias Grassow, Nick Parkin, Yannick Dauby, Amelia Cuni, Raffaele Serra, Ora, Antonio Testa.” [label info]
“Multi-layered sonic densities that can evoke the air of ancient storms one minute, then ebb like an immense black ocean the next. This knows how to alter moods with both thick electronic pulses and prehistoric scrapes of mysterious percussions. Cerebral, spooky, and thought provoking meditative/ambient music that harkens from a ritualistic viewpoint." [I/E Magazine] |
2006 |
€15.00 |
|
| |
Aura Seminalis |
CD |
Auf AURA SEMINALIS verwendet ALIO DIE vokales und chorales Material, welches elektronisch verfremdet oder mit elektronischen Effekten angereichert wird. Dabei entstehen zwei lange Stücke von unglaublicher Emotionalität und Tiefe, frei fliessend & sanft wirbelnd um imaginäre Zentren....Die sakralen Choräle verschmelzen auf eine einmalige Art und Weise mit akustisch-elektronischen Sound,
vielleicht das beste ALIO DIE -Album bisher, auf jeden Fall aufregend anders als vorherige Arbeiten !
"The new work by Alio Die it is part of the Castle's sonorisation series, titled AURA SEMINALIS. The first track 'Sine Tempore part I-III' it's an epicentre of mystic music carachterized by a gold cathedral's atmosphere, while 'Aura Seminalis part I-II' displays an ascensional soundworld of arcane purity and rare beauty. One of the best works by Alio die so far. CD packaged in an elegant three sides digipack!! HSL 045" [label info]
"This latest release in a recent outpouring of creativity from Italy's master of organic drones is possibly the most unique in this artist's long career as a sound sculptor. While most of his recent releases on his own Hic Sunt Leones label have been collaborations, this is his first solo effort since the release of the 10 inch vinyl Aurea Hora. As the elaborate Renaissance style artwork on the cover suggests, this music points in the direction of a more "classical" sound insofar as the utilization of Gregorian style chants. These are successfully incorporated into Musso's customary drones comprised of field recordings, acoustic instruments, and electronic processing, giving this disc a particularly reverent ambience. Don't think Enigma or Delerium, because as one listens to this they may be inclined to bow their head and meditate or pray rather than nod or chill. I imagine that if today's sound recording abilities were available during those times evoked by the artwork or chants, they too would have then added the organic elements that Alio Die does, creating a balance of both the heavenly and the earthbound. Fans of his music may or may not find this approach a departure from what they are accustomed to, but it is certain that this artist is going beyond his previous huge body of work to encompass a broader sonic pallette." [Pauldient / Discogs.com]
www.aliodie.com
|
2008 |
€15.00 |
|
| ALIO DIE & AGLAIA |
Private History of the Clouds |
CD |
Dies dürfte die erste echte Zusammenarbeit der italienischen Projekte sein, scheinbar geht es hier um Vertonungen des Himmels, genauer: verschiedener Wolkenformationen (CIRRUS = reine Eiswolke in großer Höhe / auch Federwolke genannt; PERLUCIDUS = "durchsichtige" Fleckenwolke; NIMBUS = Regenwolke; RADIATUS = Wolken die parallele Bänder aufweisen; STRATUS = niedere Schichtwolke; CUMULS CONGESTUS = mächtige Quellwolke). Entsprechend "luftig" und ätherisch sind diese hellen Drones geraten, in die sanfte Field Recordings (Wasser, Insekten) sowie die typischen Zither-Klänge von ALIO DIE gemischt wurden... das ist "Ambient" pur, hat klanglich vielleicht nicht das allergrösste Innovationspotenzial, aber wer ALIO DIE & AGLAIA bereits kennt wie meisterhaft & einmalig sie organische Klang-Meditationen umsetzen können... Musik wie Wellenreflektionen.
"Infraction Records curates this new entry to the already considerable body of collaborations involving Alio Die. There have already been communings with the likes of Robert Rich, Mathias Grassow, and Vidna Obmana. Here, though, Stefano Musso's fellow-travellers are lesser known but closer to home. Aglaia is an Italian duo with a trio of albums on his Hic Sunt Leones label; Gino Fioravanti and Gianluigi Toso come trailing credentials in therapy, writing, painting, and teaching, to say nothing of alchemy and ortho-bionomy. In contrast with Musso, who has fully two decades of musical endeavors behind him, they're comparative novices. But you wouldn't have thought it. Theirs is a music whose apparent stasis enfolds within it endless subtle micro-variations. They bring with them from previous HSL releases an appealing aquatic/amniotic sound dimension, characterized by a combination of electronic sounds (analogies as the sleeve notes would have it) and processed acoustica moving as if in virtual circular breathing. Slow waves of soundflow suggestive of psycho-acoustic energy (if you're a believer, otherwise just go with the flow) come with peripheral fragments of sonorities, carried on the wind, drifting as if at the edges of sleep, recalling the way echo plays in open landscapes. That's part of the method of this animist collective's historical unfolding of its subjects' textures and trajectories, yielding a series of luminous aerated tracts. Animists see a spiritual force residing in every element of the physical world. Nature is believed to be alive, imputing an inner life to leaves, lakes and the like. Dwelling on Private History Of The Clouds brings this to mind before even entering its audio world, particularly in light of Alio Die's predilection for 'passion, nature and awakening' and Aglaia's for worlds of feeling ('mondi sensibili,' as a previous album was called). But, lest this kind of talk scare off those averse to nature-hugging, note that the musical Grace inspiring this project is more a familiar of Pandit Prath Nan and Brian Eno than of Wyndham Hill and Hearts of Space." [label info]
www.infractionrecords.com
|
2009 |
€14.50 |
|
| ALIO DIE & FRANCESCO PALADINO |
Angel's Fly Souvenir |
CD |
Immer wieder kollaboriert ALIO DIE mit neuen, uns noch unbekannten Musikern und schafft so eine Erweiterung seines typischen Ambient-Trance-Stils .... hier besonders bemerkenswert die vollen Zither-Sounds und ost-europäische Choräle, die wunderbar eingebunden werden...
“ 'Angel's Fly Souvenir': a CD by ALIO DIE & FRANCESCO PALADINO with contributes by IN GOWAN RING and JACK OR JIVE An album out of any definition, music at the same time dreamy and deep, a concrete and ethereal journey, born from the pleasure to experiment, the project was starting from acoustic sounds and voices recorded throw a long tube with zither loops, flutes, and different sonorous objects not identified at all and from the 'nose' sounds by Francesco Paladino. The album contains seven tracks, two of that are enriched by the epic collaboration track with In Gowan Ring in 'Ancient Consciousness of the End', and with the voice by Chako of Jack or Jive in 'Flowing Out from the Core of the Mountain'.
Francesco Paladino apart from his passion with video art, it's active in music from early seventies and was a member of Doubling Riders.
The recordings of Angel's Fly Souvenir were started in spring 2003, and now the Cd is finally come out to the light, with its bright and dark abisses, and its own night meditations.” [label description]
|
2005 |
€13.50 |
|
| ALIO DIE & MARTINA GALVAGNI |
Eleusian Lullaby |
CD |
"Oasen-Ambient" auf dieser Zusammenarbeit von ALIO DIE mit der italienischen Sängerin MARTINA GALVAGNI, hell klingend & klar, eine paradiesische Schönheit und Geborgenheit heraufbeschwörend, zärtlich, warm & sinnlich. ALIO DIE benutzt wieder diverse Instrumente wie Zither & Sitar und field recordings, die er auf seine typische Art und Weise verwebt...
"Eleusian Lullaby is a sensual ethereal-ambient collaboration between Italian soundsculptor Stefano Musso (aka Alio Die) and Italian singer Martina Galvagni. It is the third release in Projekt's series of Alio Die's vocal collaborations following 2001's Apsaras (with Amelia Cuni) and 2005's Mei-Jyu (with Jack or Jive). Eleusian Lullaby blends the natural, warm and earthy ambient compositions of Alio Die with the elegant, neo-classical voice of Martina, merging notes and silence into an expanded dreamscape. This is lullaby music like an aural caress from darkness into the light. The combination of the vocal melodies with the abstract qualities of the loops and instruments creates a suspended near-dream space, intimate and sensual at the same time.
The opening track, 'The Oniroid Sleep,' displays a foggy atmosphere where the voices wash beneath the acoustic layers of the cithara, sitar, kalimba and field recordings. On the second track, 'A Drone Song for Alienor,' the voice is clearer and more upfront with all its powerful beauty apparent creating an intense and fragile song with a neo-classical approach. The third song, 'Eleusian Lullaby,' was created as a totally free improvisation of psaltery and voice; the text is sung in a dialect of the Engadina language (Switzerland). Drones and loops were added later from the original recordings.
60 minutes of music, composed by acoustical improvisations with voice, psaltery, zither, cithara, bells, metals and field recordings. The original recordings were made in locations in the woods and in ancient medieval places then processed and layered by Alio Die at Temple Studio in 2005-2006.
Listen to this trance music in the dark and be lead to a tranquil earthly garden. Like in the best lullabies, you are caressed as you are transported to a mysterious parallel soundworld of peace and harmony." [label notes]
"Three elongated tracks making up a full length album of arty, filmic experimental soundscaping. Delicate and subtle, yet slightly discordant, melodies from archaic stringed instruments interweave with ambient drones, tinkling bells, and wordless vocals with Middle Eastern, medieval and folk touches, as well as sophisticated and evocative neoclassical vocals that are used as more of a focus of the track rather than the other styles that put in briefer appearances. Less song-oriented than many Projekt releases, but its ethereal nature, coupled with the slightly dark take on folk/world/classical music, fits right in with much of the label's other output. Combining elements familiar from the ambient/drone/experimental genre with creative, intellectual ideas of their own, the album is relaxing yet slightly unsettling at times, and goes beyond music and into the realms of aural art." [Bliss / Aquamarine]
www.projekt.com
|
2008 |
€14.50 |
|
| ALIO DIE & ZEIT |
Sunja |
CD |
Die erste der gleich DREI neuen HSL / ALIO DIE – Veröffentlichungen Ende 2003 ist SUNJA, die wohl zum harmonischten und entspannendsten gehört, was STEFANO MUSSO bisher produziert hat. Positiv und warme Sphären werden hier imaginiert, die an eine friedliche, paradiesische Oase denken lassen. Esoteric Ambience in its truest sense !
”Magic has blown its precious spores in the air. A human rite, humble and quiet, has evoked a red hot globe that gently illuminates the path toward the borders of Sunja, the dream place where all vibrations start. Sometimes the light comes down from the sky, clear like a crystal. Sometimes it climbs slowly from the earth's depths, but it's always comforting. Crossing the thresholds of Sunja is like landing on an uncontaminated island, furrow its white sea-shores lapped by tepid foamy waters, been inebriated with wide floral smells and saltiness in secret places of the inland and in caves dug from time, gain the top of the plateau from which it is possible to see
beyond...Sunja is creative strength enclosed in two long tracks of incredible intensity, rich in levels of knowledge, pure enchantment and beauty. The deep sound has an extraordinary symbolic and evocative power and it has arrived to a supreme purification owing to millenial percolations across the rock. Music shines, beholds, resounds at the bottom of ourselves, lives and spreads out. We realize, in listening, that a light warmth closes in upon us, everything loses its own original sense, the gates open...the road is beaten!
Basic acoustic recordings were improvised during a warm night in late summer 2002 at Lunae studio,Tuscany. Edited and mixed in spring 2003 at Temple studio, Milano.
Stefano Musso: zither, samples and loops, buzzer , fields recordings. Tommaso Cimo': khen(mouth-organ), accordion,rattles, bird calls, bells. All the Cds comes in a special artwork numbered compositions with collages and handmade prints.” [label description]
|
2003 |
€14.00 |
|
| ALOG |
Unemployed |
CD |
"Mainstays with Rune Grammofon since their debut ”Red Shift Swing” in 1999, their new album ”Unemployed” finds them on top of their game with what is arguably their finest effort so far. It was recorded in a wide range of spaces and places, from recordings of Haugan and Eide as street musicians in San Francisco while touring, to scavenging old collections of 78-records in the mining town of Bjørnevatn in the far north-eastern part of Norway. From on-the-spot recordings of Sigbjørn Apeland´s legendary collection of vintage harmoniums in the St. Jakobs Church in Bergen, to high-end capture of the unique sounds of Alog´s many custom built instruments in the studios of Notam in Oslo and BEK in Bergen. For a period of three years Alog collected material from all kind of sources, times and situations and made new songs that constantly pushed their creative freedom in unexpected directions. Playful, adventurous, mysterious and exploring, this is 76 minutes of experimental, yet accessible, music of the very finest sort and comes highly recommended." [label info]
www.runegrammofon.com
"Unemployed", das fünfte Album von ALOG, wurde an den verschiedensten Orten und Plätzen aufgenommen. Von Aufnahmen von Haugan und Eide als Straßenmusiker in San Francisco, während sie auf Tour waren, bis zu Stöbertouren in alte 78er-Plattensammlungen in der Bergbauerstadt Bjornevatn im nordöstlichsten Teil Norwegens. Von den spontanen Aufnahmen auf Sigbjorn Apelands legendärer Harmonium-Sammlung in der St. Jakobs Kirche in Bergen bis zu den einzigartigen Sounds auf den selbstgebauten ALOG Instrumenten im Notam Studio in Oslo und BEK in Bergen. Über drei Jahre hinweg sammelten ALOG Material aus den verschiedensten Quellen, Zeiten und Situationen, um neue Songs entstehen zu lassen, die der kreativen Freiheit in unerwartete Richtungen folgen. ALOG kamen in den späten 90er Jahren in Tromso als Duo aus Espen Sommer Eide und Dag-Are Haugan zusammen. In den vergangenen Jahren sind sie unterwegs auf viele einzigartige Musiker gestoßen, die eingeladen wurden, ihren Beitrag zu ,Unemployed" zu liefern. Da wäre das Harmonium von Sigbjorn Apeland, die minimalistischen Geigenimprovisationen des SHERIFFs OF NOTHINGNESS (Ole Henrik Moe und Kari Ronnekleiv), die klingenden Alltagsobjekte des jungen Soundkünstlers Signe Liden, die magischen Stimmen der Rune Grammofon Labelkollegin JENNY HVAL und der Beitrag des legendären niederländischen Soundpoeten Jaap Blonk.
|
2012 |
€14.50 |
|
| ALU |
Autismenschen |
CD |
Späte Veröffentlichung des ersten, bisher unveröffentlichten Album von 1980 von dieser deutschen Paranoia-Elektronik / „New Wave“-Gruppe, die aus zwei der drei Mitglieder der Krautrockband SAND bestand (deren LP „GOLEM“ auf World Serpent wiederveröffentlicht wurde!) . Liner-Notes von DAVID TIBET!
“About the band: Alu was a seminal German synth-punk band active 1979-83. This CD is their unreleased first studio album from 1980.
This is the unreleased first studio album by one of the pioneering German synth / electronic projects. Liner notes by David Tibet. The project of some of the members of Alu were in prior to Alu, Sand, enjoyed a fantastic revival a few years back (thanks in great part to David Tibet).
Unearthing this release will bring much joy to anyone interested in the pioneering sound of German electronic music from the late 70s to mid 80s. Alu released two live LPs, a 7", and a small quantity of cassettes; all of these releases are, tragically, out of print. For those to whom Alu is a new name, comparable audio would be Suicide, Throbbing Gristle (circa 20 Jazz Funk Greats), Esplendor Geometrico, or Algebra Suicide, not to mention myriad electronic German bands who existed concomitant to Alu and have enjoyed recent reissues of their own, including Phonophobia, Die Todliche Doris, and Thorax-Wach. Labels with similar artists include Zick Zack and Twisted Knister. For the young'uns who like Wolf Eyes, this may be considered a worthy ancestor...
Alu was born from the ashes of the seminal project Sand, whose releases were issued a few years ago through the persistence and passion of David Tibet. Not coincidentally, David Tibet also provided liner notes for this release. This release comes with a booklet of lyrics (in German), photos, plus a short biography (in English) of the band. Translations of the lyrics and other information on the band will be up soon at their recently created website, alugenerator.com.
“....you may call me a retro freak, I prefer the old stuff, like Alu, or The Screamers or Suicide, with whom Alu has in common that they both combined the speed and energy of the punk rock, combined with analogue synthesizer stuff. Some of the more lengthy pieces, such as 'Halt Dich Fest' sound, with lenghty guitar doodlings show their krautrock background, but Alu is at their best in their shorter pieces: a screamy voice, full of doomsday paranoia, a continuous rhythm-box, simple melodies on the organ and guitar in a distorted mood. The real stuff that can't be beaten by a groove-box and microphone. The best re-discovery of 2005!” [FdW / Vital Weekly]
|
2005 |
€20.00 |
|
| ALUK TODOLO |
Archives Vol. 1 |
LP |
"Archives vol.1 is a collection of unreleased / rare material documenting the first decade of the band's existence : raw, unpolished rehearsal captures, bizarre recording experiments, early or alternate versions of existing pieces, these 8 tracks, selected from the band's private tapes, are compiled in an unchronological order, forming a whole and unveiling new apects of Aluk Todolo's musical quest."
www.templeoftorturous.com
"Laut ihrer Bandcamp-Seite residieren Aluk Todolo derzeit in Paris. Neben der vorliegenden Archiv-Zusammenstellung vom März 2017 haben sie zwischen 2006 und 2016 neun Alben veröffentlicht, darunter auch ein Konzertalbum.
Die finsteren und geheimnisvollen Stimmungen der instrumentalen Stücke und das Artwork der Alben führen dazu, dass man als um die stilistische Einordnung stets bemühter Review-Schreiber die Musik von Aluk Todolo als durch die okkulte Gedankenwelt des Black Metal beeinflussten Krautrock auslegen möchte. Als ein Hinweis in diese Richtung kann auch das „Occult Rock“ genanntes Werk aus dem Jahre 2012 dienen.
Dieser Eindruck wird durch „Archives Vol.1“ eindrucksvoll bestätigt. Das Album enthält bisher unveröffentlichtes Material aus den letzten 10 Jahren der Bandgeschichte. Darunter finden sich unbearbeitete Fragmente aus den Bandproben, „seltsame Aufnahme-Experimente“ (so der Infozettel) sowie frühe, oder alternative Versionen der bereits veröffentlichten Stücke.
Anlässlich der aktuellen Veröffentlichung von „Archives Vol.1“ habe ich mir tatsächlich fast alles von Aluk Todolo auf Bandcamp angehört, weil ich die Band zunehmend interessant fand. Je älter die Aufnahmen, umso finsterer, experimenteller und Black Metal-artiger werden die Jams des französischen Trios.
Die treibenden Rhythmen und der repetitiv-energetische Charakter von „IV XII MMX“ ziehen den offenen Hörer in seinen Bann. Das kurze „XXVI IX MMX“ klingt für mich nach gezielt übersteuert-noisigem, apokalyptischem Jam. Rau und rotzig geht es im Jam „XVIII I MMVI“ zu. Eine scheinbar ungewohnt gestimmte akustische Gitarre sowie schwer definierbare Klänge (irgendwo zwischen Synthesizer und Dudelsack angesiedelt) bestimmen „XV V MMVIII“, das als Soundtrack zu einem bizarren Ritual dienen könnte. Mit „XXVII XI MMIV“ nähert man sich unvermittelt der atmosphärischen Dark Ambient-Musik. Die Bezeichnung „Dark Space Jam“ kommt mir bei „XVII I MMVI“ in den Sinn. Das Avantgardistische an „X IX MMVIII“ gleicht mit den Industrial-Noise-Klängen fast schon einem Besuch in einer Stahlfabrik.
Okkulter Krautrock mit einer Prise Black Metal und Elektronik? Was auch immer Aluk Todolo da spielen, für mich klingt es interessant. Wer ungewöhnliche und experimentelle Musik mag, der sollte sich mal mit „Archives Vol.1“ beschäftigen." [Siggy Zielinski /Babyblaue Seiten)
www.babyblaue-seiten.de/album_16370.html
|
2017 |
€22.50 |
|
| AMBARCHI / GUNTER MULLER / VOICE CRACK |
Oystered |
CD |
Ungewöhnliche Kollaboration, aufgenommen an einem Tag in Sidney, 23.July 2002: dunkel-pulsierend hämmernde Soundflächen und sich dramatisch entwickelnde elektronische konkret-Klänge machen dies zu einer spannenden Hörerfahrung!
“ Take three Swiss tourists. Feed them top notch Sydney rock oysters, fine Hunter Valley wines and get them into a recording studio with Oren Ambarchi. That was the challenge. This is the record. If Ambarchi, Müller and the Crack have one thing in common (beyond gastronomic excess), it is their ability to get extraordinary sounds out of everyday objects. This one day recording session at Big Jesus Burger in Sydney highlights the mutual approach they share.There's such cohesion, wholeness and single mindedness to these pieces that makes identification of the individuals involved virtually impossible. So forget the 'Who's Doing
What?' game. Close your eyes and play 'Where The Hell Am I?' ... rainforest, glacier, casino, ship's hull, bowling alley or five star restaurant?” [label description]
"Clustered, pacing, stomping. The mechanics of this latest collaboration by Ambarchi, Muller and Voice Crack manipulates resonance and miniscule particles like they are playing a game with sensors that bark and bite back. The ominous nature of 'Walking Oysters' uses plotted stepping which designs the frame for the kinetics lurking inside. Over these forty+ minutes these gentlemen incorporate electronics, strings and percussion to mold something freely derived from bare open circuits and other happy mistakes. A
vernacular is built on 'Briefing Oysters' that forms slowly and largely into a vibrating dissonance - but be careful - these
authoritative sounds are so ecstatic that they literally knocked my bass woofer off the shelf (that was a first). If you play this on
headphones it is sure to be a significant mind rush. After the tremendous pinnacle the piece is treated to the equivalent of a breathing tube, charted by timed intervals inhalations (or percussive metering). Starting as a static-laden drone 'Grounding Oysters'
relies on the residues of quiet and bass thumping play between channels. Like moving lumber and bark that is electrified, the
organic quality to this track is just stunning. Not satisfied to simply use the formidable sine wave with subtle manipulation - 'Oystered' totally experiments with every aspect of frequency and sample. There are parts that test your ear drum, giving the listener a physical, sensory experience. This is active listening."
[TJN, Vital Weekly]
|
2003 |
€13.50 |
|
| AMBARCHI, OREN |
Triste |
CD |
Überraschender CD Re-Release der vergriffenen LP auf dem Metal-Label SOUTHERN LORD, die auch SUNN O))) veröffentlichen. Ein Live-Mitschnitt eines schönen Konzertes aus Nijmegen vom Juni 2001.
„...zu hören ist AMBARCHI’s ruhig-dronige Seite, markante gitarrenbasierte Töne die in einem immerwährenden Wechsel zu interessanten Mustern verbunden werden...“ [Drone Rec info]
Als Bonus gibt es noch Remix-Collaborationen mit TOM RECCHION.
“An expanded reissue of the Triste album from Australian electronic guitarist and percussionist OREN AMBARCHI. The Triste material is reminiscent of his work on Grapes Of Wrath, with his guitar sound/tone transformed into a dark, tonally extreme, percussive instrument, with the sound arranged melodically to create beautiful drone soundscapes. Includes all the tracks from the original version (released on vinyl in a limited edition), along with some remix collaborations with TOM RECCHION.” [press release]
“ Mr. Ambarchi's subtle harmonic clusters and beautiful Acoustic lullabies sway the listener into a waking dream like the best works of
Charlemagne Palestine, La Monte Young, Phil Niblock, and John Fahey. Imagine that deep tranquil ocean, endless and mysterious, filled by single tears of resonating beauty until the ocean gives way torrents. This is Triste...” [from the original press release]
|
2005 |
€14.50 |
|
| |
A Final Kiss on Poisoned Cheeks |
LP |
OREN AMBARCHI's Beitrag für die neue "guitar series" auf TABLE OF THE ELEMENTS: vielschichtige Poly-Drones, bestehend nicht nur aus Gitarren-Tönen sondern auch aus elektronischen Kontakt- und Störgeräuschen & sich windenden Feedbacks; ein sehr komplexes Stück, lebendig und elektronisch ausstrahlend in 1000 verschiedene Richtungen. Wunderbar auch, wie es dann allmählich mit glockenhellen Klängen versetzt ausklingt.. AMBARCHI in Höchstform. Himmelblaues Vinyl.
"There is a vivid breadth to the guitar deconstructions of Australian Oren Ambarchi. Sometimes his work takes a delicate lilt; it can also dive into dark and deep pools of sound when he joins cowl-core ensembles Sunn O))) (with Stephen O'Malley) and Burial Chamber Trio (with Greg Anderson). Whether with those bands, solo, or in collaboration with luminaries ranging from Mike Patton and John Zorn to Christian Fennesz, he consistently reroutes his instrument into zones of arch, alien abstraction. A Final Kiss On Poisoned Cheeks offers a dizzying gaze straight into a chasm of extreme frequencies -- paint-peelingly high and bowel-churningly low -- all set atop a sub-strata of menace, angst, and contemplative beauty." Pressed on light-blue marbled, etched vinyl. B-side etching artwork by Savage Pencil." [label info]
"...Still essentially a dronescape, A Final Kiss is rife with sonic activity, so much so that in lesser hands it would be more of a mess, a sort of pretty-ish noise record, but Ambarchi, takes all manner of buzz and glitch, of scrape and hum, and weaves it into a strangely lyrical arrangement. The core of the piece is a thick, undulating low end drone, a muted Niblockian shimmer, that seems not to change so much as shift, reflecting different colors and sounds depending on the angle. Over this nearly constant thrum, exist a veritable universe of strange sounds, streaks of feedback, cricket like electronic chitter,
moaning throbbing swells of guitar rumble, brief blurs of warm soft focus fuzz, layers of crumbling distortion, all of the various
elements constantly shifting and blossoming, collapsing and then blooming again, creating a super organic flow, another instance of
leaving the instruments on the stage, guitars against amps. amps cranked, although here it seems the instruments have come to life, and
we are glimpsing their secret lives, as the communicate musically, telling some sort of story, exchanging mysterious messages, which
while indecipherable to human ears, still manage to sound magical. Guitardrone freaks will, well, freak! Subtly heavy, darkly
drone-y, slightly noisy, rich and dense and textural. Really gorgeous. And totally recommended.
Pressed on swirled turquoise vinyl. One sided, the other side with a super bad ass etching, housed in a thick vinyl sleeve, and of course, as always LIMITED!" [Aquarius Records review]
www.tableoftheelements.com
|
2008 |
€17.50 |
|
| AMBER ASYLUM |
Still Point |
CD |
Nach vielen Jahren ein neues Album der Band um KRIS FORCE, deren markanter Elfen-gleicher Gesang hier das Zentrum bildet für die elegischen Gothic-Folk Kompositionen mit viel Streicher-Einsatz, eher reduziert und verhalten und nur wenig "rockend", alles durchzogen von einer majestätischen Melancholie... mitunter wird das Song-Format verlassen und schwelend-ruhige instrumentelle Soundscapes erfüllen den Raum, die eine nicht weniger fragile Schönheit aufweisen...
" Still Point ist die erwachsenste CD von AMBER ASYLUM, weil sie am wenigsten verspielt ist; nichts muss mehr ausprobiert werden ('Music is my evolution', KRIS FORCE). Die Stimmung, die Stimmen, die Instrumente, alles ist perfekt positioniert, es konnte nichts anders werden an diesem Album. Wundervoll depressive Kammermusik für die kommenden Monate." [Michael We / nonpop.de]
"One of the most respected, legendary, and influential acts that have emerged from the neoclassical/gothic/ambient/and post-rock alternative scene, AMBER ASYLUM have once again delicately peered through the cascading light with their long-awaited full-length, the band’s first observation since 2000. Band leader KRIS FORCE was an integral part of NEUROSIS, appearing on the majority of their releases, and has played and collaborated with such legendary acts as SWANS and JARBOE. Features members that have been involved with such Bay Area luminaries as WEAKLING, ASUNDER, THE GAULT, HAMMERS OF MISFORTUNE, and LUDICRA." [label info]
www.profoundlorerecords.com
|
2007 |
€13.00 |
|
|
Garden of Love |
maxi-CD |
Nach langer Pause fünf neue Stücke von KRIS FORCEs Band; melodramatische, Kammermusik-artige Elegien wo ein klares Song-Gerüst aber immer zu erkennen ist, eingespielt mit Bass, Piano, Violine & Cello, Bläsern, Percussion, und dazu KRIS eindringliche Stimme;
zurückhaltend, slow, so einsam & verloren... bisher ihre ergreifenste, weil ausgereifste Veröffentlichung !
"San Francisco's Amber Asylum return with their first new recordings in nearly five years . Five dark, brooding chamber works of misanthropic resonance and chilling emotional beauty. A blackened neo-classical masterpiece following their previous recordings on Relapse and Neurot as well as their acclaimed collaborations with Neurosis, Swans and Jarboe amongst others. Just under half an hour of new recordings, featuring the bonus soundtrack recording, "Serenade"." [label notes]
www.paradigms-recordings.com
|
2006 |
€10.00 |
|
| |
Bitter River |
CD |
"Amber Asylum is one of the most influential and respected acts in the neo-classical / dark ambient genre. Group leader, multi-instrumentalist and producer Kris Force boasts a repertoire that includes collaborations with Neurosis and Swans as well as credits for penning soundtrack music for video games, television, and feature films. Her band is known for their distinct brand of chilling romantic mire and brooding darkness constructed with layers of violin, viola, cello, guitar, bass, percussion, and Force's alluring voice. Bitter River is the darkest and most devastating Amber Asylum album ever conceived. The perfect follow-up to the plunging Still Point, this introspective journey into lost love and lost innocence paints powerful sonic portraits of vast, lonely landscapes, dark chambers, rolling fog, and monumental twilight. For the recording, Force employed some of the most accomplished musicians in the underground: long-time Amber Asylum conspirator Jackie-Perez Gratz (Giant Squid, Grayceon) on cello; Leila Abdul-Rauf (Saros) on guitar, piano, and vocals; bass player Eric Wood (Bastard Noise); and drummer Chiyo Nukaga (Noothgrush), along with guest appearances by Sigrid Sheie (Hammers of Misfortune) on flute and Jarboe providing narration. Bitter River features artwork by David D'Andrea." [label info]
"Amber Asylum machten schon immer mehr als nur Musik. Sie schufen die musikalische Untermalung zu Tagträumen. Zumindest zu den Tagträumen, die in die Welt von Elfen, Feen oder Nymphen führten. Die einen auf die Reise in dichte Wälder oder taubedeckten Wiesen im Mondlicht schickten. Die einen mögen dabei an den Herren der Ringe denken, andere an romantisch-verklärte Illusionen über eine Zeit als die Menschen ihre Seele als Teil der Gesamtdynamik der Natur und diese als von vergessenen Zaubern durchzogen betrachteten. Wie auch immer scheint die Musik von Amber Asylum sich nicht mit dem modernen Großstadtleben vereinen zu wollen. Das dieser Anti-Modernismus nicht immer nur romantische Gedankenverlorenheit ist, zeigt sich, wenn man einige Namen assoziierter Weggenossen und Nebenprojekte unter etwas genauer unter die Lupe nimmt.
Das sagt dann aber weder was über Kris Force, die maßgeblich hinter Amber Asylum steht, noch über die Musik dann wirklich etwas aus.
Auf "Bitter River", dem mittlerweile siebenten Album der Band, wird Force von Jackie Perez-Gratz, Sigrid Sheie und vor allem von Leila Abdul-Rauf unterstützt. Letztere lieh dem Projekt nicht nur ihre Stimme sondern trug auch neben Kris Force zu Songwriting bei. Und gerade ihr pathos-gefüllter, fast opernhafter Gesang hebt Amber Asylum aus der Menge der Neo-Folk Bands heraus und nimmt der Musik damit den Beigeschmack des Klagegesanges Rückwärtsdenkender.
Charakterprägend ist auch die Mithilfe von so unerwarteten Gastmusikern wie dem Noothgrush und Graves At Sea Schlagzeuger Chiyo Nukaga, Eric Wood (Ex-Man Is The Bastard, Bastard Noise) und Jarboe von den Swans. Denn "Bitter River" ist nicht nur besinnlich verträumt, es ist über weite Strecken vor allem von einer düsteren, ungewissen Stimmung geprägt. Das macht dieses Album, das beim ersten Hören eine nette Untermalung für verschneite Winterabende zu sein scheint, auch in diesem Sommer nicht komplett deplaziert, ist doch jeder verträumte Tag im Park Unsicherheit und der Angst vor dunklen Wolken und plötzlichen Gewittern und Regengüssen geprägt." [Tinnitus-Mag]
www.profoundlorerecords.com
|
2009 |
€13.00 |
|
| AMM |
Live at the Roundhouse |
CD |
Unveröffentlichtes Material von 1972 von der legendären Truppe um EDDIE PREVOST !
“The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey 'Job' Matusow (1926-2002). Jumping off from his associations with the influential Source magazine, Harvey brought together over 300 artists from more than 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound -- specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house. Now, for the first time in 30 years, these recordings can be heard. This first CD in a series documenting the festival features the complete concert given by legendary free improvising group AMM. Represented here by Eddie Prevost and Lou Gare, they offer up powerful explosions of saxophone and drums punctuated with their famous AMM silences. This is the first time this material is available, aside from two short excerpts were published as the only 7" release on Evan Parker and Derek Bailey's Incus Records (and a very rare and desirable record that has become)." [press release]
|
2004 |
€14.00 |
|
| AMON |
Nona |
maxi-CD |
Nach langer Veröffentlichungspause gibt es nun immerhin eine maxi-CD bzw. 10“ von einem der besten dark ambient-acts. NONA ist eine faszinierende Soundreise in präverbale Sphären, mysteriöse & wunderschöne Klänge die sich in langsamen, aber dynamischen Wellenbewegungen durch Zeit und Raum bewegen...
After a long release-pause here’s a new maxi-CD / 10“vinyl from one of the best dark ambient- acts. NONA is a fascinating soundjourney into pre-verbal spheres, mysterious and truly beautiful noises move in slow but dynamic waves through time and space..
The CD version is lim. to 500 copies and comes in an oversized 10” fullcolour cover with artwork by Daniel Crokaert (Mystery Sea).
“Nona" takes inspiration from a case of xenoglossy (the ability to speak in an unlearned and unheard foreign language, often associated with past-life recall, states of trance or hypnosis and mediumship) discovered in Great Britain around the early Thirties when a woman in state of trance expressed herself in a language which was recognized as ancient egyptian. This voice from the past was called "Nona" or "The One Without a Name".[from the press-release]
|
2003 |
€6.50 |
|
| |
Nona |
10" |
Nach langer Veröffentlichungspause gibt es nun immerhin eine maxi-CD bzw. 10“ von einem der besten dark ambient-acts. NONA ist eine faszinierende Soundreise in präverbale Sphären, mysteriöse & wunderschöne Klänge die sich in langsamen, aber dynamischen Wellenbewegungen durch Zeit und Raum bewegen... auf der vinyl version ist ca. 10 Minuten mehr Material als auf der maxi-CD !
After a long release-pause here’s a new maxi-CD / 10“vinyl from one of the best dark ambient-acts. NONA is a fascinating soundjourney into pre-verbal spheres, mysterious and truly beautiful noises move in slow but dynamic waves through time and space..
Limited edition on clear vinyl, with artwork by Daniel Crokaert (Mystery Sea). On the vinyl version is about 10 minutes more material than on the CD !
“Nona" takes inspiration from a case of xenoglossy (the ability to speak in an unlearned and unheard foreign language, often associated with past-life recall, states of trance or hypnosis and mediumship) discovered in Great Britain around the early Thirties when a woman in state of trance expressed herself in a language which was recognized as ancient egyptian. This voice from the past was called "Nona" or "The One Without a Name".[from the press-release]
|
2003 |
€12.00 |
|
| AMON DÜÜL |
Disaster (Lüüd Noma) |
do-LP |
Im September 1968 spielte AMON DÜÜL bei den "Internationalen Essener Songtagen", dem ersten fünftägigen Rockfestival Deutschlands, das der spätere Ohr-Labelchef Rolf-Ulrich Kaiser initiiert hatte. Der Berliner Musikproduzent Peter Meisel hörte und sah die Band dort und nahm sie spontan unter Vertrag, zusammen mit Tangerine Dream und Birth Control. AMON DÜÜL stand der Berliner "Kommune 1" nahe und entstand zu einer Zeit, da jeder ein Künstler war, der einer sein wollte. Und so konnte auch jeder, der wollte, ein Musiker sein. Zusammen, im Kollektiv, war alles möglich. Angelika und Helge Filanda, Wolfgang Krischke, Ulrich Leopold, Rainer und Ella Bauer, Peter Leopold sowie Uschi Obermaier spielten in Meisels Studio zeitgemäß high in the sky eine Session ein, die alle Regeln durchbrach und alle Hörgewohnheiten auf den Kopf stellte. Die Aufnahmen wanderten zunächst in den Giftschrank, erst ein Jahr später traute sich Meisel, sie unter dem Titel Psychedelic Underground zu veröffentlichen. Hier ist die Fortsetzung: Die Doppel-LP Disaster/Lüüd Noma erschien 1972, als es die Gruppe AMON DÜÜL schon nicht mehr gab, und sie präsentiert weitere Aufnahmen aus derselben Session. Alle Titel sind surreale, unübersetzbare Wortspielereien, die Stücke sind klanglich besser organisiert, weniger fragmentarisch, klarer voneinander abgesetzt und ausgefeilter nachbearbeitet als auf der ersten LP - der ausgenzwinkernd mitgelieferte Hinweis, alle Störungen und Fehler seien beabsichtigt, hat aber gleichwohl einen wahren Kern. Nun sind diese denkwürdigen Aufnahmen wieder zugänglich, remastered von den analogen Originalbändern. Sie sind das Dokument einer Zeitstimmung, die unwiederholbar geblieben ist. Wer sich für die Anfänge des Krautrocks ernsthaft interessiert, kommt an diesem Album nicht vorbei - das Disaster wartet auf Sie!
|
2023 |
€26.00 |
|
| ANAKRID |
Banishment Rituals of the Disenlightened |
CD |
Tolles Album dieser Neuentdeckung auf Beta-Lactam: sehr dichte, dunkle, geräuschhäft-mysteriöse Klänge, elektronisch unterfüttert & stets in dynamischer Bewegung, ein weites Spektrum auf den 11 Stücken austestend... sehr eigener Stil!
"..A very dark, often unsettling and intense album of electronic experimentation." [Side-Line]
"First ed. of 500 copies in a book bound CD case. Anakrid a day keeps the doctor slurred in a trove of fish-tallowed sling slong. This is what it sounds like when doves cry because the mother ship crashes into their nest in the 6th dimension. With this symphony of sickness comprised of scraped palpitations, pitched whooshes, roaring cathodes and syncopated metallics, Anakrid have another breakthrough chart topper on their bruised hands! These avant-garde hit-makers have real crossover potential, combining the best, most dynamic experimental noise with the very latest drones. This exciting NOW sound is OUT OF THIS WORLD! The long awaited fusion of ritualistic tribalism with the tweaked electro-tech of ancient alien cultures is finally here. Hey kids! If you love Nurse With Wound, Genocide Organ, Hafler Trio, Muslimgauze, Pierre Henry, Nadja and Harry Bertoia and confusing your parents, then you’ll want to get in on the Anakrid craze before it’s too late. They’ve got a whole new way of kickin’ it old school. With electronics AND home-made instruments, Anakrid CREATES an exploratory atmosphere WITHOUT all those boring, go-nowhere improvisational hang-ups. Everything sounds fresh, progressive and weird!!! It’s just that good. Let’s face it; outsider music has gotten plain boring. Anakrid is just the electrodes to the testicles that left field music has been weeping for since, like, forever. Ex-punks hang up their Mohawks and make good mayhem." [press release]
www.blrrecords.com
|
2008 |
€13.00 |
|
| |
Banishment Rituals of the Disenlightened |
LP |
Tolles Album dieser Neuentdeckung auf Beta-Lactam: sehr dichte, dunkle, geräuschhäft-mysteriöse Klänge, elektronisch unterfüttert & stets in dynamischer Bewegung, ein weites Spektrum auf den 11 Stücken austestend... sehr eigener Stil! Dies ist die superlimitierte Vinyl-Version, wie immer wie bei Beta-lactam speziell verpackt!
"..A very dark, often unsettling and intense album of electronic experimentation." [Side-Line]
"LP edition of 100 copies in a hand printed heavy gatefold sleeve. The inside gatefold sleeve is hand painted by Anakrid (each unique). Anakrid a day keeps the doctor slurred in a trove of fish-tallowed sling slong. This is what it sounds like when doves cry because the mother ship crashes into their nest in the 6th dimension. With this symphony of sickness comprised of scraped palpitations, pitched whooshes, roaring cathodes and syncopated metallics, Anakrid have another breakthrough chart topper on their bruised hands! These avant-garde hit-makers have real crossover potential, combining the best, most dynamic experimental noise with the very latest drones. This exciting NOW sound is OUT OF THIS WORLD! The long awaited fusion of ritualistic tribalism with the tweaked electro-tech of ancient alien cultures is finally here. Hey kids! If you love Nurse With Wound, Genocide Organ, Hafler Trio, Muslimgauze, Pierre Henry, Nadja and Harry Bertoia and confusing your parents, then you’ll want to get in on the Anakrid craze before it’s too late. They’ve got a whole new way of kickin’ it old school. With electronics AND home-made instruments, Anakrid CREATES an exploratory atmosphere WITHOUT all those boring, go-nowhere improvisational hang-ups. Everything sounds fresh, progressive and weird!!! It’s just that good. Let’s face it; outsider music has gotten plain boring. Anakrid is just the electrodes to the testicles that left field music has been weeping for since, like, forever. Ex-punks hang up their Mohawks and make good mayhem." [label info]
www.blrrecords.com
|
2008 |
€26.00 |
|
| ANDEL, LAURA / ELECTRIC PERCUSSIVE ORCHESTRA |
In::tension:. |
CD |
Since a very young age, I have always been attracted to journeys and traveling to places not known to me. Last year, I watched a film from Mongolia about a dog. Once the dog dies, its soul is free to travel and wonder through landscapes and memories as a disembodied spirit. Each part of I n : : t e n s i o n : . is part of a longer journey, where you can hear, sense and discover different memories that a wandering soul revisits. Percussive, intimate, visceral, ritualistic and electrically charged, I n : : t e n s i o n : . explores tension points and internal pulses, glimpses and gestures in a non-narrative world.
Composer Laura Andel was born in Buenos Aires, Argentina. After living and working in her native Buenos Aires and for several years in Boston, Ms. Andel moved to New York City in 2000, where she currently resides. She has conducted her music in New York, Boston, Berlin, Caracas, Buenos Aires and other cities. One of Andel's strengths is her ability to assemble large ensembles to play her compositions. She enjoys exploring diverse combinations of instruments and formats for her orchestras, as well as working with musicians from different musical and cultural backgrounds. Currently, she leads the Laura Andel Orchestra in several formations. Among the most recent are the 14-piece SomnambulisT Orchestra and the 10-piece Electric Percussive Orchestra. SomnambulisT, her previous extended work, was released by Red Toucan Records (RT9322) in 2003.
Thanks to:
Roulette, Jerome Foundation, Sacatar Foundation, Yaddo Artist Colony, Valparaiso Foundation, Jim Staley, Elliott Sharp, and all the musicians of the Laura Andel Electric Percussive Orchestra. Additional thanks to Sofía, Saúl, Hernán, and Carlos.
I n : : t e n s i o n : . was commissioned in 2004 by Roulette with funds from the Jerome Foundation.
All music composed and conducted by Laura Andel (BMI ©2004)
Recorded live by Mario Diaz de León at The Roulette Concert Series at Location One in New York City on December 4, 2004.
Mixed and mastered by Elliott Sharp at studio zOaR in New York City.
Performed by the Laura Andel Electric Percussive Orchestra:
Kyoko Kitamura voice & electronics
Taylor Ho Bynum cornet
Carl Maguire prepared fender rhodes & accordion
Ursel Schlicht piano & prepared piano
Kenta Nagai electric fretless guitar & electronics
Joel Harrison electric guitar & electronics
Khabu Young electric baritone guitar & electronics
David Simons theremin & percussion
Andrew Drury percussion
Harvey Wirht drums
Laura Andel composer & conductor
www.rossbin.com/rs022.htm |
2005 |
€6.00 |
|
| ANDRYCZUK, HARTMUT |
DJINN DER NORDSEE. Kurzfilme & Dokumentationen |
BOOK & DVD |
"24 Kurzfilme & Dokumentationen mit Wolfgang Müller, Valeri Scherstjanoi, Michael Lentz, Max Müller, Wolfram Spyra, Hartmut Andryczuk u.a. Ausgewählt und herausgegeben von Hartmut Andryczuk. Video-DVD von ca. einer Stunde Länge. Mit einer Originalzeichnung des Herausgebers. mimas atlas # 5, Berlin 2007." [Verlagsinfo]
www.hybriden-verlag.de
|
2007 |
€50.00 |
|
| ANEMONE TUBE |
Golden Temple |
CD |
"anemone tube’s third release of the 'suicide series' tetralogy is an immersive industrial music album and the most ambitious and complex work yet, a long-term project of no less than 6 years, pursuing a highly sophisticated approach full of cross-cultural and historical references. painting a sonic landscape, 'golden temple' is perfectly real and dreamlike at the same time, endorsing archaic, mythological and worldly ideals alike. beauty and evil, the profane and chaos, apocalypse and hope - anemone tube keeps account and observes the antagonist forces of life. composed of raw urban field recordings collected in japan and china, combined with layers of piercing feedback and sinister hovering synth melodies, 'golden temple' confronts you with an all-embracing atmosphere of aggrieving darkness and glorious harshness, fathoming the possibilities of the genre. to ensure due impact, it has been sharply engineered to perfection by mastermind james plotkin. pursuing radical psychological effects of sound, the 13+ minutes initiation 'l`homme et les sirenes' is a mind-bending journey into the human psyche, a slowly emerging sinister landscape evoking man’s intrinsic imbalance with (its own) nature, followed by the noisy debris and crushing buildup of 'apocalyptic fantasy' as well as 'tower of evil', which is the central piece of the album, conceptually and musically, multi-layered and sample-heavy, related to tokyo’s roppongi hills mori tower, which is regarded by natives as a symbol for the uninhibited commercialization of life. 'negation of myth' descends into a barren, metallic darkness, radiating an equivocal sense of melancholy, before 'sea of lights (golden temple)' ascends in sparkling brightness and divinity. the evanescent bleakness of 'anthropocene - the dark abyss of time' finishes the main part of the album on a perversely promising, almost calm, spiritual note. under the heading 'arcadia - dreamland and myth', which constitutes a coherent sequel to the album, anemone tube explores questions pertaining our longing for a return to the realms of myth and emotion. whereas the sinister seething 'i, death, rule even in arcadia' picks up the first piece’s topic of sirens and conjures up the dionysian reunion with the innermost depths of nature and chaos, the psychologically strenuous 'tojinbo - tranquil sea of equanimity' composed by radical sound artist dave phillips (switzerland, schimpfluch-gruppe), using field recordings of the country’s most notorious suicide spot, demands the ultimate choice: how far to go to find your peace of mind. after the purely fantastic 'dream landscape' conjuring up an apocalyptic vision and the dark, brooding landscape of 'death over china' slowly spreading as thick smog (as a consequence for china’s uncompromising economical and societal development causing irreparable environmental harm), the semi-fictional work 'golden temple' is the series’ logical sequel . it suggests a (meta)physical landscape, here in form of global cities and metropolises proudly and brightly soaring in darkness, and bestowing golden radiance and divine beauty. with its alluring metaphorical world of images, symbols and sounds it is the very symbol of our innermost longings, desires and fears and our attempts to escape from a disconcerting reality. the 'golden temple' is comforting and threatening at the same time: consoling as it promises to reveal the secrets of beauty, threatening as it becomes a mirror of our secret death wish. strongly influenced by pasolini’s cinematic masterpiece 'medea', which evolves around the subject matters of estrangement from traditional values, the loss of contact with the mythical and the sacred in an increasingly rationalized and consumerist society, anemone tube brings matters to a head with an invocation of religiously charged symbolism, with the 'golden temple' acting as more than a singular viewpoint, but as a meta-sign, functioning in its paramount acknowledgement and acceptance of complex, sometimes contradictory subject matter. supported by the use of ancient and contemporary imagery, literary and cinematic references reproduced in the lavish accompanying booklet anemone tube creates different narrative levels, juxtaposes contemporary western and long-standing asian culture, plays with symbolic meanings and values - however, while doing so, never takes an unequivocal stand. anemone tube with his varied interests and approaches always strives to present a holistic work of art, and 'golden temple' works on many levels accordingly. the considered use of field recordings and samples, the arrangement of old masters’ paintings, contemporary photos and a variety of quotes from literature and movies - nothing is random, everything is part of the big picture. 'golden temple' is a multi-facetted recording, absorbing and inspiring as well as a complex concept waiting to be discovered. quality time lies ahead for those who get involved and visit the golden temple! the cd comes with a beautifully designed 6 panel digifile with golden print on black paper and a lavish 12-page booklet." [label info]
"Im Zentrum von Tokyos Bezirk Minato erhebt sich die Skyline der Roppongi Hills, einer Gruppe von Bürotürmen um den mächtigen Mori Tower, den die kritisch gesinnten unter den Einheimischen in leicht abergläubischer Weise den bösen Turm nennen. In ihrer Wahrnehmung steht er für die Macht, die das Kapital und der entfesselte Konsum auf alle Lebensbereiche ausweitet. Für den Musiker Anemone Tube, der vor einigen Jahren Japan bereiste und am Fuße der Türme das Covermotiv und nicht wenige der Sounds seines aktuellen Albums „Golden Temple“ aufnahm, ist der Ort ein Symbol der kapitalistischen Spatmoderne, der Tower of Evil, den er im gleichnamigen Stück besingt, ist eine Allegorie, die nicht nur in Japan ihre Manifestation hat.
„Golden Temple“ – man mag beim Titel an Mishimas Temple of the Golden Pavillon denken, woraus im opulenten Booklet zitiert wird – ist der dritte Teil von Anemone Tubes „Suicide Series“ und somit Nachfolger von „Dream Landscape“ und „Death Over China“. Ein weiteres mal geht es um Landschaften, die sich in der Spätform unserer Zivilisation herausgebildet haben und die zugleich ihren selbst hervorgerufenen Kollaps symbolisieren. Auf „Golden Temple“ ist all dies noch stärker als zuvor mit textlichen und ikonischen Zitaten und Anspielungen unterfüttert, die viele Fragen stellen und gelegentlich auch die eine oder andere Antwort in den Raum stellen.
Noch deutlicher als auf „Death Over China“ dreht sich auf „Golden Temple“ alles um das Thema der Entfremdung und ihrer apokalyptischen Dimensionen, und wie es scheint wird ein historisches Panorama entfaltet. Im eröffnenden „L’Homme et les Sirenes“ wird gewissermaßen die Ursünde der Entfremdung abgehandelt, der Trick des Odysseus, dem verführerischen Gesang der Sirenen zu widerstehen, oder allgemeiner: durch scheinbare Disziplin, die in Wirklichkeit eine Selbstfesselung ist, über die Natur und ihre Geister zu triumphieren. Dieser Akt, von Homer gefeiert und noch in der Dialektik der Aufklärung als Sternstunde der Zivilisation gewürdigt, erscheint hier als Auftakt einer fatalen Dystopie, zumindest lässt der knochentrockene Schleifsound, der seine destruktive Wirkraft erst nach und nach entfaltet, nichts anderes vermuten.
Von der Irrfahrt des Heroen bis zum finalen Anthropozän in „Anthropocene – The Dark Abyss of Time“ mit seinem an apokalyptisches Flammengeprassel erinnernden Rauschen ist es ein weiter Weg, und der ist mit Marken versehen, die so etwas wie einen Kampf zwischen Sein und Entfremdung anzudeuten scheinen. Auf musikalischer wie textlicher Seite herrscht der Nihilismus des all-encompassing destroyer aus dem zentralen „Tower of Evil“. „Apocalyptic Fantasy“ knüpt mit fatal dröhnenden Kreisbewegungen und einem Sound, der an Gitarrensoli diverser Metalgenres gemahnt, an die vorab veröffentlichte EP „In the Vortex of Dionysian Reality“ an, und schon dass hier auf Fantasy und nicht auf Nightmare verwiesen wird, unterstreicht das Lustvolle, dass dieses Untergangs-Narrativ bis zum kaum verständlichen Sprachample durchzieht – wie im Tarot Crowleys ist der Turm, der hier durch brettharte Noisewände evoziert wird, eine dem Einsturz geweihte comfort zone, deren Implosion gefürchtet und zugleich erhofft wird.
Nach einer eindringlicheren Version des schon auf dem Vortex-Tape enthaltenen „Tower of Evil“, hier mit dem Zusatz „The Ultimate Truth“, führt uns „Negation of Myth“ in die etwas filigraneren Regionen der Anemone Tube-Kosmos, was allerdings nur heißt, dass die nosigen Sounds weniger verwaschen und die einzelnen grobkörnigen Partikel deutlicher herausgearbeitet sind. Wer vergleichbare Passagen auf „Death Over China“ oder auf der Split mit Dissecting Table kennt, weiß, dass solche Tracks immer noch niederdrückend sind, und hier ist es v.a. das kosmische Hintergrunddröhnen, das den Eindruck von etwas Verlorenem aufrecht erhält. Vielleicht ist es diese Evokation von etwas ungreifbar Verlorenem, die auch den vielleicht schöngeistigesten Track „Sea of Lights (Golden Temple)“ so eindringlich macht.
Anemone Tube war stets an einer angemessenen allegorischen Aufmachung interessiert, doch diesmal ist das Booklet besonders reichhaltig gefüllt. Auf der bildlichen und paratextlichen Seite, die hier entfaltet wird, erwacht eine hetrotopische Gegenwelt, die so etwas wie ein nicht entfremdetes Sein zum Thema macht. Teil dieser Gegenwelt, wenn auch auf sehr radikale Art, ist zumindest der erste der beiden Bonus-Tracks, die wie eine integrierte EP unter dem Titel „Arcadia – Dreamland and Myth” angehängt sind: „I, Death, Even Rule in Arcadia” greift das Motiv der Odysse wieder auf und deutet eine alternative Erzähung an, in der der Held dem Ruf der Geister nachgibt und – auf tragische Weise, der Entfremdung jedoch entrinnend, wieder mit seiner eigenen Natur verschmilzt. „Tojinbo – Tranquil Sea of Equanimity” wiederum ist besonders doppelbödig, scheinen die vom schweitzer Soundaktivisten Dave Philips abgemischten Feldaufnahmen aus der Nähe einer für zahlreiche Selbstmorde bekannten Felsenklippe in Japan doch eher wieder eine Folge der Entfremdung statt ihre Alternative zu beschwören.
Letztlich bleibt es eine Frage der Interpretation, ob man die schönen Seiten des in „Golden Temple“ beschworenen als eskapistische Gegenwelt, als Einklagen einer veschmähten Kostbarkeit, als reine Dokumentation oder als vorsichtig hoffnungvolle Zukunftsaussicht auf ein Danach lesen will. Nietzsches Umschreibung des Dionysischen als „Ja zu Leben in all seiner Tragik” kommt mir dabei allerdings nicht aus dem Sinn. Sicher ist, dass das immer etwas links klingende Wort Antikapitalismus und das immer etwas rechts klingende Wort Antimodernismus selten so sehr überblendet wurde, wie auf diesem an Andeutungen und Anspielungen reichen Album, das den Geist Pasolinis wie ein Kontrastmittel über die Goldenen Tempel unserer Zeit gießt – und damit selbst die namenlose saufende Schönheit zu Füßen der Kolosses aus Glas und Beton zum Strahlen bringt." (U.S./AFRICAN PAPER]
www.raubbau.org
"The second chapter in "the suicide series" from Berlin's Anemone Tube is a suitably grim offering of machined noise, discordant feedback, and industrial field recordings of urban sprawl from a protracted visit to China a few years back. Anemone Tube's inclusion of these Chinese sounds comes from a very conscious decision to express the unfortunate side of the human condition to lay blame of current ills on the foreigner, the other - as Sartre explored in The Stranger. These recordings of locomotive engines grinding against the tracks, jet-engines surging into the sky, and the deafening roar from turbines are not unique to China, but the acceleration of environmental decline through such activities should also be seen as a mirror to the European civilization, whose cities have complex histories to war, famine, death, and disease. Hence, the title refers more to the gleaming optimism of human progress when everything points to another conclusion. Anemone Tube captures this in an immersive construct of these revolving field recordings, compounded by sinister synth passages and haunted drone, that keep us thinking of the likes of Morthound and Megaptera, in the death-industrial realms." [Aquarius Rec.] |
2016 |
€13.00 |
|
|
In the Vortex of Dionysian Reality |
CD |
Related to Nietzsche`s notion of the Wagnerian music drama as a revelation of the abysmal truth about man, “In the Vortex of Dionysian Reality” allures us into the Dionysian dreamland, where tragedy reigns, in pursuit of the ultimate oneness. With its washes of noise and layers of piercing feedback on a subbase of wavering synths, it is a maelstrom of sound generating a hallucinatory reality. The atmosphere oscillates between destructiveness and aggravating frenzy, between the archaic and the sacral, between frenzied passion and abyssal melancholy, serving the mythical experience of music in a world where language has failed as a method of communication and music figures as the primordial form of expression.
As he considers humanities to have reached their limit, young Nietzsche hopes to find ultimate spiritualization and idealization in the reborn myth. Music alone (“our German masters”), as the primeval form of poetry and revelation of true Dionysian wisdom, may achieve triumph over the Apollonian shallow world of apparition.
With his timely musical rendition of mythical experience as “In the Vortex of Dionysian Reality”, Anemone Tube conveys an emotionally and mentally charged album which reveals his soft spot for progressive post rock metal acts like Amusement Parks On Fire, Blut Aus Nord or O.L.D. Their special approach of dreamy melodies vs. atonal, discordant sounds is skillfully recreated through polyphonic synths lines, which are then modulated into feedback and added for good measure.
Carrying the same title as the 2015 cassette EP release on The Epicurean, this CD with its 40+ minutes total length and five all new, yet unreleased tracks is less a mere re-release, but rather a full stand-alone album, featuring Ukrainian dark ambient artist Monocube on one track, as well as including sounds by Russian avantgardists Post Scriptvm and sound processing by French sound artist Pacific 231.
epicureanescapism.bandcamp.com/album/in-the-vortex-of-dionysian-reality-2 |
2017 |
€13.00 |
|
| |
In the Vortex of Dionysian Reality |
LP |
Related to Nietzsche`s notion of the Wagnerian music drama as a revelation of the abysmal truth about man, “In the Vortex of Dionysian Reality” allures us into the Dionysian dreamland, where tragedy reigns, in pursuit of the ultimate oneness. With its washes of noise and layers of piercing feedback on a subbase of wavering synths, it is a maelstrom of sound generating a hallucinatory reality. The atmosphere oscillates between destructiveness and aggravating frenzy, between the archaic and the sacral, between frenzied passion and abyssal melancholy, serving the mythical experience of music in a world where language has failed as a method of communication and music figures as the primordial form of expression.
As he considers humanities to have reached their limit, young Nietzsche hopes to find ultimate spiritualization and idealization in the reborn myth. Music alone (“our German masters”), as the primeval form of poetry and revelation of true Dionysian wisdom, may achieve triumph over the Apollonian shallow world of apparition.
With his timely musical rendition of mythical experience as “In the Vortex of Dionysian Reality”, Anemone Tube conveys an emotionally and mentally charged album which reveals his soft spot for progressive post rock metal acts like Amusement Parks On Fire, Blut Aus Nord or O.L.D. Their special approach of dreamy melodies vs. atonal, discordant sounds is skillfully recreated through polyphonic synths lines, which are then modulated into feedback and added for good measure.
Carrying the same title as the 2015 cassette EP release on The Epicurean, this CD with its 40+ minutes total length and five all new, yet unreleased tracks is less a mere re-release, but rather a full stand-alone album, featuring Ukrainian dark ambient artist Monocube on one track, as well as including sounds by Russian avantgardists Post Scriptvm and sound processing by French sound artist Pacific 231.
LP comes with different design than CD version and exclusive track “Tower of Evil (Sovereign Over All)”.
https://epicureanescapism.bandcamp.com/album/in-the-vortex-of-dionysian-reality-lp
https://epicureanescapism.bandcamp.com/album/in-the-vortex-of-dionysian-reality-2
|
2017 |
€17.00 |
|
| ANGELI, PAOLO |
Tessuti |
CD |
"Es ist wirklich kaum zu glauben, dass PAOLO ANGELI Tessuti (ReR PA3) ohne Overdubs eingespielt hat. Dabei ist seine verblüffend
polyphone Virtuosität auf der präparierten und elektrisch verstärkten sardischen Gitarre noch der geringere Anlass zur Verwunderung. Was ist
schon Virtuosität? Noch erstaunlicher sind das Material und die Arrangierkunst, die Richtung, in die Angeli strebt. Neben Eigenkompositionen
spielt er Björk und Fred Frith. Dem dabei der Geist von Tom Cora über die Schulter blickt.
Nicht nur bei Skeleton Crews ‚The Hand That Bites‘, auch bei ‚Ahead in the Sand‘ und ‚Navajo‘ von Speechless oder dem miniaturisierten ‚Lelekovice‘, Friths
String Quartet #1 (auf Quartets, RecRec, 1994, und, neu interpretiert vom Arditti String Quartet, auf Eleventh Hour, W & W, 2005). Der Cora-Touch rührt wohl daher, dass Angeli seine
Gitarre zwischen den Knien hauptsächlich arco wie ein Cello spielt. Bei seinen Interpretationen hebt Angeli neben dem
experimentellen Aspekt der trickreichen Mehrstimmigkeit auch das Frith-typische Substrat
der Imaginären Folklore hervor bis hin zu Anklängen an Spielformen der Renaissance.
Von Björk erklingen ‚Unravel‘ (von Homogenic), ‚Desired Constellation‘ (von Medúlla),‚One day‘ (von Debut) und ‚Hyper-ballad‘ (von Post). Dabei
gelingen Angeli ebenfalls erstaunliche Rückbindungen des Pathos und der verstiegenen
Poesie der Isländerin an die manieristische Tradition (minus des ‚Angeschossenes Reh‘-Timbres, das mir Björk verleidet).
Die zart angeraute Sanglichkeit der sardischen Gitarre ist durchwegs bestechend schön.
Wie Angeli dazu die perkussiven Spuren zaubert, sirrende Vibrationen und geklopfte Beats, das
ist der alte Skeleton-Crew-Zauber." [Bad Alchemy]
"The latest from Paolo on which he plays compositions by Fred Frith and Bjork - solo (though when you hear it, you definitely won’t believe it) on his highly customised and extended, electrified, giant Sardinian guitar. A tour de force of technique and a musical pleasure. There is so much subtlety and so much attention to the minutiae of sound, and so much going on at any given time that it is difficult to relate what you hear to just one person playing. Very concentrated, it rewards listening to a few songs at a time. Though strangely, you could probably also dance to it." [label info]
www.rermegacorp.com
|
2007 |
€14.00 |
|
| ANKERSMIT, THOMAS / JIM O'ROURKE |
split |
LP |
Der Niederländer THOMAS ANKERSMIT beeindruckt auf der A-Seite mit einem spannenden mikrotonal vielfältigen Stück, welches auf Computer, EMS Synth & Saxhophon basiert, sehr ruhig anfängt und ungeahnte dronige Brisanz entwickelt, am Ende werden Kaskaden von hochfrequent-dynamischen Klangwellen auf den Hörer geworfen....
auf der B-Seite ein älteres Stück von JIM O’ROURKE von 1992 aus seiner „dronigen“ Phase, ein low-fi-fuzz-drone Leckerbissen, wo verzerrte Gitarrendrones auf Oszillatorenwellen treffen - und wie!
Beide Stücke sind so um die 18 Minuten lang...
“Finally! Side one features 'Weerzin' by Thomas Ankersmit, composed & recorded in 2004 (Computer, Serge & EMS Synthesizer). Side two composed & recorded by Jim O'Rourke in 1992 (Oscillators & Guitars). Edition of 750 copies.” [label info]
“Limited edition split LP from two of the most regularly interrogating modern avantists. Ankersmit’s side is a fuzz-encrusted investigation of non-linear routes through the solo saxophone, with wildly dislocated sounds modulated by computer, serge and EMS synths. O’Rourke’s side is an absolute beauty, a monolithic 1992 recording that matches massive cycles of minimally-repeating fuzz guitar with the brain-bombing chatter of rapid-firing oscillators. Sounds somewhere between Sunroof, Folke Rabe and Faust. Edition of 750 copies, recommended.” [Volcanic Tongue]
|
2005 |
€12.00 |
|
| ANOFELE & LOGOPLASM |
Gravescapes |
mCD-R |
Für field recording-Fans höchst empfehlenswert: Zwei italienische Projekte mit Aufnahmen aus einem unterirdischen Kloster-Tunnel, der mit Steinen, Stöckern & Knochen übersät war… auf der mini-Cd befinden sich drei Stücke, je eines mit den Bearbeitungen von ANOFELE und LOGOPLASM, und einmal die Originalaufnahmen. Geheimnisumwitterte Geräusch-Trips voller steiniger Details…
“We are happiest to bring you this collaboration between Anofele (Adriano Scerna, better known as one half of the italian experimental duo Kar) and Logoplasm (Paolo Ippoliti and Laura Lovreglio from Ariccia, Rome) which comes in the form of a 3" MiniCD-R.
Logoplasm didn't release any music at all during the last few years, so we are particularly glad to be part of their return to the scene, and we're truly hoping that this won't remain an isolated episode.
"Gravescapes" is a very particular release whose origins starts back in 2003 during a week-end in springtime, when Adriano, Paolo and Laura got almost lost in the woods of Central Italy, after a visit to a local theravada buddist monastery.
As they were walking around the monastery, at some point the trees disclosed the ruins of what instantly appeared like an abandoned graveyard bearing the signs of an awful lot of time and almost completely overgrown with weeds.
Underneath the graveyard they soon discovered a short subterranean tunnel. The tunnel was slightly illuminated by the piercing sunlight and their curiosity won over unrational fears, so they decided to explore it.
Inside the tunnel they found a few open loculi which contained small heaps of human bones. More bones were spreaded on the ground along with stones, sticks, branches, etc.
They took some recordings with two portable MiniDisc machines, using their discoveries as the main sound sources. Such recordings were subsequently manipulated and assembled using computer technology and softwares, and turned into "Gravescapes".
"Gravescape One" is Anofele's rendition of the original recordings, which is presented as "Gravescape Two". "Gravescape Three" is Logoplasm's take on the same source material.” [label info]
|
2006 |
€6.50 |
|
| ANTENNE |
# 3 |
CD |
Überraschung! Diverse Jahre nach dem letzten Werk " # 2 " sind ANTENNE zurück, und zwar auf dem Sub-Label von BETA-LACTAM RING RECORDS. Der besondere Stil, die magisch-zarten & zerbrechlichen Songs, Akustikgitarren & sanfte Elektronik, zurückhaltende trip-hop Beats, der unfassbar sanfte & wundervolle Gesang, all das wurde weiterentwicklelt und perfektioniert. Extrem subtil & gefangennehmend melancholisch, ohne pathetisch zu sein. Ein leicht geräuschhafter & experimenteller Einschlag rundet das ganze ab, wahrhaft dunkler Ambient-Pop!
"Antenne is the critically acclaimed solo project of Copenhagen’s Kim G. Hansen, who formerly recorded as half of the Danish industrial duo Institute for the Criminally Insane. Kim G. Hansen was also one of the founding members of Danish experimental noise-rock band Grind, who later became Amstrong - a project focused on trip-hop aesthetics but still influenced by the origins of the band. In 1999, Kim left Amstrong to form a solo project - Antenne. The female vocalist of Amstrong, Marie-Louise Munck, also participates at the project as vocalist on most of the songs. Antenne is known for a minimal and profound style of experimental and dark trip-hop. This is their third full length release and their first release on BlRR/helmet room recordings." [label info]
www.blrrecords.com
|
2008 |
€13.00 |
|
| ANTONY & THE JOHNSONS |
Another World |
maxi-CD |
"Dramatische Texte, surrealschöne Töne: EP des New Yorker Songwriters.
Er brauchte nur zwei Alben, um zum Kultstar zu werden: Antony Hegarty, kurz Antony. Dabei hat sich der New Yorker dem anspruchsvollen Kunstlied verschrieben, singt neoromantische Balladen zu leisen Pianoklängen, traurige Epen, in denen sein leicht nasaler Tenor dominiert. Zu seinen musikalischen Freuden, mit denen er schon Duette sang, gehören Lou Reed, Leonhard Cohen und Björk ebenso wie Boy George, Hercules and Love Affair und Rufus Wainwright. Um die Wartezeit bis zum dritten Album zu verkürzen legt uns Herr Hegarty mit "Another World" eine Fünf-Track-EP vor. Die teilweise surreal anmutenden Songs thematisieren die Zerstörung der Welt und ihre mögliche Errettung, das Cover von "Another World" zeigt die japanische (Butoh-)Tanz-Legende Kazuo Ohno, fotografiert von Pierre-Olivier Deschamps." [label info]
|
2008 |
€7.50 |
|
|
The Crying Light |
CD |
Drei Platten die wir auch mit Drone anbieten wurden vom PITCHFORK Magazin (zur Zeit wohl DIE Referenz im Alternativ-Bereich) zu den "besten Platten des Jahres 2009" erkoren: SUNN O)))s "Monoliths & Dimensions", JIM O'ROURKE - "The Visitor", und "The Crying Light".
Zurecht, denn dies ist das Meisterstück des aussergewöhnlichen Sängers mit der fragilen Stimme und den herzzereissenden Arrangements!
"Mit seinem dritten Album "The Crying Light" setzt der Songschreiber, dessen empathisch emotionaler Kopfgesang kein Geschlecht kennt, aber dafür die Tiefe menschlicher Gefühle, einen intimeren Fokus. Im Interview mit der britischen Musikzeitschrift "Wire" spricht Antony von einem "inneren Garten", dessen Mauern er nun überwinden möchte, weil es dahinter ja noch viel mehr zu entdecken gibt - "the landscape beyond my inner landscape". Es ist eine Meditation über das Paradies, das für Antony viel mit der Entfaltung der Natur und ihrem Formenreichtum zu tun hat. 30 Songs hat er in den letzten sieben Jahren für das enorm geschlossen wirkende "The Crying Light" geschrieben - und schließlich trotzdem nur zehn davon verwendet. Ein Prozess der Verfeinerung. Auch bei den Arrangements wurde alles Überflüssige gestrichen. "Dust And Water" klingt deshalb so pur wie schwebender Morgennebel, und hinter dem gesamten Album steht offensichtlich mehr eine suchende Zen-Haltung als ein exaltiertes Pop-Ego. "Her Eyes Are Underneath The Ground", der erste Song des Albums, weckt Erinnerungen an Schubert und das deutsche Kunstlied. Da ist vor allem Antonys Stimme, dazu ein sacht ertastetes Klavier und eine Ahnung von Violinen und Cello im Hintergrund. Erst ganz zum Schluss drängen sich harsche Bässe in den Vordergrund, wie Gewitterwolken an einem heiteren Nachmittag. "Epilepsy Is Dancing" tänzelt hoffnungsvoll und verspielt "One Dove" schält sich ganz langsam aus dem Nichts, wie viele Stücke hier. Später setzten Dissonanzen ein, mehr und mehr Instrumente tauchen auf und verschwinden wieder, bis nur noch seltsame Tierstimmen zu hören sind. "Kiss My Name" schwelgt dagegen in einem orchestralen Klang- und Melodie-Reichtum, der fast schon an Freund Rufus erinnert.
Der Höhepunkt, "Another World", ist ein hellhäutiger Blues und ein banges Abschiedslied auf die Welt: "I need another place, will there be peace? I need another world, this one is nearly gone." Es folgt eine Liste der Dinge, die der Sänger in einer anderen Welt vermissen würde: die Bäume, das Meer, den Schnee, die Bienen und überhaupt alles, was wächst - "I'm gonna miss you all". "Aeon" mit seiner rauen Gitarre ist dagegen fast schon ein Rocksong, aber eben nur fast. Zu "The Crying Light" kann man nicht tanzen, und das Album gehört auch nicht zu den Platten, die einem mit packenden Refrains durchs eigene Leben helfen. Die Schönheit dieses bisher reifsten Antony & The Johnsons-Werks liegt darin, dass es nach der Seele sucht, wo andere nur in den Spiegel blicken. Ein Meisterwerk, eine andere Welt und ein Refugium für alle, die es zu schätzen wissen." [Jürgen Ziemer, Rolling Stone]
"Zeitlos und doch aktuell: das lang ersehnte dritte Album.
"The Crying Light" heißt das lang ersehnte dritte Album von Antony and The Johnsons. Auf "The Crying Light" legt Antony seinen Fokus auf ein neues Thema und gibt uns einen Einblick in seine Beziehung zur Umwelt. Der Album-Opener "Her Eyes Are Underneath The Ground" ist ein liebevolles Zwiegespräch mit Mutter Natur und Ausdruck des Wunsches, dass sie am Ende über ihre Zerstörung siegen wird - "no one can stop you now!" Darauf folgen der schwindelerregende Walzer "Epilepsy Is Dancing" und das herzzerreißende "One Dove", dessen detailreiche Instrumentierung Antonys Stimme - bildlich gesprochen - regelrecht umarmt. Mit "The Crying Light" ist Antony and The Johnsons ein zeitloses Meisterwerk gelungen, das uns die folgenschweren Entwicklungen in der Welt und unsere Rolle darin ins Bewusstsein ruft. Es kann zum Sinnbild dieser turbulenten Zeit werden; eine Momentaufnahme und ein Anstoß für uns alle, Courage zu besitzen und uns sowohl in unserem persönlichen Kosmos als auch in der Welt als Ganzes rücksichtsvoller zu bewegen."
[Indigo]
"ANTONY & THE JOHNSONS' breakthrough second album "I Am a Bird Now" won the UK's prestigious Mercury Prize in 2005. The success that followed introduced many to a pioneering soul singer unafraid to explore themes that traversed darkness and light, life and death, male and female. Antony's inimitable voice sparked the interest of artists ranging from Bjork to Hercules and Love Affair, resulting in a series of critically acclaimed collaborations. "The Crying Light" is the highly anticipated full-length follow-up to "I Am a Bird Now". Here, Antony shifts the thematic focus and explores his relationship with the natural world. The intimacy of the Johnsons' sound is enveloped by avant-classical composer Nico Muhly's symphonic arrangements. The record's centerpiece, "Another World" traces the singer's dispair in the face of a vanishing landscape. Antony and the Johnsons' music bridges the gap between avant-classical music and the blues, and the band's sold out performances have resulted in standing ovations from Carnegie Hall to the Apollo. "The Crying Light" is a soul-stirring new work with its daring compositions and captivating vocal performances. Antony and the Johnsons have created a subtle and timely work that brings a magical and yet changing world to the forefront of our consciousness." [press release]
|
2009 |
€16.00 |
|
| |
Swanlights |
CD |
"In allerhöchsten Höhen: viertes Album des Ausnahmesängers; feat. Björk:
Nach den großartigen Erfolgen der melancholisch-verhaltenen Vorgänger "I’m A Bird Now" und "The Crying Light" liegt der Schwerpunkt beim vierten Album des Wahl-New Yorkers Antony Hegarty auf ausladenden Arrangements. Elektrifizierte Streicherflächen, pointierte Perkussion, ornamentale Bläserfiguren und sogar verzerrte Gitarren sind es, die "Swanlights" in seiner Eindringlichkeit von den bisherigen Werken unterscheiden. Bereits das programmatische "Everything Is New" steht für einen intensiveren Gesamtsound: Eine schlichte Pianomelodie wird hier von getriebenen Arrangements über Minuten in fiebrige Spannung versetzt. Auch das Titelstück entführt den Hörer in eine ungewohnt dunkle Spiegellandschaft aus delirierenden Gitarren. Ein besonderes Highlight ist aber das intime, mit Björk eingespielte Duett "Flétta". Nach ausverkauften Konzerten und Chart-Platzierungen sowie Auftritten in großen Opernhäusern und mit weltberühmten Symphonieorchestern müssen Hegarty und seine Band es niemandem mehr beweisen. Gerade diese Freiheit treibt sie auf "Swanlights" in allerhöchste Höhen." [label info / Indigo]
www.roughtraderecords.com
|
2010 |
€16.50 |
|
| ANTUNES, JORGE |
Savage Songs |
CD |
Hochinteressanter brasilianischer Pionier der elektronischen Musik, der in den 70ern auch zum Kreis des GRM vorstiess. Diese Zusammenstellung enthält 14 Arbeiten aus dem Zeitraum von 1961-1970 - bereits mit 19 Jahren verewigte er seine erste Komposition, die nach ältesten vorstellbaren elektronischen Klängen klingt: träge Sinustöne und Modulationen, Frequenzphrasierungen, Klick- und Halleffekte, Tape-Loops; im laufe der Zeit angereichert durch diverse Geräuschexperimente und -objekte, Orchesterinstrumente und seine Farb-Sound-Theorie...
Erinnert an frühe Experimente von OLIVEROS, DOCKSTADER, etc...
"Jorge Antunes (b. 1942, Rio de Janeiro) studied violin, composition and conducting at the University of Rio de Janeiro, as well as studying physics at the same institution. He further studied composition with Alberto Ginastera and Luis de Pablo. From 1970-71 he attended the University of Utrecht (Gotfried M. Koenig). From 1972-73 he worked with Groupe de Recherches Musicales in Paris. In 1962 he began his research in electronic music thus becoming a pioneer in the development of this field in Brazil. He is the director of the Electronic Music Laboratory and the conductor of Orquestra da Universidade de Brasilia." [label info]
|
2002 |
€13.00 |
|
| APOPTOSE |
Ana Liil |
CD |
"Ana Liil doesn't want to be your friend – she lives in an entirely separate world. Maybe at night you see her shape behind a grimy window in the neighbourhood, or you hear her singing from afar. But you will never get closer to her. “I don't know who she is,” Apoptose says. “One day she just emerged. Like a thought that sounds logic in your dreams but completely strange in daylight.” Apoptose’s “ana liil” plays with your expectations. This album spins within close range of those dark ambient realms that Apoptose became known for since the early 2000s. Songs like “meer der ruhe” or “schnee” still bear this signature. But at the same time they show a new quality of songwriting. Both feature the frail singing of a girl who keeps the dusty shadows at bay . On “forget your face”, “adrenalin” or “ich verbrenne” Apoptose replaces the reverb charged tracks by songs full of voices and haunting melodies. But beware: all is not as it seems. The album will be available on CD, vinyl+CD and download. The CD is housed in a stylish spot varnished six-panel cardboard pack including a twelve-pages booklet and a separate CD-sleeve. The LP+CD version comes in an altered design with copper foil blocking and printed inner sleeve. Don't miss!" [label info]
www.tesco-germany.com
"Wer ist ANA LIIL? "Sie will nicht mit Dir befreundet sein – sie lebt in ihrer ganz eigenen Welt." So steht es in der kurzen Beschreibung zum neuen APOPTOSE-Album. Ich könnte mir gut vorstellen, dass ANA sich diese Eigenschaft mit RÜDIGER, dem Mann hinter APOPTOSE teilt. Wohltuend zurückhaltend präsentiert sich der Musiker, den wir seit einiger Zeit begleiten. Rund vier Jahre nach "Bannwald" (Besprechung und Interview) legt er, ganz unaufgeregt, im Mai mit "Ana Liil" auf TESCO ein neues Album vor; wir durften es vorab schon hören.
Trotz vieler Änderungen in den vergangenen Jahren – von den rituelleren Alben "Nordland" (2000) und "Blutopfer" (2002) über das industrielle "Schattenmädchen" (2007) und den Post Punk-Ausflug "Warrior Creed" (2008) wieder zurück in waldigere Gefilde auf "Bannwald" (2010) – blieb ein gewisser APOPTOSE-Sound immer erkennbar. Dies gilt auch für "Ana Liil", hier finden sich erneut die leicht orgeligen, langgezogenen Synthietöne. Ansonsten hat sich allerdings eine ganze Menge getan. Zum Beispiel arbeitet RÜDIGER auf einigen Songs mit Gesang, die Trommeln von früher liegen wohl endgültig im Keller, und die Musik mit eingängigen, starken Melodien könnte als minimaler Synthiewave durchgehen.
Schon "Meer Der Ruhe" (01) birgt die erste Überraschung: Zu einer ruhigen, traurigen Synthiemelodie mit neoklassischer Anmutung singt eine Kinderstimme, anrührend und auf Deutsch. Gemeinsam mit dem angesprochenen, speziellen Klang ergibt sich etwas Märchenhaftes – wir reden allerdings von den düsteren, morbiden Märchen, in denen es um Geister, Tote und andere Dimensionen geht. So kommt der Song trotz der Kinderstimme sehr gut am Kitsch vorbei. In "Ich Verbrenne" (02) wandelt sich die Sängerin vom Mädchen zur Frau. Die weiterhin ruhige Synthie-Ambientmusik mit dezentem Rhythmus im Hintergrund erinnert mich – hier und an anderen Stellen – an elektronische Musik der 1980er/90er, zum Beispiel an die frühen WOLFSHEIM. Der Titeltrack (03) schlägt zum ersten Mal wirklich düstere Töne an: dronige E-Gitarre, Percussion und englische, gesampelte Vocals. KRAFTWERK oder deren aktuelle Version ATOM™ scheinen in "Fernsehen" (04) zu grüßen (und auch das nicht zum letzten Mal): sanfte, jetzt sehr modern wirkende Elektromusik mit TV-ähnlicher Ansagerstimme ("Fernsehen macht dumm ..."). Die moderne, computerisierte Anmutung bleibt für die nächsten beiden Tracks bestehen: "Adrenalin" (05) mit mächtigem BACH-Chor im Hintergrund und "I Say Seven" (06) mit einer dronigen, mächtigen Melodie, analogem Schlagzeug, Synthielayern und der technisierten Frauenstimme, welche Zahlen präsentiert – mein Favorit. "Hiding" (07) ist eines von zwei Stücken, bei denen mir "Twin Peaks"-Lieder von JULEE CRUISE in den Sinn kommen (mit mehr Drive und Rhythmus), auch die Kinderstimme im Abschlussstück "Schnee" (09) bringt mich dorthin zurück. Dazwischen liegt mit "Forget Your Face" (08) ein Track, bei dem ich kurz – ich hoffe, RÜDIGER verzeiht mir das – an die PET SHOP BOYS denken musste.
Extrem packende Ambientmusik, die inhaltlich durchaus an frühere Alben von APOPTOSE anknüpft, vor allem "Schattenmädchen" und "Bannwald". Auch Kinderlieder und Gesang gab es vor allem schon auf letzterem. Musikalisch allerdings geht "Ana Liil" in eine andere Richtung. Die Nähe zur Natur ist nicht mehr so deutlich hörbar, die starke rituelle Komponente fehlt, die Trommeln spielen überhaupt keine Rolle mehr. Das aktuelle Werk ist in seiner fast ausschließlich elektronischen Anlage durchgängiger, die Stücke sind sich ähnlicher und häufig mit Gesangsstimmen versehen. Nach und nach umspinnt die Hauptdarstellerin den Hörer mit Einsamkeit und Verlorenheit – und trägt ihn davon.
Das Album erscheint als CD, LP und als Download und kommt laut Beschreibung von TESCO mit aufwändiger Verpackung..." [Michael We./NONPOP]
|
2014 |
€14.50 |
|
| ARANOS |
Mother of Moons Bathing |
CD |
Für den Hirn-zerschabenden Stil-Mix alleine hätte ARANOS bereits einen Preis verdient - von klickender Sinuston-Elektronik über free-form Noise bis hin zu swingenden Songs mit Gesang ["MAMA GOT A NEW BOYFRIEND"], von Drone-Loops und Gongflächen über obskurste Geräuschtracks bis hin zu XXX kann hier einfach alles passieren....
für den Wiedererkennungseffekt aber sorgen die immer wieder präsente Violine & seine rauhe, markante Stimme, verbunden mit den verschroben-ironischen Texten. Das ganze ist auch noch verpackt in ein edelstes, Filz-artiges Cover... immer wieder, so scheint es, geht es ARANOS darum, Grenzen jedweder Art zu überschreiten, aber mit STIL... ARANOS bildet sich sein ur-eigenstes Genre.
"Aranos (pronounced Aranyosh) is a prolific composer and storied multi-instrument performer from the Czech part of Bohemia, by way of Ireland, where he lives near his friend and frequent collaborator Steve Stapleton of Nurse With Wound. “Mother of Moons Bathing” is his first release for Soleilmoon, but his lengthy discography includes releases issued by Beta-lactam Ring Records, Brainwashed, Crouton, Klanggalerie, Noise Museum and United Daries as well as his own label Pieros. The album covers a lot of ground, and refuses to be categorized, unless “Aranos” can be its own category. It opens with “Awaking Horns”, a minimalist piece built around a simple repeating click track containing absolutely no horns whatsoever. “New Boyfriend” begins as a jaunty ode to new-found love, but the conversation between mother and daughter turns dark as it’s revealed that the new boyfriend has a dodgy past with little girls. “Some Clowns Are Not Funny” and “Almost Pulled Through” are a pair of scary electro-acoustic roller coaster rides that sound like they might have escaped from Steve Stapleton’s little shop of horrors. The fifth song, “Legs Thighs Splits” returns to the gently fun whimsy started with “New Boyfriend”, but trades literal meaning for delicious texture and experimentation. “I saw Women’s Rising Fry” is a song of fearlessly eccentric lyrics married to complex, brain-tingling instrumental arrangements. “Ta-taa-ta, Taah merged” is a side dish of looped, sampled vocal minimalism leading into the the longest track on the CD, “Towards Glittering Warm Dumplings”, a rolling trance-dance weighing in at more than 21 minutes. “Invisibility Cloak of Time”, another minimalist electro-acoustic instrumental, closes the album. The total length of “Mother of Moons Bathing” is 71 minutes 41 seconds, and it’s sheer bliss from start to finish. In the face of a market dominated by increasingly bland visuals and dire throw-away packaging, this album stands apart. In the tradition of other Soleilmoon releases, the presentation for “Mother of Moons Bathing” is second to none. This time the CD comes in a hand-made silk-screened soft-textured folder with a pair a sparkly screen-printed inserts backing up the disc inside. The costly and stunning materials have work together to produce a pleasingly harmonious package that will appeal to music fans and serious collectors alike. “Mother of Moons Bathing” is limited to 400 copies. After his child was taken away and sent to slavery Carlos resigned himself to becoming low to medium quality moon fodder. Spending his days in rearranging surface molecules with his broken arms and dislocated shoulders while filling his eyes and lungs with yellow dust. All the while pondering impermanence of the unpredictable his reward was flow of hill magic and stunning sunsets. Too much knowledge gathered over the years was proving to be a mixed blessing. Change of timbre in his diabetic movement master’s voice clearly indicated a forthcoming constriction of coronary arteries, but there was nothing Carlos could do. Certainly not over the distance of four and a half thousand miles. The only thing was to accept all. Child slavery, master’s coronary, yellow dust, beautiful sunsets, flow of magic…" [press release]
www.soleilmoon.com
|
2007 |
€14.50 |
|
| ARASTOO & AEMAE |
Ostrakon |
LP |
"Two side-long ice sculptures built on piano and processing, the piano coming strictly from Arastoo Darakhshan, while both add their effects but Brandon Nickell as Aemae delivers digital doctoring as his primary outlet. The title track is a wonderful splintering of sound, with glacier cracking in on the stark black and white keys. Aemae’s timing with noisier nuance is excellent on this, and he has at least one treatment like a frozen train going off the tracks! Here the sum decimates the parts, Arastoo’s delicate hesitance almost dances around a ghost of Clara Rockmore. A very open piece with rays of mourning and crystal shards of electronics, it captures that ever-important balance of order and chaos. If the first piece is Nickell plating Darakhshan, then perhaps the second is a reverse, with a layer of Aemae cast out and the piano imposed on top? Just a guess, maybe I’m too concerned without tallying yin and yang. The first piece really is a stunner with a fascinating name that wiki shows as the derivation for ostracism. Yeah, this is outsider music but I suspect readily acceptable to many ears, of course we too at KFJC have been happily exiled beneath main street for decades of decadence. Limited release on Nickell’s own label."
[Thurston Hunger / KFJC]
"A long in the works collaboration from two aQ favorites, Aemae and Arastoo. We've listed both Aemae releases, but Arastoo has been a bit more elusive, with tons of super limited vinyl and cd-r releases, of which we've only ever managed to review 3. Well, the two have come together, to produce this, the first in a new salvo of Bay Area sound art from Aemae, aka Brandon Nickell's Isounderscore label. And a pretty fantastic start. Arastoo plays the piano, and then the two shape and mold the piano into two side long pieces, both quite impressive.
The A side is mostly straight piano all the way through, some gorgeous fluid playing, some stunning arrangements, but the two subtly shape and twist throughout, adding mysterious little music box flourishes, sudden squalls of super high end skree, but those moments are actually quite controlled, the sounds sculpted onto dog whistle melodies, and haunting upper register textures. The subtle production tweaks really only augment, creating complimentary sounds, or add bits of ambience, allowing the piano to drift and sway and unfurl its melody, seemingly oblivious to what's going on around it.
The B side however, finds the sound of the piano obliterated, transformed completely into long shimmering streaks of layered metallic reverberation, a bit industrial sounding, layers of constantly shifting whir and rumble and hiss and roar, like a choppy sonic sea, building to a buzzing crescendo before settling back down into a tranquil sea of black ambience, as the piano returns, unfurling gentle, yet ominous minor key melodies, all very creepy and cinematic, but also quite lovely. LIMITED TO 320 COPIES. Super striking silkscreened covers, with original artwork by Arastoo." [Aquarius Records]
www.isounderscore.com
|
2008 |
€14.50 |
|
| ARCANA |
Raspail |
CD |
"Die CD kommt in einem hochwertigen Artwork, das sowohl ein 8-seitiges Leporello, als auch ein 12-seitiges Booklet enthält!
Arcana sind seit Jahren über alle Grenzen hinweg stilprägend und eines der großen Aushängeschilde der weltweiten Gothic Wave Szene. Ihre Musik umfasst eine einzigartige, kraftvolle und verzauberte Anmutung, der sich kaum jemand entziehen kann. Mit ihrem neuen Werk Raspail schlagen Arcana nun das nächste Kapitel ihrer einzigartigen Karriere auf und verschmelzen die filigrane Romantik ihrer früheren Werke, um ihr erfolgreiches Album Inner Pale Sun, mit bahnbrechendem Gothicwave der Neuzeit. Raspail begeistert durch die außergewöhnliche Mischung aus orchestralen, mächtigen Soundcollagen, natürlich instrumentierten Arrangements, und den himmlisch klaren Stimmen des Baritons Peter Bjärgö und der Sopranistin Ann-Mari Thim, die das Album in einen mystischen Klangzauber verwandeln der alles bisherige in den Schatten stellt.
Die inzwischen sechste Veröffentlichung des schwedische Quintetts ist ein magisch, geniales Glanzstück, getragen von zarten Pianotupfern und intensiven Klangwelten aus Streichern und Hörnern. Klassisch, melodramatisch und kaum zu überbieten!" [label info]
"Arcana has turned another page in the book and the next chapter will be a meeting between the old and the new. As before, we hear the many instruments that vary the music, but this time the vocals parts have taken more room. The medieval sound from Dark age of Reason and Cantar de Procella is there, the majestic sound from... The Last Embrace appear along with the serene notes from Inner Pale Sun and the oriental instruments from Le Serpent Rouge. Blend this with the new sound once again created by Peter Bjärgö, and you will have Raspail, the next chapter in the book of Arcana." [label info]
www.kalinkaland.de |
2008 |
€14.50 |
|
| ARCANE ART |
KritaRan |
CD |
Eine Art langsamer, melancholischer “industrialized post-rock” von diesem Seitenprojekt von VEILED ALLUSIONS. Nice price.
“This is the full length, instrumental version of the MCDR put out by Fossil Dungeon. Soundwise this album goes in the direction of experimental post rock vs. industrial dark ambient. "KritaRan" is a melange of improvised and structured sounds that range from the gothic to experimental post-rock fused with avant-garde ambient atmosphere from Karsten Hamre of Veiled Allusions/Penitent/Dense Vision Shrine fame.” [label description]
|
2003 |
€10.00 |
|
| ARCANE DEVICE |
Devices 1987-2007 |
do-CD |
Texturen aus Sirenen-Klängen und Sinuston-Feedbacks, repetitive Patterns aus Extrem-Frequenzen, Effektgerät-Übersteuerungen bilden seltsame Klangkegel aus, elektronische Cut-Ups formen Kaskaden aus befremdlicher Rhythmik. Und alles basiert nur auf einer Soundquelle: Feeback! Auf dieser russischen Kollektion des emsigen MONOCHROME VISION-Labels findet sich älteres rares Material von längst vergessenen Compilations, aber auch neue Stücke von 2007, welche nahtlos an die Vergangenheit anknüpfen, insgesamt aber weniger noisig & offensiv klingen. Very special stuff!
"Anthology of rare and previously unreleased tracks by Arcane Device, recorded within the 20 years. It is divided into two parts. The first one consists of tracks from compilations issued by Subterranean Records, Tragic Figures, SFCR Tapes, and Generations Unlimited, but also unreleased material remastered and/or remixed in 2007. The second one is subtitled as "Feedback symphony" and based on various recordings, presented in four movements and finished in 2007. One more chance to approve the exceptional skills and compositional/ technical talent of David Myers who can control the electrons by will, creating fantastic soundscapes. Arcane Device is the unique project of american graphic designer and musician David Myers, active between 1987 and 1995. His creative output is going beyond any categorization, because it’s possible to re-arrange and demonstrate such many styles of modern music with only one thing that is feedback. This effect usually happens when you shortcut the input and output of any electric device. It’s hard to believe but this almost uncontrolable beast became the driving force for Arcane Device music, armed by self-made bank of delays and filters. Looking like inward sound research, decorated with finest web of random processes and microvariations, it becames the peculiar feature. Endless circulation of electrons, never repeating routes and always having some chance for individual life inside of any macrostructure." [label notes / credits]
"....I might be wrong, but the oldest guy here is David Lee Myers, also known in the mid eighties as Arcane Device and one of my heroes of the time. Myers created his own feedback machines long before someone thought of 'no input mixers'. Myers controlled his feedback with all sorts of sound effects, which made him sound differently than say the average industrial musician. No wonder his first release was on Recommended/ReR records, known for improvisation rather than noise. In the time span of less than eight years Arcane Device released a bunch of CDs, a LP, a double 7" pack and some cassettes (many of them these days available from http://www.pulsewidth.com). For Monochrome Vision, Myers went to his archive to pick some rare (from various compilations on Subterranean Records, Tragic Figures, SFCR and Generations Unlimited) and unreleased for his double CD. I admit straight away that it has been a while since I last played a CD by Arcane Device, but hearing this feast of recognition, prompts me to pull them all out and play them again in the next weeks, when time allows me. The strength of Arcane Device, to work with such unmusical sounds in such a musical form, hasn't lost any of his magic to me. Unlike say the current wave of no input mixers, who like to be microsound, minimal or overtly harsh, but nothing musical, I only know of one equivalent to Myers and that's Marco Ciciliani, who I once saw play a no input mixer in such a musical manner. Great stuff!" [FdW / Vital Weekly]
www.monochromevision.ru
|
2007 |
€17.00 |
|
| ARKTAU EOS |
Mirrorion |
CD |
After a long period of unavailability we are proud to release the debut album of Arktau Eos 'Mirrorion - Telegnostic Edition' through our Stellar Mansion series.
Presented in seventeen chapters that can be approached as singular gateways or a slowly unfolding journey of epic proportions, the debut album of ARKTAU EOS is a challenging, complex work. Born of intense private musico-magical sessions held in places abandoned by man and further refined in the temple-laboratory of the duo, it is the distillation of seven arduous months of work.
As the title suggests, 'Mirrorion' is the music of stellar light thrown down from the Heaven's zenith and its eldritch reflections in the depths below, uniting atavistic elemental noise with serene passages of crystalline, spectral ambience. Ultimately, 'Mirrorion' seeks to surpass such earthly definitions in favour of a non-dual vision of reality, hopefully transforming the listener in the process.
For this recording ARKTAU EOS have favoured an organic approach with majority of instrumentation being of acoustic variety, including the unearthly choral of the kanglings, piercings blasts of windbones, accelerating steel-plate rolls, singing bowl and various kinds of stringed instruments.
The album is enclosed in an oversized screen printed cardboard covers including an 8-panel booklet with historical and other additional notes and eight full-colour insert cards within a stamped envelope. Limited to 493 copies.
www.auralhypnox.com
"Das fantastische AURAL HYPNOX-Label aus Nordfinnland mit einem neuen Projekt, das wie HALO MANASH und AOEGA mit dem Labelgründer ANTTI HAAPAPURO verbunden ist. Diese Aufnahmen entstanden (man glaubt es beim Hören kaum) ohne elekronische Soundquellen, sondern nur auf archaischen Instrumenten in spontaner Improvisation & an abgelegenen Plätzen... fliessendes Wässer wie aus tiefen Grotten, Gong-Drones, gutturale Gesänge & Anrufungen, Sounds aus Holz- Wind & Metall, das alles in finsterster, ritueller Katakomben-Stimmung, mal sehr mächtig, dämonisch, mal sanfter & dark ambienter.... dazwischen schälen sich als Auflockerung mitunter instrumentelle dark-Folk-artige Arrangements hervor, aber stets im Rahmen der schamanistischen Noises...
Der perfekte Soundtrack um mit der "Andernwelt", die auch in uns ist, in Kontakt zu treten..." [Drone Rec. info to the first ed]
|
2016 |
€15.00 |
|
| ARSZYN |
Z Werszkow Pierwszy |
CD-R |
Eine weitere Entdeckung auf dem polnischen Kult-Label NEFRYT, ARSZYN ist experimentell und abstrakt elektronisch ausgerichtet..
Another new project to discover on this cult-label from Poland, ARSZYN is Krzysztof Topolski, who seems to work more with strange digital sounds: pulsating machine-loops, strange soundpatterns, clear static tunes with harmonics underneath... a very experimental trip into no-mans land..
“Noises, strange rhythms, concrete sounds, ambient a new Polish project¹s debut. Special cover.” [label description]
|
2002 |
€12.00 |
|
| ART BEARS |
The World as it is Today |
CD |
„Die dritte und bis heute letzte Platte des "post-Canterbury"-Trios kreiert eine unheimliche Welt, in der alle Elemente einmalig und unvergeßlich klingen: die kompromißlose Gesellschafts- und Systemkritik in den Texten, die eigenwillige Kombination aus schneidenden Gitarren, Geigen, Piano und Mellotron, dazu die dramatische Stimme von Dagmar Krause und die perkussiven, das Schlagzeug-Spektrum erweiternden Klänge von Chris Cutler."Visionen der Apokalypse" wäre ein zutreffender Titel für diese kleinen Horrorszenarios, dabei geht es ja nur um den zur Zeit der Aufnahmen relativ zahmen Kapitalismus. Was würden die "Art Bears" bloß heute textlich zu diesem Thema bringen? Musikalisch am eindrucksvollsten ist diese ausgeprägte Tendenz zur Weltuntergangstimmung auf "DEMOCRACY" gediehen. Ganz hübsch verdreht wird es nochmal auf "ALBION, AWAKE!" (schon allein die Songtitel sprechen für sich, manchmal sogar demogerecht in Großbuchstaben), was als atonale, gesangslose Soundcollage das Album abschließt.“ [Siggy Zielinski / Babyblaue Seiten]
New digipak version, of the third Art Bears album, originally released 1980. "If you thought Henry Cow was a pretty political band to start with, you may be even more taken aback by the Art Bears, which was put together following Henry Cow's demise by former Cows Chris Cutler (percussion), Fred Frith (guitar, violin), and Dagmar Krause (voice). On The World as it is Today and its predecessor, Winter Songs, the Art Bears move away from the long-form art rock of Henry Cow and get much, much more politically explicit: song titles like 'The Song of the Dignity of Labour Under Capital' and 'The Song of Investment Capital Overseas' almost sound like Monty Python gags today, but if any humor was intended it was clearly meant to be mordant. Frankly, the lyrics are so overwrought and portentous that it's hard to take them seriously. But the music is something else again. Cutler and Frith are natural collaborators; Cutler's drumming always rides a very fine line between the scattershot and the funky, while Frith bounces his horror-show guitar noise and carnival piano off of Cutler's grooves with manic abandon and fearsome inventiveness. And Krause's singing is just as inventive; she whoops, croons and screams her way through the density of Cutler's lyrics without a hesitation or misstep. Easy listening it isn't, but it's sure worth hearing. Frith fans, in particular, should consider this album a must-own." [label info]
|
2004 |
€14.00 |
|
| |
Winter Songs |
CD |
Re-Release of second LP from 1978 !
„Die Songs von "Art Bears" haben mit Rock-Idiomen kaum was gemein, das Trio bedient sich auf "Winter Songs" überwiegend der Konzepte der Avantgarde und der Klassik des 20ten Jahrhunderts. Kalt, dunkel und dissonant, nur beiläufig mit den allseits beliebten Schönheitsidealen flirtend ("The Hermit"), beschwören Art Bears eine Stimmung unterschwelliger Spannung herauf. Dazu trägt maßgeblich der unvergleichliche Gesang von Dagmar Krause bei. Die sparsame Instrumentierung besteht aus ungemein kreativem Schlagzeugspiel von Chris Cutler, der bekannterweise auch verschiedenste Effekte, wie z.B. präparierte Tonbänder einsetzt, und aus songdienlich eingesetzter Gitarre, Keyboards und Geige des Multiinstrumentalisten Fred Frith, der gelegentlich auch zum schrägen Gitarrensolo ansetzt. Nur selten bricht hier offene Aggression aus, wie beispielsweise auf "Rats&Monkeys".
Inspiriert durch die Skulpturen der Kathedrale von Amiens, vermittelt "Winter Songs" mit der schön-bizarren Gnadenlosigkeit etwas von der Atmosphäre des Mittelalters, allerdings anders als man es vielleicht gewohnt ist. Allen Henry Cow/Canterbury-Sympathisanten zu empfehlen, Gentle Giant-Jünger dürfen auch mal ruhig reinhören.“
[Siggy Zielinski / Babyblaue Seiten]
“New digipak version; originally released 1978. "The Art Bears' second album consists of twelve songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus' vocals vs. everyone else. As usual, Chris Cutler's lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin. Though not as confrontational as their other work, the centerpiece has to be the frantic 'Rats and Monkeys' with three minutes of teeth-gritting, out-of-control insanity as all three players are plugged into a wall outlet and let rip." [label info]
|
2004 |
€14.00 |
|
| ARTEFACTUM |
Sub Rosa (SOLD OUT) |
7inch |
"Drone Records is very proud to present the first vinyl-release of the enchanting ARTEFACTUM project from Poland! Described by herself as "Female Esoterica", SUB ROSA opens a vast space filled with tons of different sounds coming from very far away, as nebulous melodies, whispers & voices & choirs, little clicks & cracks, with soft percussive structures appearing on Side B. The two pieces named ROSA ALBA and ROSA RUBEA (white & red rose) have a strong metaphorical alchemistic background, meaning the end point of all alchemistic transmuations. The overall release including the beautiful artwork gives the impression of an almost fabulous acoustic phantasy, so refined & almost caressing yet secretful at the same time. A record filled with "sonic magic" !
Filed under: Alchemistic Drones / more info: www.myspace.com/artefactum
PINK VINYL. SPECIAL HANDMADE COVERS USING DECOUPAGE TECHNIQUE; COVERS CLOSED WITH A PINK BOWED RIBBON" [label info]
www.dronerecords.de
"...ARTEFACTUM ist eine One-Woman-Show aus Polen. Seit 2001 tritt MERISSA D'ERLETTE in der Regel unter ihrem Projektnamen auf und war in diesen sieben Jahren, bei genauerer Betrachtung, äußerst umtriebig. Sie veröffentlichte eigene Werke auf OLD EUROPA CAFE und BEAST OF PREY, war beteiligt am "Père Lachaise"-Sampler (STEINKLANG und DIVINE COMEDY RECORDS) und an "...Where Tattered Clouds Are Stranding" (THE EASTERN FRONT, Besprechung hier). Außerdem unterstützt sie ihre Landsleuten von HOROLOGIUM und hat bereits diverses Split-Material veröffentlicht, unter anderem mit MOAN und DESIDERII MARGINIS.
Das Interesse von ARTEFACTUM gilt alchemistischen Formeln und Erkenntnissen, die musikalische Umsetzung geht als solider Dark Ambient durch. Besonders gelungen sind einige überraschende Ausnahmen, wie "The Night Waltz In Vienna", einem Beitrag zur Geburtstags-Box von OLD EUROPA CAFE: Hier dominieren weiblicher Gesang und Geige, klanglich in den ersten Jahrzehnten des vergangenen Jahrhunderts angesiedelt.
Als 'Alchemistic Drones' wird die aktuelle Single vom Label einsortiert; Dark Ambient zwar, aber gleichfalls mit Überraschungen und deshalb sehr erfrischend. Die beiden Songs sind zwei alchemistischen Umwandlungsprozessen gewidmet: Die 'Weiße Rose' ("Rosa Alba") beschreibt den Übergang von Materie in reines Silber, die 'Rote Rose' ("Rosa Rubea") in reines Gold. Neben der typischen Atmosphäre von hohen, leeren und unheimlichen Räumen wartet der 'silberne' Track mit einer Reihe von sakralen Elementen auf. Mal wispert ein elektronischer Mönchschor, mal – kurz vor dem Ende der Verwandlung – scheinen sich Engel zu Wort zu melden. Ein Schimmern umgibt das Stück, das wie die hörbar gemachte Schwingung von Steinen, Kristallen oder anderem alchemistischen Handwerkszeug wirkt. Die 'goldene' B-Seite ist aufgeladen mit Energie: Lichtstrahlen treffen aufeinander, Geisterwesen einer Science-Fiction-Stadt halten eine Versammlung ab. Aus dem Gedankengewirr schält sich am Ende ein repetitiver Trommelrhythmus, der natürlich den rituellen Eindruck noch verstärkt.
Sehr angenehm zu hören, dass Dark Ambient nicht immer nur düstere Trostlosigkeit mit viel Hall sein muss. Wer sich für ein paar Minuten auf einen Flirt mit der Alchemie einlässt, kann in zwei Momentaufnahmen von Beschwörungsritualen versinken. Die gestanzten Herzchen auf dem Cover fallen auch wirklich kaum auf." [Michael We. / NonPop]
|
2008 |
€7.00 |
|
| ARTHUUR EN ENNO |
From Antwerp to Absidi |
mCD-R |
Wer sich schon immer mal gefragt hat, was eigentlich aus MOHR geworden ist (dem Bochumer Projekt mit ganz früher Drone-EP auf Drone Rec (DR-02), der findet mit diesem Mikro-Release eine (Teil)-Antwort: ARTHUUR EN ENNO ist das neue 2-Mann-Projekt mit Beteiligung von ANDREAZ VOGEL, enthalten sind 3 exquisite loopige Stücke zwischen Drone und Post-Industrial, mit einer gelungenen Cover-Version von TGs "Discipline" !
www.arthuur.de
|
2007 |
€8.00 |
|
| |
Made in Hilversum |
mCD-R |
Dritte Veröffentlichung von diesem Projekt von ex- MØHR und ENNO VAN DEN GRAAF, die sich selbst gerne auch als "droning future jazz duo" bezeichen. Wir meinen: Seltsame Klänge aus der (mindestens) 5.ten Dimension, wobei sie eine ordentliche Menge an Radio-Quellensounds verwursten. Betörend & Berauschend!
Kommt in dünner DVD-Box mit handgemachter Artwork.
www.arthuur.de
|
2008 |
€7.00 |
|
| ARTIFICIAL MEMORY TRACE (AMT) |
Calliphon Draft (Sonosketches 1991-1994) |
CD-R |
Wiederveröffentlichung eines alten Tapes des tschechischen Concrete Noise / Experimental Ambience-Pioniers (erschien im Original 1998, mit frühen Aufnahmen die 1991-1994 entstanden), sehr aufwendiges Cover im Glassrahmen mit Vollfarbdrucken auf beiden Seiten! Wiegt 400 Gramm pro Kopie, nummerierte Auflage 120 Stück!
www.myspace.com/impulsystetoskopu
|
2008 |
€12.00 |
|
| ASUNTA |
Landscapes |
CD |
"Landscapes enthält Klarinettenkompostionen von Slawomir Golaszewski, Begründer und Mastermind von Asunta, der hier von Wojciech Karwacki auf dem Harmonium begleitet wird. Aufgenommen und produziert wurden die faszinierende Mischung von Ethno drones, Ambient-Psychedelia und slawischer New Age in Warschau von Alik Dziki (http://dziki.net), dem ehemaligen Bassisten der polnischen Reggae-Legenden Kultura und Izrael sowie in der Frühphase Mitglied bei den Mystik-Punks von Armia. Die Erstveröffentlichung in Polen war 1996 lediglich eine Kassette-Edition beim Label "Fly Music", der 2001 eine limitierte Cdr-Version beim polnischen "Nefryt"-Label folgte. Diese Wiederveröffentlichung auf Lollipoppe Shoppe stellt insofern die erste internationale Würdigung des außergewöhnlichen Asunta-Sounds von Landscapesdar.
Slawomir Golaszewski ist eine legendäre Figur der polnischen Off-Kultur: Er gehörte 1985 zu den Mitbegründern der mit transzendentaler Wucht und mystischer Poesie agierenden Hardcore Punk- Institution "Armia", auf deren Platten er mehrfach unter dem Pseudonym Merlin mitwirkte, und war zu dieser Zeit zugleich aktiv im Umfeld des sich auflösenden "Teatr Laboratorium" (http://www.grotowski.net) des großen Theatererneuerers Jerzy Grotowskis in Wroc³aw/Breslau (zu seinen Lehrern zählten hier Zbigniew Cynkutis, Zygmunt Molik und Ludwik Flaszen). Grotkowskis Forschungen zum psychophysiologischen Einfluß ritueller Gesänge und die Anwendung auf die experimentlle Theaterarbeit haben Go³aszewskis Arbeit geprägt.
Seit den frühen 1980er Jahren ist Go³aszewski außerdem als Radiomoderator, Journalist und Autor tätig; er hat unter anderem früh die Verbreitung von Reggae- und Rastafari-Kultur in Polen betrieben und mehrere Generation des polski Reggae geprägt. Darüberhinaus war der "musizierende Philosoph" (Alexander Pehlemann, "Zonic" http://www.zonic-online.de) selber künstlerisch in der Szene aktiv. Die Liste seiner Kollaborationen wie auch seiner publizistischen Beiträge ist unüberschaubar.
Über Go³aszewskis künstlerische und esoterische Interessen erklärt sich letztlich auch die Zusammenarbeit mit den ebenso legendären "Atman", einer seit den Mitt-Siebzigern aktive Gruppe von Musikern, die erfolgreich die Integration von Klangkunst und Ökologie betrieben und deren Label "Fly Music" das Album Landscapes 1996 als Kassette veröffenlichte und Asunta im folgenden Jahr auf ihrem "Festival in der Landschaft" (Muzyka w krajobrazie http://pathman.republika.pl) im mittelpolnischen Inow³ódz präsentierten. Mit diesem völlig akustischem Konzert in einer romanischen Kapelle manifestierte sich endgültig die Reputation des Projekts in der alternativen Musikszene Polens.
Nach einer lebensbedrohlichen Gehirnoperation 2010 und Rekonvaleszenz meldet sich Go³aszewski nun zurück: 2012 wurde seine Graphic Novel "Moja Terapia" (mit Zeichnung von Szawe³ P³óciennik, Central Europe Comics Art, http://centrala.org.pl) veröffentlicht und eine erweiterte, 400 Seiten starke und um ein Audiobook ergänzte Neuauflage von Go³aszewskis Schriften zu Reggae und seiner spezifischen Rezeption in Polen von dem Label und Verlag "Manufaktura Legenda" besorgt, das federführend ist bei der Aufarbeitung von polnischer Subkultur ("Reggae Rastafarie - Regementarz" http://manufaktura-legenda.pl).
This release contains clarinet compositions by S³awomir Go³aszewski, founder and master-mind of the project, and harmonium works by Wojciech "Kaktus" Karwacki. Landscapes was recorded and produced by Alik Dziki, former bass player of the Polish Reggae legends Izrael and Kultura, as well as an early member of the mystic punk group Armia. The album was released on tape in Poland in 1996 under project name Asunta on the "Fly Music" label and in 2001 released in a limited edition on Cdr by the "Nefryt" label. Landscapes features a fascinating blend of ritual ethno drones, ambient psychedelia and Slavonic New Age. The cover painting by Lithuanian artist Linas Domarackas was designed for the original release.
S³awomir Go³aszewski is a legendary figure of Polish off- and counter culture. In 1984/85 he co-founded the seminal punk rock group Armia and contributed to their albums under pseudonym Merlin. At the same time he was active in the shadow of Jerzy Grotowskis's dissolving "Teatr Laboratorium" in Wroclaw/Breslau (Zbigniew Cynkutis, Zygmunt Molik, and Ludwik Flaszen being his teachers). Grotowskis's research on rituals, its psychophysiological impact, and his expanded concept of theater has coined Go³aszewski's artistic work.
Since the late 1980's, Go³aszewski is active as a radio presenter, journalist and author; among other things he was crucial for the early popularisation of Reggae music and Rastafarian culture in Poland and thus influencing an entire generation of fans and musicians alike. His contributions both artistic and publicistical to the Polish alternative music scene are numerous. His artistic and esoteric quest also lead to the collaboration with the legendary Atman group, a collective of musicians dealing with the integration of sound and ecology. The group's self-managed label "Fly Music" released Landscapes in 1996 on cassette. In the following year, Atman also invited Go³aszewski to present his project at their Music in the Landscape Festival [Muzyka w krajobrazie] in Inow³ódz, a small medieval village in central Poland. This entirely acoustic performance in the Romanesque St. Giles church in Inow³ódz in July 1997 brought Asunta lasting reputation among Poland's alternative music circuit.
After a life-threatening brain surgery in 2010 and a period of convalescence Go³aszewski is back and active again: 2012 saw the publication of his graphic novel "Moja Terapia" (with drawings by Szawe³ P³óciennik, Central Europe Comics Art) as well as a 400-page volume of his collected writings on Reggae music and Rastafari culture published by "Manufaktura Legenda", the leading label and publisher for the reappraisal of the legacy of Polish subculture." [label info]
www.lollipopshop.de
|
2013 |
€12.00 |
|
| ATAVIST |
II:Ruined |
do-LP |
"Gatefold double-LP limited to 500 copies featuring Justin Greaves (ex-Iron Monkey ) and Rose Kemp on guest vocals. ATAVIST "II:Ruined" defines pure epic suicidal sludge doom metal. The band's second album, "II:Ruined", is a massive, monolithic, introverted chapter of audial suffering and torment. It sees ATAVIST plunge further into the audial abyss by incorporating more layers and substance to their art (not unlike the way Japan's Corrupted portray their immaculate aesthetic). Heavier, more diverse, intricate, and melodic, "II:Ruined" is just that; an unforgiving observation of selfreflection, repentance, and desperation. It is interesting to note that this was the final album for this line up of the band, one can only wonder at the self-fulfilling prophecy of such and immense and bleak work. Perhaps its a wonder they are all still alive. This double vinyl edition of II:Ruined on Aurora Borealis marks a long overdue vinyl release for this important milestone of extreme doom, and stands in monolithic testament to their achievement." [label info]
www.aurora-b.com
|
2009 |
€16.00 |
|
| ATKINSON, FELICIA & JEFRE CANTU-LEDESMA |
Limpid as the Solitudes |
LP |
When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations.
If you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy.
Felicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards - «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» - things metamorphose - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls / unfurls at the same time.
The title of the album - «Limpid As The Solitudes» - as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.»
If you look at the cover, you’ll find another key clue - you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note - «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.»
Among the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.
Be sure to come back to this record more than once - it’s then that it’s power will work - you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.
|
2018 |
€18.50 |
|
| AUBE |
Triad Threat |
CD |
"Nach einer kleinen & wohlverdienten Veröffentlichungspause scheint es jetzt wieder abzugehen, wir versuchen nur die interessantesten AUBEs anzubieten: Hier wurden ausschließlich Metall-Sounds verwendet, es entstehen hochfrequent flirrende, meditative aber sehr lebendige Klangflächen... auf neuem Amplexus sublabel."
[Drone Rec. info 2000]
|
2000 |
€13.00 |
|
| AUBE / DSCHIM |
Volition |
10inch |
First release in a new split-10“ series on LICHT-UNG. Complex noise from AUBE, feedback-brain-killer (or enlarger-?) tunes from DSCHIM, which seems to be another incarnation of the minimal noise project LICHT-UNG. Quite extreme, reminded us on stuff from STABAT MORS. Comes with geman 5-cent stamp on Cover !
|
2006 |
€13.50 |
|
| AUN |
Full Circle |
10inch |
"Der EP-Nachfolger zum AUN Meisterwerk "Phantom Ghost" aus dem Jahr 2011. Der Titel und die Songtitel dieser Drei-Track-EP geben einige Hinweise darauf, in welcher Geistesverfassung die Band die Aufnahmen gemacht hat und welche Einflüsse die Schöpfer ihr Eigen nennen. Wie Fans jetzt bereits von der Band erwarten ist ,Full Circle" wieder ein ganz andersartiges Soundabenteuer, das aber immer noch eindeutig den AUN Stempel trägt. Auf der A-Seite findet sich das passend betitelte ,Return To Jupiter Jazz", ein Dumais Solostück, während die B-Seite mehr ein Gemeinschaftsprojekt ist - mit langsamen, melancholischen Gitarren und dem Keyboard von ,Floodland" und dem ersten Track, bei dem sich AUN zusammen mit Frederic Arbour an Synthies und Gitarre als Trio zeigt. ,Family Man" wartet auch mit Gitarrenarbeit des Familienfreundes Eric Quach von THISQUIETARMY auf. Im dicken Sleeve mit Downloadcode, limitiert auf 500 Stück." [label info]
www.denovali.com
|
2012 |
€15.00 |
|
| |
Alpha Heaven |
CD |
" 'Alpha Heaven' is stepping through doors previously opened on AUN's acclaimed 2011 'Phantom Ghost' album. Walking the line between, romantic, sinister, uplifting and melancholic hazy dreams of mistuned 70's sci-fi TV, 'Alpha Heaven' is AUN's most living and breathing recording to date. Mostly recorded in one take with little editing, apart from some overdubbed vocals, lounge organ and creaky acoustic piano parts. The space echoed, sometimes wobbly tape saturated tracks, evoke past and future, using a collection of electric pianos, organ, bass pedals and tapes, augmenting AUN's otherworldly signature guitar, voice and electronics. Further merging their use of sometimes temperamental vintage analog, with more contemporary electronic equipment and techniques, the concise and focused tracks, find the duo at their most luminous and earthly, while pursuing their ongoing exploration of time, space and unknown dimensions. A chapter closed, a chapter opened." [label info]
www.denovali.com
"Vom Leben, vom Tod, vom König, dem bevorstehenden Krieg, dem Gott des Feuers, dem Mond, vom herannahenden Krieg, aber auch von friedlicher Stille handelt, orientiert man sich an den Namen der einzelnen Titel, die neuste AUN-Veröffentlichung, die zu Teilen in je nur einem Take eingespielt und lediglich hier und da mit Stimm-Overdubs versehen, von Schnitten weitgehend frei, eingespielt wurde. MARTIN DUMAIS nutzte dabei ein Instrumentarium, das, so wie diese Musik, zwischen Vergangenheit und Zukunft, Ambient und Drone zu schweben scheint. Es wurden Pianos, Orgeln und Tapes verwendet, aber auch Synthesizer und Sampler. Kommt dann auch noch die Stimme von JULIE LEBLANC mit dazu, glaubt man in einer von der bekannten Welt losgelösten Sphäre zu schweben.
„König“, der erste Titel, beginnt mit einer Fläche, wird von dieser und einer brüchigen Gitarre getragen. Dazu wabern dann Töne, Sphärengeräusche. Man kann gar nicht anders, als dabei die Augen zu schließen. „Returna“ und „The War Is Near“, Titel zwei und drei, machen da weiter, bewirken eine gewisse körperlich gefühlte Losgelöstheit. Das ist wie Meditation. In „The War Is Near“ beginnt dann auch noch die Stimme von JULIE LEBLANC, die an LIZ FRAZER von den COCTEAU TWINS bzw. THIS MORTAL COIL und ihrem „Song To The Siren“ erinnert. Titel vier, „Viva“, lässt dann etwas Percussion hören. Die flächige Grundstimmung bleibt dabei erhalten. Kurz darauf wird das Schlagwerk aber auch schon mit posaunenartigen Synthesizerklängen übertönt, klingt aus, hebt jedoch sofort wieder mit einem wabernden Synthesizer an. „Vulcan“, brennt sich in die Ohren. Dann, Titel sechs, kommt mit „La Luna“ ein angenehm kühler Mond zum Vorschein. Und immer so, schwebend, losgelöst, treiben wir weiter, geht es bis zum Schluss, den ein Remix von „The War Is Near“ markiert …
Es fällt einem dann auch tatsächlich schwer, ist der letzte Ton verklungen, die Augen wieder zu öffnen. Hat man es aber getan, glaubt man kaum, dass das da der Wirklichkeit entspricht. Der reale Himmel, kann leider nie so losgelöst sein. Er steht, hängt tief über uns und verhindert, da er meistens bedeckt ist oder Regen fällt, das Land überschwemmt, die freie Sicht. Anders dagegen diese Musik. Sie hebt ab, schwebt, gleitet und driftet in unbekannte Gegenden eines Planeten, über dem ein Himmel steht, der in den seltsamsten Farben hell leuchtet." [Andrew Korsch, NON-POP]
|
2013 |
€14.50 |
|
| AUTOPSIA |
Karl Rossmann Fragments |
CD |
Sehr kryptisch ausgerichtetes Werk mit 20 "Fragmenten", gewidmet dem tschechischen Komponisten und Maler KARL ROSSMANN. Auf der Innenseite des 7"-Covers ein interessanter philosophischer Text über die Beziehung von Fragmenten und Gesamtheit, musikalisch oszillierend zwischen rein experimentell-elektronischen Figuren und wirren Cut-Up Collagen, die auch auf instrumentellen (Klassik)-Klänge basiseren. Anspruchsvoll Klänge, partikelig und von grosser Variabilität. Und anstatt eines klassischen Presse-Textes gibt es von AUTOPSIA zur Veröffentlichung Zitate von KARL ROSSMANN, THOMAS MANN und ADORNO: "About Karl Rossmann: VARIOUS ILLUSIONS ARE FORMED, THAT OBSTRUCT US FROM PERCEIVING THE REALITY OF VOIDNESS, WHICH IS THE BASIS OF THE TRUTH. Karl Rossmann 1922.
Art is mind, and mind does not at all need to feel itself obligated to the community, to society, it may not, in my view, for the sake of its freedom, its nobility. An art that goes in unto the folk, which makes her own the needs of the crowd, of the little man, of small minds, arrives at wretchedness, and to make it her duty is the worst small -- mindedness, and the murder of mind and spirit. And it is my conviction that mind, in its most audacious, unrestrained advance and researches, can, however unsuited to the masses, be certain in some indirect way to serve man in the long run.
Excerpt from Thomas Mann's Doctor Faustus
The language of music is quite different from the language of intentionality. It contains a theological dimension. What it has to say is simultaneously revealed and concealed. Its Idea is the divine Name which has been given shape. It is demythologized prayer, rid of efficacious magic. It is the human attempt, doomed as ever, to name the Name, not to communicate meanings.
Quasi una Fantasia, Essays on Modern Music, Theodor W. Adorno, 1956 " [label info]
"... By another accident a few days I got the latest CD by Autopsia, which seems to be dedicated to the life and work of one Karl Rossmann, who was apparently a painter, composer and writer from the Czech Republic, but in these internet times I am not an easy believer when it comes to people who "destroyed as much evidence of his existence as he could find". On the Autopsia website we see him mentioned as one of the 'few truly original Czech composers of the last century'. Its a bit hard to understand all of this, in relation to the music playing in the background, the 'Karl Rossmann Fragments'. But
strangely enough it comes close to the work of serious modern electro-acoustic composers from France - to complete the circle. The twenty fragments are short, almost 'pop' in length of electronically processed sounds, reverb, drone like sounds, and pitches that go up and down, but it cleverly stays away from the long form that we usually find in this part of the music world. Each fragment seems to have a life of its own, completed, finished, and, despite the word 'fragment', a finished composition. This new Autopsia work is hardly alike the work they are best known for, the sampled orchestral bits, even it at times seems to have sampled strings and percussion. Perhaps its all a bit much this release to take in at once, clocking in at over seventy minutes and with a lack of variation here and there, but half today and the other half tomorrow is quite nice to work with. " [FdW / Vital Weekly]
www.myspace.com/karlrossmannprague
|
2009 |
€13.00 |
|
| |
Palladium |
CD |
"Re-edition of this historical cult album first out in 1991. AutopsiA is a legendary band, they are among the pioneers of "Industrial".
This re-edition was completely remasterd using the modern sound standards and is coming with 4 additional bonus, rare and unreleased tracks.
PALLADIUM review made for the first edition some years ago >> Music of Autopsia oscillates from romanticism to avantgarde, from bizarre to sublime simplicity, from coldness to warmth, from exclusiveness to popularity. Songs of Autopsia are wanderer songs. Palladium leads us to great gates, gates through which there is no passing-by. Leads to great moments, when views into a depth of dark abysses open, in which, one day, staggering, we have to plunge ourselves. These songs are composed in ideal case, only for one man and only one man, in quietness and loneliness can listen to them.
There is something aristocratic in the music of Autopsia. Palladium is a declaration of the end - or perhaps the announcement of the beginning?
Music From The Empty Quarter, [UK] 1991
Album was completely remastered at Mustakillah Studio Prague 2013." [label info]
www.oldeuropacafe.com
|
2013 |
€13.00 |
|
| AXOLOTL |
Chemical Theatre |
LP |
Zwei lange Stücke auf dieser feinen LP des Projekts aus San Francisco: Auf Seite A wunderbar sanfte Drone-Wolken, hell & schimmernd, die sich im Raum verteilen wie akustisches Frühlings-Parfüm, die Sounds kommen etwas taumelnd vor und zurück wie langsam anbrandende Wellen... Seite B hat mehr Druck & Noise und fast schon sowas erkennbare Strukturen im betörenden Drone-Chaos...
Schweres Vinyl, dicke "glossy" Inlays, hand-nummerierte Auflage, auf einem neuen belgischen Label.
"Two long sides of KARL BAUER's best work so far. "Here Bauer uses violin, vocals, electronics and percussion to assemble huge fields of strafing white light that somehow reconcile the all-night flights of Terry Riley and the clouds of lung generated by Yoshi Wada with flickers of microdot vision and stoned oblivion poems... This is another great blast of rigorously thought-out modern American sound. Highly recommended." [Volcanic Tongue].
|
2006 |
€12.50 |
|
| BABY DEE |
A Book of Songs for Annie Marie |
LP |
"Mit Inbrunst und Falsett: neue Lieder der New Yorker Harfenistin. Baby Dee ist eine amerikanische Performancekünstlerin und Singer/Songwriterin. Die klassisch ausgebildete Harfenistin und Pianistin gilt als Legende der New Yorker Straßenkunst- und Transgender-Szene. Baby Dee arbeitete bereits mit Marc Almond und Antony & The Johnsons und ist festes Bandmitglied der Kultband Current 93; ihr von der Kritik euphorisch aufgenommenes 2008er-Album "Safe Inside The Day" wurde von Bonnie "Prince" Billy und Matt Sweeney produziert. "Book Of Songs" verweigert sich erneut allen musikalischen Kategorisierungen, die Arrangements der sehr minimal gehaltenen Harfen- und Klavierkompositionen lieferte Maxim Moston (Antony & The Johnsons), Baby Dees Vortragsweise und ihre teils mit Falsett und immer mit voller Inbrunst intonierten Songs erinnern an klassisch geschulten Liedgesang, an poetische Revuenummern, aber auch an John Jacob Niles oder Antony. Für Fans von Antony & The Johnsons, Marc Almond, Current 93, Will Oldham." [label info / Indigo]
www.tinangelrecords.co.uk
|
2010 |
€15.00 |
|
| BAD ALCHEMY |
No.53 (02.2007) |
mag |
"BA 53/07): the hub !!!!!!!!!!; pere ubu‘s erben in cin city: by-products of america - the wolverton brothers (bernd weber); stürmischer wind? totenkopfbriefkasten? menschliche stimme: rene lussier - bob drake - alig pierce (m. beck); imaginäre folklore - possible worlds; das al maslakh ensemble; die vorwärtsverteidigung des historischen drone-pop: brennende ohrwaschl - quermeer (frank apunkt schneider); dorit chrysler und die tiny thrills des theremins (frank apunkt schneider); das erste wiener gemüseorchester (frank apunkt schneider); ralf siemers + chaos through programming (frank apunkt schneider): la société des timides à la parade des oiseaux; Das Pop-Analphabet " [BA]
|
2007 |
€3.00 |
|
|
No.36 (Aug. 2000) |
mag/7 |
"Ganz neu, inkl. Seelenstriptease des Herausgebers & Betrachtungen über die "Konformisten des Andersseins" (Norbert Bolz), von Klaviermetzgern und Maulwerkern, Eselskadavern und Einsiedlerkrebskadavern, auch von Heuschreckenkadavern, sowie DAVID GARLAND, POISON CABINET, und die ausführlichen, aufschlußreichen & kritischen Reviews z.B. über neue Werke von Drone, Ant-Zen, Prion, Mille Plateaux, Staalplaat, Touch, Moloko+, Soleilmoon, Die Stadt, und vieles aus dem Jazz-Avantgarde-Improvisations-Bereich.." [Drone Rec. 2000] |
2000 |
€7.50 |
|
|
No. 74 (August 2012) |
mag |
"HAFENSOMMER WÜRZBURG: ELLIOTT SHARP - 17 HIPPIES - STIAN WESTERHUS - NILS PETTER MOLVÆR - SUPERSILENT FEAT. JOHN PAUL JONES - ARNOTTODROM - GABBY YOUNG & OTHER ANIMALS; spezielles Österreich-Feature: INTERSTELLAR - DILEMMA - ZACH - GOD (BLESS THIS MESS)... ; OPEN CAGE: VOICES & ORGAN; DIE WELT IST DRÖHN: Gedröhn für die einsame Insel; Neues von BORING MACHINES - DISCORPORATE - MOONJUNE - PNL - RER MEGACORP - TZADIK - UTECH - CUNEIFORM - INSUBORDINATIONS - INTAKT - JAZZWERKSTATT - LEO - LIBRA - das DVD-Label PANREC - PFMENTUM - RUNE GRAMMOFON - ALREALON MUSIQUE - ATTENUATION CIRCUIT - SPECTRUM SPOOLS - STUDENTS OF DECAY - TOUCH - D'AUTRES CORDES - EMPREINTES DIGITALES - KENDRA STEINER EDITIONS - MONOTYPE - BÔŁT - TESTCARD..."
www.badalchemy.de
|
2012 |
€3.50 |
|
|
No. 76 (April 2013) |
mag |
"BA 76 enthält: Liveberichte über Ava Mendoza, Albatre, Ballister, Rupp-Müller-Fischerlehner; Schlaglichter auf die alten Helden Cassiber, Jon Rose, P16.D4 und Elliott Sharp, dazu auf Eyvind Kang, Udo Schindler und Totstellen; Schwedische Geisterbeschwörungen und Neuerscheinungen bei Hinterzimmer, Ideologic Organ, Intakt, Knistern, Leo, Mikroton, Monotype, Psych.KG, Rune Grammofon…" [Verlagsinfo]
www.badalchemy.de
|
2013 |
€3.50 |
|
|
No. 87 (Oktober 2015) |
mag |
"WE ARE ALL IN THIS TOGETHER (AGAIN): GABBY YOUNG & OTHER ANIMALS BEIM BARDENTREFFEN; HAFENSOMMER WÜRZBURG: ARANIS - MADE IN BELGIUM / TULA ...AND THE RIVER COMES AND TAKES ME!; FREAKSHOW ARTROCK FESTIVAL; THE EX AT BIMHUIS, JENNY HVAL, BILLY JENKINS, MEMBRANES, POST OFFICE, THE VERY BIG EXPERIMENTAL TOUBIFRI ORCHESTRA, SIELWOLF + NAM-KHAR; MUZIEKMOMENTEN DIE MIJN LEVEN VERANDERDEN; Feature: POGUS PRODUCTIONS + IF, BWANA: BREATHING..."
www.badalchemy.de
|
2015 |
€3.50 |
|
|
No. 90 (Juni 2016) |
mag |
"freakshows: caterina palazzi sudoku killer - schnellertollermeier - french attack!!: hippie diktat - jack dupon - ni!; o tempora, o moers!; wasp millionaire; the dwarfs of agouza; lisa gerrard; vezhlivy otkaz; live im w 71: peter brötzmann, steve swell & paal nilssen-love - the rempis percussion quartet; fire! orchestra; såj; vladimir miller; sean noonan; xenofox; substantia innominata/drone; non toxique lost again; karlrecords; no edition; sub rosa; charles plymell... 88 Seiten ohne Werbung." [Verlagsinfo]
www.badalchemy.de
|
2016 |
€3.50 |
|
|
No. 100 (Dezember 2018) |
mag |
Freakshow Artrock-Festival 2018; Konzertberichte von The Instant Voodoo Kit, Hildegard von Binge Drinking, Mystery Of The Bulgarian Voices & Lisa Gerrard; Freakshows mit Spinifex, White Puls, Ron Anderson / Antonio Zitarelli, Fitzkarraldo, Manual For Errors, Occam's Razor, Andrew Barker & John Dikeman; The Escalators im W 71; Spotlights auf Denis Frajerman, Bob Drake, Satoko Fujii, Doc Wör Mirran, Music For Hard Times...; Today's Jazz is female Teil 4; Georgia On My Mind [Musikfeature über Georgien]... 88 Seiten, keine Werbung. |
2018 |
€4.00 |
|
|
No. 104 (Dez. 2019) |
mag |
"Artrock Festival 2019 mit Theo Ceccaldi Freaks und Ryorchestra; Freakshows mit Tatvamasi, White Pulse, Albatre, Welcome Inside The Brain, Alex's Hand, La STPO; W71: Rodrigo Amado's This Is Our Language; Geoff with yer Head!: Geoff Leigh; Hackepicciotto; Kamilya Jubran & Werner Hasler; Go: Organic Orchestra - Sirkis/Bialas IQ - Audiophob / Krater - Gruenrekorder - 90 % Wasser; Feature: Norwegen - Ja, Vi Elsker Dette Land!; Internationales Festival für Experimentelle Musik in München ... 88 Seiten, keine Werbung"
|
2019 |
€4.00 |
|
|
No. 106 (Juni 2020) |
mag |
Bad Alchemy # 106 (06/2020)
Moers Festival 2020 @ Arte Concert - Aksakmaboulipsis Cum Figuris - Sean Noonward Ho!; Joseph B. Raimond : Doc Wör Mirran; Jazz Is Not Dead - It Just Smell British: Moses Boyd & Theon Cross - oder klingt polnisch: For Tune - Multikulti Project, Reviews von Absolutely Sweet Marie und Jaap Blonk bis Xenofox, Zeitkratzer, John Zorn; Feature: Bet, Kinder, Bet / Morgen Kommt Der Schwed'; Todays ??? Is Female Too!: Tears|Ov - Lea Bertucci & Leila Bordreuil - Moor Mother; Soundz & Scapes von Attenuation Circuit - Dorninger - E-Klageto - Gruenrekorder - No Edition - Non Toxique Lost - Ignaz Schick; Ultrablack Of Music: Was ist dein Ziel in der Philosophie? 88 Seiten, keine Werbung
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2020 |
€4.00 |
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No. 109 (März 2021) |
mag |
BA 109 (03/2021) enthält: Neues von Attenuation Circuit, Auf Abwegen, Nicholas Bussmann, Hans Castrup, Crónica, Cuneiform, Euphorium, Evil Rabbit, Satoko Fujii, Gruenrekorder, Alfred 23 Harth, Hubro, Intakt, Lenka Lente, Leo, Mamka, Moonjune, Public Eyesore / Eh?, ReR Megacorp, Relative Pitch, Udo Schindler, Sub Rosa, Klaus Treuheit, Unsounds, Wide Ear, Philip Zoubek; Protestsong 20: William Loveday Intention - Bob Vylan - Sleaford Mods - Billy Nomates; Essay: Feminité, Felinité, Solidarité: Schuiten & Peeters - Joann Sfar - François Bourgeon... 88 Seiten, keine Werbung |
2021 |
€4.00 |
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Nr. 116 (Oktober 2022) |
mag |
Freakshow Artrock Festival 2022; Live: A Novel Of Anomaly, Boy Harsher, Sean Noonan, Tryon; Features: Still Against the Invasion - Der ganze Begriff von Glück ist Finnen im Allgemeinen fremd - Musica Nova in Canada; Neues von Circum-Disc, Constellation, Crammed Discs, Cuneiform, Discus, Klanggalerie, Enja / Yellowbird, Intakt, Jazzhausmusik, Relative Pitch, Sofa, Tiger Moon, Umland, Umlaut, We Insist!; Spotlights: Doc Wör Mirran, Alfred Harth / Peter Fey, Paul Hubweber, Tomo Jacobson, Manuel Mota, Marc Richter, Udo Schindler, Christof Thewes, Trespassers W, John Zorn; 88 S., keine Werbung |
2022 |
€4.00 |
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Nr. 122 (Januar 2024) |
mag |
Killing Jews is Not Fighting For Freedom / I Shall Sing Until My Land Is Free; Aşk, Mark ve Ölüm; Magma - 50 Jahre Mëkanïk Dëstruktïẁ Kömmandöh; Freakshows:Hala – Spinifex; Kind (Kombo Komplex) live; w71: Watts / Edwards / Østvang; Spotlights: Los Bitchos – Jean-Jacques Birgé – Ulf Mengersen – Sozialistischer Plattenbau – John Zorn; Labelnews: Aguirre – Attenuation Circuit – Col Legno – Cyclic Law – Dark Vinyl – Discus – Gruenrekorder – Intakt – Karl – Klanggalerie – Mille Plateaux – No Part Of It – PNL – Room40 – Thanatosis – Trouble In The East – TryTone – Umland – Veto – Xing; Andreas Hiroui Larsson: Does truth have form?; Kant? Kant! Eine kleine Polemik; 88 Seiten, keine Werbung [nur für Abonnent* |
2023 |
€4.00 |
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| BAD SECTOR |
Plasma |
CD |
"Endlich die zweite CD des fantastischen italienischen Projektes: Hier wurden diverse elektro-atmosphärische Originalsounds (VLF-recordings, Pulsare, Neon Tubes radio signals, High Voltage Transformer rec.) mit den sphärisch-melodisch BAD SECTOR-Klängen vermischt, die eher im Hintergrund stattfinden. Eine unvergleichliche Atmosphäre aus Hochspannung und Schönheit entsteht hier..." [Drone Records info 1998]
“Great conceptual work! sound sources : Magnetosphere, Vostok + Salyut + Soyuz original recordings, Pulsar, High Voltage, Neon... all this sounds are building a unique powerful & pulsing sound sculpture, a great mind experience! Ltd. to 747 numbered copies, cover presents a series of interesting "electricity / energy " historical photos.”[label info]
Now re-pressed & back in stock, the great second album ! Different Cover !
www.oldeuropacafe.com |
1998 |
€13.00 |
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Storage Disk 2 |
CD |
Zweiter Teil der Anthologie mit raren Tracks vom italienischen Kult-Projekt, die beweisen dass Massimo Magrini auch auf Compilations und "kleinen" Releases nur hochwertiges veröffentlicht hat; inklusive 4 unveröffentlichen Stücke von 2002, und wieder im besonderen WAYSTYX-Design!
"2nd part of rare tracks anthology. Contains material from: "Planar Energy" picture 7" (Smallvoices), "Scrignum Vitae" box with CD and objects (Old Europa Cafe), "Ten Years Of Madness" 2 CD (Achtung Baby!), "Land:[Schaft]" 2x10" (Cold Lands), "Hover" CDr (Bastet Rec.), "L'Ame Electrique Presents Old Europa Cafe" (Ame Electrique) + 4 previously unreleased tracks recorded in 2002." [Zhelezobeton]
"...The Waystyx label focuses on Industrial based music, drones and field recordings. Behind the Bad Sector-project you find the Tuscanny-born artist Massimo Maggrini who has been active under the Bad Sector flag since 1994 with the debut cassette release "Ze" on the Slaughter Productions label followed by the CD-release "Ampos" on Dutch label God Factory in 1995. Since then it has resulted in an extensive number of releases on various labels with quite a few on the Waystyx label. Present album titled "Storage disk 2" is a compilation of later materials of Bad Sector from the period 2002-2005. The overall expression is quite dramatic combining industrial sound spheres with more downbeat ambient. Despite the downbeat expression approaching the tranquilizing sound of melancholic ambient, there are masses of industrial elements combined with interesting noisy and state of the art electronics added elements of manipulated guitars and processed human voices. The music of Bad Sector is intense and very atmospheric. Thus a pleasant overview of earlier materials from a talented Italian artist calling himself Bad Sector. Intense!" [NM, Vital Weekly]
www.waystyx.com
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2008 |
€13.00 |
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Dolmen Factory |
CD |
Re-Release dieses klassischen (zweite CD) BAD SECTOR-Albums aus dem Jahre 2000, damals erschienen auf dem inzwischen längst nicht mehr aktiven MEMBRUM DEBILE PROPAGANDA-Label (basierend auf einer MC Version auf einem italienischen Cassettenlabel von 1997, das Material wurde bereits zwischen 1994-1996 aufgenommen). DOLMEN FACTORY hat all das was BAD SECTOR zu einem ganz besonderen Projekt aus dem "experimentellen drone/ambient" Sektor werden liess: den typischen Synth-Sound, die rauhen Störgeräusche, die endlose Weite & Melancholie, ein industriell-futuristischer "Nährboden".. "Wiederveröffentlichung des raren "dolmen factory" – Tapes, 1997 auf Soffitta Macabra in 60er Auflage erschienen. Hier geht es stark in Richtung "AMPOS", sphärische monumental-distorted Synths, harmonisch und elegisch, dazu " a small set of samples of echocardiogram machine, Stimmen aus dem Nichts... the best synth-music you can get!!!" [Drone Rec. info 2000]
"Reprint of the classic Bad Sector release.
Harmonic, noisy, emotional electronic tracks set the trademark sound of the one-man project from Tuscany. It includes an unreleased track.
Limited edition of 500 pieces, FAR-21, 2008
www.faria.ru" [label info]
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2008 |
€12.50 |
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CMASA |
CD |
In jeder Hinsicht ungewöhnlich und doch unverkennbar BAD SECTOR! CMASA beruht auf älteren Fragmenten, die MASSIMO MAGRINI aka BAD SECTOR für eine Kunstausstellung in Pisa 2005 einspielte (zum Thema "River's end" - dort wo der Fluss aufs Meer trifft), darunter Klavier- und Gitarrenbearbeitungen sowie Feld- und Objektaufnahmen von Wasser und Metall. In Verbindung mit BAD SECTORs typischen (und nach wie vor unerreichten) Synth-Sounds entstehen fünf lange "Movements" voller industriell-poetischer Traum-Atmosphären; digital verfremdete "technische" Klänge in einem Meer von Nostalgie, Einsamkeit & Melancholie. Gänsehaut-erzeugend. Grossartig.
"In 2005 Massimo Magrini was invited to provide a soundtrack for the M3M art exhibition in Pisa/Italy. The exhibition was based around images of the seaside and the rivers estuary of Pisana area with CMASA airplane factory built there in it's centre vis a vis of archaic marine cottages. This marvelous seaside scenery mixed with vintage industrial locations, together with some kind of nostalgia, created an unexpected but amazing mood. To sculpture a soundtrack of this scenery Massimo Magrini was asked to use acoustic and natural sounds too and so he added for this work treated piano and snippets of acoustic guitars together with water sounds and metal samples. This may sound unusual for a BAD SECTOR release but all those new elements are perfectly blent into the massive and ambient soundwaves for what previous releases are known for and making CMASA probably to the most emotional album of Massimo Magrini to date. All initial exhibition sounds where regenerated, remastered and re-assembled during 2007-2009. Digipack.(LOKI/PAS 23)" [label info]
www.loki-found.de
www.loki-found.de
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2009 |
€13.00 |
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| BAD SECTOR / CONTAGIOUS ORGASM |
Vacuum Pulse |
CD |
Re-Release des vergriffenen Tapes von 1996 (OEC 083), zu dem wir damals bemerkten: "Wer beide Gruppen kennt, hat mit solch einer Kollaboration sicher nicht gerechnet! Was dabei herauskommt (kein Split-Tape, sondern gegenseitige Bearbeitung von Basic-material), liegt fernab der für beide Gruppen typischen Sounds: mystische Sphärenmusik durchmischt mit konkretem Material, Samples, etc..die eine Seite CONTAGIOUS ORGASM beeinhaltet Contagious'sches Material bearbeitet von Bad Sector, während auf der BAD ORGASM - Seite genau umgekehrt vorgegangen wurde..." klasssse..
Re-released now, back in stock for a SPECIAL price !
“....From a mere description, this could end up sounding like every other drone and ambient noise release you own, but the fact is that nothing can account for the sheer depth and richness of the sounds on offer here. Everything has an almost organic quality to it, the drones sounding so liquid and deep that they take on a life of their own, both separate and a part of their generative technology – an otherworldly symbiosis of life and machine that stems directly from science fiction. It is hard to distinguish the two different artists’ efforts from one another, as their approaches to sound and composition are so alike, especially when focussed towards this common theme. It is, then, almost the perfect collaboration, each artists’ talents serving to enhance the other’s and producing a work that is not far removed from their usual output, but that has that elusive X-factor of genius and serendipity that quickly ranks this as a classic of modern music. Nearly indescribable, highly recommended. [Gavin Lees, Immanence Records]
label: www.oldeuropacafe.com |
2002 |
€12.00 |
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| BAKER, AIDAN |
Same River Twice (SOLD OUT) |
7inch |
“We never find enough artists where the phenomena of being writers as well musicians intersect but the Canadian AIDAN BAKER is one of them. Since he began to release music (solo or with his band-project ARC) he has shown poetic sensibility and many emotional levels while creating this elegant & beautiful guitarish drone harmonics. The two pieces here on his very first vinyl-release are thus inspired by literature titles plunged us into the sound-waves of some of the most mysterious shimmering daydreaming episodes. Dare diving in these warm-colourful travelling fluids... Each cover comes with an handwritten piece of poetry by the artist.”
Filed under: Poetic & trancy day-dream-drones ~
CLEAR WATER-COLOURED VINYL WITH YELLOW SPOTS
BLUE & GREEN HANDPAINTED COVERS. EACH COPY HAS A UNIQUE HANDWRITTEN POETRY BY THE ARTIST.” [press release] LAST COPIES !
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2004 |
€6.50 |
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Green & Cold |
CD-R |
Hier zeigt AIDAN BAKER seine Songwriter-Seele: er singt, sehr sanft, flüstert manchmal eher, dazu spielt er "richtige" Stücke, die aber durchaus experimentelle Anwandlungen und "Dronifizierungen" erfahren... ultra-sanfter dream'n'drone songwriter-Pop mit viel Emotion, auch das gelingt AIDAN wieder traumwandlerlisch & sicher...
"The innovative master of ambient guitar returns with a breakthrough album. At its core 'Green & Cold' is a a mix of drone, post-rock, and what the artist calls appropriately "deconstructive dream-pop." Memorable hooks combine with Baker's trademark huge wall of guitar constituted atmospherics. Baker's shoegazey croon floats among the stuttering clicks and cuts permeating the layers of catchy riffs and slow, intoxicating beats. As 'Green & Cold' unfolds the listener is coaxed familarly inward only to be washed over in waves of wispy, warming drones: An album of uncommon intelligence and artistry." [label info]
"Aidan Baker is back, still vying for the most prolific man in show business award (well, at least underground, free drone show business) with a double shot of washed out dreamy droniness. There's the latest from Nadja, reflecting his more metal side, and then there's this, the follow up to last year's Pendulum, which was a fantastic slab of glistening disembodied dronemusic. Green & Gold follows suit but with an interesting twist. Vocals. Lots of 'em. Baker is no stranger to singing, his whispery croon has graced more than a few of his releases, but on G & G, the vocals are a big part of the songs, and the songs are actual songs, with drums, and verses and choruses and everything. Well, sort of.
Some tracks, like the untitled opener, are indeed still just wispy slow shifting expanses of fuzzy dreamlike sound, which we can NEVER get enough of, but others, like "Chainsaw", are actual lowercase, slow motion, dark and dolorous slowcore pop songs. Simple murky guitar riffs, wreathed of course in all manner of reverb and soft focus fuzz, hovering over stripped down shuffling rhythms, while Baker croons softly over the top, a hushed almost whisper, sounding not entirely unlike Iron & Wine's Sam Beam actually. Even the music sounds a little like a blissier tarpit version of Iron & Wine. There is some definite twang there, subtle, but it's there, nestled amidst the delicate folky strum and the glistening sonic glimmer. Imagine an
even more somnambulant Low, or Spacemen 3 at 16 rpm, a ultra druggy
(druggier?) Galaxie 500, each track a pop song mumbled and murky, a moonlit crawl through a hazy landscape of shuffle and shimmer, of strum and twang, all wrapped up in soft swirls of shimmer. Essential for fans of all things Jeck and Tim Hecker and Jasper TX and Machinefabriek and Grouper and Troum and Main and the like, but also worth a listen for more adventurous fans of Iron & Wine, Spacemen 3, Galaxie 500, Low and other slowcore drugrock dreaminess..." [Aquarius Records]
label: www.gearsofsand.net
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2006 |
€13.00 |
|
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Gathering Blue |
do-LP |
Doppel-LP im Gatefold-Cover, edelst designed von ALAN McCLELLAND. Eine Sammlung von neuem (erste LP) und in Kleinauflagen bereits erschienenem Material (zweite LP), die beiden mCDRs "Cicatrice" (Dreamland, 2003, vier Stücke die alle mit CI beginnen) und "The Taste of Summer on your Skin" (Taalem, 2004), zwei Remixe von BAKER-Stücken von der "Remixes"-CDR (Arcolepsy, 2005) von BUILDING CASTLES OUT OF MATCHSTICKS und TROUM, sowie eine JOY DIVISION-Coverversion von "24 Hours" !!
Die Auflage von 444 Stück kommt in insgesamt drei Vinylfarben!!
"A work of blissful delight. Aidan Baker provides 4 sides of enchantment in this long-in-the-making 2xLP set. Gathering Blue provides new original material plus a stunning cover of the Joy Division track "24 Hours" as well as an extended work-out of the amazing remix of "The Cicada Sings Our Love Song" by Building Castles Out Of Matchsticks which was originally released in 2005 on the ultra-limited and long-deleted Arcolepsy Records CD "Remixes". This really is Aidan Baker at his very best and a record that is sure to charm. Comes in a gatefold sleeve, numbered card insert and pressed on heavy 180g virgin vinyl in 3 editions (55 copies on black vinyl, 95 on sky blkue vinyl [with white blend] and 294 copies on mottled peacock blue vinyl)." [label info]
"It's been a (little) while since we've had some brand new Aidan Baker / Nadja for the store, thankfully this week heralds two new
releases. To be reviewed next time, there's long awaited Nadja all- covers disc (which we'll tell you right now is great), and then
there's this, a brand new, limited double lp from Baker solo, and as always it's a doozy, sprawling and shimmery and expansive, that sort of blissed out ambient dronemusic he does so well. But it's far from more of the same. The first track we threw on was almost jungle, with skittery beats buried beneath softly undulating layers of warm whir and deep drifts of soft swirling sound. There's also a bit of Spacemen
3 like processed psych guitar, which gives way to some buzzing raga like blur, draped over still more dreamlike dronescapes, although
here, it's laced with chunks of processed alien crunch, and weird little bits of scrape and fragmented riffage. Long stretches of underwater Oval-like wooziness, shot through
with streaks of space-y effects and muted bits of glitch and buzz, some of the most washed out and wondrous space (not quite) rock ever! Warped warbly organs are stretched and smeared into warped Philip Jeck like doomy drifts, one of which is apparently a cover of Joy
Division's "Twenty Four Hours", although we could only tell by the vocals, and even then, they're so hushed and barely there, that any
sense of the original seems to melt into a gorgeously oozing expanse of thrum and shimmer and softly warped rumble. Another fantastic and gorgeous and of course WAY too limited
chunk of droney dreaminess from Mr. Baker. Released on the always amazing Equation Records, who really go all out with the packaging as well. Thick swirled/splattered blue vinyl, thick full color gatefold jacket, and a printed full color postcard, each of which is hand numbered, LIMITED TO 444 COPIES!" [Aquarius Records review]
www.chronoglide.com/equation.html
|
2009 |
€24.00 |
|
| |
Same River Twice |
7inch |
“We never find enough artists where the phenomena of being writers as well musicians intersect but the Canadian AIDAN BAKER is one of them. Since he began to release music (solo or with his band-project ARC) he has shown poetic sensibility and many emotional levels while creating this elegant & beautiful guitarish drone harmonics. The two pieces here on his very first vinyl-release are thus inspired by literature titles plunged us into the sound-waves of some of the most mysterious shimmering daydreaming episodes. Dare diving in these warm-colourful travelling fluids... Each cover comes with an handwritten piece of poetry by the artist. Filed under: Poetic & trancy day-dream-drones ~ " [original press release for the 1st ed.]
www.dronerecords.de
|
2015 |
€7.50 |
|
| BAKER, AIDAN & JAKOB THIESEN |
A Bout de Souffle |
CD-R |
"keine intros, keine outros, kein einfaden, dito raus. mit schöner brutalität mitten ins geschehen: das platten manchmal unvermittelt anfangen ist so manchmal ja nicht unbedingt; bei einzelstücken sogar noch mehr; eine ganze platte, bei der jedes stück sich darstellt, als bekäme hörer und -in immer nur einen (besonders interessanten?) ausschnitt eines (unbekannten?) gesamtwerks präsentiert, ist dagegen alles andere als die regel. vielleicht habe ich das in dieser konsequenz das letzte mal allen ernstes auf der "guitar" von frank zappa gehört (auch eine gute platte, übrigens), die mal eben lässig nur die gitarrensoli zusammencuttete. hier also aidan baker mit jakob thiesen (drumkit, percussion, processing; auch in kanada tätig, auch ambient-ping-posse) und ausschnitten (zwischen 4.33 und 10.39 min) aus "sporadic sessions", die, live aufgenommen, von aidan baker gemixt und, ganz offensichtlich, gelayert wurden, so wie er es beispielsweise bereits bei der "at the base of the mind is coiled a serpent" getan hatte. mit einem entscheidenden unterschied: das, was aidan baker und jakob thiesen hier vorlegen, verlässt die reine drone oder ambient schiene oder zumindest deren engere definition und geht durchaus in richtung "arc", einer weiteren (gruppen)aktivität von aidan baker: #1 + #7 mit rollendem, (nicht nur fast) groovingem bass, sehr deep im untergrund schiebend, die percussion tief eingebettet, die darüber liegenden gitarren oft (!) akustisch und bei ausschnitt #2 z.b. in einem laid-back bluesfeel (nicht erschrecken, vertrauen in aidan baker hat sich doch bisher fast immer ausgezahlt) mit archaisch marschierender rudimentär-percussion und x-ebenen darüber und dahinter. der elektro-akustische eindruck und die verwebung einer vielzahl von ebenen, innerhalb derer mal nicht ausnahmslos flächen generiert werden, um diese dann gegeneinander laufen zu lassen, sondern wo eine diktatur der mikroereignisse herrscht (listen to #5, "the end of breathe 2", dann weist du was ich meine), die sich zu einem 3D kosmos ergänzen und, egal wie hibbelig das einzelne sein mag, im zusammenhang dann eben doch einen grossen, fast meta-zusammenklang schaffen, dieser eindruck bleibt auf voller lauflänge erhalten und lässt zumindest assoziationen in richtung oren ambarchi's "sun" zu, deren ebenfalls mysteriöse elektro-akustische melange eine sehr ähnliche stimmung evoziert wie eben "a bout de souffle". und noch mal die #5: lang vorbereitet, dieses kippen um die 10.00 und perfekt in die #6, "take a breath". keine ahnung, ob die familienzugehörigkeit der titelgebungen genau dieses phänomen unterstützen soll oder ob zufall: weite teile der 7 tracks nehmen mit ihrem ende bzw. anfang bezug aufeinander; eine weitere rätselhaftigkeit dieses releases, werden doch die abstände zwischen den tracks auch dann eindeutig als pause markiert...
ein überraschendes kollaborations-release im schicken digipack mit naturinspirations-makrozoom-coverbild, angeraut durch kontrastkorrosion. + übrigens: auch am ende keine fade-out gnade..." [Hellmut Neidhardt, www.unruhr.de]
"A Bout De Souffle is a 54 min Collaboration between Aidan Baker (who is also known as Nadja together with Leah Buckareff) and Percussionist Jakob Thiesen (who recently joined baker live on stage to play live drums). Aidan baker is famous for his experimental guitar music. This time things are a bit different. You wont find the typical aidan baker drone stuff here, but instead both men created an incredible journey through the fields of krautrock, Psychedelic and drone music. The Percussion of Jakob Thiesen adds a certain deepness to Bakers guitar explorations were he also uses bass and acoustic guitar to build an mind blowing album full of surprises and wonderful melodies." [label info]
"Waterscape is a new label, owned by Martin Fuhs, whom we also know as Seconds In Formaldehyde and it's mission is to release ambient music made by guitars. The first release is by Aidan Baker, our highly productive guitarist, who teams up here with Jakob Thiesen, who plays percussion, like he did on 'Desire In Uneasiness' by Nadja. Despite his many releases, Baker is a man to find new forms and shapes. On this release things are more experimental and improvised as opposed to being the more ambient player he is on some of his earlier solo releases. Baker tinkles away, sending his guitar through his many devices while Thiesen supplements nicely with percussive sounds, but it's more a supportive role than an active one or playing a 'solo' himself. The ambient element is not entirely gone, as much of it stays on an equal dynamic level and could perhaps pass on as a sort of rough shaped mood music. Nice stuff." [FdW / Vital Weekly]
www.waterscape.de
|
2008 |
€9.50 |
|
| BAKER, AIDAN & TIM HECKER |
Fantasma Parastasie |
CD |
Die beiden ungekrönten Könige des kanadischen Drone-Ambients in Kollaboration! Trotz ihres sehr unterschiedlichen Backgrounds (der eine v.a. analog mit Gitarre arbeitend aus der Jazz & Impro-Szene stammend, der andere mit rein elektronischem Hintergrund eher aus Techno & Noise-Gefilden) treffen sie sich in einer fast undefinierbaren "Mitte", wobei unklar bleibt wer wessen Material bearbeitet hat oder ob es zu real-time Zusammenspielen kam. Frei flottierende Gitarren-Drones, teils ultra-sperrig verfremdet, teils subtil & beruhigend, dann wieder ausserweltlich und überbordend. Sehr variantenreich und ausufernd. Ungewöhnlich auch die Indexierung auf der CD: Die 7 Stücke verteilen sich auf ganze 66 Indexe!
"Fantasma Parastasie sees the pairing of Aidan Baker, of the ambient doom band Nadja, and Tim Hecker, two of Canada's brightest musicians in the world of abstract electronic music. Tim Hecker has been enjoying the rewards of a stellar career and discography, devoid of filler, due to his incredibly high quality control. His full-length Harmony In Ultra Violet was viewed as a major release in the genre of experimental electronic music. Aidan Baker, on the other hand, works under very different circumstances, releasing material both as a solo artist and as a member of the duo Nadja. His prolificacy is on par with that of Merzbow and the late Muslimgauze. Thankfully, Aidan Baker is one of those musicians with the ability to record and write new music quickly and without sacrificing the quality of his art. Anyone familiar with both Aidan Baker and Tim Hecker is more than likely familiar with Alien8 Recordings as the two musicians have collectively released seven records for our label thus far. While Baker has collaborated with the likes of John Duncan, Black Boned Angel and Fear Falls Burning, among others, this marks the first collaboration to be released by Hecker. This release, divided in eight movements, blends together to form a fluid example of a collaboration that works. Unlike one of those collaborations where artists throw some sound files back and forth via the internet, this release is the fruit of various real-time recording and mixing sessions the two artists worked on in Tim Hecker's Montreal studio. The pieces on the record blend seamlessly into one another, creating a deeper listening experience, as is the case on a number of Tim Hecker's solo outings. While Baker and Hecker share a penchant for creating a powerful blend of ambient noise, Fantasma Parastasie finds the more dissonant elements tempered by an emphasis on ambience and even occasional melody. This release is available on CD in a digipak packaging." [label info]
"... But somehow, the sounds on Fantasma Parastasie manage to transcend, allowing glimpses of familiar sounds, hints of each
artist's own work, but woven into a whole that is unto itself, a gloriously abstract swirl of sound, longform landscapes of bliss and blur, of buzz and even roar, extended movements, in which the various elements drift and shimmer, overlap and intertwine, melodies and songcraft meet texture and soundscapery, guitars unfurl tangled melodies one second, bleary eyed chordal blurs the next, harmonics glisten and hover amidst deep soft swells, distortion and buzz build into fierce walls of blown out psychedelia, the sounds crumbling and
decaying before our ears, threatening to collapse, and in this fragile state lies the beauty of those sounds, effulgent, incandescent, but at the same time, blackening, beginning some unnamable process of inevitable decay. And eventually it does decay, those thick roiling sounds dissipate, leaving something soft and shimmery, glistening on a
bed of shed buzz and crumbled crush, floating heavenward, its notes and melodies catching the sunlight, and offering up prismatic reflections.
The strange thing about this record is that each song is separated into super short pieces, eleven in most cases, each part between 15 and 45 seconds (it's obviously much more noticeable on the cd). We tried listening to it on shuffle, presuming that was perhaps the intention, and while it still sounds cool, it was a bit too and took too much away from the overall effect. Instead, the various parts, played in order, slip seamlessly into one another, so much so that if you weren't watching the tracks tick by on player, you
wouldn't even notice.
The two work amazingly well together, bits of guitar, fragments of riffs, looped and repeated, swathed in thick smears of digital
crunch, of buzzing rumble, much of the record sounds like a heavier William Basinski, as if the two were experimenting with they own
Disintegration Loops. A few of the tracks are quite tranquil, abstract and minimal, but for the most part, Baker and Hecker seem more
interested in distressed sounds, in distortion, in pushing the limits, composing in the red, needles pegged, but taking what in other hands
could be harsh and abrasive, and crafting those sounds into something simultaneously soft and dreamlike. Even the various movements, drift
smoothly into one another the entire record almost like a single piece, expansive and varied and sprawling, epic and majestic, but
inward looking, introspective, melancholy, imbuing the crumbling crunch and blown out minimalism, with emotion, with distinctive mood, at once dark and mysterious, but also strangely hopeful.
The album closer and title track, is the only one not split up into movements, and is easily the most abstract, the most minimal, a
stretch of lugubrious low end, so soft, so weightless, a hushed musical murmur, no distortion, no buzz, just a simple swell and sway, drifting fading, and finally disappearing.
Absolutely breathtaking."" [Aquarius Records review]
www.alien8recordings.com
|
2008 |
€13.00 |
|
| BAKER, AIDAN / NOVELLER |
Colorful Disturbances |
LP |
"aidan baker ist hier einfach wolfgang voigt: gas, bei einem der reinen ambient stücke ohne beat. ungefähr genau so viele schichten statischer akkorde und weit, weit unten / hinten passiert dann doch dauernd etwas. und erst viel später merkt man, dass auch die statik nicht statisch ist... perfekter nachschub für alle, die genau diesen typischen, weit ausgebreiteten sound an ihm (und anderen) mögen. sarah lipstate ist mit ihrem instrumentarium auf der gleichen baustelle unterwegs; hier auf der split-LP mit „under the color cave" und „white rabbit" jedoch intimer im sound und etwas kammermusikalischer, dabei in den einzelsounds auch konkreter als aidan baker. melancholisch, abwartend, die gitarre wie ein cello. unbedingt empfohlen und trotz split zweier unterschiedlicher künstler und trotz der unterschiedlichen soundhaltung homogenes ganzes. schönes cover auch, dessen finesse sich erst beim genauen hinschauen erschließt (und hier, in der abgebildeten größe, nur durch hochgedrehte kontraste) und: sehr gute vinylqualität dann auch noch." [N, Unruhr]
"Guitars warped so hard they dissolve into pure consciousness! Seriously, this record had to happen because these two are the NOW of transcendental guitar weirdness. In families like ours where deformed music of one kind or another pours out of the speakers all day long, Toronto's Aidan Baker is a household name. He is no doubt one of the most imaginative experimental musicians of the new generation, quickly creating a universe of limitless sound with his bursting discography. He offers this record an extensive piece which mixes drone, texture, and an ever-bowing foundation -- imagine the sound of falling backwards... forever. The new blood on this split is guitarist Sarah Lipstate from Brooklyn, New York (aka Noveller). Sarah's prepared twin guitar works up a slow hypnotic force, gently pulling way out to the furthest deep end of pulses and patterns. Beautiful repetitions effortlessly skirt over a dark undercurrent. A+++ listen. Edition of 600 copies." [label info]
www.divorcerecords.ca
|
2009 |
€14.00 |
|
| BALDINI / BIGAZZI / FERRI |
Alfabetiere Majakovskij ! |
BOOK + CD |
"Alfabetiere Majakovskij!" is another piece in the trans-media (and also trans-publishing) project conceived by Arlo Bigazzi and dedicated to the futurist poet. Initially conceived as a musical reading with and for the actress Chiara Cappelli - who edited the translations from Russian - it then became the double album "Majakovskij! Il futuro viene dal vecchio ma ha il respiro di un ragazzo" (Materiali Sonori), which includes a CD with the theatrical sequence in which, among others, musicians such as Blaine L. Reininger, Mirio Cosottini, Mirko Guerrini and Guido Guglielminetti took part, and one with instrumental versions of some of the pieces.
Subsequently, the book "Majakovskij! Cantata per Vladìmir Vladìmirovič" (Editrice Zona) was published, containing the text of the play, short essays on Majakovskij by authors such as Francesco Forlani, Luciano Del Sette, and Mirco Salvadori, two graphic novels drawn by Riccardo Cecchetti and Monica e Zeoli, and five poems that were not included in the play. As other pieces of this ever-changing work, eight videos published on the web and even two t-shirts and six art prints from the graphic novels were made.
With the participation of the photographer Lucia Baldini, the "Alfabetiere Majakovskij!" was created for Silentes, interweaving Bigazzi's original project with the Alfabetieri published by the photographer: real self-produced art creations for her “domestic publishing house”, In Alto Edizioni, artist's books produced in limited editions, numbered and signed.
The characteristic of these original editorial works is that each title is built on the sequence of an alphabet where each letter that composes it, is associated with a word or a short phrase that dialogues with an image that is not immediately clear. In this case, however, with Chiara Cappelli, the characters have been defined and expressed not in the succession of the Cyrillic alphabet but by creating a different sequence, matching the individual letters with whose included in the line of the poem "Ascoltate!". For this volume, the photos were taken using various Samsung smartphone models, using a modified app.
If Lucia Baldini's photographic alphabet is freely constructed on the verses of Majakovskij's poem, the music was created by deconstructing five tracks from the double CD, where - by freely intervening on Bigazzi's music - Flavio Ferri reworked and constructed new and unexpected sound paths. Given the harmony that arose during the creative process, the two went even further, creating "L'Alba del 28 Febbraio" and "Poeti Estinti". As Mirco Salvadori - who contributes to the project with an in-depth prologue - wrote, "the music that emerges is purity that contaminates and seduces at the same time. Musical passages that pass through the trajectories of the dream are impregnated with the substance that supports it and expand to infinity in a listening experience that would aim to be unlimited. They break down the barriers of what has already been heard and immerse themselves in the poetic-dreamlike matter using highly effective electro-acoustic mixtures, succeeding in bringing to life the images and phrases that our gaze tirelessly continues to observe."
|
2022 |
€25.00 |
|
| BALDRUIN |
Vergessene Träume |
LP |
"It’s said that German philosopher Immanuel Kant hardly ever left his home town. Yet he managed to pull off some of the most influential thinking to date. How did he manage to do that? Well, a daily routine based on reasoning interrupted by long walks did the trick and – voilà! – another “Critique” was done!
Johannes Schebler’s body of work released under his Baldruin moniker may not exactly be as groundbreaking as the old geezer’s from Königsberg, but it’s fair to point out that his discipline is comparably versed and experienced when it comes to making his music. During the years past he hardly ever left town, avoided exhausting and time consuming nonsense such as touring and instead stayed inside preparing and releasing over a dozen albums since his first recordings back in 2009. He snuck out for a walk once in a while – especially to have a cheap lunch or dinner downtown – but other than that he kept himself busy watching Midnite Movies and messing around with a myriad of musical instruments. (And yes, an occasional painting was finished here and there, too!)
In short: Johannes is quite a regular guy following a well-arranged, unhurried 24/7 routine. Given this almost boring day in, day out one might wonder how he manages to piece together his colorful, imaginative and meticulously manufactured sonic miniatures? Well, it’s obviously that kind of untroubled artistic existence that leads to a mindset to create a slightly unsettling music quite far from the artist’s own experience. It’s not real, it’s phantasy. It’s art, it’s entertainment – and it’s meant to be fun. Keep in mind: Listening to „Vergessene Träume“ („Forgotten Dreams“) is like visiting a fairground’s Tunnel of Horror or a field trip to an other-worldly theme park: Tracks like „Begegnung im Labyrinth” („Encounter in the Maze“) or „Das Mysterium der Kreidefelsen“ („The Enigma of the Chalk Cliffs“) hint at the playful and surreal character of the music.
Music that is deeply informed by the colorful works of composers like Franco Battiato and the iconic and imaginative horror-movie soundtracks of Goblin („Suspiria“) and the likes. So, don’t mistake Baldruin’s fanciful, vaudevillian approach with the omnipresent depressive and dystopian post-postmodern aesthetics. Baldruin’s far from being a bleak bloke and such is his music: It’s the brainchild of a rich, child-like imagination, a celebration of the comical ‘n creepy yet life-affirming forces in life. Enjoy the ride!"
ikuisuus.bandcamp.com/album/vergessene-tr-ume |
2018 |
€15.00 |
|
|
Die halluzinierte Welt |
MC |
"Anbruch eines neuen Tages.
Die Natur wird in ein magisches Licht getaucht.
Es verändert die Warnehmung der Dinge
und erzeugt eine entrückte Atmosphäre.
Etwas nicht greifbares schwebt über den Köpfen.
Ein Übergang von intensiv erlebten Gefühlszuständen in eine halluzinierte imaginäre Realität.
Eine erweiterte Wirklichkeitsauffassung kommt zum Vorschein.
Ängste, Hoffnungen und Sehnsüchte einer nicht (mehr) greifbaren Welt, die sich als surreale Visionen materialisieren.
Individuell real Erlebtes verformt sich und wird transformiert zu fantasierten Erinnerungen,
zu denen immer wieder zurückgekehrt werden kann.
Impressionistische musikalische Skizzen als Ausdruck innerer Sehnsuchtsbilder.
---------
Dawn of a new day, nature is immersed in a magical light.
The aura is raptured by this illumination and the atmosphere is ecstatic.
A transition occurs from an intense emotional state to a hallucinated reality, revealed by expanded perceptions.
Emerging from surreal visions, fears, hopes and desires materialize.
Authentic experiences morph, before transforming back into fleeting memories that return with time again.
Sonic sketches of impressions and internal imagery.
released June 6, 2020
All tracks recorded 2019 and 2020 in Wiesbaden, Germany by Johannes Schebler
https://lullabiesforinsomniacslabel.bandcamp.com/album/die-halluzinierte-welt
"Since 2009 Johannes Scheblers has began mapping out his surreal sonic topography.
Shortly after releasing his first experimental compositions on the homegrown DIY SicSic-Label together with Daniel Voigt, his albums began circulating on labels all over Europe as well as in the USA and Japan. He grew up in a small Bavarian village, where his family had moved to for his fathers work as a pastoral officer. Here they lived in the rectory attached to the church where the loud resonance of the bells, lush organ sounds and chorales of singing churchgoers where constantly present in Johannes childhood. The alluring atmospheres enticed him and he spent several years serving as a altar boy. These early spiritual experiences are a foundation for Baldruin’s sound. In his teenage years, he was exposed to transcendental and dreamlike visions in surreal and avant-garde films which he obsessed over. The unique artistic styles of Švankmajer, Buñuel, Jodorowsky, Cronenberg and Lynch have heavily informed his sonic palette.
Schebler’s compositions offer reinterpretations of dark and mystic mythologies, a chance meeting with strange beings from unknown depths conjured in his imagination where he gives free rein to the fantastic and surreal. Besides his Baldruin project he collaborates with Jani Hirvonen (Uton) on the project Grykë Pyje and is joined by Brannten Schnüre together as Diamantener Oberhof."
|
2020 |
€11.00 |
|
| |
Relikte aus der Zukunft |
LP |
Relikte aus der Zukunft (Relics from the Future) is a new album by experimental German artist Baldruin. Growing up in a small Bavarian village rectory around 10 meters beside the church and serving as an altar boy; organ music, church bells, and spiritual chanting were very much present in Johannes Schebler's ears during his childhood years. This experience was probably the basis for his ongoing interest in transcendental and mysterious atmospheres, he recalls. Schebler started making music as Baldruin back in 2009 with DIY experimentations which were first released on tape, a CD-R 3" and later on several LPs all over Europe (Ireland, Spain, Portugal, Poland, Finland, Netherlands, Slovakia), as well as in the USA and Japan. While in the beginning Baldruin's tracks were mostly created with acoustic instruments, later synthesizers and other electronic sound sources joined, expanding the sound palette and letting primordial and futuristic worlds merge organically into each other. Although Relikte aus der Zukunft feels like a journey to the unknown, with constantly changing moods, all of the recordings were done in a small and improvised home studio in Schebler's living room in Wiesbaden, Germany, using mostly a single MIDI-keyboard for recording. The tracks are full of color and amazement, detailed and thorough when evoking the setting and conjuring the experience. They can be playful and bright, or suspenseful and ominous, until bursting into ritual and hallucination. The gloomiest soundscapes can jump into a ship fueled by retro sci-fi arpeggios, the solemn can turn to rejoice, and a star can shrink into a fireplace. Mastered by Alberto Cendra at Garden Lab Audio. Cover art by Johannes Schebler. Edition of 300.
https://buhrecords.bandcamp.com/album/relikte-aus-der-zukunft
"Vor gerade einmal acht Monaten brachte Johannes Schebler alias Baldruin mit “Kleine Freuden” ein Album heraus, das trotz seiner Opulenz und vor allem wegen der geschlossenen Kompaktheit der einzelnen Stücke ganz im Zeichen der fast schon intim anmutenden Miniatur stand. Seit einigen Wochen steht mit “Relikte aus der Zukunft” nun ein neuer Longplayer in den Regalen, der im Vergleich dazu wie ein Gegenzoom wirkt und die Aufmerksamkeit auf die großen und breiten Zusammenhänge richtet. Schon der Titel könnte zu einem handlungsreichen Film passen, und zu Tracks wie “Hintenherum”, “Wurzeltrank” oder “Ritt auf der Silberechse” könnte man sich fantastische Science Fiction-Stoffe der surrealen Art ausdenken.
Die ersten Minuten des Albums verbreiten eine erwartungsvolle Stimmung: Es klappert und rumpelt, und über einem Sound, der nach Syntie klingt, erklingt das Trillern verschiedener Klangquellen, die Flöten, Klarinetten und ein Saxophon sein könnten, im Zusammenspiel mit flatternden Flügelschlägen aber sofort an verfremdete Vogelstimmen denken lassen. Halbversteckte Glockenschläge im Hintergrund leiten über in ein sakraler anmutendes Setting mit tiefen Tastentönen und etwas, das an Choräle erinnert, und man wundert sich, dass all dies – laut Begleittext – überwiegend einem Midi-Keyboard entstammen soll.
Sanft bimmelnde Glöckchen, spannungsvolle Cellodrones, quirlige Sounddetails, die wie Gummi quietschen; ein vermutlich asiatisches Saiteninstrument, dass mit seinen kreisenden Bewegungen eine entsprechende Melodie anstimmt und weitere folkig eingefärbte Klänge; alarmierende Hochtöner über dunklen, aus der Ferne hörbaren Paukenschlägen; desolate Sounds, die für kurze Momente an Industrial erinnern; sogar eine vervielfachte menschliche Stimme vor einer Kulisse aus Gebimmel und rauschenden Motoren – die klanglichen Details und motivischen Ideen sind in diesem Album beinahe Legion und im ständigen Wandel begriffen. Ist man erstmal vollends in diese Welt eingetaucht, dann halluziniert man vielleicht noch einige dazu. Wenn man also so etwas wie einen roten Faden sucht, dann findet man ihn woanders, z.B. in der aufgeweckten Neugier, die in der Reise durch die verschiedenen Klangwelten spürbar ist. Da scheint man dem Entdecken einer Kultur beizuwohnen, deren Zeichen man wie ein Schwamm aufsaugt, während die eigentliche Erforschung und Kartografierung noch ansteht. Die einzelnen Szenarien wirken wie Momentaufnahmen im Stadium des ersten faszinierten Eindrucks.
Neben “Insel der Hoffnung”, dass in all seiner Verträumtheit und mit gebrochenen Rhythmen so etwas wie der “Hit” des Albums sein könnte, gibt es weitere Wegmarken. Das wäre z.B “Wilde Reise”, eine von rumpelnden Trommelwirbeln und entrückten Flötensounds begleitete Fahrt über Stock und Stein. Außerdem “Vorherbestimmt”, das mit seinen pulsierenden Orchestralsounds wie ein dramatischer Stummfilmscore klingt, der von allerlei destruktivem Klirren begleitet wird und in seiner ganz eigenen Schönheit doch unangetastet bleibt. Vielleicht findet sich auch in dieser Tendenz zur Zerfleddertheit, an deren Grenze sich fast alle Stücke bewegen, und die immer durch eine solide Grundsubstanz eingehegt und zusammengehalten wird, ein Schlüssel zur klanglichen Grund-DNA dieses beeindruckenden Albums." [African Paper]
|
2023 |
€27.50 |
|
| BARAKA[H] |
ILLUMINESCENCE |
maxi-CD |
Those of you who closely follow taâlem will have noticed that back in 2014 there was no "alm 100" release. We wanted to make something special for this 100th reference but it's been long, veeeery long in the making. Finally, here it is.
This 100th reference is indeed be a bit special: it's the very first solo-release by Baraka[H], member of the legendary Troum and Maeror Tri bands, also head of the seminal Drone Records label.
Baraka[H] has created and collected through the years some tracks that were not used for Troum tracks. He went back to these tracks and completed them in 2018-2019, especially for this release. The result is "illuminescence", a collection of beautiful aerial and nostalgic guitar-based tracks, maybe a bit more droney and melodic...
"illuminescence" is available in two editions:
- the regular edition (alm 100) is a minimax CD with 4 tracks. 150 copies are available.
- the special edition (alm 100#) includes the regular edition plus a transparent 7" lathe-cut including 2 exclusive tracks (the digital download will include the 6 tracks). This edition is limited to 50 numbered copies.
----------------------------------------
«these "songs" are not played perfectly - i'm not a professional musician. but all I can say is that they express my deepest feelings, a yearning for something that is absolutely not 'visible' or tangible. i don't know what it is, but there must be something hidden in the air, in the sounds, in the sensations...»
Baraka[H] - april 2019
miniatures of the eternal yearning.
recorded & produced by Baraka[H] through the years 2007-2019.
all based on acoustic and electric guitars.
all tracks mastered by stephan mathieu at schwebung mastering.
all artworks by hitoshi kojo.
transparent 7"-lathe cut by yann jaffiol at My Studio.
https://taalem.bandcamp.com/album/illuminescence-alm-100
|
2020 |
€9.00 |
|
| BARBARELLA PLÜSCH |
d_b |
7inch |
Experimenteller, ruhiger Post-Rock aus Österreich, sehr schön die B-Seite mit schillernden Drones aus denen sich ungewöhnlich punktuierte Drums herausschälen....
"Musikalisch ist die 7" eine Offenbarung; und ich bin mir nicht einmal im Klaren, warum. Wenn ich nun ‚Postrock’ schreibe, ist das im Grunde wohl gar nicht falsch, aber: ist es ausreichend? Ich denke nicht. Hier geht es vor allem um Konzentration und damit einhergehend: Reduktion, vielleicht auch Vereinfachung. Um das Wesentliche. Ich könnte mit diesen beiden Tracks locker den Sommer verbringen."
[Quietnoise, August 2005]
“Barbarella Plüsch stunned the audience when they opened the live sets on our anniversary party last year. These tracks on vinyl are the band's first ever release. Our first post-rock record, beautifully constructed guitar/bass/drum pieces in the style of Trans Am, David Grubbs or quiet Sonic Youth. Featuring Alexander Wallner of Das Fax Mattinger.“ [label info]
"Descended from the Austrian trio Das Fax Mattinger, a new outfit called Barbarella Plüsch has a very nice single in d_b/Mono. Jazzy rolled drums plus e-bowed guitar and bass create a quiet instrumental space." [The Wire, January 2006]
|
2005 |
€10.00 |
|
| BARBIERI, CATERINA |
Fantas Variations |
do-LP |
Fantas" is the epic opening track on Caterina Barbieri's acclaimed 2019 release Ecstatic Computation (EMEGO 259LP, 2019). The original "Fantas" laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long-time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender, and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritized over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged "Fantas" to a slowed-down, austere and eerie version for two organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin, and Annie Garlid, joining forces to express the choral, psychedelic and vital nature of the piece. Barbieri's former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes "Fantas" for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske's reinterpretation for saxophone and voice captures the atmospheric essence of "Fantas" and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes "Fantas" for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta's Singeli reinterpretation of "Fantas" transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck's variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale's take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Mastered by Rashad Becker, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2021. Artwork and typography by Ruben Spini. Lettering by Alice Fiorelli.
01. Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid and Stine Janvin) - Fantas Variation for Voices (7:38)
02. Bendik Giske - Fantas for Saxophone and Voice (7:31)
03. Kali Malone - Fantas for two Organs (10:21)
04. Walter Zanetti - Fantas for Electric Guitar (7:27)
05. Jay Mitta - Singeli Fantas (12:03)
06. Baseck - Fantas Hardcore (4:44)
07. Carlo Maria - Fantas resynthesized for 808 and 202 (4:29)
08. Kara-Lis Coverdale - Fantas Morbida (3:04)
https://editionsmego.bandcamp.com/album/fantas-variations |
2021 |
€25.50 |
|
| BARDOSENETICCUBE |
Blood of Green Colour |
CD-R |
Neues Material der St. Petersburger Formation, die eine eigenständige musikalische Sprache entwickelt haben: eine trance-artig beschwörende ambient-noise-Klangalchemie mit dichten loops & hypnotischen Schichtungen, hier getragen von Mantra-ähnlichem Sprachgemurmel und pulsierenden Elementen im Untergrund, sehr intensiv und wohl mit ihr bester Release bisher!!
“Cult Russian act on the cult Italian label! 2005 release from this veteran St Petersburg Dark Ambient project. Eight tracks of rumbling drones, soaring oscillations and corroded melodic patterns. Oversized packaging.“ [Punch Rec.]
|
2005 |
€12.00 |
|
|
Deadhead |
CD |
Überraschung für BARDOSENETICCUBE: “Deadhead” ist ein durchkomponiertes, neo-klassisch-orchestrales Werk voller Bombast und dunkler russischer Choräle, martial-industriell & düster-elegisch hämmernd, aber auch ruhige, eher elektronische Stücke kommen vor, viele Gastmusiker (Saxophon, Gitarre)... man höre und staune !
“New album of Bardoseneticcube is the whole surrealistic musical performance which is impossible to squeeze into the boundaries of any genre. Six untitled pieces reveal the labyrynth of sonic cobwebs born in the depths of subconscious mind of Igor Potsukailo and his brothers in arms (several guest musicians took part in recording sessions - two guitarists, saxophonist, etc.). The basis for the most tracks is formed by the hybryd of orchestral-ethno-electronic rhythmics and it's layered over with melodic lines walking from composition to composition and completely unexpected samples hardly rationally coordinated with musical context. For sure, this time Igor's talent has beaten all the stylistical limitations - the album sounds very organic and energetic.” [Zhelezobeton]
“first of all: DEADHEAD is totally different to all other releases from this great Russian experimental-ambient artist. DEADHEAD is simply brilliant electronic music, mixed with Neoclassical elements and Russian samples and hymns. some tracks appear with Martial drums and trumpets, others feel more like the finnish cult-label Sähkö. DEADHEAD is without doubt the most musical work of Bardoseneticcube. listen to the mp3s; you will be surprised!” [label info]
www.steinklang-records.at
|
2005 |
€6.00 |
|
|
The Other Heaven |
CD |
Zweite fabrikgepresste CD für BARDO.. und wieder klingen sie anders als noch zuvor, hier setzen sie auf monotone loops die mit rituell oder sakral anmutenden Sounds versetzt werden - eine unheimliche, beschwörende, z.T. auch sehr religiöse Stimmung wird erzeugt... wieder sehr gut ! Neben REUTOFF, CISFINITUM und LUNAR ABYSS QUARTET z.Zt. wohl die beste russische „post-industrial“ oder „experimental ambient“-Band !
“ Fascinating second opus from the russian (St Petersburg) dark ambient masters. This time atmospheres are developed in a less abstract way than the first CD on Athanor. Bardoseneticcube use of percussions, bowls, bells and ritual chants are mixed with strange ambiance to give it an exquisite and mysterious martial and virile mystical touch. The progression of the album invites us to be a part of the mystery, like we were witnessing the surrouding and the heart of an ancient religious secret society order, whose place could be the monastery hidden in the blue fogged forest depicted on the cover. A new sound approach for BSC, not far away from some early ritual Coil or Deutsch Nepal recordings.” [label info]
|
2003 |
€13.00 |
|
|
XXX (Dedicated to Nika Turbina) |
CD |
BARDOSENETICCUBE gehören inzwischen zu einer der bemerkenswertesten russischen Experimentalprojekte; mit fast jeder neuen Veröffentlichung vermögen sie zu überraschen, sie verlassen und überschreiten ständig verschiedenste Genre-Grenzen; man könnte fast von einer Art "russischen BIG CITY ORCHESTRA" sprechen, was Einfallsreichtum & die Fülle an Releases betrifft (auch musikalisch gibt es manchmal Überschneidungen, beide Projekte setzen gerne weirde hypnotische loops ein). Auf XXX dominiert bearbeites / verfremdetes Sprachmaterial einer ominösen NIKA TURBINA, das zusammen mit field recordings aller Art zu einem dissoziertem Trip in eine abgründige
Welt zusammengebraut wird... viele akustische Objekte überlagernd sich gleichzeitig und erzeugen hypnotischen Sog, kein Stück gleicht dem anderen, eine rituell-dronige Atmo herrscht vor...wieder sehr gut. 12 tracks, fast 65 Minuten.
ed. of 509 numbered copies / SPECIAL OFFER !
"New Bardoseneticcube album is inspired by life and works of Nika Turbina - a poetess who started to write grown-up tragic poems when she was only 4 years old. "This is not me writing, this is God leading my hand", - the small girl used to say. First Nika's book of poems came out when she was only 9, and was later translated in 12 languages. After living pathologically strange life, receiving the most prestigious poetic prize "Golden Lion", and being held in mental hospital, at the age of 27 Nika tragically died falling down from the 5th floor window. The musical dedication of Bardoseneticcube is presented in 12 untitled tracks filled with surrealistic feelings and some childish morbidity. Obscure loops and industrial soundscapes are buried under a pile of rhyme wreckage, melody fragments and almost chaotic manifold of strange sounds." [label info]
|
2006 |
€7.00 |
|
| |
Noosphere |
CD |
Die Interaktions- und Energieform "IGOR POTSUKAILO (BARDOSENETICCUBE)-> KAPUTTES LAPTOP -> HOLOGRAFISCHES UNIVERSUM" manifestiert sich hier auf ungeahnte & einmalige Weise. Auf NOOSPHERE offenbart sich der "Fehler in der Maschine" in einem, in endlosen vibratohaften Wallungen und Drehungen zerfliessenden, Sphären-Drone. Der fast halluzinogene Wahrnehnmungseffekt dieses Wummerns ist absolut erstaunlich, es wird einem regelrecht schwindelig! Die Aufnahme (ein langer One-Tracker von 67 Minuten Länge) entstand in einem glücklichen Augenblick und ist nicht reproduzierbar...
"Russian project BARDOSENETICCUBE is well known in Europe and USA due to numerous releases by various labels like Blade Records, Athanor, Steinklang etc. They are always open to experiments of any kind, so each new album is different and unpredictable. This particular album deals with theory of russian scientist
Vladimir Vernadsky about collective consciousness, emerging from the interaction
of human minds. The universe is full of endless and omnipresent information fields, different in their energy/meaning potentials. Some of them are accessible for people who are using it extensively, others are intended only for machines that seem to be their source and destination at the same time. This soundpiece
is pure improvisation by Igor Potsukailo (BARDOSENETICCUBE) and a Toshiba Satellite A-110 laptop (BARDOSENETICCUBE).
The laptop is the leading performer here, created by unknown system error and playing the music of solar wind, derived from the information field that is not accessible to anyone else. Igor Potsukailo uses a kind of feedback circuit, adding the elements of human presence into this music and modifying the
energy/information balance in that powerful field near our planet Earth called Noosphere..." [label info]
|
2008 |
€13.00 |
|
| BARDOSENETICCUBE + NOISES OF RUSSIA |
New Orthodox Line |
CD |
Rauhe, trancige Dronescapes mit sakralem Touch & intensiv ansteigendem Spannungsbogen zum Ende hin. Vielleicht lässt sich dieses feine Album der beiden in St. Petersburg beheimateten Projekte so mit einem Satz charakterisieren. Letztere sind zuletzt durch eine Reihe von ekstatisch-rituellen Konzerten aufgefallen, die sie in Russland und im angrenzenden skandinavischen Raum gaben...
"New Orthodox Line brings together two of the most notable Russian post-industrial / experimental groups: Bardoseneticcube and Noises of Russia. This unique collaboration stirs the best of both artists to surface, and results in an extremely powerful and intense emotional experience. The opus travels from sacral soundscapes of orthodox choirs and church bells to a more punishing end of the sonic spectrum provided by pounding rhythms and howling feedback. Here, the opposites unite with passion and compliment each other for the sake of the greater good, the synergetic New Orthodox Line.
Bardoseneticcube, having released dozens of albums on various labels worldwide, has gained recognition in the international experimental / electronic scene. Bardoseneticcube self-describes their music as “surrealism”, using A. Breton’s description: "pure psychic automatism willing to express the real functioning of the reflection either orally or written, or in any other form. Dictation of mind without any control from the intellect, outside of any aesthetic of moral considerations".
More info » bsc.radionoise.ru
Noises of Russia is a highly active Russian experimental music act, with practically countless live performances and a number of albums and videos under their belt. This four member group uses styles and imagery from dark ambient to drone, all the while never forgetting traditional noise music. Their unique mixture of influences, along with their extremely powerful use of vocals, create an unforgettable experience in modern music. More info » www.noises.ru " [label notes]
"... a joint venture between two of Russia's interesting projects from the Noise-related scene. Noises Of Russia is a quartet known for its high activity of live performances plus a large number of albums and videos released. The other project is called Bardosenetticcube also being in the forefront on the Russian scene. This album titled "New orthodox line" is a strange beast even in the noise scene with the inclusion of sacral soundscapes consisting of church bells and orthodox choirs swirling in the storm of abrasive noise drones. Consisting of one lengthy track of 47 minutes the expression is impressive with a nice emotional approach to sonic aggression. Intense." [NM, Vital weekly]
www.someplaceelse.net
|
2007 |
€12.00 |
|
| BARRETT, NATASHA |
Kraftfelt |
CD & DVD-A |
Drei wieder faszinierende Stücke von NATHASHA BARRETT, die regelrecht von dynamischen Entwicklungen und akustischen Effekten & Ereignissen zerbesten.
"...fetters..."-> über Molekülbewegungen in einem festgesetzten Rahmen, wobei die Vorstellung dahinter steckt, dass weiterer Energieinput den "Rahmen" zerbersten lassen wird. Aber "dahinter" stehen immer weitere neue Rahmen....
"Prince Prospero's Party", ein sehr narrativ geprägtes Stück, basierend auf einer Kurzgeschichte von Edgar Allen Poe... und "Exploratio Invisibilis", ein Stück über das Suchen (im "Suchen" reisen wir, und manchmal ist das Gesuchte die ganze Zeit schon bei uns, wir erkennen es nur nicht). "The great explorers travelled to the "unknown" , looking for treasures and new lands". Eine 30minütige "Energie gefüllt mit Landschaften von Verwicklungen, Klang und Stille". Wer auf aufregende "komponierte" Neue Musik steht, der muss hier einfach zugreifen!
www.natashabarrett.org
|
2005 |
€19.50 |
|
| |
Trade Winds |
CD |
Eine unserer derzeitigen Lieblings Elektro-Akustikerinnen hat sich dem Thema OZEAN angenommen, aus kultureller / mythologischer wie physischer / naturwissenschaflicher Sichtweise. Das lange Stück verteilt sich auf 8 Teile, in denen vor allen Dingen Wasserklänge (Meeresrauschen und -wellen, Gischt, Blubbern), diverse Schiffsgeräusche von einem alten Segelschiff (Holzknirschen, Signalglocken, etc.) und Hafenklängen verwendet werden. Wieder gelingt BARRETT die Balance zwischen schwindelig-machenden atmosphärischen Parts und detailreichen Passagen, zwischen totaler elektronischer Verfremdung und Überlagerung des Materials und ganz konkreten "real vorkommenden" Sounds. Nebenbei baut sie noch Seemannsgarn (Sturm auf hoher See) eines norwegischen Kapitäns ein sowie Shanty-Chor-Elemente & düstere Orgelklänge, die von JULES VERNE's Nautilus-Geschichte inspiriert sind. Das ganze ist so komplex und dynamisch (im Original ein 16-Kanal Stück), dass die Sinne immer wieder komplett überfordert sind. Man ist hier wirklich hin- und hergeworfen wie auf "Grosser Fahrt"...das Gefühl für die endlosen Weiten & die unfassbare Gewalt, die der Ozean bereit halten kann, wird hier adäquat umgesetzt Bei der CD handelt es sich um eine HYBRYD-CD, d.h. sie ist auch als "SUPER AUDIO CD (SACD) in 5.1 Surround Sound abspielbar! Grosse Klangkunst! TIP !
"In 2006 Natasha Barrett was awarded the prestigious Nordic Council Music Prize for her work …fetters… released by Aurora. Her new album consists of one work only: “Trade Winds” is a fantastic voyage down to the mythical and physical depths of the wide oceans. The piece is inspired by the vast expanse of sea – unleashing the musical potential of recordings from the 100-year-old sailing ship Dyrafjeld, from above and within harbour, shore and open oceans around the world, and the spoken narrative of an old Norwegian captain. From a narrative listening position Trade Winds' macrostructure consists of two halves, the first exploring culture and fables, the second exploring nature and science. The central pivot is inspired by the chapter Mobilis in Mobili from 20000 Leagues under the Sea by Jules Verne. Throughout Trade Winds the reference to Captain Nemo is evident in various manifestations of organ recordings. Musical narrative is not necessarily a predictable linear chain of events, and surprise is essential to a compelling story. Natasha Barrett launches multiple narratives in parallel and lets them take turns, interrupt each other, unfold simultaneously, or twist backwards. Sounds emerge from the depths and sweep dramatically across the sound stage in an ever evolving dance of sonic patterns." [label description]
|
2007 |
€18.50 |
|
| BARRIKAD / DEATH SQUAD & HYDRA |
Entropic Society / Neurology 2 |
10 |
TO THE DREAMERS AND THOSE WHO PUT FAITH IN DREAMS AS THE ONLY REALITIES. Das neue schwedische Industrial-Label SEGERHUVA beglückt uns hier mit wütendem Radikal-Noise: die stark politischen BARRIKAD auf der einen Seite mit drei extrem verzerrten Feedback-Noise-Stücken, die in der Tat entropische Qualität haben, wenn sich die found sounds einer durchkapitalisierten Gesellschaft in reinstem Lärm auflösen...
Das San Franciscoer harsh noise Projekt DEATH SQUAD in Kollaboration mit HYDRA benutzt lyrics eines Psychiatrie-Patienten, die mit dunklem, eindringlichen analog-Noise versetzt werden...
“This most likely is the last of death squad¹s recordings. The most current name has changed to MK9. Hydra is Greg Scott who was also a member of the power electronics project Final Solution from New York. Vocals by G. Scott and electronics by death squad.
Neurology 1 was originally released in 1994. Almost ten years later the second installment is realised. Recorded in Poughkipsie NY at The Space. The content is an audio document of aggressive and passive emotional extremes. From night time rants to letters left on door steps. It becomes an array of sound and audio suffocation as each item becomes cataloged and addressed. Extremely bass-heavy and dense electronics gnawing on the top of your vertebrae, a worthy conclusion to the saga of the criminally underrated genius of DEATH SQUAD. Wake up...
This is the sound of young Sweden. The raging youthful energy of anarchist noise as presented by Barrikad. Three tracks of splendid energetic white-hot scorching electronics dealing with the frustration and despair of what passes for everyday life for modern man in a consumerist society. This is the vinyl debut for Barrikad, who has so far released one great CDR on Freak Animal.” [label description]
|
2003 |
€10.00 |
|
| BARTC |
Insubstantial as Ghosts |
CD |
BArTc is London based experimental electronic audio visual artist Jason Barton, with his nom de plume comprising the symbols for three chemical elements - Boron (B), Argon (Ar) and Technetium (Tc) - while also giving nods to both Hungarian composer Béla Bartók and his own surname.
'Insubstantial As Ghosts' is Barton’s debut album and contains fourteen highly atmospheric soundscapes. Taking the title from a William Gibson novel that was also used in a citation about Sleeping Sickness (‘they neither conveyed nor felt the feeling of life; they were as insubstantial as ghosts, and as passive as zombies’), he comments that “I have always loved the phrase as for me it perfectly describes minimalist, other worldly dark ambience.”
Initially inspired by instrumental electronic records in his father’s record collection by titans such as Tangerine Dream, Vangelis and Jean-Michel Jarre, Barton soon gravitated towards underground ‘industrial’ icons such as Coil, Einstürzende Neubauten, Chris & Cosey and Skinny Puppy, as well as digging deeper into the work of early German electronicists such as Cluster, Musique concrète pioneers Pierre Schaeffer and Pierre Henry, plus the BBC Radiophonic Workshop. Citing sound recordist (and Cabaret Voltaire co-founder) Chris Watson as another influence, adding that “I have always loved environmental sounds and often carry a field recorder on my travels which I use to create texture in my pieces.”
Further explaining his modus operandi, Barton explains: “I build layers to create something abstract yet strangely beautiful, mixing source material, organic and experimental sounds plus field recordings that are heavily distorted with various effects. For me, creating music is a form of meditation, and to lose oneself in an improvisation is a wonderful experience. I just need to remember to hit record!”
Having collected synthesisers and made music (both alone and with friends) for several years, Barton subsequently started the project Less Than One to create accompanying videos that he began posting on Instagram. Initially solely for his own work, he soon earned plaudits from a worldwide community of electronic artists that in turn has led to commissions from the likes of Daniel Avery and Alessandro Cortini.
Much of ‘Insubstantial As Ghosts’ was recorded in January 2021 while the UK was in lockdown. “I participated in an annual Instagram music making challenge, where artists post a short piece of music every day using the hashtag #jamuary2021. Recording my contributions at the same time every evening (22:23), I amassed many minutes of music and ideas. Some of these were expanded to become tracks for the album or inspired further recordings through the dark winter nights.”
ICR's Colin Potter heard some of Barton’s work and agreed on a releasel. He has handpicked several of the pieces included on ‘Insubstantial As Ghosts’ and also mastered the album.
https://icrdistribution.bandcamp.com/album/insubstantial-as-ghosts
|
2021 |
€13.00 |
|
| BASINSKI, WILLIAM |
The River |
do-CD |
WILLIAM BASINSKI ist schon seit “Urzeiten” als Sphärenmusiker aktiv, wird aber erst jetzt richtig gewürdigt. Dazu gehört auch diese (Wieder?)-Veröffentlichung von Material von 1983 (!), die einen hervorragenden Einblick in sein Schaffen gewährt – Schichtenweise loops, eine positiv-sanfte, leicht fremdartige Stimmung schaffend. [Drone Rec. info 2002]
„This is a highly anticipated release, as it brings more beautiful moments by the person who I believe has inherited the mantle of "king of ambient music". Dating 1983, "The river" is a double CD consisting of two long suites, both based upon the superimposition of long loops of found sounds and shortwaves. Like in the previous -wonderful- "Disintegration loops", Billy finds a simple way to bring the inner emotions out of us, still part of this cynical world. More than a river, I tend to link this sound with an image of myself watching a harbour immersed in the fog, standing far away and having few clues of what goes on - a boat call, a tidal wave, the quest for a communication that life itself makes more and more difficult to achieve. I love all the material but I must admit I have a slight preference for disc two, which in my opinion is a masterpiece for the years to come; try it in a low-key rainy day.” [Massimo Ricci]
|
2008 |
€24.00 |
|
|
Vivian & Ondine |
CD |
"In May of 2008 I was in my studio in NY preparing for a concert at Issue Project Room. I realized I had been touring for a year and was still touring the same piece I had performed there the year before. I was interrupted by a call from my youngest brother, Patrick. As we chatted, he told me that his wife, Andrea was overdue with their daughter, Vivian. I replied in sympathy that 'Vivian' was a movie-star name and that I imagined with a name like that, she would have people waiting on her for her entire life. I got back to work and found yet another lunchbox of ancient tape-loops to go through for possible inclusion in the new piece. I came across the main theme and thought... well, this is gorgeous; let's see if we can use this to coax Viv to come out. I went through the rest of them and found another dozen or so that mixed well used randomly, just under the threshold. The next night I performed the piece at Issue with their 16 channel hemispherical speaker system set to move the sounds randomly around the room as if waves in a pool. We all had a really good time. It was mesmerizing. The next day I got word that Vivian had been born and my cousin, Terence's first granddaughter, Ondine had been born as well. I couldn't think of a more beautiful title for this piece than to name it after these two beautiful girls. This version was recorded with microphones and two Norelco tape decks live in my studio in Los Angeles in one take in September 2008. A version of this piece was commissioned by Lauren Bon and the Metabolic Studio of Los Angeles for her extraordinary project, Strawberry Flag, at the Veterans Administration Hospital in Los Angeles. It has been an honor to be a part of this wonderful project." [William Basinski]
www.mmlxii.com
"By now, if you're a regular reader of the aQ list, you no doubt know all about William Basinski, and the Disintegration Loops that introduced us to his music. And if you're anything like us, you were immediately smitten by his gorgeous slowly decaying dronescapes. The power of a simple loop, played over and over, in various states of decay, hearing the sounds literally crumble before your very ears, like getting a glimpse inside music, behind the notes, within the chords, observing the magnetic particles as they drop like flakes of soot after a fire, music transformed into inert object, and the glorious sound of that transition, from light to dark, life to death, sound to silence.
Basinski's music is rife with meaning, representational for sure, but can easily be appreciated from a purely sonic standpoint, the sounds, his loops, are blurred and indistinct and so lovely, washed out, hazy, sepia toned, they sound like they were snatched from another time, lifted from an audial scrapbook, the sounds curled up at the edges, lightly blackened, the images contained within smeared and unclear, beneath a patina of age, the chemicals reacting over time, changing the color, the texture, the emotion even, of each of those sounds.
Vivian & Ondine is a more recent work, but sounds like it could have come from the same treasure trove that produced the Disintegration Loops, dreamlike and otherworldly, hushed, intimate, and so beautiful." [Aquarius Records]
|
2009 |
€16.00 |
|
|
A Shadow in Time |
LP |
"World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape."
www.temporaryresidence.com
"On A Shadow In Time, William Basinski returns with a homage for David Bowie, eulogized on the lachrymose side-long track "For David Robert Jones" in reference to Bowie's birth name. Still using the tape loop as a principle means of production, Basinski guides the two tracks on this album with the elegance and a grace of an artist who has long mastered his craft. The title track is the more striking of the two pieces, with Basinski capturing golden hues and deep-space mesmer from an archaic Voyetra 8 synthesizer. This is a notoriously difficult piece of equipment that has even irked the composer with its grumpy insistence on not bothering to start up one day, only to creakily awaken the next. The twinkling vibrato and Plutonian shiver from Basinski's source material slowly spin in the tumbling orbits of his delay and reverberant tape loops. It's beautiful and languid, making for one of the few Basinski pieces that doesn't relate to the semantics of decay. "For David Robert Jones" focuses on the tape loop as the structural device, lacing several scratchy tape loops against one another. Here, Basinski's work does redress the forgotten dreams and deleted scenes so often recounted in the Caretaker's work with antiquated media through the tropes of lost memory. In a rare instance of jarring the listener, Basinski pops a loop into the foreground of a suitably maudlin saxophone riff. The hypnotic quality of the loop quickly settles this unusual rupture to Basinski's oeuvre, and the whole of the piece drifts once again into stately wistfulness. Sublime as always." [Stranded Rec.]
|
2017 |
€25.00 |
|
| |
A Shadow in Time |
CD |
"World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape." [press release]
"Basinski's new album A Shadow in Time contains some of his strongest work since The Disintegration Loops introduced him to the world at large.
In the fifteen years since William Basinski released the debut installment of his Disintegration Loops series he has been rapidly, and rightly, lionized. But for two decades prior to that, he was just another eccentric artist in New York, a tinkerer who built his own instruments, ran a venue and experimented insatiably with tape loops. He would tune in to the easy listening piped out by CBS and record snippets of it, creating a massive archive of schmaltz that, through the alchemy of sampling, could be transfigured into something infinitely more haunting. “I would set up loops, get them going, put on the tape recorder and let it go for the length of the cassette because if it was going, it captured this eternal moment,” he told The Quietus in 2012. That eternal-moment is quintessential Basinski; his work has been uniquely fixated on time and loss, his compositions heaving with longing, melancholy and a sense of impenetrable mystery.
At its best, Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead. When it’s not working as well, it can feel not unlike so-called “ruin porn” or the photography of Edward Burtynsky: lovely aestheticizations of late-capitalist collapse that comfort more than they confront. Thankfully, his new album A Shadow in Time contains some of his strongest work since The Disintegration Loops introduced the world to the artist.
The two pieces on A Shadow in Time offer contrasting entry points into his work. The title track is a richly layered composition for the archaic Voyetra 8 synthesizer that was a year in the making and showcases Basinski at the height of his compositional powers. David Bowie tribute “For David Robert Jones,” on the other hand, is an off-the-cuff tape loop piece commissioned by LA’s Volume gallery in the weeks after the artist’s death. Built with re-purposed tape fragments that had been chewed up by a former roommate's cat (“this big, fat motherfucker,” he called it) “For David” exemplifies the entropic decay he’s most known for while adding specific, Bowie-riffing details.
As with all Basinski’s work, there’s a tantalizing juxtaposition between chance and intention (the Voyetra 8 wasn’t even guaranteed to turn on, and when it did, it “was already doing some weird shit so we used it and more”). But on “A Shadow in Time” this tension plays more of a supporting role than a lead. The piece opens with a slow-motion cascade of shimmering high harmonies and murky, shifting lower tones. In its austere beauty, it calls to mind Pauline Oliveros’ landmark Deep Listening, but with an added dash of dread. Clocking in at just shy of 23 minutes, “Shadow” spends its first half stretching towards infinity and its second collapsing on itself.
Around the seven minute mark (amazingly it only feels like three), the piece begins to hollow out. Gradually those glassy high notes drift away like the dust tail of a comet, and tape hiss overtakes the piece. The sense of deterioration is palpable, made more dramatic by distant synth moans and weird bursts of chirping noise that poke through just as “Shadow” drifts into silence. It’s the kind of ending that makes one feel less like a listener and more like a witness.
In the wake of the A-side’s descent, “For David Robert Jones” feels like a cool down for the audience and a victory lap for Basinski. An orchestral clip that could easily be a Disintegration Loops outtake opens, circling around itself and never quite resolving. We’re on more familiar footing here, and the emotional tenor of the the piece, though engaging, is less arrestingly in-your-face than “Shadow.” Six minutes in, a gnarled saxophone juts through rudely, throwing the chilled out transcendence pleasingly off balance. A nod to Bowie’s own saxophone honking on “Subterraneans,” it’s an amusingly punk bit of sabotage, but it fails to develop into something more. Over fourteen more minutes the tension dissipates and “For David” runs out of steam.
Discussing The Disintegration Loops in 2012, Basinski told the Quietus “Over the period of the hour, that melody just decayed right in front of my ears… and eyes… I remember thinking, 'This is not about you.’” While this sense of riveting discovery isn’t fully achieved on “For David,” the album nonetheless offers a stunning journey into a vast, ink-black void." [Pitchfork]
|
2017 |
€14.00 |
|
| BATES, MARTYN |
Chamber Music II : Song Setting of James Joyce Poems |
CD |
“1994 and 1995 sees the release of Martyn Bates settings of James Joyce's poems Chamber Music, Vol. 1 & 2 on Sub Rosa. Born simply out of love of Joyce's work, Bates one aim in setting tunes to the text was to bring out in notes and music all the musicality that was already written there on the printed page ... . Inspired by Shakespeare's sonnets and the airs of John Dowland, Joyce's richly musical texts lent themselves readily to the mellifluous style of Bates song writing ... with Bates envisioning the pieces as being created about and around Celtic/English folk idioms ... in a stark setting, almost a kind of essence of simplicity, like the very best folk tunes. Virtually an acapella work for solo voice, and air utilised, allowing Joyce's exceptionally beautiful poems to truly breath.
Written whilst a young man in his early twenties,Chamber Music was Joyce's first published work and is essentially the story of first love passing from illumination to disillusionment ? it's a much neglected and maligned work, often over-shadowed by the colossal heights that Joyce's later works achieved. These later works (Portrait, Dubliners, Ulysses, Finnegans Wake) are reverently treated as high art by scholars, a feast for ardous intellectual wrangling and dissection. Often coldly cerebral, this misguided approach must surely contradict the true spirit of Joyce, whose actual work is often ribald, lusty, deeply compassionate and humane ? hence Bates use of warm, loosely folk idioms in his settings of Joyce's texts, providing a musical context that facilitate Joyce's subject.
Martyn Bates Cd release sees the first complete cycle of song settings of Chamber Music's entire canon of thirty-six poems since it was written in 1902.” [label info]
|
1995 |
€14.00 |
|
|
Migraine Inducers / Antagonistic Music |
do-CD |
Wiederveröffentlichung der allerersten BATES-MC von 1979, damals als MIGRAINE INDUCERS! Völlig verschieden von dem späteren Songwriting, stehen diese Sounds noch voll in der Spätsiebziger Post-Punk und Industrial-Tradition, mit rauhem low-fi Noise und Instrumental-Sounds (v.a. Gitarre & Synths), Gesangexperimenten, etc.. aber auch schon ruhigere folkige Elemente die an den späteren MARTYN BATES erinnern, mit seiner typischen Delay-Orgel und gezupfter Gitarre, sind vorhanden... 20 kurze Stücke voller freier "Anti-Musik"-Energie, die den Geist der damaligen Zeit atmet; auf der zweiten CD ein späteres Remake / Komplettierung des Tapes von 1994.
"Calling yourself Migraine Inducers might not be the best route to stardom. But then, this was released in 1979 at the birth of the DIY movement, which was all about making a defiant two-finger salute to stardom. A new generation of ambitious musicians armed with total artistic freedom released their music on the then-popular cassette format thus bypassing major record companies. Martyn Bates (of later Eyeless in Gaza fame) debuted with Dissonance/Antagonistic Music, a homemade cassette full of intense nervous fragmented soundscaping, not dissimilar to Nurse With Wound or an instrumental Throbbing Gristle. When the initial 12 copies had sold out, the tape was re-released slightly more professionally over the years and now, for the first time ever, as a double CD. Sonic exploration is the heart of this beautiful, stark masterpiece, which may not be easy on the ear on first take, but gradually grows and then, when you least expect it, proves itself full of harsh beauty." [FK / Vital Weekly]
www.blrrecords.com
Beta-Lactam Ring Records
|
2007 |
€15.00 |
|
| |
I Said to Love |
CD |
Within this excellent and finely crafted album of songs dedicated “to the future”, there lies a puzzle, an enigma. With Eyeless In Gaza tending more and more towards the collaged soundscaping type situation where “the studio is very much an instrument” there is also Martyn Bates’ solo work, with his albums of late travelling in quite the opposite direction, all having the distinctive feel of being performance based voice/guitar type records.
Initial listenings to Bates’ new album take all of that elsewhere however, and extend it – with the results ending up kind of schizoid in character. The more familiar ‘introspective’ songs and voice remain for sure, yet they’re often contrasted wildly with a brace of noisier and more musically complex “duo” songs played and sung by Bates together with chanteuse Elizabeth S. These ‘opposing’ styles often seem to clash at first, crazily contrasting in tone and mood, creating a not altogether unpleasant tension – which actually turns out to make more sense on repeated hearings. A good example of this would be the quiet, whispering aura of “At Last”, followed with the pummelling, disturbing melee of “Hallucination”.
Also, somehow managing to stray outside of all this sturm und drang, the album holds a different kind of gem of a song yet, in its title track – “I Said To Love” – which finds Bates pitted against a string section for the first time in eons, and … it works too – bitter, bitter sweet, indeed. Bates has never been one to shy away from tackling grand themes, with the songs on I Said to Love staying true to form – dealing with mystery, rest, space, hallucinations, hindsight, loss, pity, hope, transformation, having your soul stolen & recovered, solace, deja vu, despair, resistance, delirium, entropy, determination – amongst other similarly chewable topics. The key however is in the album’s penultimate track, the haunted “I Look Back”, where Bates eschews his usual poetic lyric style – a style that can sometimes come across as overtly personal and as an almost private language – portraying within this one lyric a peculiarly single-minded determination. Somehow, listening through these words, they seem to summon up something personal in term of locating new spirit, a new direction for Martyn Bates’ whole oeuvre – we’re looking back, and it just isn’t right … how can we hope, if our hope lives in memories? … we must face our fear for there’s no turning back: just a set of simply framed words that manage to mirror the equally plain statement of dedication to be found on the album sleeve of I Said to Love – “to the future”. On the sheer melodic strength and diversity of this music, this is one future that I will eagerly await.
www.eyelessingaza.com/mb.html#1
"I’ve been a hooked fan of Martyn Bates since his one of a kind experimental band ‘Eyeless In Gaza’. I bought everything on vinyl (and now CD) by both his band (a brilliant and endless stream of creations unlike anything I have ever heard and suspect it will remain as such). and his solos. With this, the 16th solo work by Bates, (not counting the comps, singles, EP’s, guest appearances, and many collaborations with other artists, you would think nothing could be left, but you’d be very wrong.
‘I Said To Love’ brings classic Martyn into the limelight with glorious melodies, somewhat alien elements, and rich gorgeous folkish semi siren music, with long time mate and stunning lyricist (multi-instrumentalist and angelic vocalist) Elizabeth S. Alan Trench also contributes cymbals, string machine, and ghost feathers as well as co produces with Bates. All titles composed by Martyn.
This equals the utopian ‘Red Rust September’ by Eyeless In Gaza (my all-time favorite EIG recording). Simply stunning with strings backing Martyn’s jeweled and often melancholy voice. He sounds every bit as blissful as he always has. Songs include Martyn performing guitar and vocals on fifteen tracks of storybook, fields of pastel, and things dreams are made of. The first listen left me speechless. It took a second spin to begin this review. This one will stay on my recommendation list forever. All I can say to readers who have never heard either EIG or Martyn’s solos, you need this one. A grand place to start your collection. ‘I Said To Love’ gets a massive applause from this listener." [Lee Henderson / Art Rock Magazine]
Reviewed by Lee Henderson 2 – 18 – 2018
|
2017 |
€13.00 |
|
| BAYER, KONRAD |
Dreams of leaving |
CD |
"Sanft schlängeln sich subtile Sounds, wärmen zärtlich ohne zu erdrücken, sind stets präsent ohne jemals zu penetrieren. Das Weite dieser Veröffentlichung, das Nimmermüde gleicht einem wärmenden Händedruck mit Fremden, welche Freunde werden können." [Sebastian Lobstedt / Equinox]
“Twelve tracks between digital folk, field recording and escapism. track 2, 3, 8, and 12 were created in cooperation with the norwegian musician pal asle pettersen. 'dreams of leaving' is an album for winter times, but only occasionally icy, most of the time quite the opposite.” [label info]
“.....Bayer is a boy armed with a laptop, feeding field recordings and samples of classical music to the machine, leaves it boiling for some time and serves twelve tracks of winter music. It's cold outside, but inside Bayer's music is like a warm fire. In each of the twelve tracks, Bayer displays a love for ambient, a very tiny bit of techno music and just a little bit more of clicks and cuts. Occassionally a small melody leaks through the rain of software synthesizers, like in 'Aspertam', which even has a sampled guitar or the christmas like tune 'It Was When'. This is not the sort of music that goes for the trophee of 'musical innovation 2003', but nevertheless a nice winter's journey in music.”[FdW/Vital Weekly]
www.genesungswerk.de
|
2003 |
€13.50 |
|
| BECKAHESTEN |
Tydor |
CD |
Second full length album from one of Sweden's most singular sonic entity. Featuring guest appearances by Kai Uwe Faust of Heilung, Lars-Magnar Enoksen and Anders Hovland, the music of Beckahesten emerges from a borderland where ambient, folk music and ritual converge. Recorded in various natural locations in Norway and Sweden, nature spirits have infused themselves in these recordings...
Dancing with vague entities in a blackened cinder field, followers of dread that has woken, hypnotised one is drawn deeper into their realm. The trees moulder around and offer little protection. Haunting voices keep echoing in the dusk. Lost and trapped you lay down, shivering in the dew. You are their offering, sinking into the mire.
*Due to forces beyond our control, the tricksters of logic scrambled the tracks on this edition of Tydor. The track Hednaväsen, which features vocals from Kai Uwe Faust of Heilung is track 6 on the CD and the first track on side B of the LP.
CD Edition of 500 copies in 6 panels Digisleeve with Matt lamination. 9 Tracks. Running Time 48.46 UPC
Standard Edition LP of 200 copies in standard sleeve with spot UV and Matt lamination with printed inner sleeve. 9 Tracks. Running Time 48.46 UPC
https://cycliclaw.bandcamp.com/album/tydor |
2021 |
€13.00 |
|
| |
Tydor |
LP |
Second full length album from one of Sweden's most singular sonic entity. Featuring guest appearances by Kai Uwe Faust of Heilung, Lars-Magnar Enoksen and Anders Hovland, the music of Beckahesten emerges from a borderland where ambient, folk music and ritual converge. Recorded in various natural locations in Norway and Sweden, nature spirits have infused themselves in these recordings...
Dancing with vague entities in a blackened cinder field, followers of dread that has woken, hypnotised one is drawn deeper into their realm. The trees moulder around and offer little protection. Haunting voices keep echoing in the dusk. Lost and trapped you lay down, shivering in the dew. You are their offering, sinking into the mire.
*Due to forces beyond our control, the tricksters of logic scrambled the tracks on this edition of Tydor. The track Hednaväsen, which features vocals from Kai Uwe Faust of Heilung is track 6 on the CD and the first track on side B of the LP.
Standard Edition LP of 200 copies in standard sleeve with spot UV and Matt lamination with printed inner sleeve. 9 Tracks. Running Time 48.46 UPC
https://cycliclaw.bandcamp.com/album/tydor
|
2021 |
€18.00 |
|
| BECUZZI, GIANLUCA |
We can be Everywhere |
do-CD |
Originally recorded between 2012 and 2013, and released on Final Muzik as a limited edition CDr, “We Can Be Everywhere” is still one of the best albums ever released by Italian music composer Gianluca Becuzzi.
The original release includes three solo tracks plus three collaborative ones: two pieces each with Raimondo Gaviano (Svart 1), Lino Monaco and Nicola Buono from Italian electronic music explorers Retina.it and two amazing tracks with Italian sound sculptor (and Final Muzik member) Deison.
The album presents obscure and thrilling atmospheres, unexpected dark structures and out-of-this-world modern electronic music’s soundscapes.
To do even more justice to this album, Final Muzik and Gianluca Becuzzi have opted for a double CD reissue, including the original release plus a new CD, composed, produced and mastered by Gianluca Becuzzi between 2022 and 2023, that includes a new version of “We Can Be Everywhere”.
Obviously inspired by the original, of which it only keeps few samples (mainly vocals) it develops the new sound-path taken by the artist. The new “We Can Be Everywhere” is structured around four lengthy tracks based on mesmerizing distorted guitar sounds, concrete music noises and raw rhythm programming from “far away”. The result is a new masterpiece of wrapping, gloomy doom/drone soundscapes.
Images: Diego Spinelli. Artwork by Deison.
Limited edition of 200 copies only.
Track 01-09 From "We Can Be Everywhere"
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2012-2013] Composed By:
Tracks 01, 02: Gianluca Becuzzi And Raimondo Gaviano [svart1]
Tracks 03, 05, 07: Gianluca Becuzzi
Tracks 04, 06: Gianluca Becuzzi, Lino Monaco And Nicola Buono [retina It] Tracks 08, 09: Gianluca Becuzzi And Cristiano Deison [deison]
Tracks 10-13
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2022-2023] Composed By: Gianluca Becuzzi
https://finalmuzik.bandcamp.com/album/we-can-be-everywhere-2014-2023
Seit den frühen 80ern ist der aus der Toskana stammende Gianluca Becuzzi ein musikalischer Workaholic, und vielen hierzulande ist er vermutlich am ehesten durch sein frühes New Wave- und Postpunk-Projekt Limbo bekannt, mit dem er bis ins neue Jahrtausend hinein zahlreiche Alben herausbrachte. Die Zeit um die Jahrtausendwende markierte auch eine Schwerpunktverschiebung von den zwar bisweilen experimentell eingefärbten, aber vom Hauptfokus her dennoch eher songorientierten Arbeiten hin zu abstrakteren Klangwelten, die er mit Projekten wie Kinetix, seinen Arbeiten mit dem Dröhner Fabio Orsi und nicht zuletzt auch solo herausbrachte. “We Can Be Everywhere”, das vor zehn Jahren bei Final Muzik auf CDr erschienen ist, stellte damals eine besondere Wegmarke im Rahmen seiner Soloarbeiten dar, wobei solo in dem Fall nicht heißt, dass Becuzzi das Album im Alleingang produziert hätte. Drei besondere Acts unterstützten ihn dabei in den meisten der Aufnahmen. Das eröffnende “From this Poem of Void” entstand in Zusammenarbeit mit Raimondo Gaviano alias Swart1. Hier brechen in unregelmäßigen Abständen prasselnde Noise-Kaskaden in eine Welt der Stille und scheinen andere kleinteilige Geräusche zum lauter werden zu ermutigen. Erst nach einiger Zeit wird das Ganze durch ein hintergründiges Brummen eingehegt, dennoch ist der Track atmosphärisch eher Doom-Industrial als Ambient. Einige der Klänge hier sind so gut versteckt, dass man sie leicht überhören könnte, so die hechelnden Frauenstimmen, die sich – wenn sie denn keine Fata Morgana sind – ganz tief unter der Oberfläche abhetzen. Der gleichen Zusammenarbeit entstammt “The Screaming Torso”, das gleich mit einer infernalischen Feedback-Lawine beginnt. Gefühlt hundert Details fliegen so schnell durch den Raum, dass das Resultat schon wie ein homogener Fluss wirkt, wenn man nicht innerlich das Tempo herunterschraubt – bis raues Kratzen die Illusion durchbricht. Nach einer kurzen, aber intensiven Klangwelt voll frunkensprühender Glöckchen führt die Reise durch zwei beklemmende Tracks, die zusammen mit dem neapolitanischen Duo Retina.it entstanden sind. Stetig pulsierendes Pauken, das sich zunächst im Hintergrund hält und dann von einer wuchtigen Dröhnwelle nach vorne gedrückt wird, darüber Stimmen, vermutlich von einer Lautsprecherdurchsage, abstrakte Sound-Mixturen, aus denen immer wieder Glocken an die Oberfläche dringen, dunkles Gemurmel, zirpende Insekten: Alles wird dichter mit der Zeit und offenbart eine große Vielschichtigkeit, und am Ende kulminiert alles in einer prasselnden Lärmsalve. Nach einem weiteren solo eingespielten Interludium beginnt der zusammen mit dem Klangkünstler Deison produzierte Schlussteil, der das experimentierfreudigste Material des Albums bereithält: Das Stück “Headless shadows” beginnt mit zum Teil rückwärts eingespieltem Material, das aber nur notdürftig die hypnotische Perkussion und die verquere Melodik dahinter verdeckt. Das lange “All the ghosts of my life” schließt das ursprüngliche Album noch um einiges subtiler ab, denn hier meint man eine nur leicht elektrifizierte Naturszenerie mit heranbrandendem Wasser und Vogelstimmen zu hören. Doch irgendwann bricht auch hier noch einmal die Dunkelheit in Form schriller Hochtöner, dunklem Grollen und mysteriösem metallenden Hantieren ein. Was passiert hier? Lässt hier jemand ein Geisterschiff vom Anker gehen?
Als Überraschung hat sich Becuzzi das mittlerweile fast ein Jahrzehnt alte Material erneut vorgenommen und ausgehend von einigen Samples daraus im Alleingang vier eigenständige Kompositionen gebaut, die vier Tracks mit den Titeln “We”, “Can”, “Be” und “Everywhere” umfasst. Doch was sich zum Auftakt noch wie ein Rework anmuten mag, entpuppt sich als eine weitgehend eingeständiges Bonusalbum, das mit dem ursprünglichen Longplayer nur durch Referenzen verbunden ist. Das Erkennungszeichen dieser Kompositionen ist ihr schleppender und bleischwerer Doomcharakter, dessen Infernalik nicht nur sägenden Gitarrenwänden, höllischen Twangs, wahrwitzigem Gemurmel und schleppenden Takten zu verdanken ist, sondern auch knarrenden Türen, krächzenden Flüstervocals, einzelnen Freekout-Ansätzen, trügerischen Glöckchen, gezielt eingesetzten lichten Momenten und einigem mehr. Becuzzis Repertoir ist offenkundig breit gefächert.
Die Reissue erschien bereits vor einem Dreivierteljahr und einigen der CDs sind noch erhältlich. Selbstredend empfehlen wir sie. (U.S.) AFRICAN PAPER |
2023 |
€15.00 |
|
| BECUZZI, GIANLUCA & FABIO ORSI |
Muddy speaking Ghosts through my machines |
CD |
Zweite VÖ dieses Jahr für das italienische Duo, experimentelle electronica-ambience die mit Blues & Folk-Versatzstücken sowie field recordings angereichert ist, was zu erstaunlich stimmigen Ergebnissen führt.
"Muddy Speaking Ghosts Through My Machines' is the brand new album released together by Fabio Orsi and Gianluca Becuzzi. This album will be certainly followed by other cooperations, considering the big friendly artistic sodality between them. Fabio e Gianluca are a strange duo, considering the big differences of their artistic back-ground. Fabio Orsi is a young and unexpected talent. After his first album, "Osci" (LP, SmallVoices 2005), produced by Gianluca Becuzzi, he got a lot of positive feedbacks, worldwide, by the most important international media, confirmed by his second official release "For Alan Lomax" (CD, A Silent Place 2006) splitted with cosmical Italian duo My Cat is an Alien. Gianluca Becuzzi is a very well known character of the Italian experimental scene since from the 80s, under many different alias. Recently known as Kinetix, Gianluca latest release is the very well appreciated "Memory Makes Noise" (CD, SmallVoices 2006) a great electroacoustic pearl. The unexpected uncounter between different forces, experiences and visions of this two artists is prefectly melted in this album: strong and tied, an imaginary place where folkway and research, past and present, distance and closeness, mud and clouds, ghosts and machines meets. Shreds of ballads, guitars and old keyboards floating on the vibrant surface of this faery river and disappear, towed off by drones and rumors, pouring between distant voices and centenary blues songs from the Alan Lomax archive. Raptur and sweet lostness: this is the main sensation. It could be listed as Avant-Folk, or Experimental-Blues, Ambient- Roots or contemporary aesthetics and aching nostalgia..." [label press release]
|
2007 |
€13.00 |
|
| |
Soundpostcards |
CD |
Das Cover dieser CD sieht wirklich wie eine "Klangpostkarte" aus, mit verschiedenen atmosphärischen Klangfeldern der Natur darauf. Das melancholische Duo entwirft auf 11 Stücken äusserst fragile, nostalgische, minimal instrumentierte Soundlandschaften, meist auf analogen Synth/Keyboard basierend, aber auch mit sanften field recordings durchsetzt. "Soundpostcards" ist ihre erste Zusammenarbeit von 2004 & 2005, die bisher nur als MP3 erschien...
"Sound Postcards is a sound representation of determinated time-space, of its moods and atmospheres, it's a sort of soundpostcard in which the artists portray a familiar and hypothetical landscape. The listener is induced to ''identify'' the represented subjects through interpretative processes which directly compare sound suggestions with subjective/collective imagination. A semanthic game of mirrors reflecting forms in perpetual transition between auditive dimension and symbolic/mnemonic one. "Soundpostcards" is the first collaboration of this two artist, originally releasesd (2004) in two different mp3 work, now reissue for the first time in CD after a been REWORKED and added with an unreleased track. The Sounds is really inmost and peacefully melancholy. Lost and naked melodies (some times near to the feeling of the most dilatated post rock other time much more near to the aesthetics sounds of the avant folk music) on a soft background of field recordings and drones.] *** Since 2004 the italian compositors Gianluca Becuzzi and Fabio Orsi are a strong and stable duo. Gianluca Becuzzi is a very well known character of the Italian experimental scene since the '80s, under many different alias. Fabio Orsi is a young and unexpected talent. After his first album, "Osci", produced by Gianluca Becuzzi, he got a lot of positive feedbacks, worldwide, by the most important international media. The unexpected uncounter between different forces, experiences and visions of this two artists is prefectly melted in their intense and fascinating productions made of guitars, old keyboards, field recordings and sound objects. Compositions where everything plays with big emotions: visionary soundscapes, deep drones and sudden noises." [label info]
www.centreofwood.com
|
2009 |
€12.00 |
|
| BEEQUEEN |
Music for the head ballet |
CD |
Wiederveröffentlichung dieser vergriffenen BEE QUEEN CD von 1996, die vier sehr ruhig schwingende Drones enthält.. (ein zuvor nicht enthaltener Bonustrack!)
" Die Musik greift in das Environment ein, formt es um und verändert die Sichtweise des Hörers auf so subtile Weise, daß die Veränderungen erst Stunden später erkennbar werden." [Zipo, Auf Abwegen # 20]. Die neue BEE QUEEN - CD ist im Gegensatz zum Vorgänger wesentlich ruhiger, meditativer und monotoner und enthält 3 lange Atmo-Tracks. Sehr schön!“ [Drone Records info 1997]
„Always a lonesome recording with it's distant organ drones quietly amassed, Music for the Head Ballet was first bestowed upon us in 1996. The now defunct Isomorphic records had the privilege of issuing these 3 pieces of lulling resonating ambience. Music for the Head Ballet has had an elusive history. There is little information about the music listed anywhere. The reviews are scarce, and those few that do make a mention are consistent in their praise of this alluring work. The original 936 numbered copies seem to be carefully tucked away on coveted shelves as it is rarely seen making an appearance in any market platform. Even the names of the tracks support it's ambiguous nature ("Days that never were", "White feathers on a dish,used to erect the pyramids" and "These foolish things"). Now after so many years of myth making, this gorgeous work has been made available again by Infraction. This reissue features new artwork as well as a previously unreleased 13 minute additional track from the original sessions. It is quite possibly the most blissful track Beequeen have committed to disc. Buy it now and hold your peace forever. Edition of 500.” [label info]
|
2004 |
€13.00 |
|
|
The Bodyshop |
CD |
Was sich zuletzt schon abzeichnete, wird auf THE BODYSHOP weiter verfeinert: experimentelle (Drone)-Sounds liegen eher im Hintergrund bzw. vermischen sich mit handgespielten Stücken,
kreiert mit gezupften E-Gitarren, Synths & Orgel / Harmonium –Sounds., zarten Gastnymphengesang, leichter Percussion: eine leicht melancholische, aber luftig-leichte Psych/Folk – Stimmung entsteht dabei, die aber durch die Drones & Effekte eine besondere Färbung bekommt....
"It took Frans de Waard and Freek Kinkelaar two years to complete the recordings for The Bodyshop, the successor to their much-acclaimed CD Ownliness from 2002. The Bodyshop continues where Ownliness left off. Ownliness marked a distinct break with Beequeen's past. The ambient-industrial drone music of yesteryear was said goodbye and the Beequeen's love of pop music returned. The instruments changed from organs, synthesizers and sound effects to guitars, drums, bass and guest musicians on cello and even vocals (a distinctive first for Beequeen). The Bodyshop features two of these remarkable vocals tracks; a cover of Nick Drake's 'Black Eyed Dog' (sung by Antenne's Marie-Louise Munck) and the indeed very sad track 'Sad Sheep'. Although Beequeen never cites influences, it's easy spot their interest in the Beatles' psychedelic period and latter day Talk Talk in combination with a love for krautrock and microsound -- not the most likely of combinations, but somehow it all makes sense on The Bodyshop." [press release]
|
2004 |
€13.00 |
|
|
Time waits for no one |
CD |
"Taking their name from a work by Joseph Beuys, the Dutch duo Beequeen have taken it to heart to createa sonic experience that Is like a living organism, a melange of oozing textures, rhythmical structures, cyclical pumping surges of sound, arranged as if In an ambient visionary landscape, a painting for the ears. The experience naturally recalls earlier works by Zoviet France and The Hafler Trio, with much use of processed and degraded sounds. As strange and enigmatic as Its minimal four-fold diglpak cover." [Alan Freeman - from Audion Summer/Autumn 1994]
"BEEQUEENs Time Waits For No One (Herbal (International) CD0801), das mit seinem Titel die Rolling Stones zitiert, hatte 1994 noch Marilyn Monroe auf dem Cover, jetzt bei dieser Wiederveröffentlichung eine völlig zerbombte WW II-Stadtmondlandschaft. I really think it matches the original Monroe-cover when it comes to beauty, gibt sich Freek Kinkelaar dazu hartgesotten. Er & Frans de Waard schienen aber bereits in Marilyn ein Vanitas-Motiv zu umkreisen, das deuten zumindest Titel wie ‚The Shore of Leaves‘, ‚Illusions‘ und ‚Perhaps perhaps perhaps‘ an. Da könnten ihnen durchaus Mick Jaggers Zeilen Drink in your summer, gather your corn; The dreams of the night time will vanish by dawn durch den Kopf gegangen sein. Aber wo fände man keinen Anlass für Melancholie und dystopische Ahnungen? Die ‚Furie des Verschwindens‘, mit der schon Hegel und H.M. Enzensberger per Du gewesen sind, imprägniert den Dreamscape der beiden Niederländer mit einer Tristesse, die jenseits von Gesten der Auflehnung um eine poetische Einstellung zum Unvermeidlichen bemüht scheint. Das rituelle Getrommel von ‚Fafagg‘ sagt wohl: Nach uns die Steinzeit. Bei ‚V-Time‘ ist das Getrommel industrial geworden, ein monoton rotierender Morlock-Beat auf vollen Touren, der bei ‚Illusions‘ schon wieder archaisch ausdünnt zum Toktoktok, neben dem einer zu versuchen scheint, aus Feuerstein Funken zu schlagen.
‚Perhaps...‘ lässt dann wie von einer Klangschale einen ‚singenden‘ Oberton dahin schweifen, bevor das 21-min. ‚Six Notes on a blank Tape‘ mit nachhallenden Dongs einsetzt und dunkles Gewummer - wie von einem Bombengeschwader? - die Luft erfüllt. Eine Geige
kratzt diskant und kaputt. So klingen die ersten Notizen. Weitere, ähnlich düstere, und ein Ritornell des Getrommels, aufs Äußerste alarmiert, folgen. Der Zahn der Zeit hat dem bisher nichts anhaben können. Und Schönheit liegt im Auge des Betrachters." [Bad Alchemy]
www.geocities.com/herbalrecords
|
2008 |
€13.00 |
|
| |
Sturmwind and Gilbert |
7inch |
"The time has come: Beequeen’s final single “Sturmwind” is now available on Tonefloat records! With this single, surely our most ‘pop’ release ever, comes an end to nearly 30 years of Beequeen. What a beautiful and fun ride this has been, so much we have seen, heard and learned for which we have so many people to thank. Do things really end here? Who knows? As always, I keep working on new material. “Sometimes my arms bend back” – to the future…
Meanwhile, the “Escape” CD, featuring covers of the songs on “Asylum”, the 1985 album by The Legendary Pink Dots will be released soon. It features my solo version of “Golden Dawn” of which I’m actually quite proud😉
THE PRESS BIT: Achtung! Beequeen (Olga Wallis, Freek Kinkelaar and Frans de Waard) goes pop. But Beequeen being Beequeen, it is not pop as we know it. Sturmwind, as the title suggest, is sung in German and probably the first single in history to paraphrase German Dada artist Kurt Schwitters in the chorus of “Du, deiner, dich, dir” from his famous poem An Anna Blume. Couple this with an existentialist lyric about overwhelming all-consuming love at the end of the world and an uplifting melody and rhythm and you end up with the typical surreal-twist that was also present on Beequeen’s latest album “Around Midnight”. The other side of this single tells the story of Gilbert; who hungers for love, but fails to understand what the concept of ‘love’ actually is. Gilbert is set to an 80s shoegazing tune where desperation gets mixed-up with hope. And with this single the Beequeen bids us, after more than 30 years, goodbye. Sturmwind/Gilbert was written by Freek Kinkelaar and Beequeen, produced and mixed by Peter van Vliet (The Use Of Ashes) and mastered by Raymond Steeg. Sturmwind/Gilbert will be out on March 19 as a limited edition 7inch (300 copies) in a numbered sleeve designed by Carl Glover." [Freek Kinkelaar web & label info]
"Achtung! Beequeen goes Pop. Aber da Beequeen Beequeen ist, es dabei kein Pop wie man ihn kennt herausgekommen. Sturmwind ist, wie der Titel bereits suggeriert, Deutsch gesungen und wahrscheinlich die erste Single in der Geschichte die den deutschen Dadaismus Künstler Kurt Schwitters mit seinem berühmten Gedicht An Anna Blume im Chorus "Du, deiner, dich, dir" frei aufgreift. Verbinden Sie dies mit existentialistischen Texten von überschwänglicher, alles auffressender Liebe am Ende der Welt und einer aufbauenden Melodie und Rhythmus und man landet bei dem typisch surrealen Schwung, der auch auf Beequeens letztem Album "Around Midnight" präsent gewesen ist. Die andere Seite dieser Single erzählt die Geschichte von Gilbert; der nach Liebe hungert, aber nicht versteht was das aktuelle Konzept von Liebe ist. Gilbert ist an eine selbstverliebte 80s Melodie gebunden, bei der Verzweiflung und Hoffnung eng beieinander liegen. Und genau mit dieser Single sagen uns Beequeen, nach mehr als 30 Jahren, Goodbye. Sturmwind wurde von Peter van Vliet (The Use Of Ashes) gemischt und produziert." [label info]
www.tonefloat.com
|
2016 |
€9.50 |
|
| BEGG, MICHAEL / ROEDELIUS |
Two gather in the Waiting Room |
CD |
"In August 2020 as part of Michael Begg’s residency at Edinburgh’s Queen’s Hall, a special collaborative performance had been due to happen between Begg and legendary figure of the European electronic music scene, Hans Joachim Roedelius. Lockdown forced their collaboration to evolve remotely and has resulted in the release, Two Gather In The Waiting Room. The result is a beautiful fusion of their individual signature sounds, and a movingly evocative, and unexpectedly positive portrait of artistic life in lockdown." [Omnempathy]
https://omnempathy.bandcamp.com/album/two-gather-in-the-waiting-room
"MICHAEL BEGG ist ein schottischer Komponist, Klangkünstler und Musiker. Seit der Jahrtausendwende begann er unter Einsatz neuer erschwinglicher Technologien mit der computergestützten Komposition zu experimentieren. Dabei entstanden Aufnahmen fürs Theater, die Formation HUMAN GREED mit seinem langjährigen Mitarbeiter DERYK THOMAS sowie die langjährige Beteiligung an der Experimental-Formation FOVEA HEX. Thematische Arbeiten, zeitgenössische klassische Musik und Studioexperimente bestimmen die Arbeit von BEGG, der auch unter seinem eigenen Namen zahlreiche Aufnahmen veröffentlichte.
HANS-JOACHIM ROEDELIUS ist ein deutscher elektronischer Musiker und Komponist. Bekannt wurde er als Mitbegründer der einflussreichen Krautrock-Gruppen CLUSTER und HARMONIA. ROEDELIUS‘ Solokarriere begann 1978 und brachte bis heute zahlreiche Albumveröffentlichungen hervor, nicht selten in Kooperation mit namhaften Kollegen wie BRIAN ENO, CONNY PLANK oder DIETER MOEBIUS. „Two Gather In The Waiting Room“ ist die erste Zusammenarbeit der beiden herausragenden Musiker BEGG und ROEDELIUS. Fünf elegische Synthesizer-Symphonien, die das Beste aus beiden Welten der Künstler vereinen.
All tracks written by Michael Begg and Hans Joachim Roedelius
Arranged and Produced by Michael Begg
Additional musicians from the Black Glass Ensemble on Not Far Away. Further:
Aisling O’Dea, violin
Julia Lungu, violin
Neil Cuthbertson, trumpet
"Michael Begg is a Scottish composer, sound artist, and musician. In 2000, making use of new affordable computer technologies, he began to experiment in computer mediated composition. Along with long time collaborator Deryk Thomas, he produced a series of recordings intended for use in theatre which became the first Human Greed album, Consolation. Michael began contributing to Clodagh Simonds' Fovea Hex project in 2007 with an appearance on the track "Long Distance" on the EP Allure. He has since appeared on every subsequent Fovea Hex recording, and is a core member of the performing iteration of the ensemble.
Begg has released a number of recordings in his own name, working more progressively towards a territory comprising site specific thematic work, contemporary classical music, and studio experimenting. Hans-Joachim Roedelius is a German electronic musician and composer. He is best known as a co-founder of the influential krautrock groups Cluster and Harmonia. Roedelius' solo career began with Durch die Wüste in 1978 and then Jardin Au Fou in 1979. The first of the lengthy Selbstportrait series was released in 1979, being material done beside his work with Cluster and Harmonia, without the input of his collaborators. Mostly recorded on simple two-track equipment, the Selbstportraits make up the backbone of Roedelius' early solo recordings." [press release]
|
2020 |
€15.00 |
|
| BEHRENS, MARC |
20 Zonen |
CD |
"Produced in 2010 for a radio broadcast on Germany's hr2-kultur radio, "20 Zonen" (20 Zones) is Marc Behrens' homage to Darmstadt, Germany, his hometown, and in particular the city's Kranichstein district, where he grew up and learned to listen. Behrens made recordings in such locations like an equestrian club, a heavy ion research unit, a railway museum, and of trains and airplanes noisily cutting through the supposed serenity of the industrially planted forests around Darmstadt. From time to time the subjective microphone goes underwater and dips into the area's various ponds, among them the world famous Messel Pit Fossil site, which used to be a rainforest millions of years ago, not unlike the Amazon still is today. The intricately edited material is arranged into zones that "form themselves into cells, into blocks, into a topophonic cross vein" (Stefan Fricke, hr2-Kultur), set in a grey area between musique concrète and phonography." [label info]
www.aufabwegen.com
"Having played on six continents, recording fields in China and the Amazon rainforest, Marc Behrens keeps things close to home on his '20 Zonen' release. By invitation of Germany's hr2-kultur radio show he pays homage here to the city where he was born, Darmstadt (in Germany obviously) and especially in the area called Kranichstein. The forty minute work is divided in twenty zones (hence the title), not equally but what is needed. These zones are put behind one and other with small cross fades and as one piece on this CD. The cover lists, luckily, every single bit which is nice. So we have anything from a brass band to churches, parks, a local pond, aircraft noise, train announcements, which may seem like this is a demonstration record by the local tourist office, but the recording, selection and chronology of these sounds, can stand very well as an electro-acoustic composition - if perhaps somewhat loosely organized at times and a bit sparse. If you don't know Darmstadt, just as I
don't, this will perhaps a very much the audio portrait of any civilized city with perhaps not a lot of human activity, but it sounds great with lots of detail. Behrens must have some fine microphones at his disposal." [FdW/Vital Weekly]
"Im Rahmen der Sendereihe 'Hessen hören' des Hessischen Rundfunks audiografierte MARC BEHRENS Darmstadt, insbesondere den Ortsteil
Kranichstein, mit Abstechern in die Umgebung - zur Grube Messel und zur Grube Prinz von Hessen. Insgesamt 20 Zonen (aatp35) sind als akustische Mosaiksteine zusammengefügt. Einen besonderer Reiz liefert die Eisenbahn mit dem Verschiebebahnhof und dem Eisenbahnmuseum in Kranichstein. Neben dem Stichwort Verkehr, das auch im Sausen der Straßenbahn und im Fluglärm der Einflugschneise des Frankfurter Flughafens widerhallt, spielt die Wissenschaft mit, nämlich mit dem GSI Helmholtzzentrum für
Schwerionenforschung in Wixhausen und der TU Lichtwiese. Die beiden Gruben sind verwandt durch die Entstehung im Eozän vor rund 47 Millionen Jahren, wobei Messel als Fossilienfundstätte Hessens Vergangenheit als
Dschungel festhält, während die Prinz von Hessen ein Relikt des Industriezeitalters
ist. Zur Erholung geht man an den Bürgerparkteich, den Backhausteich, den Steinbrückerteich, in den Park Rosenhöhe mit der Kirche St. Ludwig oder in den Herrngarten des Prinz-Heinrich-Palais; pferdesportlich
wird es auf dem Gelände des Darmstädter Reitervereins. Behrens zieht da wieder geschickt eine Zeitachse ein, wenn er über der 1 PS-Mobilität, deren Zeitebene auch das Bläserkorps der Kreisjägervereinigung Böblingen
evoziert, die Düsenmaschinen von Heute hinweg ziehen lässt. Dazwischen schnaufen noch einmal die Dampfventile alter Lokomotiven. Oder sind das Urwaldtiere von Einst? Die Frösche jedenfalls, die quaken hier schon ne ganze Weile. Lebensraum wird ganz intensiv als Spannungsfeld von Natur und Kultur in Raum und Zeit begreifbar." [Bad Alchemy]
|
2011 |
€12.00 |
|
| BELTAINE |
Drzewo I Kamien |
mCD-R |
Wieder etwas besonderes auf dem polnischen NEFRYT-Sublabel MALACHIT: Professionell mehrstimmiger, mittelalterlicher Gesang (soll alles von EINEM Mann stammen, was unglaublich erscheint) mit viel Pathos & Melancholia und ruhiger halbakustischer Hintergrundbegleitung. Anklänge an DEAD CAN DANCE und andere “Heavenly Voices”-acts, aber absolut eigenständig. Das alles noch in einer eigene Sprache vorgetragen...
Again something special on the NEFRYT – sublabel MALACHIT! “Seven tracks: beautiful a capella & songs inspired by folk and medieval music. Keybords, bas, guitars, dulcimers, bells, tenor flute, cithern. Fantastic singings (own language!!!) – its hard to believe, but all the voices are sing by one man!!”[Nefryt]
|
2004 |
€6.50 |
|
| BERTHLING, ANDREAS |
InvalidObject Series (with) |
mCD |
Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck !
“ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works.
Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne),
"a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}
|
2000 |
€7.00 |
|
| BERTOIA, HARRY |
Sonambients : The Sound Sculpture of Harry Bertoia |
CD + DVD |
Sonambients: The Sound Sculpture Of Harry Bertoia is a deluxe CD/DVD package containing historic recordings made in Harry Bertoia's Sonambient barn.
The DVD, a film titled Sonambients: The Sound Sculpture of Harry Bertoia, by Jeffrey & Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplativelythrough his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process.
A separate CD contains four exclusive, recently discovered audio recordings. Included are thetwo earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings.
A 16 page booklet includes many never before seen production stills shot by Jeffrey Eger. These iconic images capture the essence of the artist in practice. All of this is packaged in a heavy duty, tip-on style, gatefold sleeve printed with metallic inks at Stoughton Printing in California.
A limited edition version of this release, containing a letterpress printed limitation card and a piece of film from the original release can be obtained through the Harry Bertoia Foundation.
_________________________
Making the film Sonambients: The Sound Sculpture of Harry Bertoia by Jeffrey Eger
Miriam and I heard through a distant friend of an acquaintance that Harry Bertoia, a Pennsylvania artist, designer and sculptor wished to have a film made about his recent sound sculpture work. We called Harry in November of 1970 and within a week met him in his studio where he introduced us to his sculpture and to his sounds.
We ate lunch in a diner and talked about the songs of whales and wolves and his Sonambients. We then visited his Soundings Barn where everything we learned about film and its visionary possibilities became crystal clear. We absorbed the sound ambeince and left with such a bubbling excitement that we knew that it was written in the stars that we would make this film.
Within a week we spoke to Harry and he was convinced that we were the right people to bring his Sonambient world to the screen.
I sent Harry a one page description of how we would shoot the film and hopefully how the film wouldlook. He loved the one page treatment. And he reminded us that he did not want to see himself welding in the movie.
By early January 1971 we were ready to descend on the barn in Barto. We arrived with our cameraman and soundman. The interior of the barn was freezing. We set up quartz lights, checked out shots, and rigged nine hanging microphones from the loft. We had determined that in order to allow Harry to fully improvise his movement amidst the rows of sculptures, we would shoot ten minute takes without any interruptions.
In this way the cameraman would shoot handheld a continuous flowing performance. The Eclair 16mm camera and Nagra tape recorder were connected by crystal sync which was a relatively new improvement over actual cables connecting camera and recorder. Harry would be free to move unencumbered where ever the creative moment took him.
We were all ready to roll. Then the sound man took off his headphones and told us that there were occasional popping sounds on the sound track. We replayed the sound test. Popping sounds with little echoes. We city folk were baffled. Harry Bertoia with acute country sound hearing said, " Hunting season. Deer Hunting season. There is nothing we can do about it. We have to wait until hunting season was over."
A month later in the middle of February of 1971, we returned without the sounds of distant shots and echoing recoil. It took us 2 days to shoot the whole film. About two hours of footage edited down to a final sixteen minutes.
A month later we returned with a final cut and sound mix. With a rented 16 mm projector, we screenedthe film for Harry on a bed sheet hung from the rafters of his studio. He loved it and did not want one frame to be changed.And to paraphrase Robert Frost, " and that has made all the difference."
Jeffrey Eger April 9 2016
________________________
Credits for Sonambients: The Sound Sculpture of Harry Bertoia
Director and producer - Jeffrey Eger
Editor - Miriam Eger
Camera - Paul Goldsmith
Sound - Petur Hliddal
A Kenesaw Films ProductionCopyright 1971
Jeffrey Eger was born in 1946 in New Jersey. He studied English and Comparative Literature and graduated from Rutgers University in 1968. He continued his graduate work at the London School of Film Technique in 1968-69. He majored in film writing and directing.
Throughout his film career Jeffrey Eger has written, directed and produced many short and long form documentary films for museums, television, schools, international World's Fairs, and governments. He has also worked as a writer and researcher for a number of museums including the Statue of Liberty Museum for its Centennial 1986 Celebration. He is the author of numerous books and is the editor of The Journal of The Thomas Nast Society.
For the last 20 years he has been an antiquarian bookseller specializing in books, auction catalogues and periodicals in the arts.
Miriam Szamosi Eger was born in 1944 in Budapest, Hungary. She emigrated with her family to Israelin 1949. In Israel, she studied architectural drafting and building engineering. She continued her education at The London School of Film Technique in 1968-69. She majored in film editing. Her first work in the film industry was as an assistant/associate editor on the Woodstock Music Festival film. Her second film was The Sonambients film. Miriam edited many documentary films for museums, Worlds's Fairs, industrial exhibitions, and artists. She and her husband Jeffrey frequently worked together through their two film companies.
For the serious collector or anyone interested in a complete limited edition set, for $100, the exclusive edition (of 500) sets are available through the Harry Bertoia Foundation. Included:
16-minute documentary of Harry Bertoia performing in the Sonambient Barn (available for the first time since 1971)
20-minute interview of Harry Bertoia explaining Sonambient (never before released)
Full-length CD of all three Bertoia siblings – Harry, Oreste, Ave – performing in the Barn
A physical piece of the original 16 mm film
10-page booklet with color photographs of the shoot and description of the filming process
See further details at http://harrybertoia.org/shop/
|
2017 |
€24.00 |
|
| |
Hints Of Things To Come |
CD |
In 1970, Harry Bertoia had been developing his sonic sculptures for over ten years. He had only been composing/recording for two years and the four long pieces chosen for this CD find him starting to arrive at the sonic forms he had been searching for. Hints Of Things To Come is one of the most unique and melodic pieces discovered so far in the Bertoia tape archive. In this piece, you hear him slowly create and articulate a musical riff. Bertoia builds this phrase patiently until the composition reaches an intense climax where the riff is played heavily and distinctly. "7 ½ + 7 ½ Combined", another historic standout, is one of the earliest examples of Bertoia overdubbing by playing a tape and then performing along to the playback. This CD is defined by ambient passages, long drones, gongs that sound like whales, shimmering harmonics and the feeling of an artist searching for sounds deep within his own sonic sculpture.
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania. Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.
https://sonambient.bandcamp.com/album/hints-of-things-to-come
|
2023 |
€17.00 |
|
| BETTIS, CHUCK |
Sonic Sigils |
mCD |
Wieder eine empfehlenswerte Ausgrabung auf SCARCELIGHT aus der sich permanent erweiternden und weiter verzweigenden Geräusch- & Experimental-Szene. CHUCK BETTIS benutzt die psychologische „Spiegel“-Technik als Inspiration und schafft hier digitale Klanglandschaften von höchster Abstraktheit, für die Begriffe wie „Noise“ oder „Ambient“ nicht mehr relevant scheinen.
Das Ganze fängt eher hektisch-dissoziiert an und bewegt sich langsam aber stetig in pulsierend-meditative Bereich.....digitale, metallische Klänge überwiegen. TIP for Explorers !
“There is some kind of menacing magic at work here. The magickal intonations captured on this disc were inspired by the acifist/psychological technique of calming people in heated conversations by catching up to the breathing of the upset person, then slowly, by utilizing your own breathing, slowing down their breathing by slowing down your own. This deluxe 3" CD features scratchy, fuzzed and distressed scrapes and burbling skittered fragments. Gorgeous graphics by Chuck himself. Contrasting mechanical whines, and tones, tiny microscopic signs of life all darting around in their droplet universe” [George Parsons./ Dream Magazine #5]
|
2004 |
€8.00 |
|
| BEYOND SENSORY EXPERIENCE (B.S.E.) |
Faint |
CD |
"With their new full-length album "Faint" Beyond Sensory Experience are back revisiting ghosts of the past to create memories of the future. Eleven divergent studies of transformation elements result in BSE’s most complete and intriguing album to date; full of liquid dark ambient soundscapes, salient samples and entrancing melodies. Hold your breath and close your eyes, when winter turns to water, day turns to Faint.
Edition of 500 copies in 4 panel digi sleeve with 12 page booklet. 11 Tracks. Running Time 60:00" [label info]
"They didn’t make us wait very long for a “Modern Day Diabolists” follow-up. Along with “Faint”, we have the opportunity once again to move away from the senses under the watchful eye of Drakh and K. Meizter. And because they’re fully fledged professionals, in this case also the trip on the edge of and even beyond the human self turns out to be very fruitful.
Fruitful, but somehow familiar. Our fellow Swedes have defined their specific path for quite a while, they have their own unique style and sound and are sticking to it, leaving the battering down of this already open door to younger and more hot-headed travelers. It’s an experienced project, their aforementioned style is usually recognizable after only a few sounds – “Faint” isn’t at all different. I think even woken up in the middle of the night it would take me maybe a few seconds to pinpoint whose creations are filtering from the speakers.
I never meant what those two nice Swedes do as dark ambient does. Certainly, the genre’s characteristics have always been to a larger or lesser extent present on previous albums, but they were never incorporating a typical, textbook darkness with particular relish. And with each consecutive release its amount becomes lesser and lesser. On “Faint” you practically won’t find the typical background-filling drones. This role is ascribed to either a stretched echo single guitar or piano tones (just listen to “Blank”), or simply silence which operates here on the same basis as the specific sounds, instruments, field recordings or samples. I always appreciated musicians who can play with silence.
As for the album’s atmosphere, I could actually copy-paste here what I wrote about “Modern Day Diabolists”. Ethereal, dreamy parts, mesmerizing in a way, sometimes serene (“Bystanders”), sometimes pulsating with a distant, uncertain threat (such as in my favorite piece, “Legacy”). Sometimes it feels as if the Swedes deliberately want to lull the listener, so that all external protective barriers are down and then hit with horror, war or apocalypse. But it never happens, though you never know what lies beyond the horizon.
Calm down, you can safely turn off for those few minutes. Beyond Sensory Experience doesn’t interfere with the bliss. It only gently wags its finger at us at times, saying that “next time there’s going to be a nightmare” (“Exhausted”), and we don’t have to believe the Swedes anyway. Probably in a year or two they’ll release another album, and again we’ll allow ourselves to be seduced by those ambient spaces, a pinch of post-rock atmosphere. We’ll smoke another cigarette, listening to the yearning, aching samples spoken in different languages… Another successful, very solid release by Beyond Sensory Experience and another – which one is it already – strong position in the Cyclic Law roster." [Stark/Santa Sangre] |
2013 |
€13.00 |
|
| BHATTACHARYA, DEBEN |
Music on the Desert Road |
LP |
"The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding, Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound."
|
2019 |
€18.50 |
|
| |
Paris to Calcutta, Men and Music on the Desert Road |
BOOK + 4 CDs |
Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris. Highly influential, it would not be too bold a stretch to say that his work shaped how we listen to the world: he produced a vast number of LPs, CDs, videos, and radio shows of traditional music from India, Asia, Africa, the Middle East, and Europe from 1953 until his death in 2001. Never before published, Paris to Calcutta: Men and Music on the Desert Road features over four hours of music and is Deben\'s impressionistic account of a 1955 journey overland, in a converted milk delivery van, from France to India collecting and exploring music along the Desert Road from Europe into India. With four CDs of recordings, photographs, Deben\'s original recording notes, musical transcriptions, and more. An amazing glimpse into a time long gone and essential listening for anyone interested in folk and world music traditions. Produced and edited by Robert Millis (Indian Talking Machine (2015) and Victrola Favorites (DTD 011CD, 2009). \"Actually, I think my playing is probably more derived from the folk music records that I heard; Middle Eastern music, Indian music... for years I had something called Music On The Desert Road, which was an album with all kinds of different ethnic music. I used to listen to that all the time.\" --Frank Zappa, 1993 (from an interview in Guitarist Magazine, talking about an LP released by Deben in 1956 using a few edited versions of the music included on this compilation.) 160 pages, cloth bound cover with four CDs: 45 pages of photographs and 50 pages of detailed recording notes. Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.
Includes recordings of: Students of the Salonica Quaker Girl\'s School Dance of Jerissos,Saban Akdao, Hasan Sayin, Reza Argin, Jumma Ali, Vakkas Kaplan, Feizi Kaplan, Hüseyin Eroğlu, Raif Karsligil, Imam and congregation of the mosque at Kilis, Dervish worshippers in the house of Sheikh Saud Mawlawi, Nour Hanbali, Antone Noweh, Doureid Laham, Bashraf Sama\'i Taatyus, Andalusi Muwashshah, Hazim, Suleiman and friends, Al-Haj Hashim Mohammad, Shu\'aib Ibrahim, Abdul-KArim Al Azawi, Shu\'aib Ibrahim, Khalil Akrawi, Ostad Zareen Panje Bel, Gulfa-e-Ghani and Zareef, Ostad Abol-Hassan Saba, Sher Khoda, Darioosh Sefvat, Hamedanian, Shapoore Delshadi, Eskandare Ebrahimi and Orchestra, Eskandare Ebrahimi , Muhammad Hussein, Dost Muhammad, Abdul Kader, Saroj Narang, Jyotish CH. Choudhury, Kalipada Das, Bhona, Mangal Mukerjee, and Jai Chand Bhagat and Babu.
Track Listing:
Disc 1
01. Students of the Salonica Quaker Girl\'s School - Dance of Jerissos (Ierissos) 02:50 listen
02. Saban Akdao, cümbüs - Çiftetelli (gazel) 09:39 listen
03. Hasan Sayin, singer; Reza Argin, zurna; Jumma Ali, dhavul - Untitled 02:45 listen
04. Vakkas Kaplan, zurna; Feizi Kaplan, dhavul - Mahlo: Song of the Highway Men 02:44 listen
05. Hüseyin Eroglu, vocals, cura saz - Karacaoglan 05:16 listen
06. Raif Karsligil, unaccompanied vocals - Karayilan (Black Snake) 05:01 listen
07. Imam and congregation of the mosque at Kilis - Mevludin Nebevi (the prophet\'s birth) 05:36 listen
08. Performer unknown - Folksong from Outebeh, vocals and rababa (one stringed fiddle) 04:28 listen
09. Performer unknown - Bedouin Melody, Shebbabeh (flute) and darabuka (drum) 03:38 listen
10. Performer unknown - Bedouin dance from Katana 02:30 listen
11. Dervish worshippers in the house of Sheikh Saud Mawlawi - Maqam rasd (In praise of the prophet) 02:06 listen
12. Performer unknown - Sabah, played on the Ney (flute) 02:20 listen
13. Nour Hanbali, qanun; Antone Noweh, oud; Doureid Laham, darabuka - Suite in maqam rasd featuring Bashraf Sama\'i Taatyus and Andalusi Muwashshah 13:49 listen
Disc 2
01. Performer unknown - Taqsim (improvisation) on violin 03:19 listen
02. Hazim, rebab (bowed spike fiddle) - Ballad of the Shahlaan Family 10:16 listen
03. Unidentified coffee grinders (two different grinders, switching hands halfway through) - Bedouin coffee grinding beats 06:24 listen
04. Suleiman and friends, accompanied by rebab - Hijeni (a love song often sung while riding away on a horse) 06:16 listen
05. Al-Haj Hashim Mohammad, santoor (hammered dulcimer); Shu\'aib Ibrahim, joza (Iranian rebab); Abdul-Karim Al Azawi, dumbuk - Sharqi Dokah (love song) 08:40 listen
06. Shu\'aib Ibrahim, joza - Taqsim in maqam ajam 03:50 listen
07. Al-haj Hashim Mohammad Al-rejab, santoor; Shu\'aib Ibrahim, joza; Abdul-Karim Al-Azawi, dumbuk - Maqam hadidi 03:45 listen
08. Khalil Akrawi, vocals, spoons - Kasam-e-Meru (excerpt from a 25-minute piece) 01:49 listen
09. Ostad Zareen Panje Bel - Tar solo in humayun dastgah 10:45 listen
Disc 3
01. Gulfa-e-Ghani and Zareef, zarb - Train rhythm imitation 02:03 listen
02. Ostad Abol-Hassan Saba - Setar improvisation in mahour dastgah 02:40 listen
03. Sher Khoda, zarb - Shahnama 13:38 listen
04. Darioosh Sefvat - Santoor solo in isfahan dastgah 10:20 listen
05. Hamedanian, zarb - Baba Karam 12:36 listen
06. Shapoore Delshadi, tar - Tar solo in isfahan dastgah 06:36 listen
07. Eskandare Ebrahimi and Orchestra - Humayun 16:06 listen
Disc 4
01. Eskandare Ebrahimi - Setar improvisation in mahour dastgah 08:06 listen
02. Muhammad Hussein, zurna (horn); Dost Muhammad, dhol (kettle drum) - Atan (dance song) 04:01 listen
03. Dost Muhammad, dhol - Battle rhythm 01:29 listen
04. Abdul Kader, solo voice - Love song from Herat 02:52 listen
05. Performer unknown - Nose flute improvisation 02:34 listen
06. Performers unknown, harmonium, tabla - Sikh song on Hindu/Moslem unity 11:45 listen
07. Saroj Narang - Simla folk song 02:37 listen
08. Jyotish CH. Choudhury, sitar - Raga zila 07:04 listen
09. Kalipada Das, flute; unknown, anandalahari (friction drum) - Methosur (rural folk song) 04:02 listen
10. Unknown performers, clarinet and drum - Improvisation on film tune 02:34 listen
11. Bhona, sitar; Mangal Mukerjee, ghara (claypot drum) - Raga kafi 06:50 listen
12. Jai Chand Bhagat and Babu, vocals, cymbals, ektara - Bhajan (devotional song) 04:15 listen
13. Jai Chand Bhagat and Babu - Bhajan (devotional song) 04:48 listen
14. Temple bells and drums 02:34 listen
- Deben Bhattacharya\'s impressionistic, poetic travelogue written on the road from Paris to Calcutta in 1955, never before published.
- Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris.
- Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.
- 43 tracks, over four hours of music, all recorded in 1955 featuring music from Bedouin camps, Turkey, Iran, Iraq, Afghanistan, Jordan, Pakistan and Greece.
- 160 pages, cloth bound cover with four CDs.
- 45 pages of photographs; 50 pages of detailed recording notes.
https://sublime-frequencies.bandcamp.com/album/paris-to-calcutta-men-and-music-on-the-desert-road
|
2018 |
€52.50 |
|
| BIANCHI, MAURIZIO & SPARKLE IN GREY |
Nefelodhis |
CD |
Das Schwester-Album zu "Erimos" verknüpft melodische und mitunter fast andächtige Instrumentalklänge der italienischen Post-Rock Band SPARKLE IN GREY mit den z.T. obskuren Geräuschsounds von M.B. - das klingt manchmal dann fast nach GODSPEED oder anderen Post-Rock / Psychedelikern, sehr introvertiert und ruhig mit viel Violin-Einsatz... Namensgeber für die 8 Stücke sind Bezeichnungen verschiedener Wolkenformationen, sehr passend !!
"Nefelodhis album was then recorded in few days in a totally improvised session where Sparkle in Grey, the ensemble of Alberto Carozzi (guitar, bass), Cristiano Lupo (piano, guitar, drums), Franz Krostopovic (violin) and Hue (laptop, objects), played melancholic melodies on the mysterious analogical and a-rhythmical soundscapes provided by MB. The results of these sessions, recorded into the factory where Sparkle in Grey are used to have their rehearsal, was assembled and mixed by Hue himself. As the sounds coming from MB were mainly analogical (treated guitars, DVD players, tapes and other unknown instruments), and as the laptop was used only in the mixing phase, the result is a dirty but very analogical mixture of sounds, where the concrete drony noises and the textures of violins and guitars melt in a quite uncommon way. Nefelodhis is a desperate but dreamy picture in sounds of the concept of clouds (in Greek 'Nefelodhis' means 'cloudiness') and, after the careful mastering of Giuseppe Ielasi, sounds like a trip through the wet lands made of vapor. Being part of a complex quadrilogy about the spaces Between the Elements, this records inaugurate a series of CDs of various experimental sounds, where Erimos (in Greek “Desert” is the second chapter, already available on the American label Digitalis Industries." [label info]
www.freakofnature.it/coldcurrentprod
|
2008 |
€12.00 |
|
| BIANCHI, MAURIZIO (M.B.) |
Persecutionem |
LP |
"Persecutionem" heisst "Verfolgung" und wie viele von MBs Veröffentlichungen ist dieses Album religiös inspiriert. Die sechs Stücke wirken fast wie eine logische Fortsetzung (auf einem anderen klanglichen Level) dessen, was vor 30 Jahren begann - recht rauher, irgendwie mysteriöser & hypnotischer Drone-Noise, mit Zeitlupen-Vibrato-Effekten, die seltsame Obertöne "nach oben" sprudeln lassen... Sechs Stücke, in einer nummerierten Auflage von nur 303 Stück !
"'I've taken inspiration for this medicative work from the sordid persecution of the early Christians, but in other ways we receive objectivistic persecution every day from this standardized system, from our wretched condition and from the modern persecutors which are hidden behind their threatening countenances. The appropriate soundtrack of such perturbed sufferings is this justifiable work, 'persecutionem', in which the semblances of our gaolers are inherents on these obstructed sounds, and the hopeful liberation of our existences are culminating on the eschatologic modulations. The deliberate epilogue is contained in the derogatory elevation of our reinstated spirituality for a repulsive capital sentence in order to transform the alienated persecutor into an inalienable victim of persecution.' Maurizio Bianchi - February 2009" [label info]
http://rotorelief.com
|
2009 |
€20.00 |
|
|
Verfall |
CD-R |
"Dedicated to the "entartete" musicians who were persecuted for their creativity between the 1937 and the 1945
Preface:
"An intimistic work, in which the disintegration and declension of multicellular particles meet damaged piano affections. Ruinous and protonic waves culminate in a declining sonorous decay, which is the neurotic aim of the falling off author, at his regimental climax." (M. B. - March 2010)
Degenerative work, played at a degrading piano on the 17th August 2009, in a decadent afternoon
Front + back covers by Maurizio Bianchi
Design by Alok Leung
TRACKLISTING:
01. VERWESLICH
02. ENTARTUNG
03. RUCHLOS
04. FAULEND
05. AUSARTUNG
06. LEIDEND
07. LIEDERLICHKEIT
08. VERFALL" [label info]
www.lona-records.com
|
2010 |
€10.00 |
|
| |
Mectpyo Box |
10 x CD BOX |
Legendary Maurizio Bianchi recordings from the early '80s remastered and collected in a 10CD box. Includes the following industrial music classics: Symphony for a Genocide (1981), Menses (1982), Neuro Habitat (1982), Regel (1982), Mectpyo Bakterium (1981), Das Testament (1983), Endometrio (1982), Carcinosi (1983), The Plain Truth (1983), and Armaghedon (1984). Also contains two hours of bonus tracks from the same period, with compilation contributions previously issued on Bain Total, Broken Flag, Come Organisation, and TRAX, as well as various mail art collaborations and a unique live recording and interview from January 1st, 1983. Includes 35 folded inserts with original artworks and collages; essays on Throbbing Gristle, Whitehouse and Come, Conrad Schnitzler, Leibstandarte SS MB, and SPK; playlists from 1981 and '82; a 1981 interview issued in Datenverarbeitung; an essay by Vittore Baroni on Bianchi titled "Milan Burns"; and Bianchi's "Fanta Punk Tale" from 1978. Limited to 200 numbered copies.
|
2015 |
€165.00 |
|
| BIANCHI, MAURIZIO / SIEGMAR FRICKE |
Stroma-Konkret |
CD |
"...eine Kollaboration des italienischen
Kult-Noisers MAURIZIO BIANCHI (*1955, Pomponesco) mit SIEGMAR FRICKE (*1968, Wilhelmshaven). Letzterer, frühreifer
Klangtüftler bereits in den 80ern mit Releases bei Irre Tapes oder Old Europe Cafe und anfänglich bekannt als Bestattungsinstitut, hat bereits durch Projekte zusammen mit Giancarlo Toniutti, Mathias Grassow und mit Miguel A. Ruiz als Efficient Refineries seine ‚Pharmakustik‘ in der internationalen
Sound Art vernetzt. Eines seiner Tapes hatte er mal ‚Unsophisticated‘ getauft, aber wer Tracks ‚Keratoplastie (für transversale
Magnetbandakzeleration, sensorisches Klavier und konkrete Mechanik)‘, ‚Distrofia Atonale (for paralysed aritmia, nuclear ambience
and anamorph tone-pigments)‘ und ‚Dissonanza Sclerotica (for polineuropathic surface, piano edematosa and opaque microsections)‘ nennt
und als „the sphaerialic polymetamorphose of stromatic plastocyanin“ beschreibt, der hat offenbar nicht nur bei Dr. House sein Praktisches Jahr gemacht, der ist auch ein mit allen trüben Wassern gewaschener Pillendreher, der Russolo und Marinetti, Jary und Henry in nicht nur homöopathischen Dosen verschreibt. Immerhin erspart er mir so alle näheren
Beschreibungsversuche. Wer Stroma-Konkret einwirft, der darf sich jedenfalls über psychedelische Nebenwirkungen nicht wundern,
vulgo, wo Rosa war, stellen sich Nekrorealismus und Sarkasmus ein. Vermutlich hätte zwar eine 42-Stundenwoche in einem chinesischen
Stahlwerk einen ähnlichen Effekt, aber Scheiß doch auf China." [Bad Alchemy]
"Extra heavy fusion of industrial noise and musique concrète, this exclusive collaboration unites forces of two legendary musicians who were witnessed the roots of industrial music movement. It consists of three long tracks of mechanical aggression, clinical obsession and uncompromizing psychic attack. Dedicated to the memory of Pierre Schaeffer, this is the second part of ongoing series, started by Tibprod label CDR-release. Release date is 30th December 2006. Limited edition of 500 copies in jewelcase." [label info]
www.monochromevision.ru
|
2006 |
€13.00 |
|
| BIG CITY ORCHESTRA |
The Beatlerape (Sound effects library Volume four) |
CD |
„BCO interpretieren Beatles-Songs! Sie nehmen Versatzstücke aus berühmten Beatles-Stücken oder spielen & singen selbst, und erschaffen so Coverversionen, die für jeden wahren Beatles-Fan eine geradezu traumatische Erfahrung darstellen müßten.“ [old Drone info]
Erschien 1993 zunächst auf REALIZATION, dies ist die wiederveröffentlichte und neu bearbeitete STAAPLAAT-Version!
“A completely reworked version from the original release, 'Beatlerape' consists of Beatles songs. They were made with the use of sampling, record skipping and other weird recording techniques. The first edition of 1000 is a 'White Album'-like foldout sleeve with the Big City Orchestra members posing as John and Yoko. naked of course.” [label info]
|
0000 |
€13.00 |
|
|
Drone Gnomes (SOLD OUT) |
10inch |
Komplett "handgespielte" akustische Trance-Musik von San Francisco's weirden Drone-Magiern; mit allerlei "echten" Instrumenten improvisiert klingt das wie "wyrd folk" im Sufi-Drone-Kontext....fünfter Teil in unserer neuen 10"-Reihe, die neue Hör-Neuronen im Nichts schafft, hellblaues Vinyl, Spitzenartwork von MIKE DRINGENBERG.
"...Als ob das gestaltwandlerische, aber doppel-x-chromosomenstarke BCO und seine ungooglebare Konstante namens Das bewusst ihre sarkastische und parodistische Neigung gebremst hätten, um dem Substantia Innominata-Konzept mit zwei Arc of Infinity-Trips Referenz zu erweisen, einer pulsminimalistischen rituellen Session mit
accelerierender Percussion und Engelsingsang und einem dröhnminimalistischen Tauchgang in die Grey Matter selbst." [Rigobert Dittmann, Bad Alchemy]
Acoustic trance by San Francisco's great masters of obscure atmospheric noises... artwork by well-known illustrator Mike Dringenberg !!! Light blue colour vinyl with special marmor-effect, 4-colour covers & labels ! 5th part in the new 10"series by Drone Records ... lim. 500. sealed copies.
|
2006 |
€12.00 |
|
|
Greatest Hits and Test Tones |
CD |
"Auf der zweiten CD (nach "The four cassettes of the apocalypse") des Orchestras finden sich 43 Indexe. Es gibt einen Haufen genial-skurillen BCO-Pops zu hören, recht alte Sachen aus den 80ern, und zwischendurch sind hier heftigste TEST TONES –Bearbeitungen verewigt worden, von JOHN DUNCAN, BROOK HINTON, MONTE CAZAZZA und G.X.-JUPITTER-LARSEN. Und es gibt noch 20 weitere tracks mit dronigen Alltagsgegenstandsdronenoises, z.B. "coffee beans on tray on speaker", "mike in water bottle on piano".. UND dann gibt es als Dreingabe im Booklet einen nicht minder obskuren Text über die "post apokalypse". Die CD enthält zudem das allererste BCO-Stück von 1979!!!!
Back in stock this obscure second CD of BCO, with unbelievable strange pop-songs and test-tones reworkings from diverse people, and other surprises. A real own sound-dimension!" [old Drone Rec info]
|
1993 |
€13.00 |
|
| |
Kapellmeister |
CD-R |
HalTapes presents
BIG CITY ORCHESTRA
KAPELLMEISTER
oneiric collage confusion with keyboardisms infiltrated with radio hum and vinyl itch
original cover art by Rafael González
BCO STAFF WAS:
ROB WORTMAN, UNIVAC, NINAH PIXIE, CHERYL LEONARD, DAS
BCO contact:
das at ubuibi dot org
credits
released 20 May 2015
https://halmcgee.bandcamp.com/album/kapellmeister
"Big City Orchestra is a prolific (over 160 releases since 1985) group many would likely recognize as part of the 80s experimental cassette scene. From various readings and conversations with older friends, I gather they were enjoyed as a favorite by many. I get the impression that they have many tricks in their bag, and that is what makes them so impressive and special.
Please enjoy Big City Orchestra’s Discogs bio:
“One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970’s the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. An album of authentic sea-shanties? A wall of noise? A shimmering downpour of lullabies whispered to the wind? A humorous or thought-provoking album of Sound Collages? Vocal excursions set to make Rod McKuen blush? We press play, leaning forward with slight apprehension. We await the first wave of blissful deception. We are perpetually rewarded.”
This CDR was released by Hal McGee, who was involved in distributing & releasing their music in the early / mid 80s. I assume this release results in part from that years-old positive connection.
Hal(“Ear Tampons” – poignantly preposterous?)
My first exposure, of two total exposures, to Big City Orchestra was a CDR called Beatlerape, consisting of a bizarre collection of alternate takes on and / or cut-up-collagery of Beatles songs and recordings. I don’t know if it’s ‘rape’, but what they do to Beatles music on this album is quacked out and could by many be called “wrong”. Demented looping, demented voices, demented juxtapositions of sounds. I very much enjoyed it off and on for several months in the car’s cd player. I know I’ve heard another Big City Orchestra recording, but I don’t recall which one. This matters because I remember thinking the second Big City Orchestra album I heard was pointedly different from Beatlerape, as is the present specimen, Kapellmeister.
Kapellmeister is a great mixed bag of lo-fi collage, psych, plunder, field recordings, found recordings, electronic junk bits, eclectic instrumentation / approach -but cleanly sectioned into the 10 segments they list on Side A and Side B. Track 8, “OOOOH JACK”, is a cutup of cleanly recorded, quietly speaking christian television preachers set against an ominous early-80s-industrial-mechanical-plodding backdrop. The clips of christian people are cut and assembled in such a way as to slather, playfully and mockingly, the christians’ pretensions of purity with humorous sexual innuendo. It’s simultaneously hilarious and darkly hope-crushing? This piece is on par with all of the other pieces for level of interest, pacing, composition, content, etc. Every track has its own intriguing qualities. Wonderfully surreal yet entertaining and non-tedious. Simple yet engaging and surprising. These things are hard to do with abstract sound work. I dare call it sophisticated, prodigious, genuine. The rawness of the black & white artwork is pleasant, with strangely bleak torn paper collage and digitally manipulated images by Rafael Gonzalez. There’s a cerebral surreality to the haloed white blob (photoshop air brushing likely) over the faces of an idealized couple from the..1930s? This roughness is tied together nicely with the text and with the two pillars of the repeated collage item showing two half-faces close together, reflecting their similarities and differences. These considerations tie the cover together with symmetry and an even distribution of dark and light. In comparison to a number of Hal’s other releases, this HalTapes specimen nicely balances pragmatic non-aestheticism and a tight sense of design. I enjoy the non-aesthetically charged design of the information side of the slim jewel case’s insert.
In his description for his album B12, Hal McGee -designer of this disc’s insert- tells a story about packaging design for audio recordings:
“After my three year hiatus from recording (92-95) I noticed that a lot of noise artists were doing special deluxe package releases. It seemed like every fuckin’ release by Aube had like a dead fish attached to it or a pubic hair or a bag of sewage water or some such shit with deluxe printed sleeve, etc etc etc. I purposely made the cover of my “B12” cassette as shitty and amateurish-looking as possible and I fit four of them onto one sheet of paper so that at Kinko’s each cover would end up costing me like 2.5 cents.
HalB12
I sent a copy of “B12” to Aube as a trade and told him here is my “anti-deluxe two and a half cent cover”. He was not amused and told me he would not trade with me again. This is the same young upstart who had told me previously that I had been one of his influences from the 1980s. Hahahaha. Uppity bastard!”
I presume to an extent Hal’s current design tendencies align with the thinking embodied in this frank, funny outburst. The emphasis is on what you’re doing and less on the capturing or distillation of some grand wizardly vision into an even more grand wizardly package that sells at inflated prices. This is the dichotomy of process vs. product, or maybe something less clear cut than that. I greatly enjoy both approaches (super-art-packaging and more straight forward packaging) depending on the specific example. It’s unfortunate, but for now I’m dreaming of a future time when I can support more artists putting out special deluxe products. I’m not able to spend so much money any more on music, so I don’t often acquire music releases with special (expensive) packages. Right now I can only get the occasional regular old ordinary issue releases; no fancy boxes, no extra inserts, no 3-D glasses, no diesel-soaked papyrus, no vials of blood, no hand-made folded special-stock paper delicacies. Many DIY artists and label-people have simple aesthetics based around their financial limitations; a lower budget usually costs a bit in impressiveness of appearance, but the money saved by simplifying package design can be used to release music more frequently, or for other projects. I have an interest in understanding different approaches to creative work. As long as the work comes from a genuine and specific place I’ll probably find it at least worth examining.
This CDR/tape/download is a truly excellent recording demonstrating all sorts of creative and technical prowess. That being said, it’s also presented in a remarkably unpretentious way. It’s adventurous and consistently engaging, while still being quite abstract and not the least bit catchy, unless you find certain tonal drones catchy. I rarely put in a recording and find it so impressive on a first listen. When this happens, the recording’s charm usually grows over time rather than fading." [Petriblog]
|
2015 |
€8.50 |
|
| BIOSPHERE |
Wireless - Live Arnolfini, Bristol |
CD |
"Biosphere ist das Hauptprojekt des norwegischen Künstlers Geir Jenssen, der auf eine ansehnlich Discographie zurückblicken kann. "Microgravity" and "Patashnik", zwei weg- und stilbereitende Alben erschienen auf dem legendären R&S-Label in Belgien, prägten in diesem Kontext neben Alben von Aphex Twin, Carl Craig, Sun Electric und Ken Ishii den Begriff "Electronica" maßgeblich mit. Aus dem Album "Patashnik" wurde die Single "Novelty Waves" ausgekoppelt, die auch die Spots einer der Levis TV-Kampagnen untermalte.Remixes für bekannte Künstler wie Nicolette, James oder Frontline Assembly zeigten zwar weiterhin gleichsam das Interesse der Musikszene an seiner Kunst, aber auch Geir Jenssens Willen Musikstücke völlig nach seinen Vorstellungen zu transformieren.Live während des "Arnolfini" Festivals in Bristol, am 27.Oktober 2007 von Chris Watson aufgenommen. Er benutzte hierfür 2x Sony ECM 77s mit einem Nagra P11 Ares Flash Recorder. Gemixt, editiert und gemastered wurde das Stück final von BJNilsen in Berlin im März 2009.Dieses Konzert war Teil des "Touch 25 Live", die auch eine "Storm" Performance von Chris Watson & BJNilsen beinhaltete." [label info / Cargo ]
"... What we do know is that 'Wireless' is the first live album by Biosphere, one of the master minds of ambient music. Starting out in ambient techno (releasing a classic with 'Patashnik' in 1994), and then moving out of the techno, deeper into the land of ambient music, leaving off any pulses at some point. On 'Wireless' he returns to use pulses and rhythms: minimal but not in a click n cut sense. Warm, fourth world alike. which guide the soft synths, field recordings and, for the first time around the trumpet of Anders Karlskas. As such this live album is not a distinct break with the 'old' Biosphere, the one calm sound tapestries on 'Substrata' for instance, but it seems to have come to a full circle now. The more simple, rhythmic samples refer to what I can call Biosphere 'mark 1', but not as dance oriented, more trance inducing, lay down, sit back music, whereas the deep atmospheric textures of before are still part of it, that has become a trademark of Biosphere. Changes in the sound of Biosphere are small, but crucial. 'Wireless' is once again a refined ambient from one of the true masters of the genre." [FdW / Vital Weekly]
www.myspace.com/biosphereofficial
|
2009 |
€14.50 |
|
| BIOTA |
Invisible Map |
CD |
Irgendwie isses Folkmusik, irgendwie isses Popmusik, aber ständig verschiebt sich der Grund in quasi halluzinogener Manier, der Boden wird einem regelrecht unter den Füssen weggezogen....schöne Folkmelodien und mehrstimmiger Gesang sind präsent, zum Teil scheint alles schwankend im Chaos zu versinken, aber plötzlich ist wieder alles im Lot ! Einfach geniales Zeug und nach wie vor nicht zu kategorisieren, was BIOTA, die Nachfolger der legendären MNEMONISTS, hier machen !
"If fans of Biota were shocked by the pop songs that appeared for the first time on the previous Biota release, Invisible Map is going to send them reeling. They are sung by Genevieve Heistek, from the same school of Montreal musicians who spawned Godspeed You Black Emperor. The songs provide a central point around which Biota hang their esoteric production ideas. Crazy shawms suddenly spurt out of the mix, unsteady tripping rhythms from the drums counterpoint interlocking guitars, and unsettling sound processing pushes the material to the edge of oblivion. The tracks were built up from solo accordion or rubab, drums and guitar, and the whole piece is woven into an ambiguous cinematic journey. Mixing and effects were applied in real time, 'by hand'. This gives a wonderful spontaneous feel to the music, and Biota have made an art out of accepting and working with freak accidental effects." [label info]
|
2001 |
€14.00 |
|
| BIRCHVILLE CAT MOTEL |
Seventh ruined hex |
CD |
"... Die Grundästhetik seiner Arbeit als Birchville Cat Motel speist sich dann auch aus einem starken, deutlich hörbaren Black Flag-Einfluss, der auffällig gut mit einigen Querverweisen an Drone Music und Power Electronics harmoniert. Unter der willkommenen Mitwirkung von Matthew Bower, der dem Rock unter anderem bereits mit Skullflower einst ein anderes, tatsächlich ungewohntes Gesicht verpasste, kreiert Kneale in diesem Spektrum auf »Seventh Ruined Hex« (Important Records) eine weitere hörenswerte Variation auf ein Themas, das zuletzt vielleicht etwas oft beackert wurde, um dauerhaft spannend zu bleiben. Mann muss ihm allerdings zu Gute halten, dass seine Layer aus Noise, angedeuteter Harmonie und purer Klangwand jederzeit überzeugend, durchdacht und manchmal sogar recht originell erscheinen." [Kai Ginkel / SPEX]
"A further step out in Birchville Cat Motel's ruminations on time/space distortion featuring the additional mystikal talents of fellow gravity destroyer, Matthew Bower (Hototogisu/Sunroof!). Seventh Ruined Hex presents like a lonesome planet, occasionally struck with super-sized fragments of space detritus, but for the most part, just hangs around, spinning on its axis and doing fuck-all. Strangely emotive for 'a buncha noise.' Like the deepest love, it's warm yet tenuous, and filled with the ever-present potential for loss and brutality. More in line with the estranged love tangle of the Birchville classic Chi Vampires than the most recent befuddling hyperspace rock overload of recent albums like Our Love Will Destroy the World and Birds Call Home their Dead. Features Matthew Bower, who has been known to put out a good album or two on a regular basis. Powerful." [label notes]
www.importantrecords.com
|
2007 |
€13.00 |
|
| |
same |
CD |
"Guitar - Cymbal - Electrics" prangt auf dem Innencover (7"-Hülle) der allerersten BCM-CD von 1997! Hier begann der Siegeszug von CAMPBELL KNEALEs rauhen und furiosen neuseeländischen Drone-Sounds, unglaubliche Feedback-Skulpturen entstehen hier, aber auch ruhige Dronismen... wenige Kopien dieser CD (Auflage etwa 550 Stück) sind wieder aufgetaucht, das Label ist seit Jahren nicht mehr aktiv!! |
1997 |
€14.00 |
|
| BIRDS OF DELAY |
The Cut |
LP |
"you'll have to run thru a intense long brown tunnel before arriving at the best butcher in town! he'll cut your meat down to pure droned filet americain or preparé from the chef! bears and bowie lookalikes are huge fans, as this bird butcher sliced many famous animals since a young age. he grew from playing cards in the bar with the big nuts via pinching fags in the parc to a full blown fine line worker! spin him around and you get a conceptual artpiece, back to the old skool game of throwing cards on a table! poetics re-invented by dolle smurfen repeating the same word over and over again, until you eventually get it and snap, which usually takes a while. a perfect summer bummer for boiling brains and unusual double pleasure! classic tones, properly sliced feathers, and intense poetics. comes in a metalic green cover design of a spit and ink painting by d tyfus." [label info]
www.ultraeczema.com |
2010 |
€18.00 |
|
| BIRDS OF PASSAGE |
This kindly Slumber |
CD |
"Nach den beiden Alben 'Without the World' und 'Winter Lady' im Frühjahr bzw. Winter 2011, kehrt die Neuseeländerin Alicia Merz - besser bekannt als Birds of Passage - mit ihrem dritten Album 'This Kindly Slumber' endlich zurück. Wie ein Kokon umhüllen die vielen feingearbeiteten Schichten dieses Album den Hörer. Leise Klangstürme tragen eine Ambient Atmosphäre heran, gefolgt von dicht auf dicht übereinander gelagerten chorischen Drones und Alice Merzvertraut fragilen Vocals. Der schroffe Nachhall ihrer unverwechselbaren Stimme kontrastiert sanft dahin schwelgenden Träumereien, getragen von poetisch philosophischen Texten. Zusammen schaffen sie ein Klima von Glück und Zuversicht, das so unwirklich und sanft wie es gekommen ist, auch wieder abklingt. Mit Anspielungen auf Dark Pop und klassischem Broken-Folk, erinnern uns Alicias Kompositionen - die jederzeit konsequent den musikalischen Klimax oder etwaige Annäherungen aussparen - daran, dass sie eine Singer-Songwriterin ist für Hörer, die sich eigentlich genau jener Form von Musikern nicht verschrieben haben. Es ist Zeit in den Kokon zu klettern und 'This Kindly Slumber' zu erfahren. Dieser Ort der Zuflucht wird dich finden, wenn du ihn am meisten brauchst und dich in seine Welt aufnehmen. Für Hörer von SLOWDIVE, GROUPER, ZOLA JESUS, COCTEAU TWINS, SIGUR ROS." [label info]
www.denovali.com
|
2014 |
€14.00 |
|
| BIRDS OF PASSAGE & LEONARDO ROSADO |
Dear and Unfamiliar |
LP |
"180gr Vinyl im Gatefold Sleeve auf 300 Stück limitiert. CD im Digipak. Ein minimalistisch-cinematischer Trip in den Bauch des experimentallen Dark Pop.
Nach dem von allen Seiten gelobten Debüt "Without The World" und ihrer ersten Europa Tour 2011 kehrt BIRDS OF PASSAGE ("der neue Stern am Himmel des Dark Pop") aus Neuseeland nun mit dem zweiten Akt zurück.
"Dear And Unfamiliar" ist ein cinematisches Konzeptalbum, das sie zusammen mit Leonardo Rosardo aus Portugal erschaffen hat.
Das Album ist ein vollfarbiger Soundtrack, der einen lebendigen Pfad durch die Düsternis der desolaten Melodien schneidet.
Geschichten vergessener Tragödien und unerwiderter Liebe befreien den Reisenden von Tagträumen des Unglücks und leiten den Wanderer durch die kontrastierenden Landschaften aus Dysphoria und Ekstase.
Gemastert von Nils Frahm mit Artwork von Bruno Merz. Das Album sollte Fans von COCTEAU TWINS und PORTISHEAD ebenso wie Fans von JONSI & ALEX oder ZOLA JESUS gefallen.
Glücklicherweise arbeitet Alicia schon an ihrem nächsten Soloalbum samt Single, auf der sie mit Aidan Baker (NADJA, INFINITE LIGHT LTD.) kollaboriert." [label info]
www.denovali.com
|
2011 |
€19.50 |
|
| BISCLAVERET |
Psyche noMine |
CD |
Erste "volle" CD für dieses polnische Dark Ambient / Esoteric Drone-Duo, erschienen auf dem israelischen EASTERN FRONT-Label.
"... Diese Kompositionen offerieren ein Dickicht aus Synths-Schwaden und einem Gewirr von gesprochenen, geflüsterten oder klagend gemurmelten Stimmen, gelegentlich aufgelockert von Piano-Klängen und dezenten rhythmischen Erschütterungen, und strahlen eine sich langsam verbreitende beklemmende Atmosphäre aus, die insbesondere nach intensivem Rotwein-Genuss ihren Platz beanspruchen kann und auch inhaltlich gestützt wird. Songtitel wie „Ritual of the all-embracing madness“ und „Voices from another state of…mind, heart and body“ dürften insoweit für sich sprechen, mit “Akeldama XIV” wurde zudem Mr. Aleister Crowley vertont.
„Psyche noMine“ erscheint auf dem israelischen Label The Eastern Front. Dieses hebräische Bataillon hat keine Kosten gescheut und dem Silberling eine überdimensionierte Pappverpackung mit Einlegekarte und allen Texten spendiert. Es kann also endgültig losgehen für BISCLAVERET, die für 2007 neben einer neuen EP auch noch eine Wiederveröffentlichung ihrer Erstwerke in Planung haben." [Terrorverlag]
"Bisclaveret - A Polish dark ambient/dark wave duo presents its album Psyche noMine. It took two years to conceive, resulting in 6 songs (clocking at around 53 minutes). Musically, it's a piece for those interested in moving, yet extraordinary art. Lush strings, industrial rhythms and even noise tones at times summarize the background for Dragos' voice coming from the other, subconscious side of his mind. Lyrically, it's a concept-album of sorts. All the lyrics deal with human sub consciousness. The words on 'Psyche noMine' shows a man entangled in the arcane of the world, somebody who does not notice phenomena around him. The man whose recklessness or even arrogance so natural for him is the cause for him being lost in the surrounding reality. The album's ambiguous title suggests what receivers will deal with when listening to new Bisclaveret album. A must-have album for fans of Nordvargr, Dead Man's Hill and Cold Meat Industry acts, such as In Slaughter Natives & Sanctum." [label info]
www.theeasternfront.org
|
2006 |
€13.00 |
|
| BJARNADOTTIR, HAFDIS |
Sounds of Iceland |
CD |
"This recording takes you on a round trip of Iceland. The aural journey starts westward from the island’s south in the cold early spring. After a side trip into the West Fjords, our route traverses the north of the country at the height of summer, followed by an excursion into the interior highlands before a short stop in the East Fjords. As the sound trip nears its geographical starting point, autumn and winter make their appearance before the journey comes full circle.
The recordings do not feature human-derived sounds.
1. South
0.00 – 1.45 Strokkur geyser, Haukadalur
1.46 – 3.15 Hot springs, Haukadalur
3.16 – 7.04 Grímsnes lava field
7.05 – 8.11 Hot spring in Reykjadalur valley in Hengill geothermal area
2. South West
0.00 – 2.55 Urriðakotshellir cave, Heiðmörk Nature Reserve
2.56 – 3.47 Gjáarétt, outside Urriðakotshellir cave, Heiðmörk Nature Reserve
3.48 – 5.19 Stream near Lake Elliðavatn, Reykjavík
5.20 – 6.28 Eiðsvík cove near Geldinganes causeway island, Reykjavík
3. West
0.00 – 1.52 Hraunfossar waterfalls and River Hvítá
1.53 – 2.24 Deildartunguhver hot spring
2.25 – 4.49 Húsafell area
4.55 – 7.59 Surtshellir cave
4. Westfjords
0.00 – 3.38 Barðaströnd coast
3.41 – 5.19 Látrabjarg bird cliff
5.20 – 7.31 Near Galtarviti lighthouse
5. North
0.00 – 1.50 Goðafoss waterfall
1.51 – 2.52 Lake Mývatn
2.53 – 4.50 Hot springs in Námaskarð geothermal field
4.51 – 5.56 Dettifoss waterfall
6. Highland Plateau
0.00 – 1.53 Near Mt Laugarfell
7. From East to South
0.00 – 1.03 Klifbrekkufossar waterfalls, Mjóifjörður fjord
1.04 – 2.30 Sólheimajökull glacier
2.31 – 3.03 Gullfoss waterfall
3.04 – 4.11 Strokkur geyser, Haukadalur valley
7 Tracks (41′59″)
CD (1000 copies)
www.gruenrekorder.de
|
2015 |
€13.00 |
|
| BJERGA / IVERSEN |
(Go with the Flow) like a Twig on the Shoulders on a mighty stream |
CD |
* BJERGA / IVERSEN - (Go with the Flow) like a Twig on the Shoulders of a mighty Stream CD (TIBProd 100, 2008) € 12.00
Zusammenstellung von 12 Stücken von dem norwegischen drone/noise/impro-Duo, die in den letzten Jahren mit ZIG CDR releases präsent waren. Ihre Drones sind nicht edel, harmonisch, oder grossartig strukturiert, sondern low-fi, dreckig, feedbackend, obertönend,
als Klangquellen kommen allerlei Instrumente, Objekte und Effektpedals zum Einsatz... das erinnert an ähnliche Sachen von MY CAT IS AN ALIEN oder BIRCHVILLE CAT MOTEL... als komprimierte Compilation ein kurzweiliger Überblick im Booklet ausführliche liner notes von Tobias Fischer (Tokafi).
".... A fine introduction into four years of hyper activity from two minds from the Nor-scene. Lots of guitars, lo-fi electronics, mild distortion, waving minimalism and lengthy drones, this is what their world is made off. Their selection is very fine, I'm pretty sure I would have picked similar pieces from their catalogue - the more quite lengthy drone pieces of buzzing electronics and fine guitars. I can imagine you can't collect all fifty previous releases, but if you need one, then why not this one?" [FdW / Vital Weekly]
www.tibprod.com
|
2008 |
€12.00 |
|
| BJÖRGULFSSON, HEIMIR & JONAS OHLSSON |
Fur Your Bears Only |
CD |
Looking for some strange music? Here it is.. Der Ex-STILLUPPSTEYPA hier in Zusammenarbeit mit einem gewissen Jonas OHLSSON quälen uns mit Mutanten-Techno inkl. schnuckeligen BÄREN-Samples, hochabstraktem digitalen Microwave-Gebruzzel, undefinierbaren field-recordings mit hohem Abartigkeitsfaktor, Stille, und was sonst nicht noch alles..
und dann noch solche Titel wie „My Arse Glitches“, und Bären-Collagen auf dem Cover!
Coverartwork, Titelgebung, Musik = Popmusik an der Grenze zum Irrsinn, frische Neurotransmitter für eingerostete Synapsen.
“heimir björgúlfsson is an ex-member of the longstanding icelandic group stilluppsteypa and jonas ohlsson is a reknowned visual artist, both based in amsterdam, the netherlands. "fur your bears only" is their second collaboration after the "unspoken word tour" album in the brombron series released by staalplaat and extrapool. "fur your bears only" is the most melodic and poppy music ever to have come out of björgúlfsson & ohlsson, providing 8 tracks that show how disco & house can get distorted once in the hands of these two gentlemen. from the epic opening 10-minute title track onwards this work is full of abstract dancefloor sympathies.” [press release]
|
2003 |
€13.00 |
|
| BLACK DICE |
Creature Comforts |
CD |
Noch ein heisser Anwärter für den Seltsamkeits-award; super seltsame, surrealistische Hawai-gitarren, lazy beats, elektronische pulses, schwankend & leiernd der Sound, irgendwo befinden sich auch Stimmen (Gesang kann man das nicht nennen), kurzum: undefinierbar, unbewertbar, unergründlich. Einfach klasse schräg.
„Jim O’Rourke hat einmal so boshaft wie zutreffend bemerkt, dass es etwas anderes ist zu improvisieren oder nur improvisierte Musik zu spielen, sprich, sich selbst zu imitieren. Insofern muss man mit Creature Comforts (FATCD32) konstatieren, dass BLACK DICE keine BLACK DICE-Musik spielt, sondern BLACK DICE mit jedem Release neu erfindet. In radikaler Abkehr von der Voodoo-Psychedelic von Miles Of Smiles entfaltet ihre neue CD in unverhofft Miro’scher Heiterkeit eine elektropopig-surreale Skurrilität. Ausser dem Nenner „weird“ scheint die Bandästhetik komplett ausgetauscht. Ein flockiger Cartoon-Leichtsinn kapriolt durch acht Tracks, die aus vielen undichten Ventilen wie Gameboys dudeln und wie R2D2 zwitschern. Es eiert, loopt, wabert und schwip-schwapt auf sämtlichen Synthie-, Chorus- und vor allem Gitarrenspuren, die Percussionabteilung ist dafür weitgehend paralysiert. Das Ganze verhält sich zu Kraut wie Jad Fairs Best Wishes & Half Robot zu Punk. Heftige Dub-Effekte lassen 80s-Elektro-Trash abdriften in Richtung Mondo Exotica 2001 - Odyssee im Kinderzimmer. Vier 1-2-Minuten-Knirpse odradeken um die 6- bis 9-minütigen Freak-Epen „Treetops“, „Creature“ und „Night Flight“ und den viertelstündigen Monolithen „Skeleton“, ein tapsiges Schreckgespenst, durch dessen Rippen Gitarren und Synthies jämmerlich jaulen. Während man vorne ein Mona-Lisa-Lächeln geschenkt bekommt, steigen auf der Rückseite hinter den sieben Bergen Sprechblasen wie Rauchzeichen auf. Genau dazwischen, in der Hirnrisszone, inszenieren BLACK DICE ihr Happening, das die Nerven etlicher Mucker blank legt: „Lärmbelästigung!“ „Hirnmüll“ direkt aus der Klapse... bekloppte Katastrophe für unmusikalische Gefühlsambutierte“... „Musik von und für Nerds.“ (Intro-„Probefahrt“) Köstlich. [BAD ALCHEMY 44]
"This is the official follow-up to their DFA debut CD and Double LP Beaches & Canyons. It finds the band pushing in yet another direction, at once unmistakably Black Dice, and noticeably different. Recorded with Steve Revitte (Liars, Kill Me Tomorrow), the DFA & Nicolas Vernhes (Fisherspooner, Fiery Furnaces). Venturing further into their own psychedelic, increasingly electronic world, Creature Comforts is as expansive, experimental and structurally unique as its predecessor, but there is a new sense of playfulness and accessibility mixed with naïve wonder and not-quite-steady rhythms. It is hazy, dreamy, but they have suddenly emerged as a band with an untouchably original terrain, mixing dub, tropicalia and the entire history of psychedelic rock music into one heady concoction." [press release]
|
2004 |
€14.00 |
|
| BLACK GLASS ENSEMBLE |
Arise from the Twilight |
CD |
Note. These recordings combine signals from mixing desk output and ambient microphone placement. Elements of the performance were conducted with no amplified signal. Consequently, these brief passeages appeared only on the ambient signal and are correspondingly quiet.
Acknowledgements:
Evan Henderson and colleagues, the Queen’s Hall, Edinburgh; Alison Johnson, the Coach House, Athelstaneford
Black Glass Ensemble acknowledge with gratitude the assistance of Creative Scotland, Help Musicians UK, Hope Scott Trust
credits
released November 6, 2020
Michael Begg; witness engines, data, electronics, keyboard, erosions
Douglas Caskie; tuned and bespoke percussion
Jen Cuthbertson; French horn
Neil Cuthbertson; trumpet
Clea Friend, cello, voice
Julia Lungu; violin
Aisling O’Dea; violin
Ben Ponton; VLF receiver, electronics, field recordings, lapsteel guitar, forensics
Nicole M Boitos Hayworth; voice (narration) track 2
Clodagh Simonds; voice (celestial vocal clusters) track 4
https://omnempathy.bandcamp.com/album/arise-from-the-twilight
"The first full length release from award winning experimental composer Michael Begg’s groundbreaking ensemble captures the group’s debut performance at Edinburgh’s Queen’s Hall in the final days before lockdown.
Black Glass, comprises members of the Scottish Chamber Orchestra alongside Begg and fellow experimental artist, Ben Ponton (:zoviet*france:). Here, they invoke an immersive and deeply moving medium of ambient sound in which processed electronics, field recordings, atmospheric receivers and live sonified streaming data from environmental and earth observation agencies combine with elegiac passages of strings, brass and tuned percussion to realise Begg’s vision of a new music that speaks to our growing sense of solastalgia*
* the term combining solace and pain, coined by philosopher Glenn Albrecht in 2005 to articulate the sense of existential distress caused by living through environmental change.
As musical director, Begg provides his troupe with both scores and the encouragement and support which enables the world class players to step out of their comfort zone and into an uncharted territory requiring them to improvise with satellite positional data, live weather systems, audio streams of calving glaciers – not to mention the experience of having their playing captured and returned to them live as processed loops.
Arise From The Twilight captures the realisation of one of the most compelling new fusions of contemporary classical and experimental music of recent times."
|
2020 |
€15.00 |
|
| BLACK OX ORKESTAR |
Nisht Azoy |
CD |
Zweites Album des kanadischen Ensembles, die Klezmer- & osteuropäische Musik mit neueren alternativen Musikformen verschmelzen (wobei der traditionelle/ folkloristische Anteil aber klar überwiegt) , und dabei so emotional & authentisch klingen daß es sehnsüchtige Herzen sofort in den Bann schlägt... das Quartett besteht aus THIERRY AMAR von GODSPEED YOU BLACK EMPOROR, GABRIEL LEVINE von SACKVILLE und JESSICA MOSS sowie SCOTT LEVINE GILMORE von A SILVER MT.ZION, alle lyrics sind diesmal im Beiblatt abgedruckt (auf englisch & französisch, gesungen wird auf Jiddisch), die Coverartwork ist wie immer bei Constellation superb ! „..Das auf ihrem zweiten Album erzielte, mit ausschließlich akustischen Instrumenten umgesetzte Ergebnis klingt dabei so zeitlos wie fesselnd. Melancholisch, aber nicht schwermütig oder gar depressiv, vielseitig, aber nie beliebig und vor allem: lebendig!“ [Ulf Imwiehe / OX-Fanzine]
“The latest from this Montreal quartet who explore their common Jewish heritage for sounds that can speak to them today. Mixing pre-war Jewish and non-Jewish music from Eastern Europe and the Balkans with their own musical backgrounds in out-jazz, punk, and weird folk, the band takes the strangeness and beauty of the older music and translates them into new forms. Percussion, harsh sounds, dynamics, and sonic and lyrical explorations all get thrown in the mix.” [label info]
|
2006 |
€16.00 |
|
|
Nisht Azoy |
LP |
Zweites Album des kanadischen Ensembles, die Klezmer- & osteuropäische Musik mit neueren alternativen Musikformen verschmelzen (wobei der traditionelle/ folkloristische Anteil aber klar überwiegt), und dabei so emotional & authentisch klingen daß es sehnsüchtige Herzen sofort in den Bann schlägt... das Quartett besteht aus THIERRY AMAR von GODSPEED YOU BLACK EMPOROR, GABRIEL LEVINE von SACKVILLE und JESSICA MOSS sowie SCOTT LEVINE GILMORE von A SILVER MT.ZION, alle lyrics sind diesmal im Beiblatt abgedruckt (auf englisch & französisch, gesungen wird auf Jiddisch), die Coverartwork ist wie immer bei Constellation superb !
„..Das auf ihrem zweiten Album erzielte, mit ausschließlich akustischen Instrumenten umgesetzte Ergebnis klingt dabei so zeitlos wie fesselnd. Melancholisch, aber nicht schwermütig oder gar depressiv, vielseitig, aber nie beliebig und vor allem: lebendig!“ [Ulf Imwiehe / OX-Fanzine]
“The latest from this Montreal quartet who explore their common Jewish heritage for sounds that can speak to them today. Mixing pre-war Jewish and non-Jewish music from Eastern Europe and the Balkans with their own musical backgrounds in out-jazz, punk, and weird folk, the band takes the strangeness and beauty of the older music and translates them into new forms. Percussion, harsh sounds, dynamics, and sonic and lyrical explorations all get thrown in the mix.” [label info]
|
2006 |
€17.00 |
|
|
Ver Tanzt ? |
LP |
Wer auf „osteuropäische“ Harmonien steht, muss hier zugreifen !! Das BLACK OX ORKESTAR ist ein Bandprojekt mit Musikern der Montrealer Szene von SILVER MOUNT ZION, GODSPEED YOU BLACK EMPOROR und SACKVILLE, das seit 1999 besteht und osteuopäische & jüdische Klezmer-Musik mit Indie-Rock und FreeJazz-Einflüssen verbindet. Lyrics werden auf Jiddisch gesungen. Melancholische Leidenschaft pur!
“Black Ox Orkestar is a Montreal based quartet formed in 1999
The band features:
* Thierry Amar (double-bass) (Silver Mount Zion/ Godspeed You! Black Emperor/ Molasses)
* Jessica Moss (Violin, bass clarinet) (Silver Mount Zion/ Frankie Sparo)
* Gabe Levine (clarinet, guitar) (Sackville)
* Scott Levine Gilmore (vocals, mandolin, cymbalon, drums, ecc)
(Silver Mount Zion)
The Black Ox Orkestar songs filter the traditional Klezmer tunes through punk rock and free jazz, borrowing turkish/balkan/greek idioms. They are a hypnotic blend of Eastern European songbooks along with some traditional klezmer compositions. Scott Levine Gilmore and Gabe Levine also perform in "Le Petit Theatre de l'Absolu" a political theatre and puppet show. They have toured in occupied territories and have performed in Canada and in USA, France and Spain. Nowadays Klezmer music transcends its Jewish folk roots: Balkans and blues, ancient Jewish culture and prayer and history, spirit, punk rock, and jazz all mixed together and enjoyed by people of all cultures. (Klezmer in english means "instrument of song").
The lyrics are in Yiddish and concern past and current political issues. Yiddish was the language that the Eastern European Jews brought with them when they emigrated to America. At the beginning of the 20th century there were many Yiddish language newspapers and an important Yiddish tradition in theatre. Today it's hardly used as an everyday language but has left its impact on on the speech of the American Jews.
The lyrics of the song "Toyte Goyes in Shineln" are by the poet Itzik
Feffer who belonged to the Jewish Anti-Fascist Committee (JAC) and was murdered by Stalin's decree in 1952.
The album is available on CD and 180g vinyl formats, each in lovely
chipboard packaging and both featuring an 8-page booklet. The front cover artwork is an ancient kabbalistic icon and the back cover is original art by Scott Levine Gilmore.
The booklet contains historical and original images, and translation f
the lyrics "Ver Tanzt?" ("Who's dancing?"). On the back of the booklet is a prophetic message from Gershom Schol (one of the most famous researchers of the Jewish mystical tradition and the Kabbala) to Franz Rosenzweig (most influential figure of 20th century European and North American Judaism) dated 26 December 1926.” [press release]
|
2004 |
€16.50 |
|
| |
Ver Tanzt ? |
CD |
Wer auf „osteuropäische“ Harmonien steht, muss hier zugreifen !!
Das BLACK OX ORKESTAR ist ein Bandprojekt mit Musikern der Montrealer Szene von SILVER MOUNT ZION, GODSPEED YOU BLACK EMPOROR und SACKVILLE, das seit 1999 besteht und osteuopäische & jüdische Klezmer-Musik mit Indie-Rock und FreeJazz-Einflüssen verbindet. Lyrics werden auf Jiddisch gesungen. Melancholische Leidenschaft pur!
“Black Ox Orkestar is a Montreal based quartet formed in 1999
The band features:
* Thierry Amar (double-bass) (Silver Mount Zion/ Godspeed You! Black Emperor/ Molasses)
* Jessica Moss (Violin, bass clarinet) (Silver Mount Zion/ Frankie Sparo)
* Gabe Levine (clarinet, guitar) (Sackville)
* Scott Levine Gilmore (vocals, mandolin, cymbalon, drums, ecc)
(Silver Mount Zion)
The Black Ox Orkestar songs filter the traditional Klezmer tunes through punk rock and free jazz, borrowing turkish/balkan/greek idioms. They are a hypnotic blend of Eastern European songbooks along with some traditional klezmer compositions. Scott Levine Gilmore and Gabe Levine also perform in "Le Petit Theatre de l'Absolu" a political theatre and puppet show. They have toured in occupied territories and have performed in Canada and in USA, France and Spain. Nowadays Klezmer music transcends its Jewish folk roots: Balkans and blues, ancient Jewish culture and prayer and history, spirit, punk rock, and jazz all mixed together and enjoyed by people of all cultures. (Klezmer in english means "instrument of song").
The lyrics are in Yiddish and concern past and current political issues. Yiddish was the language that the Eastern European Jews brought with them when they emigrated to America. At the beginning of the 20th century there were many Yiddish language newspapers and an important Yiddish tradition in theatre. Today it's hardly used as an everyday language but has left its impact on on the speech of the American Jews.
The lyrics of the song "Toyte Goyes in Shineln" are by the poet Itzik
Feffer who belonged to the Jewish Anti-Fascist Committee (JAC) and was murdered by Stalin's decree in 1952.
The album is available on CD and 180g vinyl formats, each in lovely
chipboard packaging and both featuring an 8-page booklet. The front cover artwork is an ancient kabbalistic icon and the back cover is original art by Scott Levine Gilmore.
The booklet contains historical and original images, and translation for the lyrics "Ver Tanzt?" ("Who's dancing?"). On the back of the booklet is a prophetic message from Gershom Schol (one of the most famous researchers of the Jewish mystical tradition and the Kabbala) to Franz Rosenzweig (most influential figure of 20th century European and North American Judaism) dated 26 December 1926.” [press release]
|
2004 |
€16.00 |
|
| BLACK SUN PRODUCTIONS |
Im Gegenteil |
mCD |
BLACK SUN PRODUCTIONS beweisen auf dieser 4-track mcd eindrucksvoll, dass sie mehr sind als schwule COIL-Jünger,
elektronisch – rhythmisch – experimentell – philosophisch geprägt und sehr eigenständig klingen ihre Stücke, fantastisch das tribal-hypnotisierende „Das Gegenteil“.
“Best known in some quarters for their collaboration with Coil in some of the band's most iconoclastic live installations and for their epic performance project Plastic Spider Thing, Black Sun Productions' children of darkness are about to release the official follow up to last year's highly acclaimed operettAmorale. Black Sun Productions' Im Gegenteil unveils new material from the forthcoming full length album The Impossibility Of Silence (A Well Hung Monk; God?) as well as a two exclusive non album tracks (Clear Skies & Dark Skies; Das Gegenteil). "It's musick for the Church Of Body. There is a powerful technotic, entrancing pulse that runs through the session dancing between the sacred and the profane. Sometimes there is a strong tribalistic rhythm, at others a granular flicker of the taste of electrickery.
”Darius Akashic, Crooked Stylus"
Written, produced and performed by draZen, Pierce & Massimo. Released by Sheela-Na-Gig Sha-Na Penisring Ning [a sub of DANHUSER Org.] ”Ariot Fleischmann, black-sun-productions.com” [press release]
|
2006 |
€10.00 |
|
| BLACK TO COMM |
Alphabet 1968 |
CD |
"Marc Richter alias Black To Comm ist kein Newcomer auf dem Feld der elektronischen Musik. Als Kopf des in Hamburg ansässigen Labels Dekorder hat der Musiker und Designer die Musikfans schon mit zahllosen Kuriositäten beglückt, mit seinen eigenen Kompositionen machte er allerdings am meisten Furore. Richter ist ein Pionier auf seinem Gebiet: Mit Bandschleifen, alten Orgeln und einer Flut zufällig gefundener Sounds schuf er einen ganz eigenen, organischen Drone-Sound. Mit "Alphabet 1968" indes bewegt sich Richter eher hin zu klassischen Mustern, hin zu Songs (in Ermangelung eines besseren Begriffs). Kurze Stücke, die für ihn Meilensteine repräsentieren, die ihn wiederum an seine Lieblingsplatten erinnern. So entstanden zehn
atemberaubende Songs, die über 45 Minuten Weltmusik, Techno, Noise, Avantgarde, Ambient und sogar Exotica streifen, die Reverenzen reichen dabei von Moondog über Basic Channel bis zum Soundtrackkomponisten Bernard Herrmann. Jedes Stück ist mit elektrostatischem Radiorauschen unterlegt, das einen durch das Album wie auf einer alten Senderskala wandern lässt. // A sprawling epic of a record from Hamburg's omnipresent Marc Richter.
Marc Richter (aka Black to Comm) is no newcomer to the experimental music scene. As the figurehead of the Hamburg-based Dekorder label, the musician and designer has brought countless oddities to the attention of rabid music fans in the last few years, but it is with his own compositions that he has made the biggest splash. Releasing for a plethora of labels including Digitalis, Trensmat and of course his own imprint, he has pioneered a new, organic drone sub-genre using tape loops, vintage organs and an inexhaustible swamp of found sounds. With this latest album however, it was Richter’s intention to move away from the epic drones he had made his own and into something more ‘classic’.
The mission statement for ‘Alphabet 1968’ was to write an album of ‘songs’ for want of a better word. Short tracks which represented genre points, the milestones which stuck in Richter’s mind when he thought back to his favourite records. What we arrive at is an breathtaking ten track album which, over the course of forty-five minutes, explores world music, techno, noise, avant-garde, ambient music and even exotica. Each track is linked with a loose thread of radio static or environmental sound, dragging you through the album as if tuning in to a stray broadcast or a particularly adventurous mix.
Richter has pieced the album together from hours of recordings made at his studio with home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 records. The scope of the album is admirable but ignoring this it is simply a shockingly arresting collection of experimental oddities, with references ranging from Moondog to Basic Channel by way of the Bernard Herrmann. It’s not hard to fall in love with ‘Alphabet 1968’, far harder would be to place exactly where the record should fit into your collection." [label info]
www.typerecords.com
|
2009 |
€15.00 |
|
| BLACKHUMOUR |
Selected Pieces |
CD |
"since the time i came across ‘romance’ LP (on korm plastics, netherlands) and the ‘two women’ tape (on sph, spain) almost 20 years ago fell in love with the work of blackhumour, and his simple but Immersive way of playing with the human voice (be it found sound or recorded by himself), its transformation and the way he perceived his universe and his approach. in ‘selected pieces’ we find recordings done mostly in the 00’s culled from his archives for this release showing in almost the best way his sound in various manifestations (be it harsh, bizarre or mesmerizing like the ‘incantatory’ piece based upon the sounds of a hypno-dominatrix). and couldn’t find a better release to coincide with the outbreak of my new fanzine ‘emvoes’. housed in a foldout poster this release can be seen either as a cd, an audiopostcard, an audiozine or whatever situation the listener wants to find himself into…" [label info]
blog.noise-below.org
"probably one of the more curious careers in music: blackhumour, who spells it without capitals, like any thing he writes really. so we humour him with this review without capitals. curious career, since in the late 80s he was active on the cassette scene, released a lp even, and then seemed to have disappeared and releases have become more sparse since then. what i enjoyed back then about the music of blackhumour was the consistent use of only voice material, which he cut into loops and layered them together, very much like steve reich did with his 'come out' and 'it's gonna rain'; in later he work blackhumour cut phrases out of conversations and moved them around, creating new contexts. that work appealed less to me, i must admit. the six selected pieces here are from the period 1996 to 2002 and hold the middle ground between those 'heavy' drone like pieces from the early years and the cut 'n paste pieces of later. repetition plays a big role here, and most of the time it seems like not much is changing here - except for 'arbitrary', which seem to contain glitches from the digital audio tape it was once recorded on (unless this is a dirty cd), which add something to the voice material. Otherwise these pieces are as minimal as you can get, and it's the blackhumour i like very much. it has that fine hypnotic sound, with enough information to concentrate on one thing for a while and then something else. 'le mot juste' is the piece in which things change around into something entirely different. 'revision' adds in density over the course of seventeen minutes before changing over, in order to grow again, which is pretty much a standard blackhumour compositional technique. this is a most wonderful release. it should have fitted on monochrome vision (blackhumour has a strong black and white aesthetic too), but on noise-below is equally in the right place. if you have no idea who blackhumour is or what he does and if 80s unsung cassette heroes is your 'thing', then this cd is the best place to start. my pick of the week." [Fdw/Vital Weekly] |
2014 |
€10.00 |
|
| BLACKSHAW, JAMES |
The Glass Bead Game |
LP + CD |
"I'm extremely pleased to announce that James Blackshaw will now be releasing his absolutely spellbinding music via Young God Records. He has received attention as a 12-string guitar prodigy / virtuoso. He used to be in punk bands in England, but then he started listening to people like John Fahey, Robbie Basho, etc., and I assume locked himself in a room for 12 hours a day for several years and just played constantly. It takes intense discipline and a religious commitment to get to the place where he's at with his instrument. But his music isn't about his "skill." It's not showy. It's deeply meditative--the secret language of a pre-thought, pre-dream place. "Blackshaw plays soulful and kaleidoscopic, ever-shifting mantra cycles of incredible beauty. Just his guitar by itself, with its swirling overtones, cascading notes, and a thousand points of light, resembles an orchestra, but with further orchestration--piano, strings, wind, and vocals--the music is positively cinematic and mesmerizing. "The 18-minute-plus gem on this record is 'Arc,' performed on piano with the sustain pedal on full throttle. The rush of sound created by the overtones from Heaven, augmented by strings and wind, when played at proper (full) volume, is one of the most thrilling pieces of music I've heard in years. It takes a rare and single-minded courage and commitment to make music with such a powerfully positive force at its heart, especially in these troubled times. This is healing music that reaches for what's possible, just beyond our grasp. It is stellar... "Blackshaw is joined on this record by Joolie Wood (Current 93, Simon Finn) on violin, clarinet, and flute, and John Contreras (Baby Dee and Current 93) on cello. Lavinia Blackwall (Directing Hand) is a classically trained singer and contributed vocals." [Michael Gira/Young God Records]
"... We totally love how his style and aesthetic remains intact, whether he’s sitting at the piano or with a guitar on his knee, his close attention to detail and use of hypnotic, emotionally captivating melodies shines throughout. Notes flickering and shimmering about as overtones soar above like clouds.
There’s so much about this record that you can get fully wrapped up in, so much detail it would be impossible to absorb it all in just one listen. We’ve already been listening to Glass Bead Game for over a week, and still new details keep popping out of the woodwork. And to top it off, beautifully fitting, earth-toned artwork of various birds of prey perfectly adorns the album with some magical visual hex. By far our favorite Blackshaw album to date and quite possibly his best, highly and fully recommended!" [Aquarius Records]
|
2009 |
€17.00 |
|
| BLAKK HARBOR |
Madares |
do-LP |
Debut double LP album from Blakk Harbor the Greek Berlin based artist and sound designer behing Native Instruments, Angelos Liaros. Soaring drones, dark ambiences and expertly crafted sound design. ‘Madares‘ title derives from the actual dune mountains of Crete. This moonlike landscape a sacred land of ancient ceremonies and the main inspiration for the album concept, cover and artwork. Percussive samples and drones are created from traditional custom Cretan instruments (lute, skin drums, lyra, tsabouna) & world instruments (Tibetan bowls, gongs, dungchen horns) granulized to death drones through modular synths and hardware samplers.
A black hole soundtrack that sucks you in tearing the fabric of space and time. Enter a ritualistic occult trip to the unknown.
https://blakkharbor.bandcamp.com/releases |
2018 |
€26.00 |
|
| BLANCO ESTIRA NUESTRO (+), HERMANA HELICE |
Cylindre / Oeur (S+C) |
12 |
"To show an aeroplane in motion, one should not paint still lives" (*) Kryptische neue VÖ des griechischen Projekts, das ständig den Namen ändert (nach NIXILX.NIJILX und HELICE PIED - als DR-83 auch auf Drone Records verewigt) - und damit wirkliches Neuland betritt, denn der Wiedererkennungswert anhand eines festen Band-/Projektnamens ist wohl der Grundkonsens aller Musikschaffenden. Diese 45rpm 12" enthält 3 Stücke, die alle auf Aufnahmen von Flugzeugen (wahrscheinlich Innenräume) basieren. Dazu kommen absolut undefinierbare rumpelige Klänge und Sirr-Sounds, und diverse kryptische Zitate von MARCEL DUCHAMP(*), ANTONIN ARTAUD, JEAN COCTEAU, ARTHUR RIMBAUD und anderen auf dem Cover. Bestimmte Klänge auf den Stücken sind wiederum verbunden mit vorher erschienenden Tonträgern. Sokratis Martinopoulos produziert keine gewöhnliche Musik, sondern akustische Rätsel.
"blanco estira nuestro (+), hermana Hélice is Socrates Martinis’ (1984, Athens, Greece) third pseudonymous project, following nixilx.nijilx and Hélice Pied. This installment, composed in 2006–7 using found sounds and objects, focuses on the sounds and sights of a distant aeroplane,
the vanishing drone of which Martinis’ finds to be particularly beautiful. The subject of planes was first explored in Aputi (released by Authorised Version, 2005), the final section of which makes a return appearance here in the .oeur diptych. This piece also reuses a guitar sound from E.2, which originally appeared on the debut nixilx.nijilx CDR published by absurd in 2004. Cylindre. also revisits past recordings, borrowing a bell sound from Conduit no. 2 (Drone Records, 2006). Martinis is also
a member of ‘silkworms cannot be confiscated until they’ve become perfect cocoons’ with absurd’s Nicolas Malevitsis. First edition of 200 copies. Co-published with absurd." [label info]
|
2008 |
€12.00 |
|
| BLEEDING HEART NARRATIVE |
All that was missing we never had in the World |
CD |
Wiederveröffentlichung des Debut-Albums, mit Bonus-Tracks. Eine erstaunliches Zusammentreffen von Noise & Drones mit Folk / Postrock und kammermusikalischen Klängen, traumverwoben und verwandelt in sensible Fliessmuster...
"...In The World". Reissue of the stunning debut BHN album from spring 2008 (ltd. 200). Working with a constantly evolving autumnal orchestra of layered cellos, repeating piano melodies, hushed vocals and mutant textures of sound and noise, Bleeding Heart Narrative has constructed a unique, haunting and compelling album. BHN is the work of sole composer, artist and producer Oliver Barrett, working in the live spectrum as a septet. Presented in a digipak with the new and exclusive bonus track 'Blueskywards'. We can't recommend this highly enough!" [label info]
"Present album was originally released as a limited edition of 200 copies on Tataruga Records. One year after the original release British label Cold Spring Records now gives a wider audience the chance to get introduced to this interesting project. Behind the name Bleeding Heart Narrative, you find the London-based composer Oliver Barrett, who proves his insight knowledge in the world of acoustic sounds. Important elements on the album titled "All that was missing we never had in the world" is the sound of acoustic instruments such as cello, piano and guitar. Sometimes these acoustic sounds live their very own life in the music, other times the sounds are woven into electronic dronescapes, giving the music an ambient feeling. Musically, the album floats in-between ambient and postrock, mostly kept in trance-inducing atmospheres. A central part of the album is the excellent vocals of Alastair Bailey, that makes the overall style remind of the excellent joint venture-project between ambient-maestro Robert Rich and guitarist/bassist Rick Davies, Amoeba. As the album-title and the project-name suggest, the feeling on the album is melancholic and fragile. A beautiful and emotive experience that will appeal to listeners of dreamy postrock and acoustic based ambient." [NM / Vital Weekly]
|
2009 |
€13.00 |
|
| BOBBY MOO |
Aventures |
12inch |
Bobby Moo is a trio created in 2000. Alexandre Bellenger, an active young composer, plays prepared turntables and records, Miho is an electronic noise maker and Arnaud Rivière plays mixing board specially arranged with metal rods and wires.
Limited edition of 500 copies. |
2005 |
€9.00 |
|
| BOCA RATON |
Mansdoof |
CD-R |
Bearbeitete field recordings vom MIXER-Labelbetreiber Martijn Tellinga aka BOCA RATON. Spannungsreiche, nebulöse Soundlandschaften sind hier entstanden, durchdrungen von kaum zu identifizierbaren Konkret- und Geräuschklängen.
“Two new releases on one of the finest CDR labels around, and still going strong. Boca Raton, you are no doubt aware is a city in Florida, but it's also the musical project of Mr. Mixer Martijn Tellinga. After his 7" for his own label, he now releases on Absurd. The release was delayed but it enabled Boca Raton to rework the material according to new working methods learned at his Sonology training in The Hague, The Netherlands. Boca Raton is the man running around with a microphone and a minidisc - taping sounds from the environment. Then he returns to his studio and started treating the sounds electronically. A very traditional way of working of course, but in Boca Raton's instance he comes up with ten delicate nice compositions. What sets him aside from so many others is the fact that he is not interested in making the material 'silent' or 'inaudible' or 'noisy' and 'louder'. He simply crafts ten small pieces of sound. Off hand I could think of one other band that did so, albeit in the past. Much of the work of Boca Raton dwells on the ideas of THU20, a Dutch electro-acoustic group. They too treated their sound with great care and what interested them, and now Boca Raton, was the composition they could make out of it. Everything is well-balanced and placed in the mix, which makes this a truely nice work to hear. Joyful. Skillfull. Two things that aren't always around.” [fdw, Vital Weekly]
|
2004 |
€8.00 |
|
| BODIN, LARS-GUNNAR |
Clouds |
LP |
Letzte Original-Kopien dieses Klassikers der schwedischen elektronischen Musik! "CLOUDS" wurde erst kürzlich auf CD wiederveröffentlicht; eine Art multimediales Drama aus Musik, Gesang, Tanz-Performance, Dia- und Filmprojektion. Eine komprimierte Fassung (ca. 45 Minuten) wurde als LP veröffentlicht, mit auffallend schönen Synth-Drones & vokalpoetischen Elementen & Gesängen, mit absolut visionärer Qualität.
"Lars-Gunnar Bodin, Swedish composer and graphic artist, was one of those who during the first half of the 60's tried to integrate elements of different fields of art in his works: instrumental music, tapes, texts, actions, projections etc.
In 'Clouds' (1972-76) he developed an advanced form of musical drama involving electronic music in 8 channels, singers, dancers and slide and film projections on five screens. The music on this record is a shortened version of Clouds, especially created for this medium." [label info]
www.fylkingen.se
|
1977 |
€15.00 |
|
| BODIN, LARS-GUNNAR / BENGT EMIL JOHNSON |
Semikolon |
LP |
"LP, 500 numbered, 4 page insert. Originally created as a 6 part radio series in 1965, and released in 1966 by Sveriges Radio. This is the first LP recording by either of these composers. Recorded at EMS (Elektron Musik Studion), the newly established studio facility at Swedish Radio. This pioneering work did not easily fit in any category that existed at the time. Inspired by the work of Öyvind Fahlström (who was a pioneer of concrete poetry along with the Lettrists and Futurists), a few young Swedish artists began exploring new text based experiments. The only other artist releasing records of similar soundworks at this early time in Sweden was ke Hodell who had released two 7' singles. These Swedish sound poets differ in style from their other European counterparts mainly due to their easy access to the high quality facilities available at EMS, with its own in house engineers and sophisticated studio equipment. Given the close relationship at that time between EMS and the national Swedish radio station, their works often have a strong narrative (radio art) quality. Semikolon is one such work, but it also uses found sounds, musique concrète and electronics to create a collage, the likes of which had not been heard before. By 1967, Bodin and Johnson had together finally agreed upon a term for this particular style of sound poetry; text-sound composition. This term was then taken up by other Swedish artists working in the same field including Hodell and Sten Hanson, and soon became internationally recognised. The following year Bodin and Johnson in association with Fylkingen inaugurated the first annual festival of text-sound composition. This international festival, and the commissions it gave rise to, became a major part of the work at Fylkingen and EMS. The festival ran for 10 years. 7 LPs from the early years were released by Sveriges Radio and more recently Fylkingen have compiled the series as a 5CD set. Naturally, both artists were included in the festivals, but they also created a large body of work which appeared on many of the essential anthologies of European sound poetry at the time, including the OU Revue and Klankteksten (released by the Stedelijk Museum in 1970 to accompany their exhibition of concrete poetry), as well as other international compilations. Both artists have also worked in the area of pure electro-acoustic composition, and these works are also mostly available on compilations. This record though, is a collaboration rather than a compilation and retains a timeless contemporary feel that is shared with other radio art projects like the Hörspiel Heute series released by Luchterhand in the 70s. This new vinyl edition of the original LP adds an extra 7 minute composition by Bodin, also taken from the original Semikolon radio series." [label info]
|
2013 |
€18.00 |
|
| BOE, TORE HONORE |
Knekk |
7 |
TORE H.BOE ist ein norwegischer Musiker und Künstler, der bisher v.a. im dichten ORIGAMI-Netzwerk aktiv war... inzwischen liegen auch solo-Veröffentlichungen vor, wie diese feine 7“, die mit subtil-dronig aufbereiteten Flöten und Harmonika-Sounds begeistern kann.. back in stock!
“Tore H. Bøe should by all rights be well known to you all from his many years as a performing artist. Sometimes in various Origami fractions, sometimes in different hotshot bands and sometimes on his own, as he is on this single. Alone Tore specialises in micromanipulations. Glitch without a Laptop. The wonderful world of contact microphones. The comfort of objects. Tapes and trolls. The seriously stunning Siesta on CD last year was a revelation. Now he’s moving to Gran Canaria to set up recording facilities to be known as Hacienda. Could be well worth a visit. Righteous colour cover by Tore himself, now to be known as a designer also. 45 rpm, edition of 300 where 100 are on clear tangerine vinyl.” [press-release]
|
2002 |
€6.00 |
|
| BOHREN & DER CLUB OF GORE |
Dolores |
do-LP |
"Dolores. Das ist die Frau, die den Schmerz schon im Namen trägt. Frau + Schmerz = Süßer Schmerz, also. Dolores. Wenn das kein passender Titel für eine Bohren & Der Club Of Gore-Platte ist, weiß ich auch nicht. Nachdem die letzte Bohrenscheibe "Geisterfaust" noch einmal so deutlich ruhiger, langsamer und entweltlichter geriet, als deren Vorgängerin "Black Earth", werden sie doch nicht etwa nochmals ... noch langsamer? Quasi im Stillstand? Gegen die Zeit? Ein Ton über 14 Minuten? Und dann die Erlösung: Nein, sie werden nicht. Kein billiges unreflektiertes Fortschreiten in dieselbe Richtung. Wie früher eine Weile bei Speedmetalbands und anderweitigen Grind-oder-sonst-wie-Core-Kapellen üblich: immer schneller, alles andere ist egal.
Nein. Immer noch sehr getragen, verbindet "Dolores" Elemente aus "Geisterfaust'" und "Black Earth" und fügt ein paar neue, sehr feine Ingredienzien hinzu. Nach wie vor bleiben die schwebenden düsteren Flächen, die wie radioaktiver, dunkelgrün leuchtender Nebel aus den Boxen kriechen und dein Schlafzimmer in einen mystischen Ort verwandeln, allgegenwärtig. Akzentuiert durch sparsam eingesetzte Drums führen sie den Hörer sanft durch die erste, drei Stücke währende Passage mitten in "Dolores"' Kern.
Dort wartet dann erstmals das Saxophon. Auch diesmal bedient sich der Club des schon bei "Geisterfaust" angewandten Tricks, dieses Instrument erst nach einer gefühlten Ewigkeit, bei "Unkerich", ins Spiel zu bringen. Wenn es dann einsetzt, so warm und scheu und sehnsuchtsvoll, gefriert dem Hörer geradezu das Blut in den Adern. Heiß und kalt, hoffnungsvoll und hoffnungslos, das dunkle und helle Flimmern liegen für einen Moment so nahe beieinander, dass sie fast dasselbe sind. Oder zu sein scheinen.
Doch die Erlösung währt nur kurz. Schon bei "Welk" nimmt uns der Club das sanfte Gebläs wieder weg und führt uns in die unendlichen Tiefen des Bohrenuniversums hinab. Dort erscheint dann ab und an ein E-Piano aus den Kriechnebeln, das mit verhalten angedeuteten Melodien den Pfad weist. Bei "Faul" kehrt die Schöne zurück - "Dolores" erscheint im Schimmer der nächsten Saxophonlinie und leuchtet von innen heraus. Bohren At Its Best, kann man da nur sagen.
Die Titel der Stücke wurden dementsprechend mit spitzen Fingern gewählt: "Staub", "Welk", "Still Am Tresen" und "Unkerich" deuten nochmal deutlich an, was hier gespielt wird. Ein Gesamtkunstwerk sozusagen. Das alles bietet dem Durchschnittsbürger nicht unbedingt Gudelaune- oder Feierei-Musike. Eher handelt es sich um eine filigrane und doch ausdrucksstarke Art, die Höhen und Tiefen des Lebens auf individuelle Weise musikalisch zu abstrahieren. Dennoch keine reine Kunstmusik, sondern mit großem Genuss hörbar. Vielleicht eher bei Rotwein, als bei Bier. Aber ich bin ohnehin Weintrinker, zumindest im Winter." [laut.de]
"Imagine a blackened, funereal dooooooom band like Skepticism or Nortt morphed into the jazz idiom (after having kissed a frog, or some fairytale scenario like that), playing their slow, sad music in a smoky Berlin jazz club. The sound is jazz (electric piano, organ, vibes, sax, double bass, trap kit...) but the feeling is doom. That's our usual shorthand for describing the unique music made by longtime AQ fave, Germany's Bohren & Der Club Of Gore. Here at last is their eagerly anticipated 5th album, Dolores (not named after the San Francisco street near us, presumably). If you're fans like we are, you know what to expect, it's just as ponderously "heavy" as a "jazz" band can be. No, not loud, not harsh, not noisy. The opposite of all that. Rather, whisper-quiet, glacially slow, and spacious, with sparse snare hits keeping time like a wound-down clock ticking off the eternity between 2 minutes to midnight and the witching hour itself. Doomsday so slowly arrives on a velvety bed of somnolent deep bass notes, and the cool slinky tones of vintage Fender Rhodes. Cymbals shiver in a
dark haze of ambient drones near to silence. Several of the songs are infused with the warmth of tenor or baritone sax breathes gorgeous expiring breaths. It's all so sad and woeful and achingly beautiful, Bohren nodding off, their fragile melodies trickling like tears, and by the end you may find you have shed a few too.
This newest Bohren differs mainly from their previous Ipecac outing Geisterfaust by being composed of somewhat shorter, sweeter
tracks, ten in all, in about an hour. But it is, again, an-ever-more- perfected example of why Bohren is one of our all time favorite bands, especially at twilight and late at night..." [Aquarius Records review]
www.pias.com
|
2014 |
€23.00 |
|
| |
Patchouli Blue |
CD |
Nach ihrem letzten Studioalbum "Piano Nights", mittlerweile schon über fünf Jahren alt, veröffentlichen Bohren & Der Club Of Gore am 10.01.2020 ihr neues Album "Patchouli Blue" auf [PIAS] Recordings Germany.
1988 in Mülheim a.d. Ruhr gegründet, und seit 2016 - nach dem Ausstieg von Schlagzeuger Thorsten Benning - auf eine Trio-Besetzung optimiert, haben Bohren & Der Club Of Gore mittlerweile 7 Studioalben, 1 Compilation und eine 1 EP veröffentlicht. Dazu zahlreiche Konzerte auf der ganzen Welt gespielt und sich mit präziser Entschleunigung, kombiniert mit minimalen Lumeneinheiten, eine große und treue Fangemeinde erspielt. Dabei blieben sie ihrem Sound stets treu. Mit Bass, Saxophon, Piano, Fender Rhodes, Vibrafon und Besenschlagzeug als Basis erschaffen sie seit 20 Jahren ein einzigartiges Werk - immer instrumental, immer langsam, immer ereignisarm. Gesang gibt es nicht.
Nun also "Patchouli Blue". Instrumental, langsam, ereignisarm. Gemischt wurde das Album wieder von Andi Reisner.
[label info]
"The fog is turning to rain as I push through the doors into the old Club of Gore. The place has been closed up for a few years but nothing much has changed, it’s still comfortably frayed around the edges. Organ drone swells up from the background, cuts out. They kept the worn fittings and the gloom, smells like death rock. After a couple of minutes the saxophone sighs softly, like a friendly hand on your shoulder. Patchouli Blue just fell into my lap, new information at short notice. The hardcore had the jump on me all along. By the time this review makes it out they’ll be soaked in it, hip to details I haven’t had time for yet.
Bohren & der Club of Gore play a superbly unhurried type of slow core doom jazz. The sort of stuff to make long shot film noir images spool across the mind’s eye and your internal monologue turn all hard-boiled detective without warning. New faces at their notional dive bar turn on their heel pretty sharp or settle right on in because it feels like home. Companionship in solitude, nobody pulling on yer sleeve and making noisy chit chat, it’s all existential brooding on life’s mystery in here. If you’re coming to it cold then what Patchouli Blue most sounds like is Angelo Badalamenti’s dark jazz mood music for Twin Peaks. Only slowed down and left to wander the woods. It’s what’s playing on the jukebox in Audrey Horne’s coma." [Echoes & Dust]
|
2020 |
€16.50 |
|
| BOHREN & DER CLUB OF GORE / WALD |
Schwarzer Sabbat für Dean Martin |
7inch |
"Streng limitierte, remasterte Wiederveröffentlichung der 1995 erstmals erschienenen Konzept-EP als Kollaboration von BOHREN & DER CLUB OF GORE und MARK SIKORAs
Musikprojekt WALD als 7“-Single mit 4c-Cover. Die 200 weltweiten Exemplare sind auf dem Etikett der B-Seite leicht angebohrt, das weiße Innersleeve ist mit einer Probe von getrocknetem Laub beklebt.
WALD war eine Formation, die neben dem Autor (Spex), Musikvideoregisseur und Grafikdesigner MARK SIKORA aus einer Sängerin und JÖRG FOLLERT (WUNDER) bestand. Auf der A-Seite bearbeiten WALD vier Demosongs des befreundeten Vorläuferprojekts BOHREN, die zwei restlichen Songs sind Akustikversionen, darunter ein AUTOPSYCoversong.
Auf der B-Seite sind die Mühlheimer unter dem vollen Namen BOHREN & DER CLUB OF GORE mit dem Song „Schwarzer Sabbat Für Dean Martin Pt. 1&2“ vertreten. Das 4c-Artwork stammt von JÖRG FOLLERT, die Aufnahmen wurden 2014 komplett neu
von den Originalbändern gemastert."
https://www.youtube.com/watch?v=NQKrfdhFIZY
|
2020 |
€17.50 |
|
| BORISOV, ALEXEI |
A Polished Surface of a Table |
CD |
Eine der experimentelleren neuen Veröffentlichungen auf dem Moskauer Label von A. ARTEMIEV kommt von ALEXEI BORISOW.
Zu hören gibt es von ihm sehr komplexe Collagen und unendlich scheinende Überlagerungen aus „everyday sounds“ und atonal-dronigen elektronischen Klängen, Geräuschkaskaden, mutiert-technoides und vieles mehr....
“ A full-length album by Alexei Borisov is a nice thing to hear, if you need a redefinition of the experimental music. Alexei is certainly
one of the Russian artists that's gaining a bigger worldwide recognition lately, he played live at this year's Club Transmediale in Berlin few weeks ago. Before this album and besides the tracks from various compilations (released by N&B Research Digest), I've heard Alexei's live album Before The Evroremont released by N&B
Research Digest / Avanto Festival, and I liked it. I wonder what it means when a track by Alexei Borisov is titled Blue Vinyl? Does it mean he took a blue vinyl and conducted a musical massacre on it? Could be. Alexei likes to use voices in his post-electronic, post-techno, post-experimental, post-post music, one of the best post-musics I've heard. This is done truly amazing in the sixth track Dew, a complete musical slaughter, 4 minutes of the most amusing (and most gentle) sound-killing I've heard recently as a counter-point of the first 15 seconds at the beginning of the track with the appealing vocal of Angela Manukjan. Kill sound before sound kills you? Kid606, take notes. The techno moment is in Zaraza (Volume I), a track that could have been done maybe by Motor, and noone else. Could be because of the national connection. The softly distorted beats make me want to hear Volume II, if there is. The voices are sometimes used to create only noises with them, like in My Voices. Alexei Borisov's music is maybe not the kind of music you'll listen all day every day, but it's sure great to know it exists out there, somewhere, in the outer limit. Great work! Address: http://www.electroshock.ru [BR, Vital Weekly]
|
2004 |
€12.00 |
|
| BOSETTI, ALESSANDRO |
Il Fiore della Bocca |
CD |
"Produced in 2003 for the sound art department of a german radio station, "Il Fiore della Bocca" is one of the most controversial text sound compositions by Alessandro Bosetti. Composed exclusively with the voices of physically and mentally handicapped people, the piece displays an impressive richness, depth and variety of sound, covering the full range of musical possibilities of the spoken voice; from heavily processed to completely unprocessed, naked and direct. The piece has an ambiguous nature that lies somewhere between an experimental radio play and an extended, powerfully voice driven, noise composition. Bosetti has taken an impressive journey into what is commonly perceived as "disturbing". He has thus engaged in a process of transformation and metamorphosis with both the sound materials and their perceptions in order to develop musical beauty out of these "abnormal" voices.
A long series of conversations, where spastic, aphasic and larynx-less persons are confronted with examples of "deconstructed voice" (in the tradition of experimental music and sound poetry), has been the core of a two year long intimate relationship with those speakers and the starting point of the compositional process. All commentaries, reflections and reactions had been recorded in order to create a new composition with those collected materials. Similar to his other text sound pieces like "African Feedback", "Everyday Objects", "The Listeners", "The Mouth" or "Zwölfzungen", conversations, human interaction, comprehension and misunderstanding are essential to this piece. Since it's premiere on Deutschland Radio Kultur in 2004, it has been performed many times; in presence of the original speakers and in several live multichannel performances which provocated a wide and passionate range of reactions and discussions. "Il Fiore della Bocca", is intended as a piece in the form of a flower, either one of the red roses Claudia is singing about in the middle section of the composition, or a mouth-flower, as the title suggests. Also, a flower close in inspiration to the weathered, ephemeral and dying flowers that Zeami used to describe the quality of Nô theater actors. It's a piece based on love, human interaction and the contemplation of differences which reaches the point where the extremely different becomes the same.
Recorded and composed between September 2002 and August 2003 in Milan and Berlin.
First broadcasted by Deutschland radio Kultur, October 24th, 2003." [label info]
www.rossbin.com/rs025.htm
|
2006 |
€6.00 |
|
| BOUCHARD, CHRISTIAN |
Fractures |
CD |
"Following the completion of his college studies in guitar, he makes his first recording in 1995, Factotum, devoted to the prepared guitar. At around the same time, he collaborates on the production of radio programs where he performs his first electroacoustic attempts. A year later, these compositions will grant him access to the Conservatoire de musique de Montréal. There he completes his master’s degree under Yves Daoust and receives the Prize in Electroacoustic Composition. He receives several prizes in composition: the SOCAN Young Composers Competition (Canada, 1998); the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2000); the biennial acousmatic composition competition Métamorphoses 2002 (Brussels, Belgium). His music has been broadcasted in Canada and abroad, but it can also be heard on film and in installations. Christian Bouchard also works as a soundman and sound designer for film and video.
“Angle mort” (2001-02), “Trois miniatures en suite” (1997), “Parcelles 1” (2002-03), “Parcelles 2” (2003)." [label info]
www.empreintesdigitales.com
|
2004 |
€12.00 |
|
| BOWLINE |
same |
CD |
Neues Projekt von DAVID MARANHA (OSSO EXOTICO) und einem FRANCISCO DILLON am Cello - oszillierende Streicher-Drones in dynamischer Veränderung kontrastieren mit den eigentlich hoch-minimalen Arrangements. Subtil & sparsam, aber von ungeheurer Wirkung.
"Behind Bowline we find the more and more present musician David Maranha, who was once best known as Osso Exotico, and these days also works as a solo musician and one Francesco Dillon. He is from Italy and studied the cello. These days he is a member of Alter-Ego (see Vital Weekly 602 for their work with Gavin Bryars) as well as playing with people like Matmos, Pan Sonic and Scanner. A man of many talents. Here too Dillon plays cello, whereas Maranha gets credit for 'hammond organ, violin, vox amplifier (with Francesco cello signal), glass harmonica, tremolo and distortion pedals'. Of the four tracks, the first is the most silent one, taking several minutes to get started. Like with so many other projects of David Maranha, in which ever form it takes, this is a work of minimalism. Of sheer, utter minimalism and what beauty, once again. The careful strumming of various string instruments, the drones added, sparsely of course, from the other instruments. Three short tracks which eventually culminate in the fourth track, which takes up about two-third of the CD and in which the three previous excursions return but glorified. Everything comes together here. If you love Osso Exotico or any of the works Maranha did after that, this is will be a most welcome addition. Also fans of traditional minimal music, especially Lamonte Young will find this a great release, I'm sure of that." [FdW / Vital Weekly]
www.sonoris.org
|
2007 |
€10.00 |
|
| BRADLEY, JULIAN |
Miss Modern Venus |
CD-R |
Rare Zusammenstellung von live-Aufnahmen des VIBRACATHEDRAL ORCHESTRA-Mannes. Stränger, ächzender, an jeder Ecke dronender low-fi noise...
“ Seems an appropriate start to the UK leg of the Apoplexy journey to issue a disc by Leeds own Mr Bradley, known to many as one of the fab Vibracathedral Orchestra. Julian presents us with a selection of live recordings from a visit to Belgium last year and boy do they hit the spot. Murky loops and growling substrata is the order of the day here and in the family spirit of this small industry JB is joined by Laurent Cartuyvels on bass... Laurent runs the Veglia label and has just released a swell Julian Bradley compilation cd which I urge you to check out along with this wee gem. ” [label description]
|
2003 |
€8.00 |
|
| BRANCA, GLENN |
Lesson No. 1 |
CD |
Re-Release der allerersten BRANCA-Veröffentlichung von 1980, mit Bonustrack & Video !!
„Nachdem er in den NYC Kultbands THEORETICAL GIRLS und THE STATIC gespielt hatte, veröffentlichte GLENN BRANCA 1980 mit seinem ersten Soloalbum "Lesson No. 1" - der ersten Veröffentlichung des einflussreichen Labels 99 Records (LIQUID LIQUID, ESG, etc.) - genau die Art der ambitionierten Gitarren-Symphonien, für die er bekannt werden sollte. Der Song "Lesson No. 1 For Electric Guitar" ist vielleicht sein eingängigstes Werk aus dieser Zeit. Es ist eine präzise und doch ausführliche musikalische Vorwärtsbewegung: wiederholende Gitarrenmotive die an den Mininalimus von PHILIP GLASS erinnern, aber mit einem maximalen Anspruch an akustische Dichte, Härte und Bombast. Das elfminütige "Dissonance" ist ein gewagteres Experiment, das in schallenden Dissonanzen aus purer Rock'n'Roll Energie explodiert. Für diesen Rerelase hat Acute Records den über 16 Minuten langen Track "Bad Smells" (featuring LEE RANALDO und THURSTON MOORE von SONIC YOUTH) als Bonus mit draufgepackt. Und als wäre das nicht genug, gibt es außerdem ein 18minütiges Quicktime-Video von "Symphony #5", das 1984 im legendären Club The Kitchen in New York City aufgenommen wurde. [DUT] TRACKLISTING: 1. Lesson No. 1 for Electric Guitar (8:13); 2. Dissonance (11:37); 3. Bad Smells (16:26); 4. Symphony #5 (Quicktime Video/ 17:29)“
"After playing in the seminal and influential New York City no wave rock outfits the Theoretical Girls and The Static, Glenn Branca made his first strides towards the more ambitious guitar symphonies he'd become famous for with his first solo release Lesson No. 1 in 1980. Lesson No. 1 For Electric Guitar is perhaps his most accessible piece of the period. It is a concise yet extended statement of forward motion, guitar motives repeating in a manner recalling the minimalist of Philip Glass, but unlike Glass, with a maximalist approach to sonic density and bombast. Upon its initial release as the first record on the influential 99 Records (Liquid Liquid, ESG, et.al.), Lesson No. 1 was paired with Dissonance, a more daring experiment that explodes sonic dissonance with rock and roll energy. For this reissue, Acute Records has added 'Bad Smells' (featuring Sonic Youth's Lee Ranaldo and Thurston Moore), composed as a dance piece for choreographer Twyla Tharp in 1982. And if that wasn't enough, Acute has also included an 18 minute quicktime video of 'Symphony #5', recorded in 1984 at what was to become the legendary New York City venue The Kitchen." [Cargo]
|
2004 |
€15.00 |
|
|
Symphony No. 1 |
CD |
BRANCA’s erste Symphonie erschien 1981 – ein Meilenstein des monumentalen Gitarren-Orchester-Minimalismus! Reine archaische Klänge & Rhythmen von ehrfurchtseinflössender Grösse & mit unglaublichen Spannungsbögen!
"Mr. Branca's music is an aural hurricane. He has created perhaps the most impressive wall of sound yet heard."[Robert Palmer, New York Times, November 19, 1981]
"Symphony No. 1 alternates between relentless thundering guitar chords and primal rhythmic pounding. As instrumental layers build, overtones clash to produce melodies of their own and can trick the listener into hearing instruments that are not there." [Trouser Press Record Guide]
|
2000 |
€14.00 |
|
| |
Indeterminate Activity of Resultant Masses |
CD |
"Worum sich schon lange Gerüchte rankten, was schon lange erwartet wurde, wird jetzt als "Indeterminate Activity" quasi zum ersten Mal veröffentlicht. Das Meisterwerk von GLENN BRANCA wurde in der frühen Phase des "Guitar Army"-Ensembles - kurz nach dem Release der "The Ascension"-EP - in den New Yorker Radio City Studios aufgenommen. Neben Beiträgen von Thurston Moore und Lee Ranaldo von SONIC YOUTH gibt es mehr von regelmäßigen BRANCA Kollaborateuren wie Craig Bromberg, Barbara Ess, Jeffrey Glenn, Sue Hanel, David Rosenbloom und Ned Sublette, sowie zwei weitere Stücke: das Anti-BRANCA Interview von John Cage mit Wim Mertens, dass 1982 auf der Navy Pier in Chicago aufgenommen wurde und eine bisher unveröffentlichte Komposition "Harmonic Series Chords", eingespielt von der New Yorker Chamber Sinfonia 1989. "Indeterminate Activity" ist das ultimative Bindeglied in jeder Sammlung von GLENN BRANCA Werken." [press release Cargo]
" .... The title piece here, performed in 1981 with 10 guitars and drums and timpani is one of the most impressive Branca pieces we have ever heard. Its inescapable tension wraps itself around your ears and while you feel it's grasp taking a hold of you, you don't really ever want it to end. With young devotees like Lee Ranaldo and Thurston Moore in the ensemble it's no wonder the piece sounds so perfect and received the long standing ovation it so deserved. But one man in attendance of this
performance was not impressed. In fact he had lots to say about it,
and nothing positive. That wouldn't be that big of a deal of course
if that person wasn't John Cage!! In a clever twist of their long
running rivalry and Cage's very public dismissal of Branca's work,
Branca decided to follow the title piece on this reissue with a
conversation that John Cage had with Wim Mertons about Branca's
piece. In the conversation Cage speaks very eloquently as he always
did, about his dislike for Branca's piece and his work in general. He
goes as far to call the piece fascist, which then led to a very
public and bitter tiff between two legends of forward thinking 20th
century music. We have to admit that sometimes we actually like
hearing Cage talk even more then we like listening to his music. As
the rhythm of his voice and the depth of his intelligence is so damn
pleasing to take in. While we wish Wim Mertons would have done a
better job of defending Branca, we can't blame him for being a bit
tongue tied and slow in the face of Cage's eloquent understated fury.
We can imagine that if we ever had the opportunity to have a serious
exchange of views about music with Cage we probably would have been crazy nervous and marble mouthed. The record ends with a late 80's piece by Branca called Harmonic Series Chords which is a really nice somber piece performed by the New York Chamber Sinfonia. Like two heavyweight champions exchanging blows we feel lucky to get to sit on the sidelines as Cage disses Branca, and Branca's music speaks so loudly for itself. Highly recommended!" [Aquarius Records]
|
2007 |
€14.50 |
|
| BRAND, STEVE & JONATHAN BENHAM |
One hour as the one who watches |
CD-R |
BLADE RECORDS ist zurück, aber jetzt ohne wahnwitzige handgemachte Handwerker-Verpackungen, sondern mit gedruckten Karton-Hüllen. STEVE BRAND, besser bekannt als AUGUR, präsentiert hier in Zusammenarbeit mit dem uns unbekannten J. BENHAM ein ausuferndes Stück „natural / concrete Drone“, in meist sehr ruhiger & poetischer Atmosphäre verschmelzen rauschige field recordings, handgespieltes Equipment & Instrumente (wohl hergestellt von JONATHAN BENHAM), runtergeslowed-Vokales, meditative Glockensounds, Grillenzirpen (etc.etc.), zu beeindruckenden Improvisationen.... Das ist wie eine Ode an die „magische“ Realität, wir denken an ähnliche Arbeiten von LOREN CHASSE / ID BATTERY, AAL, JEPH JERMAN, ILLUSION OF SAFETY...
“Steve Brand (AUGUR) and Jonathan Benham present one long experimental / drone track, timed at exactly one hour. Inspired by nature, Surrealism, the music of indigenous cultures and outsider art. Oversized packaging.Ltd.ed. of 150 copies.” [Punch Records]
|
2005 |
€10.00 |
|
| BRANDAL, ANDREAS |
Reverse the Night |
LP |
"Auch wenn es mir persönlich in den letzten Monaten ein paar Dröhn/Doom-Post Metal Scheiben zu viel gegeben hat, so sticht diese schöne Edition (inkl. Handstempelung, Insert und Sticker) von Andreas Brendal doch heraus. Eine Seite ist mit dichten, wummernden Basssounds belegt, die so federnd und intensiv sind, dass sie eine ganz eigene Stofflichkeit beim Hören entwickeln. Die andere Seite, in der auch hochfrequentes Flirren eine Rolle spielt hebt sich deshalb ab, weil hier mit Tonabnehmern auf Gitarrensaiten experimentiert wurde; so klingt es zumindest. Es gibt keinen Anschlag, sondern immer eine elektrifiziertes Sirren, eine charmante Ruckeligkeit in den Sound. Das gibt dem Ganzen eine gewisse Zerbrechlichkeit. Schöner Release!" [Zipo, Auf Abwegen]
www.droehnhaus.de
|
2009 |
€15.00 |
|
| BRESCHAND, HELENE |
Les Incarnes |
LP |
"New solo recorded in Paris, December 2013. Harp, acoustic and electric, voice. 'Hélène Breschand demonstrating her readiness to deconstruct her instrument's identity...'." [Julian Cowley THE WIRE]
www.dautrescordes.com
"Hélène Breschand plays her harp in as wide a variety of ways as is possible to imagine (and some which might be less obvious), at times sounding like she is letting rip in an electric guitar, prepared piano, zither and effects pedals all simultaneously. What it doesn’t really sound like is the limpid waftings of angels serenading the hosts of heaven, unless said host happens to be in a very avant-garde state of mind at the time. As side A draws to a melancholic close, it plinks, bends and twangs with softly swerving resonances and reverberations, plus the occasional whack of the harp’s frame for good measure.
Side B opens with notes held in soft tension, Breschand’s breath becoming more audible among slow accretions of metal strings swept and slung in a slow progress while she brings forth a long drawn-out song composed more of emotional intonations than of individually discernible words. The whole is delivered initially with echoes of the stately grace of a koto-accompanied Noh, though the piece eventually dissolves into reflective sweeps of panning delay and the arrival of harsher effects and discordances.. The way in which Breschand makes the harp resonate like a cello or violin is exceptional, and as it buzzes and shimmers into tightly-controlled flurries of feedback and reverb, the booming finale of Les Incarnés is delivered in gathering clusters of remarkable intensity.
This is meditative music, but not the kind full of new age vapidity; rather it is the sound of a musician exploring and stretching the boundaries of her instrument with a deep concentration. Her (presumably) furrowed brow and the evident rapt attention paid to the sounds she is making is audibly transmitted directly to the listener; and is a joy to be swept up by and absorbed into."
[Richard Fontenoy/FREQ]
"The harp is not an instrument we hear on a daily basis, here at the weekly HQ, but of course there are some players in this field, Rhodri Davies for instance is quite active. I never heard of Helene Breschand, who works from contemporary music to jazz, both solo as well as a chamber musician, including improvisation, musical theatre and visual arts. She has performed works by Luciano Berio, Emmanuel Nunes, Yoshihisa Taira, David Toop and Christian Marclay and has founded the group Laborintus. Both pieces on this new record are called 'Les Incarnes'. These pieces have hardly anything to do with jazz or contemporary music, unless of course radically sparse improvisation is what you call contemporary and/or jazz. She plays electric and acoustic harp and uses her voice and both pieces are excellent in a way that these are very intense, quiet most of the times but with a lot tension underneath. She uses a delay pedal occasionally and strums her instrument, bows it, plucks it and uses her voice in pretty much the same way. Not to accompany her, but to create something that fits her unworldly playing of the harp. On the B-side she bends the harp to go a bit more extreme levels and even mildly distorted, but here too it remains to have a certain austerity. Excellent record!" [FdW/Vital Weekly]
|
2014 |
€18.00 |
|
| BROWN, CHRIS |
Talking Drum |
CD |
27 Sound-Snaps von traditioneller Ethno-Musik und field recordings verschiedenster Lände – CUBA, BALI, TÜRKEI, PHILIPPINEN, KANADA, werden hier verbunden mit live-Aufnahmen einer Computernetzwerk–Installation zur Generierung polyrhythmischer Klänge...klingt etwas arg konstruiert, aber das Ergebnis ist sehr vital, ungewöhnlich und vielseitig ...
“Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines,
Turkey, Europe, Cuba and America 1991-99. This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space “grows” its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets. This recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. Electronic music is normally thought of as a medium emphasizing unlimited access to timbre - I think this is often over-emphasized, and that, at its best, it changes our experience of space. The traditional African talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. The changing pitches and rhythms imitate patterns of the tonal languages of West Africa, and can be used like musical telephony to communicate over long distances. This recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale.
Chris Brown (b. 1953), composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Born and raised in Chicago, he moved to California to study electronic music with Gordon Mumma and composition with William Brooks at Univ. of California/Santa Cruz, and with David Rosenboom at Mills College. He was active early in his career as an inventor and builder of electroacoustic instruments; he has also performed widely as an improvisor and pianist with such groups as Room; and the Glenn Spearman Double Trio. In 1986 he co-founded the pioneering computer network music ensemble The Hub. He is also known for his recorded performances of music by Henry Cowell, Luc Ferrari, and John Zorn. He has received commissions from the Berkeley Symphony, the Rova Saxophone Quartet, the Abel-Steinberg-Winant Trio, the Gerbode Foundation, the Phonos Foundation and the Creative Work Fund. His recent music includes the poly-rhythm installation “Talking Drum”, the “Inventions” series for computers and interactive performers, and the radio performance “Transmissions” series, with composer Guillermo Galindo. His 1992 epic electroacoustic work “Lava”, for brass, percussion, and electronics is also available on Tzadik. He teaches Composition and Electronic Music at Mills College in Oakland, where he is Co-Director of the Center for Contemporary Music (CCM)” [press release]
|
2005 |
€13.00 |
|
| BRUME |
Normal |
CD |
Die 98er VÖ, diesmal auf einem "großen" Label; hier geht es thematisch um Hirnphysiologie ("Split Brain"), Neurochemie ("L-Dopa") und Neuropsychologische Störungen ("Korsakow-Syndrom"), und so kann man sich beim Hören direkt vorstellen, wie der DOPAMIN-Spiegel steigt und spüren, wie jegliche NORMALITÄT aus den neuronalen Netzwerken vertrieben wird durch diesen Sound! Ein absolut atmosphärisch dichtes und intensives Album, BRUME auf dem Höhepunkt seines Schaffens??
....one of the best works of BRUME, chases away the normality out of your braincells!
|
1998 |
€13.00 |
|
| BRUNNEN |
The Beekeeper's Dream |
CD |
Eine Art Retrospektive von der BEEQUEEN-Hälfte mit seinen melancholisch-süssen, folk-angehauchten Homerecording-Ambient-Songs… einiges davon ist wohl bereits auf anderen Formaten schonmal erschienen, aber vieles scheint auch neues Material zu sein.
“Brunnen reveals that part of Beequeen's Freek Kinkelaar which is the strange wandering minstrel/alchemist (half-orc cleric with a +2 mace). If only more records were so cogently perplexing. A slightly cinematically arranged, quasi-psychedelic little dear of a hushed pop song opens the album. Freek's vocals sublimate in a pleasant whisper, not unlike (ahem) a quieter Yo La Tengo song. Freek, perhaps true to his name, does not hesitate to then very, very slowly weave together a spacious tone poem whose initial notes live counties apart, concocting an outré sort of high lonesome that might sonically drift across the same sort of plain as Wenders' Paris, Texas does visually. Kinkelaar's vocal delivery tugs at shirt tails ala Just Drifting era Psychic TV balladry or introspective LPD. Subtly amplified guitars chime quietly against slo-mo keyboards, occasional samples, tablas and air. An understated rave-up of Trust In Me from The Jungle Book is a nice exclamation point. A musical sandwich, really, with the outer psychedelic pop buns keeping the avant-garde middle meat warm.” [label info]
|
2006 |
€10.00 |
|
| |
The Beekeeper's Dream |
LP |
Eine Art Retrospektive von der BEEQUEEN-Hälfte mit seinen melancholisch-süssen, folk-angehauchten Homerecording-Ambient-Songs… einiges davon ist wohl bereits auf anderen Formaten schonmal erschienen, aber vieles scheint auch neues Material zu sein.
Diese limitierte Vinyl-Version ist auch gleichzeit Teil 3 der RECORDS ARE NOT FOR BAKING – Serie, die es im Abo auch mit Bonus pic-12“ gibt!
“Brunnen reveals that part of Beequeen's Freek Kinkelaar which is the strange wandering minstrel/alchemist (half-orc cleric with a +2 mace). If only more records were so cogently perplexing. A slightly cinematically arranged, quasi-psychedelic little dear of a hushed pop song opens the album. Freek's vocals sublimate in a pleasant whisper, not unlike (ahem) a quieter Yo La Tengo song. Freek, perhaps true to his name, does not hesitate to then very, very slowly weave together a spacious tone poem whose initial notes live counties apart, concocting an outré sort of high lonesome that might sonically drift across the same sort of plain as Wenders' Paris, Texas does visually. Kinkelaar's vocal delivery tugs at shirt tails ala Just Drifting era Psychic TV balladry or introspective LPD. Subtly amplified guitars chime quietly against slo-mo keyboards, occasional samples, tablas and air. An understated rave-up of Trust In Me from The Jungle Book is a nice exclamation point. A musical sandwich, really, with the outer psychedelic pop buns keeping the avant-garde middle meat warm.” [label info]
|
2006 |
€17.00 |
|
| BRYARS, GAVIN |
In La |
LP |
"In Là" is the outcome of the collaboration between Gavin Bryars and the Italian visual artist Massimo Bartolini. Staged as a large-scale installation at the Luigi Pecci Centre for Contemporary Art in Prato, Italy, (the opening was in autumn of 2022 and the exhibition is still running until May this year), Bartolini transformed scaffolding into pipe organ bars, suspended from the ceiling across seven rooms of the museum as the central piece for his retrospective exhibition. It is the music played by these singular organs, composed by Bryars, that makes up the two sides of Alga Marghen's LP edition. The music of "In là" by Gavin Bryars directly refers to his experimental and conceptual territory of the early 1970s, prior to the composition of seminal works like "The Sinking of The Titanic" and "Jesus' Blood Never Failed Me Yet". "In Là" presents the composer working across the vast space of the installation, with sounds physically spread in each of the museum's rooms and placed in careful consideration of the space continuity, while at the same time never fulling being experienced in its totality by the listener. This allows the LP documentation of the work to become a singular complement to the live, real-time aural adveture, unveiling phenomena and perceptions of the work's rich tones and poetic structures that would otherwise be unavailable. While Gavin Bryars background in music is well documented (started as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley, later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno to the Obscure Records series), the connections of Massimo Bartolini's poetic to sound as less known. The early practice of modifying architectural or domestic devices into sound producers, eventually led Massimo Bartolini to create installations made of scaffolding tubes which are modified into the pipes of an organ. Conceived in different forms and in relation to different architectural contexts since 2008, these works clearly relate to Baroque organs, the most visual of musical instruments, and to the use of scaffolding in construction sites. From these references they adopt the quality of being part instrument part architecture, a work of sophisticated engineering, a "ladder" for climbing up to God. If Baroque organs render visible the intangibility of music, though, Bartolini's scaffolding amplifies a machine, extends its breath, turning it into music. The organ conceived for the solo survey at Centro per l'arte contemporanea Luigi Pecci in Prato is the largest incarnation of these series and altogether the largest installation ever conceived by the artist. Hung from a structure that runs along the museum ceiling and suspended just centimeters above the floor, Bartolini built a continuous 75-meters-long wall of scaffolding tubes which winds through seven of the ten rooms of the exhibition space. For this structure of complex engineering Gavin Bryars was invited to compose a specific polyphonic score. Assigning each room a unique melody, the composition creates a richly layered soundscape that is constantly shifting with the viewer as they move through the space. As the title suggests-alluding to the dominant tonality (La) of the piece-the score is always "beyond," out of reach, never experienced in its entirety by a single listener as, in fact, the shape of the organ itself." (label info) Edition of 400 numbered copies, including an insert with liner notes and photo documentation of the installation
|
2023 |
€22.50 |
|
| BRYARS, GAVIN / PHILIP JECK / ALTER EGO |
The Sinking of the Titanic (1969- ) |
CD |
"...GAVIN BRYARS taucht mit der Neueinspielung
seines Klassikers The Sinking Of The Titanic (Tone 34) auf der Biennale in Venedig 2005 noch einmal ein in das Wasser ohne Balken und die Luft ohne Drähte. Überlebende, 711 von 2201, gab es nur Dank Marconis drahtloser Telegraphie, wobei die 1. Klasse dreifach bessere Überlebenstüchtigkeit bewies als die 3. und die Mannschaft. Bryars selbst am Kontrabass und das italienische Ensemble Alter Ego spielen ebenfalls etwas, das ‚Autumn‘ heißt, jene episkopale Hymne, deren dritte Strophe die passende Zeile Hold me up in mighty waters; Keep my eyes on things above enthält. Philip Jeck dreht mit seinem Vinylgeknister die Zeit bis nach 1912 zurück. Dazu hört man - Legenden
gibt es immer in mehreren Versionen - den Bericht einer Zeugin, die Nearer, My God, to Thee gehört haben will. Der Unterwassersound der immer und immer wieder intonierten, aber verlangsamt und wie schon nicht mehr von dieser Welt in einer Luftblase gespielten Hymne mischt sich mit herbstlichen Assoziationen wie Grillengezirp, aber auch der raunenden Menge bei
einem Sportereignis. Jeck‘scher Sarkasmus? Die Regenmacher als perkussives Element wirken ähnlich makaber. Wäre das Pathos ohne solche V-Effekte zu stark? Oder soll es diesmal gegen Kitschverdacht hartgekocht werden, nachdem die ‘94er Version (Point Music) noch einen Kinderchor und dunkle Bläser mit versenkt und auf dem Gebein am Meeresgrund Morsezeichen getokt hatte? Wenn die White-Star-Musiker, von denen keiner überlebte, aber tatsächlich als Letztes Walzer gespielt haben? Und wenn Marconi recht hätte, dass Klänge unsterblich sind? Dann wellt sich um den Erdball, selbst wenn auch die Erinnerungen längst verdämmert, zu Bernsteintränen geronnen und zu Hollywoodmelodramen verklärt sind, eine oxymorone Kakophonie aus Entsetzensgebrüll im Walzertakt." [Bad Alchemy]
"Performed by Gavin Bryars (double bass), Philip Jeck (turntables) and Alter Ego (strings, brass, wind, percussion, keyboard, tape recorder and sound design). This version of UK composer Gavin Bryars' seminal piece, The Sinking of the Titanic, was recorded at the 49th International Festival of Contemporary Music at The Venice Biennale, October 1, 2005 at the Teatro Maliban. The Sinking of the Titanic is an open semi-aleatoric work written in 1969 and Bryars has developed versions of variable length (from 15 minutes to an hour) that have been performed in different contexts, both as sound installation and as a real concert work. The piece has its origins in an obsession (one in which Bryars meditates on the famous ship's sinking), whose evidence is in a minute handwritten notebook. This brings together information, curiosities, evidence, statistical data on the survivors, technical research on the ship, on the places occupied by the passengers, on projects for the wreck's recovery. This sinking is then a metaphor for the failure of modern technology, of the paradox of modernity, the fact that a super-technological ship could have been rammed and sunk by a block of ice. The version proposed by Alter Ego (a contemporary music group based in Rome, Italy) and Gavin Bryars is an absolutely new approach for the project and for multimedia installation. The other important new figure in this version is Philip Jeck, one of the most important names on the experimental scene. Jeck uses his experience to cover the sound with a blanket of thin dust, which, at the same time, is memory, distance, hallucination, traveling and anxiety. The dust which comes from the obsessive repetition of a short phrase and its melancholy is part of a harmony that Jeck shares with Bryars that succeeds in freezing time in another dimension. This is another important aspect of the Titanic idea: one related to memory and to lifetime, to concreteness and abstraction meant as a metaphor for the journey between life and death, the ocean's surface and depth. Gavin Bryars (double bass); Philip Jeck (turntables); Alter Ego (strings, brass, wind, percussion, keyboard, tape recorder and sound design). Limited edition of 2000 CD in a special wallet + postcard [postcard image by media artist Andrew Hooker]. Artwork by Jon Wozencroft." [press release]
www.touchmusic.org.uk
|
2008 |
€14.00 |
|
| BUCKNER, THOMAS |
New Music for Baritone & Chamber Ensemble |
CD |
"For 30 years Thomas Buckner has carved out a very special niche - that of a champion of the avant-garde. In concert halls throughout the world, his "baritone-mastery" has astonished both audiences and critics. He has an extraordinarily flexible voice; his experience and ability ranges from madrigals, lieder, opera, free improvisation, extended techniques, all the way to electronically processed wordless minimalist song. This wonderful new collection of works for baritone and chamber ensemble were all written specifically for Mr. Buckner.
Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. Lockwood¹s Luminescence is a song cycle based on eight poems from Etel Adnan¹s 'Sea¹. It falls into three movements, opening and closing with Adnan¹s voice. The piece celebrates their three-way friendship and their shared love of the Pacific Ocean.
Tania León, born in Cuba, a vital personality on today¹s music scene, is highly regarded as a composer and conductor recognized for her accomplishments as an educator and advisor to arts organizations. León¹s Canto is a song cycle for baritone and mixed ensemble. It is: rhythmically driven lines orbiting each song around its core... multi-dimensional checkerboard of harmonic colors...Diaspora of images in words. Poetic voices of Cuban roots at the center of a musical universe.
Petr Kotik is a performing musician (conductor and flutist) and the founder and director of the S.E.M. Ensemble which expanded in 1992 as The Orchestra of the S.E.M. Ensemble (debut at Carnegie Hall tribute to John Cage with soloist David Tudor). Kotik¹s Conceptuality/Life was created specifically for Thomas Buckner. The baritone solo is sung simultaneously with instrumental sections excerpted from Kotik¹s Chamber Music (1982). There is no general score and the superimpositions of individual sections are prearranged. The pulse of the music unites all simultaneously performed parts into one homogenous unit." [label info]
www.mutablemusic.com
|
2008 |
€15.00 |
|
| BURIAL |
Burial.Hdbcd001 |
CD |
„Auf "Burial. HDBCB001" schickt BURIAL die unterschwellig sexy Beats des britischen Garage über den Umweg von Funkstörungen in eine heimelige Gummizelle aus tiefem Bass, nicht ohne auf der Reise noch einen Zwischenstop im Berliner Dub von POLE einzulegen. Dabei klingt es, als würde BURIAL das Südlondon der nahen Zukunft unter Wasser setzen. Das allumfassende Knistern ist gleichzeitg das Statikgeknister eines Piratensenders und der tropische Regen, der sanft ans Fenster schlägt. Die Melancholie der Tracks öffnet ihre Arme und sucht nach ertrunkenen Liebhabern. Der Mix von BURIAL wird von den Echos aus einer anderen Zeit heimgesucht. Signale einer fremden Frequenz strecken tastend ihre Fühler aus. Eine Flutwelle aus Lärm verschlingt alles und lässt nur die schärfsten Beats zurück. Doch der Lärm schmerzt nicht; er streichelt, kitzelt und erregt die Nervenenden. Willkommen in der Welt von BURIAL. This first album on Kode9's Hyperdub label comes from the mysterious Burial. On this self-titled CD debut, Burial carves out a sound which sends the dormant slinky syncopations of uk garage, via radio interference, into a padded cell of cushioned, muffled bass, passing through the best of Pole's Berlin crackle dub. Burial explores a tangential, parallel dimension of the growing sound of dubstep. Burial's parallel dimension sounds set in a near future South London underwater. You can never tell if the crackle is the burning static off pirate radio transmissions, or the tropical downpour of the submerged city outside the window. In their sometimes suffocating melancholy, most of these tracks seem to yearn for drowned lovers. The smouldering desire of ‚Distant Lights' is cooled only by the percussive ice sharp slicing of blades and jets of hot air blowing from the bass. Listen also for a fleeting appearance from Hyperdub's resident vocalist, the Spaceape unravelling his crypto-biography. In its loud quietness, Burial takes his kitchen crackle aesthetic neither from the digital glitch nor merely a nostalgia for vinyl's materiality. Instead, as irates' suggests, Burial crackle mutates the tactile surplus value of pirate radio transmissions. Burial's mix is haunted. Echoed voices breeze in and out, on road to another time. Pirate signal from other frequencies steams in. A tidal wave of noise submerging all but the crispest syncopations. The noise is not violent, but caressing, tickling, exciting the ends of your nerves. Seducing you in.“ [press release] |
2006 |
€14.00 |
|
| BURIAL CHAMBER TRIO |
Wvrm |
pic-10 |
ONLY VINYL IS REAL! Erst einmal fällt die beeindruckende Cover-Artwork von SELDON HUNT auf, zusätzlich zum SPLATTER-igen picture-vinyl gibt es noch gold & schwarz bedruckte klare Inlays, sehr passend zum dem unglaublichen tief-morastigen Sumpf-Bass-Drones die hier erzeugt werden, man meint die hohe Lautstärke mit denen hier die Verstärker in Schwingung versetzt wurden immer noch zu spüren, alles steht kurz vor dem ZERBERSTEN, und irgendwo da drin in diesen tiefen Feedbacks ist eine menschlichähnliche Gestalt die ächzt & stöhnt, ein sterbendes Monster... DIE BESTIE IST LOS! Selten einen so tiefgrunzend-abartigen Sound vernommen...
In der Tat, auf 33 klingts noch besser als auf 45, und es dröhnt länger.... so LIEBLICH!
"The Burial Chamber Trio is: Oren Ambarchi (Guitar, Analog Electronics), Greg Anderson (BASS/subsonics) & Attila Csihar (Vokills, invokations). Live recordings from the groups performance in Rotterdam, Holland in Jan. 2007 at club: Wurm. 10"Picture disc // with original art and packaging design by Seldon Hunt. Two transparencies with gold ink/printing on them." [label info]
"....For this outing, Ambarchi and Anderson are credited with sub bass death throb, while Attila is responsible for undead voices. And that's pretty much what it sounds like, sub bass throbs with haunting undead vocals woven into the heaving roiling mass. There seem to be some guitars in there too, maybe some electronics, but it's hard to tell, it's all smeared into a single swirling blackened mass. When we first listened to it, we played it at 33 (which we're assuming now is NOT the right speed, so hard to tell sometimes), and we thought, wow, this is even slower and sludgier than ever, but once we figured out it was meant to be 45, the sound reverted back, closer to the sound of SUNNO))) or the older records of their forbears Earth. Slow motion riffage, glacial and thick, massive and blown out and super distorted, muffled and murky, a sluggish sprawl of caustic crumbling guitars, the vocals barely audible, a haunting raspy growl way down in the mix, often just sounding like another buzzing bassline, hum and fuzz, dense and intense, all melted down into a viscous black crawl. Occasionally, the random bits of riffage and low end rumble coalesce into truly gorgeous harmonies, lovely and chordal, like some blackened church organ, but for the most part, this is the sound of guitar tones allowed to ring out forever and beat against each other, the air filled with oscillating overtones and strange tonal colorations, all beneath a patina of thick black buzz.
Amazing cover art as well, a gross out gutted worm picture disc, with a transparent skull and bugs insert on one side, and another sick silkscreened artwork overlay on the thick plastic sleeve, all courtesy of Mr. Seldon Hunt. Recorded live, in January of this year, in Holland. And of course, you had to know this part was coming: LIMITED TO 3000 COPIES!! And if it's anything like the other Burial Chamber record, it will sell out FAST." [Aquarius Records]
label: www.southernlord.com
|
2008 |
€15.00 |
|
| BURKE, DAN & THOMAS DIMUZIO |
Hz |
CD |
"Live Recordings October 1997 aus San Francisco, Berkeley, Oakland. Dan Burke (ILLUSION OF SAFETY): Objects, Radio, Electric Guitar, Processors, Tape. Thomas Dimuzio: Sampler, Processors, Loops, Feedbacks. Diese beide Post Industrial-Klangkünstler vereint, da kann nur gutes bei rauskommen! Auf diesen Aufnahmen überwiegen auf der ersten Hälfte die eher ruhigen & traumartigen Grundstimmungen, konkrete und "spacige" Elemente werden sehr behutsam zu einem ansprechenden Ganzen verbunden; so ca. ab der Mitte aber es gibt auch sehr krachige Noise-Stücke, die ebenfalls begeistern können..."
[Drone Rec. info 1999]
|
1999 |
€10.00 |
|
| BURROUGHS, WILLIAM S. |
The Instrument of Control |
CD |
Tja, mehr als die Recordings gibt es hier nicht! Aber das reicht voll und ganz! Lesungen mit Publikum (ziemlich witzig!), Radio-Features, ein Interview, sogar ein bischen Musik ist drauf.... Material aus den 70 oder 80er Jahren, leider keine weiteren infos im Cover.. 17 Indexe, 55+ Minuten.
"Collection of rare recordings of William Burroughs in conversation and readings from the 1970s/80s. This is an essential insight into the mind and writings of arguably the most influential writer from the Beat generation. "Through his mordant satire of cultural aspirations, homosexual eroticism and political power, Burroughs focuses our gaze into the abyss. His cold, surgical language creates beauty through a terror that we are just able to bear". A great collectors' item!
[label info]
|
2006 |
€14.00 |
|
|
Let me hang you |
LP |
Twenty years ago, William S. Burroughs was asked to record an audio version of his favorite parts of Naked Lunch. Longtime associates and producers Hal Willner and James Grauerholz produced several sessions, and they recruited a team of world class musicians to help. Famed for their Naked City involvement, Bill Frisell and Wayne Horvitz contributed their genius, as well as Eyvind Kang, just to name a few. The recordings were then abandoned and collecting dust on a musty shelf, as forgotten as a piece of rancid ectoplasm on a peepshow floor.
In 2015, Hal Willner decided to reopen this unfinished masterpiece and asked help from King Khan (a musician that he and Lou Reed admired and became fast friends with). Hal sent Khan all of the recordings and asked him to add his gris gris to this extremely perverted gumbo... and history was made and the scum began to rise!
King Khan recruited M Lamar, the creator of the "Negrogothic" movement and the identical twin brother of transgender actress Laverne Cox (Orange is the New Black), and The Frowning Clouds, a band of young Australian boys who have mastered the sixties garage punk sound -- and that perhaps WSB would have also enjoyed for other purposes a long time ago.
Let Me Hang You is a collection of depraved genius straight from the godfather of punk's very own mouth. If chills and thrills are what you seek, then look no further -- here is the bible of freakdom, recited by the pope of the underground... Now, pull the chair from underneath you and see what happens!
Produced by James Grauerholz, A. A. Khan & Hal Willner
Words by William S. Burroughs
Published by Nova Lark Music (ASCAP) administered by Songs of Virtual (North America) and Touch Tones Music (Rest of World).
Recorded and Mixed by Vera Beren, James Grauerholz, Wayne Horvitz, Eric Liljestrand, Robert Rebeck & A. A. Khan at Hairball IV Studio and Mercy Studio in Lawrence, KS, Wayne Horovitz's home studio in Seattle, WA, Eric Liljestrand's home studio in Venice, CA & King Khan's Moon Studios in Berlin, Germany.
Edited and Sequenced by Hal Willner
Reading from Burroughs’ novel, Naked Lunch, using an Abridgement edited by Nelson Lyon
Artwork by Michael Eaton & A. A. Khan
Mastered by Nene Barratto at PorcAudio, Berlin, Germany.
In loving memory of Nelson Lyon.
Music by Bill Frisell (Published by Friz-tone Music), Wayne Horovitz (published by Other Room Music), Eyvind Kang (published by Deformed Music, A. A. Khan (published by House of Hassle), Hal Willner, El Congo Allen, Nick Van Bakel & Reginald M. Lamar.
credits
released July 15, 2016
William S. Burroughs - voice
King Khan – guitar, bass, violin, VCS 3 Synthesizer, piano, organ & drums
Bill Frisell - guitar
Wayne Horvitz - keyboards
Eyvind Kang - violin, erhu & shani
El Congo Allen - Trumpet
Tony Sher -bass
Kenny Wollesen - drums
Jenny Scheinman - violin
Hank Roberts - cello
M Lamar - vocals
Hal Willner - samples & turntables
The Frowning Clouds:
Jake Robertson – Bass
Nick Van Bakel – Guitar
Zak Olson – Guitar
Daff Gravolin - Guitar
Jamie Harmer - Drums
https://khannibalism.bandcamp.com/album/let-me-hang-you
|
2016 |
€23.00 |
|
| |
A Man Within (Documentation) |
DVD |
"William S. Burroughs - A Man Within" ist eine intime Dokumentation über eine der wichtigsten Stimmen der USA des 20. Jahrhunderts. William S. Burroughs (1914 - 1997) gilt als Ikone der Beatgeneration und war einer der ersten Schriftsteller, der die amerikanische Drogen- und Schwulenkultur der 50er-Jahre beschrieb. Burroughs_ÇÖ bekanntester Roman "Naked Lunch" gehört zu den wichtigsten literarischen Werken des vergangenen Jahrhunderts und hat Generationen von Schriftstellern inspiriert. Yony Leysers Film ist ein Zusammenschnitt aus exklusivem Archivmaterial von Burroughs sowie Interviews mit einigen seiner engsten Freunde, unter ihnen John Waters, Patti Smith, Laurie Anderson, David Cronenberg, Genesis P-Orridge, Iggy Pop und Gus Van Sant. "A Man Within" (USA, 2010) verschafft ungeahnte Einblicke in die verstörende Welt eines brillanten, aber auch gequälten Mannes. "Kein Wort oder Bild wurde verschwendet", schrieb die "New York Times" über eine Doku, "von der man am Ende hofft, sie würde über die 90 Minuten hinaus noch eine halbe Stunde länger laufen." |
2012 |
€10.00 |
|
| BURT, WARREN |
The Animation of Lists and the Archytan Transpositions |
do-CD |
Kompositionen für mikrotonale Stimmgabeln: einzelne glockenklare absolut „reine“ Töne, eine meditative & äussert minimale Atmosphäre ausstrahlend, erinnert an Arbeiten von CHRISTINA KUBISCH. To discover.
“There are any number of ways to hear Warren Burt's music for tuning forks; as many ways as there are listeners, probably. The most immediate one is simply to revel in its beauty and enjoy the music as sound. Or, to be more accurate, as clouds of sound; sonic colors that momentarily hover here and there, as they move slowly across the musical horizon.
Of course, Warren Burt's music may also be heard as the mature work of a major experimental composer, one secure in his craft, and still filled with a sense of sonic adventure. An explorer in sound. A composer willing to experiment with multiple versions of the same piece, not to mention one who allows chance to determine the precise placement of the composite pitches of his three individually composed lines.
For the more technically minded, these songs, for ultimately that's what they become on repeated hearing, can also be recognized as microtonal music. This is music that uses pitches smaller than a half-step; music that explores the sounds between the keys of the piano‹in this case, from 19 to 53 pitches to the octave, instead of the usual twelve. And even though most people rarely think of tuning in general, much less of microtonal tunings, it is an idea that has always been around. In the twentieth century this search for alternative tunings can be traced from Harry Partch and Lou Harrison in the first half of the century, through La Monte Young and Ben Johnston in the latter half, to Glenn Branca, Kyle Gann, and Michael Harrison today. The power of music, according to all of these composers, is, first and foremost, inherent in the tuning. So it should come as no surprise to anyone familiar with Warren Burt's music to learn that he, too, is a card-carrying member of this group. Warren is, after all, a composer who not only innately hears, but also cares greatly, about such minute differences in pitch. In his music, these differences matter on a fundamental level.
But what are these sonic differences? And what is a listener supposed to hear? Ben Johnston once described the shift in experience from listening to music played in equal temperament to hearing a microtonal performance as the sudden fine-tuning of an out-of-focus TV. Ben also once said that equal temperament could sound like varying shades of grey. Others, in less subtle terms, have described hearing microtonal music as the difference between seeing a Technicolor movie, and watching one in black-and-white. For the average listener‹once they realize that the enjoyment of microtonal music is about the tinting and the shading of the sound, and doesn't require superhuman hearing‹what they begin to notice first are the new colors and the spaciousness of the sound.
But what do I hear in Warren's music that attracts me so? I listen to the combinations of tones, each aggregate of which‹because the tuning is acoustically pure and non-tempered‹sounds clearer and more colorful, with unique personalities, and, sometimes, more of an edge. In this tuning, the chance-determined pairings of the composed lines always ring true, with even the dissonances vibrating cleanly, free of acoustic distraction, and with no sonic clutter to muddy up the sound. And within this microtonal world, sounds combine without losing their individuality, as the music slowly reveals its pitch and rhythm in slow, unhurried, chance-determined clouds of sound. In Warren Burt's hands, these tuning forks become some strange new instrument, complete with its own exotic tuning system, singing its songs somewhere on the verge of memory.” [label description]
|
2006 |
€15.00 |
|
| BUTZMANN / KAPIELSKI |
WAR PUR WAR |
LP |
"Komponist, Hörspielautor und Performancekünstler Frieder Butzmann begann bereits Ende der 1960er Jahre im Bereich experimenteller Musik zu forschen. Butzmann wird zu den Pionieren des deutschen Industrial und als Teil der Genialen Dilettanten Bewegung gezählt. Neben zahlreichen Soloveröffentlichungen kollaborierte Butzmann auch immer wieder mit anderen Künstlern wie Genesis P-Orridge, Blixa Bargeld oder Santrra Oxyd. Mit Autor und Künstler Thomas Kapielski arbeitete Frieder Butzmann seit den frühen 1980er Jahren zusammen. Die gemeinsamen Kompositionen sind zumeist minimalistische Stücke, durchsetzt von Alltagsgeräuschen und Sprachversatzstücken. So zu hören auf ihrem Album "WAR PUR WAR", das 1987 auf Zensor erstveröffentlicht wurde und mit seiner einwilligen Mischung aus verschrobenem Electro-Pop und skurrilen Klangcollagen ein gänzlich einzigartiges Werk ist und über die Jahre zu einer gesuchten Rarität wurde. Ergänzt um zwei Bonustracks, liebevoll remastert, mit aufgearbeitetem Artwork und versehen mit unveröffentlichten Fotos und Linernotes von Frieder Butzmann, erscheint "WAR PUR WAR" nun als Neuauflage auf LP und CD bei Bureau B.
Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector’s item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann."
https://butzmannkapielski.bandcamp.com/album/war-pur-war
|
2020 |
€20.50 |
|
| |
WAR PUR WAR |
CD |
Komponist, Hörspielautor und Performancekünstler Frieder Butzmann begann bereits Ende der 1960er Jahre im Bereich experimenteller Musik zu forschen. Butzmann wird zu den Pionieren des deutschen Industrial und als Teil der Genialen Dilettanten Bewegung gezählt. Neben zahlreichen Soloveröffentlichungen kollaborierte Butzmann auch immer wieder mit anderen Künstlern wie Genesis P-Orridge, Blixa Bargeld oder Santrra Oxyd. Mit Autor und Künstler Thomas Kapielski arbeitete Frieder Butzmann seit den frühen 1980er Jahren zusammen. Die gemeinsamen Kompositionen sind zumeist minimalistische Stücke, durchsetzt von Alltagsgeräuschen und Sprachversatzstücken. So zu hören auf ihrem Album "WAR PUR WAR", das 1987 auf Zensor erstveröffentlicht wurde und mit seiner einwilligen Mischung aus verschrobenem Electro-Pop und skurrilen Klangcollagen ein gänzlich einzigartiges Werk ist und über die Jahre zu einer gesuchten Rarität wurde. Ergänzt um zwei Bonustracks, liebevoll remastert, mit aufgearbeitetem Artwork und versehen mit unveröffentlichten Fotos und Linernotes von Frieder Butzmann, erscheint "WAR PUR WAR" nun als Neuauflage auf LP und CD bei Bureau B.
https://butzmannkapielski.bandcamp.com/album/war-pur-war
|
2020 |
€16.00 |
|
| BÜNNAGEL, JULIA |
Sounds like... Vienna |
LP |
Soundperformances im öffentlichen Raum – Ein urbaner Soundtrack für Wien. Aus Abformungen von Gehwegen und Straßenbelägen des Wiener Stadtraums stellt Julia Bünnagel Schallplatten aus Beton her. Damit bringt die Kölner Künstlerin in ihrem live DJ-Set (Turntablism) Wiener Architektur zum Klingen. Der Tonarm des Plattenspielers liest die architektonische Textur ab. Die abgegossenen Oberflächen der Straßen, die in die Schallplatten eingeschrieben sind mischen sich während den Performances SOUNDS LIKE…VIENNA mit den Geräuschen der Stadt. – überschwemmen den Platz – ein Architektur-Rave für Wien.
www.juliabuennagel.de
https://www.gruenrekorder.de/?page_id=18469
"I’ve fallen in love with this performance video. Many people make field recordings, but few cut out circles of concrete and play them like records. And then even fewer go out in public to share what they’ve done. To our knowledge, there’s only one, which makes Julia Bünnagel a true original.
Does Sounds Like … Vienna sound like Vienna? That’s a trick question. The records literally are Vienna, so from this angle yes, the record of records one receives in the mail (to save on postage, these are made of vinyl) does sound like Vienna. The counter-point is that one should not expect the city to sound like this when one visits for the first time, unless one is fortunate enough to see the artist set up on the street outside one’s hotel. But listen deeper and one might hear the real sound of Vienna, delivered in sonic metaphor, a mesmerizing blend of repetitions and jutting angles, both rhythmic and offbeat, soothing and off-putting, until it clicks and one exclaims, “Oh, Vienna!” in a tone that may or may not echo Ultravox.
The added charm is the sound of traffic, children and other passers-by, exposing just how interested the residents of the city may be in hearing the amplifications of diamond on concrete. This may be an unprecedented level of needle abuse, all for a good cause, although our guess is that Bünnagel is not using brand new needles. Would our Technics 1200s make the same sounds? Do we really want to try? The beauty of listening is sinking into the recording, finding the tempo, just as one acclimates to a new city by immersing one’s self in the culture. If this sounds like Vienna, we might come to the conclusion that Vienna is exciting, creative, and beckoning, just as it is rumbling, vibrating, and unique. The set makes us wonder about other places that might lend themselves well to Bünnagel’s technique: the volcanic rocks of Pompeii, or the famed “concrete jungle” of New York.
We’re also imagining with some amusement the reaction to the artist should she show up at a club gig with this heavy milk crate of slabs. How many people would leave the dance floor? How many would come running? The second number is likely much lower than the first, but wouldn’t they be the crème de la crème? Wouldn’t they be the most attentive, the most curious, the most dedicated, as Bünnagel teases out the sounds lying beneath their feet? A huge thanks to the artist for playing a type of music we’ve never encountered before, despite the fact that we walk on it every day." [A Closer Listen]
|
2020 |
€18.00 |
|
| BÜSSER, MARTIN |
ANTIPOP |
Book |
"Großartiges Buch des TESTCARD-Mitherausgebers Martin Büsser. Hier geht es v.a. um die Frage des „subversiven Pop“, hat Pop von heute überhaupt Widerstandspotential? Enthalten sind kritische Artikel über TECHNO, HENRY ROLLINS, KRAUTROCK, die Auflösung des Rocks anhand der MELVINS, PLATTENSAMMLER und die Universalität von PHIL COLLINS; sowie hochinteressante Interviews mit ARNULF MEIFERT (ex-FAUST), JELLO BIAFRA, und JIM O’ROURKE. Zudem begründet er mit „MUSIK IM FLUSS“, warum fliessende Musik „in scharfem Kontrast zu bestehenden Verhältnissen“ steht und fremdartige, „sich allen Diskursen verweigernde Musik“ uns auf sinnliche Art und Weise eine Ahnung einer befreiten Gesellschaft zu vermitteln vermag. Das ist letztlich der Grund, warum es DRONE RECORDS gibt! Also: unbedingt lesen !!"
[Drone Records info 1998]
|
1998 |
€11.66 |
|
| BÜTTNER, GREGORY |
Nil.:Audio |
mCD-R |
"GREGORY BÜTTNER schickte für nil:.audio (AICdisc009, 3“ cd-r) Daten in den Softwarehimmel, in dem sie gelöscht werden und alle Sorgen enden. Vorher jedoch hört man in vier Varianten mehrfach komprimierte Sequenzen aus CDRom-Werbungen (heute auch nur noch prähistorische Kuriosität). Nach der ersten Überformung sind noch die Werbestimmen vernehmbar, wenn auch schon vermulmt, verzischelt und überwummert. Mit jedem Prozess nimmt die Information ab und die Entropie zu. Sirrend, bitzelnd, schmurgelnd verteilen sich die Klangmoleküle und nähern sich über eine Phase, die vielleicht den sprichwörtlichen Traumweiden von Androiden ähnelt, mehr und mehr dem anderen Ende der Bewusstseinsund Verstehensskala, um in den elysischen Gefilden zu verlöschen." [Bad Alchemy]
"Gregory Büttner, known as member of the duo Für diesen Abend , and also for running the fine small label 1000füssler, is giving honour to AIC by this impressive concept of subversive appropriation. Quicktime movies, taken from various internet providers’ advertisement CDRoms, were used as source material for the audiovisual work “nil”. The images as well as the sound tracks of those flics from the late 1990s / early 2000s ( so, from medieval times of digital technology ) have been compressed again and again by Buettner, using different Codecs – followed by some precise compositional arrangement. “nil:.audio” documents the most prolific audio pieces of the series – dense and idiosyncratic electroacoustics." [label info]
www.0000-anti.info
|
2007 |
€7.00 |
|
| CAGE, JOHN |
Complete Song Books |
do-LP |
“ … to consider the Song Books as a work of art is nearly impossible. Who would dare? It resembles a brothel, doesn’t it?” John Cage. Volume 3 in the Perihel series on Karlrecords is dedicated to one of the most iconic composers of 20th century: John Cage. All 92 pieces of the “Song Books” in stunning interpretations by Reinhold Friedl, recorded at Rashad Becker’s Clunk Studio who also contributed live electronics.
John Cage (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But Cage not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His “Song Books”, published 1970 in three volumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (Cage loved whiskey and cognac)… - When Reinhold Friedl (director of the ensemble Zeitkratzer) entered the Clunk Studio to record the whole cycle with Rashad Becker (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes… “Complete Song Books” turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references.
All music composed by John Cage. Constructed by Reinhold Friedl. Performed by Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage… Rashad Becker: feedback cabinet, live electronics. Mastered & cut at D&M, Berlin. Artwork by Lillevan."
|
2016 |
€26.50 |
|
| CAMBERWELL NOW |
All's well |
CD |
Endlich wieder erhältlich, die CD mit dem Gesamt-Material der THIS HEAT-Nachfolgeband!
"1982 lössten sich This Heat auf, bzw. verwandelten sich in Camberwell Now. Gareth Williams hatte die Gruppe verlassen und sich nach Indien aufgemacht, um neue künstlerische Herausvorderungen zu suchen (er starb im Dezember 2001). Bullen und Hayward hielten This Heat danach noch eine Weile am Leben, zeitweilig unterstützt von dem Bassisten Trefor Goronwy. Doch irgendwann stieg auch Bullen, der sich ein eigenes Tonstudio aufgebaut hatte, aus. Damit war das Projekt This Heat beendet. Hayward und Goronwy machten allerdings gleich weiter. Zusammen mit dem Klangkonstrukteur Stephen Richards hoben sie Camberwell Now aus der Taufe, benannt nach dem Wohnort der Gruppe (und auch dem ehemaligen von This Heat), dem Londoner Vorort Camberwell. Camberwell Now haben zwei EPs ("Meridian" von 1984 und "Greenfingers", 1987) und eine LP ("The Ghost Trade", 1986) eingespielt. Alle drei Alben wurden 1992 zur CD "All's Well" zusammengefasst, die beim schweizer RecRec-Label erschienen ist. Zusätzlich wurde noch ein Stück daraufgepackt, welches vorher nur auf einem Kassettensampler veröffentlicht worden war ("Daddy Needs A Throne"). "All's Well" bietet somit das komplette Œuvre der Band.
Die Musik von Camberwell Now unterscheidet sich recht deutlich von den Klängen von This Heat, obwohl es gewisse Gemeinsamkeiten gibt. Bizarr und schräg ist die Musik immer noch, der gequälte Gesang von Hayward hat sich auch nicht allzu sehr verändert und auch sein virtuoses Schlagzeugspiel ist sofort wiederzuerkennen. Gab es auf den This Heat-Alben aber rohe Klangexperimente und kaputte Songs zu hören, ist die Musik von Camberwell Now melodischer und musikalischer geworden. Experimentelles Tonschweben, industriellen Krach und bizarre Tonkollagen sucht man hier fast vergebens. Sehr virtuos musizieren Bass und Schlagzeug miteinander, treiben die Musik bestimmt und energiegeladen voran, angereichert mit diversen Sounds und Geräuschen vom Tonband und verschiedenen Keyboards, gelegentlichen Einlagen an der Gitarre und dem sehr eigenen Gesang Haywards. Auf den Stücken von "Greenfingers" gibt es zusätzlich noch Saxophon, Flöte und Viola von Maria Lamburn zu hören. Das Ergebnis sind sehr intensive, meist sehr rhythmische, etwas klaustrophobisch wirkende, schräge Rocksongs, neo-canterbury-artige Artrocker, mit Postpunk-Flair und einer unterkühlten, fast depressiven, stellenweise sehr hektischen Atmosphäre. Reichlich seltsam, rhythmisch und schwebend zugleich, kalt, aber sehr direkt ist diese Musik. Heutzutage würde man diese Klänge wohl in die Postrock-Schublade stecken.
Wer This Heat schätzt, insbesondere Haywards Gesang, oder auch die Solo-Scheiben von Robert Wyatt (es gibt da gewisse atmosphärische und stimmliche Ähnlichkeiten), der sollte versuchen sich "All's Well" zu besorgen." [Achim Breiling / Babyblaue Seiten]
"After the demise of This Heat, Charles Hayward continued to work with Trefor Goronwy, bassist from the last manifestation of the group, the two of them joining forces with Steve Rickard who, for the new band, designed the cassette switchboard a kind of proto-sampler - but thats not the half of it (Steves article fully explaining the device is reprinted in the new, expanded booklet that comes with the CD). Musically, Camberwell both followed and departed from the style of This Heat. Formally and gesturally there are common elements, but there is far greater transparency and the sound palette is quite different: the music is more placed than grown, as the slow accumulation and evolution of material in This Heat gives way to a more immediate and orderly development of the material in Camberwell Now. The songs - nostalgic, scary, quietly desperate - peer into the future to find harbour but confront only fragments of ruin. Debris and disturbance eat away at the root and corrode each shiny surface (this is mostly the musical work of the cassette switchboard). The juxtaposition of powerful, virtuosic playing and the eerie, often unidentifiable keenings, chords and constant motion of the cassettes is one of the things that make Camberwell Now so expressive of its time - when the whole social and political fabric of a no-longer-great Britain was unravelling. This definitive edition collects the entire released output of the group together (two EPs and an LP) newly re-mastered by the band and repackaged with full notes, lyrics, additional photographs and artwork." [label info]
www.rermegacorp.com
|
2006 |
€14.00 |
|
| |
The EP Collection |
LP |
Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016.
Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.”
Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship.
The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common.
Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing ‘Iron Lady’ Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain.
The group dispersed after a final European tour, amicably, quietly, and differently, the latter their MO throughout a unique career. Goronwy, Hayward and Rickard all share their experiences and thoughts on The Camberwell Now in liner notes accompanying this landmark release: young and old, birth and death captured on two sides of vinyl.
Note: On download card (and audio samples above), track one includes the songs “Cutty Sark”, “Trade Winds” and “Pearl Divers”. Total running time for track one is 9:34 and each song is distinct, though they are to be experienced as one long-form piece of music.
Release Notes
Official vinyl re-issue in collaboration with original members
24 bit/96 kHz re-master from original analog tapes
Restored art, expanded to a gatefold tip-on jacket
Includes download card with two bonus tracks
8 page booklet with track notes by the artists, lyrics and archival photos
Auf Camberwell in South London wird sich in der Popkultur immer wieder bezogen. Vielleicht kennt man es von der Camberwell Carrot, dem
überdimensionalen Joint, der im Kultfilm „Withnail & I“ geraucht wird, oder von CAMBERWELL NOW. Die Band entstand aus der Asche von THIS HEAT und bildete sich um Sänger und Schlagzeuger Charles Hayward, der den ehemaligen
BBC Sound Engineer Stephen Rickard für Field Recording und Bandmanipulationen
und Trefor Goronwy an Bass, Vocals und Ukulele akquirierte. „Wir hatten eine sehr spezielle Herangehensweise“, sagt Hayward, „und zu Beginn wussten wir nicht, wie wir unseren Sound live umsetzen sollten.“ Die „Meridian EP“ vereinigte
Einflüsse aus der Seefahrt und dem Imperialismus und spielte auf den Fakt an, dass
die Musik nahe am Meridian in Greenwich entstanden war. Die zweite EP, „Greenfingers“ von 1987 war ihre allerletzte Aufnahme, auf der man laut Hayward hört, wie die Gruppe „sich langsam zerstreut und getrennte Wege geht“. Auf der EP war erstmals das neue Mitglied Maria Lamburn am Saxophon zu hören, deren „Element Unknown“ von ihren Erfahrungen in einem Protestcamp gegen Atomenergie inspiriert ist. Die EPs vereinen Tracks aus Zeiten von THIS HEAT
und CABERWELL NOW und befassen sich mit Informationstechnologie, Überwachung, Propaganda und dem tagtäglichen Überlebenskampf, ernsthafte Sorgen im gespaltenen Großbritannien unter der eisernen Margaret Thatcher und vielleicht heute noch genauso relevant im zerrissenen, rezessionsgeplagten, isolationistischen Großbritannien der Gegenwart.
|
2016 |
€28.00 |
|
| CANTU-LEDESMA, JEFRE |
Love is a Stream |
CD |
"As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop.
Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms.
‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty.
The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it." [label info]
www.typerecords.com
|
2010 |
€15.50 |
|
| CAPRICORNI PNEUMATICI |
Putredini Obnoxius |
CD |
DNN007 C – CD 2017
Tracklist:
The Call of The First Aethyr 9:32
Putredini Obnnoxius
Hoor-Paar-Kraat 5:51
The Whispering Wheel 7:56
The Pentagram 5:50
Putredini Obnoxius 3:02
Earth Inferno 5:24
A-Thele-Ber-Seth 8:38
The Dreamer 9:12
Collected Gnostic Mass 3:17
All tracks composed and performed by Capricorni Pneumatici, © 1991
Digital remastering at C.P. Studio, Milano, 2017
Manufactured and distributed by ADN (Italy), 2017
Putredini Obnoxius was the tenth CP album, originally composed in 1991
https://capricornipneumatici.com/portfolio/cp/putredini-obnoxius/
"Nell’ambito di una serie di iniziative e ristampe che celebrano il trentennale dalla nascita del progetto, viene riproposto il decimo e ultimo album composto nel 1991 dai CP per la portoghese Putrefactio (ma mai pubblicato all’epoca), prima della lunga assenza discografica interrotta solo nel 2015 con The Erivar. Un “lost album” dunque, per il duo milanese dedito ad un’ambient rituale di matrice crowleiana. La voce manipolata di Aleister C. compare difatti in tre delle nove tracce, che a soffusi tappeti industrial ambient e cupi drone abbinano ipnotici loop di voci campionate, senza traccia dei sabba rumoristici che pure appartengono al genere. Alla maniera dei primi Coil, si ha la sensazione che le citazioni dalla letteratura esoterica avvengano con piena padronanza e rispetto delle fonti, come quando in The Pentagram si ricostruisce per allusioni sonore uno scenario da invocazione demoniaca. Una raccolta di pregevole fattura, che privilegia passaggi arcanamente pacati e riflessivi, come nelle estese A-Thele-Ber-Seth e The Dreamer. [VITTORE BARONI, REWIND, BLOW UP, NOVEMBER 2017]
|
2017 |
€13.00 |
|
| CARBON BASED LIFEFORMS (CBL) |
VLA |
CD |
"We’re happy to welcome legendary Sweden space ambient project in our roster.
Special album, different from earlier works of CBL, one hour of deepest space ambient tunes, one hour snatched from eternity, one hour of ethereal oblivion.
Very Large Array (VLA) is a radio astronomy observatory located on the Plains of San Agustin, between the towns of Magdalena and Datil, some 50 miles (80 km) west of Socorro, New Mexico. It comprises 27 25-meter radio telescopes in a Y-shaped array and all the equipment, instrumentation, and computing power to function as an interferometer. Each of the massive telescopes is mounted on double parallel railroad tracks, so the radius and density of the array can be transformed to focus on particular bands of wavelength. Astronomers using the VLA have made key observations of black holes and protoplanetary disks around young stars, discovered magnetic filaments and traced complex gas motions at the Milky Way's center, probed the Universe's cosmological parameters, and provided new knowledge about the physical mechanisms that produce radio emission.
The VLA stands at an elevation of 6970 ft (2124 m) above sea level. It is a component of the National Radio Astronomy Observatory (NRAO)." [label info]
www.infinitefog.ru
|
2016 |
€15.00 |
|
| CARTER TUTTI VOID |
Play Chris & Cosey |
do-LP |
"Mit acht brandneuen Neuinterpretationen und Bearbeitungen von CHRIS & COSEY Klassikern aus den Achtziger und Neunziger Jahren. Die Idee zu diesem Album stammt von den sehr erfolgreichen Live Performances von ,Carter Tutti Play Chris & Cosey", die zwischen 2011 und 2014 zu einer bisher ungesehenen Serie von Shows im Vereinigten Königreich, Europa, Skandinavien und Nordamerika führten. Diese Shows führten wiederum zu einer großen Nachfrage, was Aufnahmen dieses Livesets anging, so dass sie Ende 2014 die komplette Kollektion der aufgearbeiteten Klassiker in ihrem eigenen Studio in Norfolk neu aufnahmen. Jedes Format wartet mit einem exklusiven Remix auf. Bei der CD ist das ,Vengeance" im exklusiven Remix, während das Vinyl sämtliche fünf Tracks von der Merchandising CD der Tour enthält.
Double LP version, includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014). Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair's much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. Housed in a gatefold sleeve." [label info]
"Carter Tutti. Chris & Cosey. There may be a semantic difference somewhere to be discussed, but this album brigades what those differences may be as the pair of Chris Carter and Cosey Fanni Tutti have crafted an album of material mined from the back catalogue of Chris & Cosey albums under the moniker Carter Tutti. Over the past four years, the couple has been touring vigorously, with the set including revamped / recorded / reengineered versions of the older Chris & Cosey material. So many people approached them with requests for the live recordings of these newer versions that they went into the studio to properly sequence these tracks for an album. And we gotta say that Carter Tutti offer up one hell of a recapitulation, and at times, they really do better themselves than what they had done back in the '80s. When Throbbing Gristle broke up and Chris & Cosey ventured out on their own, they adopted the seductive electro-pop subversion facets of TG to their own devices. Their albums eagerly consumed technology and fused any and all forms of electronics into the sexual / somatic rhythms of the human body. Admittedly, some times their ideas were hindered by the technologies that were at their disposal. Samplers that could only fire so fast and so much. MIDI programming that was limited by latency, memory, and timing issues. Jump several decades, and what Chris & Cosey did in the '80s with a bank of synthesizers and sequencers can now be done on any given phone. So many of these recapitulations work with the same set of melodies and sequences, but smoothed out the technological stumbling blocks. "Driving Blind" was one of the better tracks on their 1984 album Songs Of Love And Lust; and here, the two flesh out the arpeggiation of the sequences with a dense polyphony of streaming electronics above their whipcrack techno production - and Cosey's skulldrill monotone mantras are as compelling, delirious, and sexy as ever. "BeatBeatBeat" is one of the most refreshing recreations, mostly because the original was pretty damn annoying, again with a minimal, surgical set of cybernetic techno and Cosey reworking the vocal chorus into more of a celestial chime and less of a mosquito irritant. The S&M inspired "Sin" finds Cosey channelling Siouxsie more so than she's ever done in the full-throated bellows of sexual depravity above another finely tuned machine of chome-plated techno. One can hope that whatever new material comes out of this redux, it will follow this template which is pretty fucking great." [Aquarius Records]
|
2015 |
€29.50 |
|
| CARTER, CHRIS |
Chemistry Lessons (CCCL Volume One) |
CD |
"Das erste Album von Chris Carter seit 17 Jahren ! Als Gründungsmitglied von Throbbing Gristle – gemeinsam mit Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson und Genesis Breyer P-Orridge –, spielte Chris Carter eine signifikante Rolle in der Entstehung elektronischer Musik, eine Reise, die Carter als Teil von Chris & Cosey und Carter Tutti respektive Carter Tutti Void und in seinen Soloarbeiten bis heute fortsetzt. Die Verknüpfung von traditioneller Musik und Elektronik sind jene Momente, die die Musik von CCCL Volume 1 an das Schaffen von Throbbing Gristle rückbinden." [label info]
"Architect of the present future, Chris Carter goes retro hauntological on CCCL Volume One, his first solo album in 17 years.
Since his previous album, released in the last century, he’s been busy taking his influential duo with partner Cosey Fanni Tutti to a natural close, and likewise seeing thru their trio with Nik Colk Void, while at the same time diversifying his bonds with remixes of the contemporary field, from Factory Floor to Nisennenmondai and Perc. Here, however, the enormously pivotal artist paints a sonic self portrait indulging an unswerving thing for the BBC’s Radiophonic Workshop and the malleability of modular synths, all with a mixture of wide-eyed, youthful innocence and high end studio nous executed to nostalgic degrees.
In the classic framework of hauntology, Carter’s nostalgia is for a lost, assuaged or thwarted synthetic future he experienced explicitly and cosmotically growing up during the ‘space age’, when synthesisers were vehicles for interstellar and interdimensional travel and acted as the connective ligament of counter-cultural likeminds across the world, so its easy to understand why he can’t shake that feeling here.
Like a grown up kid with all the kit he could ever dream of, Carter brings his ideas to life in uniquely tactile style, working like a sculptor with broad palette of amorphous materials that continue to react and mutate after he’s fixed them in place, at his legendary studio in Norfolk. Each of the 25 tracks feels to offer a window onto worlds of encrypted kinetic energy, fulminating figments of the imagination which come to life in shapeshifting, plasmic forms made all the more “real” and hyperstitious thanks to his application of AI like vocaloids which populate the album, cropping up as alien sirens, glossolalic darkroom murmurs, and fully-fledged “singers” in their own strange right.
The result is a uniquely absorbing album tied together by Carter’s smart internal logic, a mazy manifestation of bio-electronic feedback systems that gives voice to the machine as much as the man operating it in a way that will really speak to followers of classic electronic music." [Boomkat]
|
2018 |
€16.50 |
|
| CASAS, CARLOS |
Mutia (special ed.) |
3 x LP |
"While developing my last film about the elephant graveyard myth, I tried to imagine what that jungle and landscape that protected it might sound like. To do this, I created a series of soundscapes, atmospheres to help me understand that park, to imagine it; I tried to place it in the near future, around 2046. All the sounds that make up those sound compositions come from my references throughout the project, and from the atmospheres and radiofrequencies captured during the filming in Sri Lanka; the deep jungles and magical places that helped me undertake that journey. When I finally finished editing the film itself, I decided to rework those sessions, to create an album that would recap that entire imaginary world I had created. The album is a way of inviting audiences to undertake that journey."
Sound compositions, field recordings and radio frequencies by Carlos Casas
Additional sound captured in location by Marc Parazon
Mastering and cut by Frédéric Alstadt at Ångström studio, Brussels
3LP LIMITED ARTIST EDITION 200 COPIES - RED VINYL
GATEFOLD COVER & PRINTED INNER SLEEVES
INCLUDED HANDNUMBERED BONUS VINYL IN TRANSPARENT SLEEVE
INCLUDED ART PRINT
INCLUDED DOWNLOAD CODE FOR AN EXCLUSIVE 99" BONUS TRACK
https://carlos-casas.bandcamp.com/album/mutia
|
2019 |
€45.00 |
|
| CASCONE, KIM |
Anti-Musical Celestial Forces |
CD |
"Anti-Musical Celestial Forces presents a thirty minute cinematic montage of field recordings - gathered in the fall of 2008 while on tour in Europe, mixed with computer generated textures and spoken word." [label info]
www.storung.com
|
2009 |
€12.00 |
|
| CASPAR BRÖTZMANN MASSAKER |
Black Axis |
do-LP |
"Das herausragende zweite Album des CASPAR BRÖTZMANN MASSAKERs aus dem Jahr 1989 - remastert. Die rohe Gewalt des Power-Trios wird von BRÖTZMANN in einer explosiven und exquisiten Beschwörung dirigiert, die HENDRIX'sche Schwingungen aufgreift und sie in eine harte deutsche Industrial-Atmosphäre versetzt. / "The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations, mixed with hard German industrial atmosphere."
https://casparbrotzmannmassakersl.bandcamp.com/album/black-axis
|
2019 |
€24.00 |
|
| |
The Tribe |
LP |
"Southern Lord is proud to announce the first in a series of CASPAR BRÖTZMANN MASSAKER album reissues — beginning with the masterful debut The Tribe, originally released in 1988, and second album, Black Axis, originally released in 1989 — both remastered and presented as they were when originally released. After reissuing the first five albums, they shall later be made available in a collector’s boxed set complete with extensive liner notes, artwork by BRÖTZMANN, as well as a silkscreened print which will be hand numbered and signed by the artist. Full details of the series to be revealed in the coming months. CASPAR is also rumored to be working on brand new material.
CASPAR BRÖTZMANN is one of the most unique and innovative guitarists of the last forty years. With his Berlin-based trio MASSAKER, he evolved a whole new autonomous approach to writing rock songs, starting from sounds that were widely considered ornamental if not detrimental “sonic waste” such as shrieking feedback and droning overtones. This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving.
Even today, as the art of noise has reached a level of sophistication that no one could have imagined thirty years ago, CASPAR BRÖTZMANN MASSAKER‘s music is resoundingly singular. Ultra-heavy riffs and beats, ominous tribal chants, and a raw physical force is conjured up by these three sinister and proud minds of their era. Their unhinged, unified stream of energy is captured on these remastered reissues and the results are thrilling.
Southern Lord will reissue CASPAR BRÖTZMANN MASSAKER‘s The Tribe on CD, LP, and digital platforms and Black Axis on CD, 2xLP, and digital platforms on January 18th, 2019. Watch for preorders to post shortly.
Born in 1962 in a post-war divided Germany, CASPAR BRÖTZMANN started out playing the piano, his main inspirations included, Hanns Eisler, singer Ernst Busch, his mother’s “Hausmusik” (German tradition where the family gathers to play their instruments together), and also by the roaring sounds of his father, a virtuoso saxophonist aka “The Teutonic Axe” – a key player in the European free jazz movement, Fluxus artist, and ideologically adamant communist.
CASPAR lived in fear and awe of his strict father, and he took to the guitar knowing that his father and his peers sneered at Americanized music, and especially electric guitars and the hard rock sounds that appealed to him, the likes of Ritchie Blackmore, Jimmy Page, and Jimi Hendrix. The guitar became, CASPAR says, “his shield against the unsettling world,” also nting, “It wasn’t about virtuosity, rather the love of the instrument.”
BRÖTZMANN didn’t have any formal training, but Hans Reichel — a family friend and an avant-garde guitarist who built his own instruments — showed him the ropes. Hans taught him how to manipulate the workings and mechanics of the guitar. CASPAR’s left-handed instrument is less of a nod to left-handed Hendrix and more of a technical improvement to his own playing, allowing for a stronger low end, better access to the volume control, and the vibrato bar, all of which gives CASPAR BRÖTZMANN MASSAKER‘s music an unparalleled dynamic range.
The Tribe was CASPAR BRÖTZMANN MASSAKER‘s first album. Recorded at Jost Gebers’ legendary jazz studio FMP in Berlin. To Gebers, who was far from being a fan of amplified music, BRÖTZMANN recalls, MASSAKER‘s music sounded “honest”. The iconic sleeve was designed by CASPAR BRÖTZMANN‘s father. Prior to this record, CASPAR honed his craft as a solo artist opening for the likes of Nick Cave. It is now reissued as it was originally released, remastered for LP and CD.
MASSAKER lineup for The Tribe:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Jon – drums
Julian Cope once stated that CASPAR BRÖTZMANN MASSAKER was, “The trio to end all power trios.” Like The Tribe, Black Axis was recorded at Jost Gebers’ FMP tudios in Berlin. Black Axis came to life in a rehearsal room so small with a ceiling so low that BRÖTZMANN, at nearly six-and-a-half feet tall, could barely stand up straight. The artwork was created by Brötzmann himself. The album is here reissued as it was originally release, remastered for 2xLP and CD.
MASSAKER lineup for Black Axis:
Caspar Brötzmann – guitars/vocals
Eduardo Delgado Lopez – bass
Frank Neumeier – Drums
https://southernlord.com/caspar-brotzmann-massaker-reissue-series-to-launch-in-january-2019-through-southern-lord-beginning-with-the-tribe-and-black-axis/
"Das fulminante Debüt des CASPAR BRÖTZMANN MASSAKERs aus dem Jahr 198/ - remastert. Die rohe Gewalt des Power-Trios wird von BRÖTZMANN in einer explosiven und exquisiten Beschwörung dirigiert, die HENDRIX'sche Schwingungen aufgreift und sie in eine harte deutsche Industrial-Atmosphäre versetzt."
|
2019 |
€18.00 |
|
| CASPAR, C.O. |
Pass the times |
CD |
Das Berliner Urgestein nach langer Zeit mit neuem Album – PASS THE TIMES ist ein monolithisches, metallisch dröhnendes Klangmonster, wo sich Strukturen zugunsten kontemplativer Fliess-sounds auflösen - die raumfüllenden, abstrakten industriellen tunes erscheinen in stetiger atmender Bewegung, mal fast meditativ ruhig um dann wieder in eruptive Noisescapes auszubrechen. Großartig !
The Berlin veteran after a long time with a new album – a monolithic, metallic droney sound-monster, where structures dissolve totally and make place for contemplative float-textures. The abstract industrialized tunes appear to be in a continous breathing movement, sometimes nearly meditatively silent, then again in breaking out eruptive noisescapes. Great !
|
2003 |
€13.00 |
|
| CAUL |
The long Dust |
CD |
"The Long Dust signifies the first full length Caul recording for Malignant since 1998's "Light From Many Lamps' CD, and while, stylistically, Brett's sound has evolved, there's no question it has also matured, moving further away from the climatic drift of the early works, into more structured, composed realms, adding layers of noir-ish percussion and gentle guitar melodies to the arching tones and cinematic textures that define the Caul sound. This is music that speaks of grey skies and introspection...solemn, yet abounding with serene beauty. 4 panel digipak." [label info]
www.malignantrecords.com
"Broad and dusky ambient vistas meet shuffling, shoe-gazey post-rock beats on Caul’s new release, The Long Dust. Caul (aka Brett Smith) brings a cinematic sense to his tracks, everything moving with a thoughtful slowness, the long, considered pace of deeply mulling something over. It’s like watching a series of long tracking shots, the camera panning and pulling back to reveal a lone figure. It’s moody and a little brooding, a mindset that’s strongly presented from start to finish, but which never bogs by getting maudlin. That’s due in large part to the beats and the guitar, the way they ground the ambient side. The slump-shouldered drum beats and the lazy twang of the strings serve to amplify the emotional effect of the edge-of-giving-up synth pads. The post-rock framework makes it accessible, and infuses it with a recognizable energy. The ambient side is a thing all its own. Tending toward the low end of the scale, earthy notes grumble and sigh as they spread out to form a somewhat bleak landscape. In the moments where it exists on its own, the ambient aspect is deep and potent, with its own definite beauty. The mix, therefore, ramps it up. “Relic” nails it early on with garage-band drums and a spaghetti-Western guitar. The synth pads moan in the background as Smith casually turns up the catchiness. The last 30 seconds are given over, to great effect, to the synths. This moves us into my favorite track, “Ascension.” The drums clatter, a bit on the ungainly side, over crying pads and chords. It’s a bit stark, bordering on minimal for two minutes, and then–oh, my, how it explodes in a sudden burst of power-chord joy. “Veil of Sand” also works upward from a sparse start, the loneliness of the guitar and drum combo offset by an almost hopeful-sounding blend of high pads and chorals. Even so, it retains a solitary feel. “The Road” has a roll-the-credits solemnity to it. Watch the main character walk off, only partially defeated, into a heat-shimmer sunset, accompanied by a resonating acoustic guitar. Smith builds in more elements to heighten the feel. Once again the backbeat makes it catchy even as it keeps its head-down, alone-again tone. A keening voice sings the last few notes alone.
I’ve seen this disc described as dark ambient. It’s not. It’s heavy, certainly, but it’s a stones-in-your-pockets emotional heaviness. It’s painted not in cloying blacks but in chromatic greys. It dares to show a little hope here and there. What it is, is human. This is a very human disc. It is vulnerable and sad and alone, but it’s finding its inner strength and going on ahead anyway. It has a story to share, and it’s told very well. The Long Dust will ping your emotional core and find something in there to make you a little sad, a little pensive. That’s how and why it works so very well. Another superb offering from Caul." [Hypnagogue]
|
2013 |
€12.00 |
|
| CAUX, JACQUELINE |
Anna Halprin |
2 x DVD |
These two engaging films—Out of Boundaries and Who Says I Have to Dance in a Theater—provide insights into Anna Halprin’s creative philosophy, teaching methods, and performances, serving as an informative follow-up to Ruedi Gerber’s Breath Made Visible. In lively conversations Anna articulates her ideas, describing the trajectory of her work, distinguishing her method from traditional choreography, clarifying her pioneering concept of task-oriented movement, and much more. In addition, there is footage from important past performances and revealing excerpts from the rehearsals for the 2004 performances at the Festival d’Automne in Paris.
Trailer 1: http://www.jacquelinecaux.com/jacqueline/en/documentaire-out-of-boundaries.php
Trailer 2: http://www.jacquelinecaux.com/jacqueline/en/documentaire-anna-halprin.php
These two films captures, from videotaped conversations and numerous excerpts of rehearsals, performances and rare archival footage, of fundamental changes made by Anna Halprin in the field of dance. As soundtrack its have musics by Pauline Oliveros and Terry Riley who both have, at various times, worked with her. It was born in California, in the mid-fifties, long before swarm in New York, this form of artistic expression so peculiar that we later gave the name of 'Post Modern Dance'. All those who participated in the outbreak of this phenomenon know Anna Halprin is an important pioneer. Born in 1920, she has literally exploded all agreements remained in contemporary dance by supporting research on the everyday actions, and taking into account the anatomy of men as well as his unconscious desires and his sexual impulses. She introduces in 1957 the concept of 'task' (to perform actions such as dressing, undressing, walking...). Floor of sneakers or shoes with high heels, she improvises in parking lots, construction sites, in the street On the set dancing outdoors that her architect husband Lawrence Halprin has built below their house near San Francisco, she drives in her crazy adventures - to the extreme by galvanizing their own creativity - young artists from different fields still completely unknown. Dancers such as Simone Forti, Yvonne Rainer, Trisha Brown, Meredith Monk, as well as Robert Morris (before he choose the sculpture), which then introduce in New York on radical innovations of Anna Halprin, forming the core of 'Judson Dance Theater', composers like La Monte Young and Terry Riley, she called in 1959 co-musical directors, and experimenting with her music minimalist and repetitive they are inventing. Other artists such as Charles Ross, a poet like James Broughton, filmmaker Stan Brakhage... An important step while leading it to take into account more than ever the real in work, will Anna Halprin media spotlight away from the city of New York with all the artistic means at its disposal, it will be his fight against the cancer she suffered in 1972 with a recurrence in 1975. Cured, that's when she began working with cancer patients, and later of AIDS. 'I'm not a therapist', she is to clarify, 'I am an artist who seeks to develop imaginative and personal social issues. For me, art is this: bring in a creative process things imposed on us'. Environment California has strengthened the inspiration of Anna Halprin and has enabled her to celebrate away from demonstrative virtuosity, beauty of the natural movement of the human body. This, combined with its long association with disease and death, leading to her most recent improvisations in nature such as 'Returning Home' and 'Season' or 'Rocking Seniors' with more than fifty old persons'. Jacqueline Caux
www.jacquelinecaux.com
|
2014 |
€35.00 |
|
| CHARTIER, RICHARD |
Decisive Forms |
CD |
"Der uns bisher unbekannte RICHARD CHARTIER verbindet hier frizzelige Sounds und Drones im ruhigen Bereich, Stereoeffekte und wellenförmige Subbässe, für die Kontemplation in absoluter Ruhe und Entspannung." [Drone Rec. 2001]
“Decisive Forms is a very subtle, abstract work of great detail, a perfect object for contemplation that requires the listener's full attention. I find it extremely captivating to follow as it unfolds over time, to adapt my breathing to its slow pulse, and to be completely absorbed by the act of perception itself without thinking in form of interior comments, descriptions, or associations.
Decisive Forms is another step forward Richard is taking from his fine work 'series' that has just received one of the twelve Honorable Mentions of PRIX ARS ELECTRONICA 2001. I will not try to further describe Decisive Forms, but rather encourage you to
go ahead and experience it yourself - the attention it requires is generously rewarded.” [bernhard günter, May 2001]
|
2001 |
€13.00 |
|
| CHASSE, LOREN & MICHAEL NORTHAM |
The Otolith |
CD |
58 Minuten voller Wunder und Geheimnis! Mehrere Jahre haben LOREN CHASSE (THUJA, etc.) und MICHAEL NORTHAM eine unglaubliche Fülle von Klängen zusammengetragen (Field Recordings, Aussen-Objekt-Aufnahmen, Instrumentalsounds) und daraus auf acht Stücken Räume voller konkreter Details und dröhnender Sphären erschaffen, es tönt so soft und obertonreich und doch nie beliebig, Originalsounds bleiben oft im dunkeln aber betören stets in höchstem Maße. Das ist "organischer Ambient" oder "Microsound Musique Concrete" in Vollendung!
"The recordings of Loren Chasse and Michael Northam begin and end with the great outdoors. Yet, the well-documented wanderlust of these two kindred sound artists is only part of the equation. Field recordings of wind, water, and stone intertwine and hybridize within private rituals of droning psychedelic ragas that return as a folklore reiterating the mystery of the natural world around us. Through his numerous contributions to the multi-faceted Jewelled Antler as well his solo work, Chasse has long postulated the microphone as an extension of his ear, which magnifies and probes the surface of the earth for a tactile grit that permeates all of the sounds that he generates. Northam claims his inspiration from vast geographies, microscopic detail, and severe weather, which he compacts through various techniques to explore what is between improvisation and acousmatic composition. Both Chasse and Northam entertain such notions through an alchemy of arcane instruments: autoharps, ouds, flutes, bells, gongs, bowed wires, harmonium, and Northam's magnetic table harp. The Otolith is the result of several years of work, with sounds gathered collectively in the San Francisco Bay Area and throughout Europe. The album speaks as a bramble of fence wire and chaparral scrub oak, acquiring an unkempt collection of rubbish, cobwebs, insects, and soil within its tangle. As the wind pushes in one direction, this mass emits a quite if scratchy melody as if the ghost from a forgotten song; but when the wind changes directions, it bellows a rasping din of metal and vine cracking against itself. This sodden calliope tumbles into a miasma of droning atmospheres, softly rasped distortion, and very subtly rendered lulabies lurking deep within the overgrowth." [label info]
" Throughout the Marin Headlands just north of the Golden Gate Bridge, the coastal mountains are dotted with countless bunkers which were built during World War II in anticipation of the Japanese invasion that never came. Nearly 70 years later, these bunkers have been weathered by wind, fog, rain, and of course the sodden folks who tromp through the Headlands on a daily basis. These concrete structures with small portals facing the Pacific all have amazing reverberant qualities; and it shouldn't be a surprise that the more frequented bunkers and passageways inevitably echo with the sound of children dying to hear their own voices tossed back to them. The Headlands have been a favored destinations for Loren Chasse, who has sought many of the lesser known and lesser travelled environs for field recordings and jam sessions that would eventually work their way
into all things Jewelled Antler (Thuja, Franciscan Hobbies, The Blithe Sons, Of, Ov, etc.). In his recordings, Chasse extracts a profound mystery and grand sense of wonder from that echo, the bunker's grit, the soft recurrence of surf bleeding through those walls, and the distant bleat of a foghorn.
Back in 2005, Chasse took his fellow globetrotting wanderer Michael Northam to the Battery Townsley where the two set up long
string wires and various handheld instruments to begin a series of recordings which took a few years to complete after Northam left
California. The two did manage to meet up once again in Estonia, there exploring the Soviet industrial ruins that pock the Estonian landscape with similar intentions. Out of the bramble of overgrown weeds, rebar, concrete, dirt, rock, wind, and water, Chasse and Northam straddle those psychedelic leanings of Jewelled Antler and the more studied aspects of minimalism.
The Otolith begins with an acoustic clamor, as if billions of iron filings were brushing against each other under the direction of a
couple of hefty magnets, before shifting into a harmonium blur of sustained tones hinting at a melody well beneath these clouds of tousled energy. Softer drones and Aeolian fragments flutter forth out of bowed strings and gently tapped gongs amidst a golden hue of opiated atmospherics. Scrabblings across the surfaces of leaves, rocks, mud, and metal fuse with field recordings of wind and water, as a continuing demonstration of Chasse's alchemy with naturalist sound to bring forth stately ragas and dreamtime psychedelic lullabies.
Chasse and Northam work amazingly well together, having produced this thoroughly amazing album. Think Popul Vuh, Parson Sound, Pandit Pran Nath, Harry Bertoia, and Eric La Casa. Totally beautiful and mesmerizing." [Aquarius Records review]
www.helenscarsdale.com
|
2008 |
€13.00 |
|
| CHAUVEAU, SYLVAIN |
Singular Forms (Sometimes Repeated) |
CD |
"Stripped: dekonstruierte "Popsongs" des französischen Elektronikers.
Es ist kaum zu glauben, dass zwischen Sylvain Chauveaus letztem Album "Down To The Bone" und "Singular Forms (Sometimes Repeated)" ganze fünf Jahre liegen. Dazwischen gab’s Reissues, diverse Kollaborationen und Soundtrack-Arbeiten, dennoch ließ sich Chauveau Zeit, bis seine Ideen die Reife hatten, umgesetzt und auf Tonträger gebannt zu werden. Die Depeche-Mode-Songs, die er auf "Down To The Bone" erkundete, brachten ihn auf die Idee, ein Album mit Songs aufzunehmen. In vielerlei Hinsicht ist "Singular Forms (Sometimes Repeated)" wie ein normales Album mit Hooks und Melodien konstruiert. Dennoch dekonstruierte Chauveau die bekannten Formen auf ihr Grundlevel. Vokalpassagen fallen aus den sparsamen Klavierarrangements wie Äpfel im Herbst. So wie Carsten Nicolai und Ryuichi Sakamoto klassische Musik dekonstruierten, hat sich Chauveau vorgenommen, die Wurzeln der Popmusik freizulegen. Jedes Stück klingt zunächst so, als könne mit ihm ein Drei-Minuten-Pop-Stück beginnen, bevor dann alle Teile allmählich wegbrechen. Eine herausfordernde, intensive Hörerfahrung." [label info / Indigo]
"It is hard to believe that five years have passed since Sylvain Chauveau’s last ‘proper’ album. Of course there have been re-issues peppering the years since ‘Down To The Bone’, as well as more than a few collaborations and soundtrack appearances, but Sylvain has purposefully waited to allow his ideas to come to fruition. On mentioning his new album to me a few years ago, Sylvain commented that he didn’t think it would appeal to everyone and that he wanted to take a fresh direction. The Depeche Mode songs he had explored on ‘Down To The Bone’ had given him ideas he felt he needed to explore, and ‘Singular Forms (Sometimes Repeated)’ is his attempt at an album of ‘songs’.
In many ways, ‘Singular Forms (Sometimes Repeated’) is constructed the way albums used to be – it is compact and filled with vocal hooks and melodies, yet Sylvain has deconstructed the musical forms he grew up listening to and reduced them to their base level. Vocal snippets fall through the stereo field and his signature piano motifs splutter and cough through processed digital hiccups. As Carsten Nicolai and Ryuichi Sakamoto deconstructed classical music, Sylvain attempts here to study and dissolve the roots of popular music. Each piece feels like it could have started as a three-minute pop sing-along before the accompaniments were stripped away and the component parts reduced to merely a backbone.
‘Singular Forms (Sometimes Repeated)’ is a daring and challenging listening experience. The widescreen theatrics of Sylvain’s previous work have all but disappeared, leaving an album that is stark and incredibly beautiful. It is an album rooted in a love of art and music, both minimal and mainstream and celebrates Sylvain’s influences. One listen might only reveal surface details, but listen again and you will find much, much more." [label info]
www.typerecords.com
|
2010 |
€15.50 |
|
| |
The Black Book of Capitalism |
CD |
"Erste Solo-CD von Sylvain Chauveau aus Toulouse, Mitglied der ebenfalls hochgelobten MICRO:MEGA, die eine vielseitige Verknüpfung von mehreren Stilen vorgenommen haben. "Le live noir du capitalisme" ist introvertierter und (noch) melancholischer ausgefallen als man es von MICRO:MEGA kennt, langflächige Pianopassagen, Violine, Gesang, dazu aber auch einzelne Samples, Bläser,...
aber auch leicht experimentelle Anwandlungen, perfekte Filmmusik.... herbstlich-warm, einsam, unglaublich nostalgisch & wunderschön, eine CD für die Insel." [Drone Rec. info 2001]
"Originally released in 2000, Le Livre Noir Du Capitalisme was the first album from French composer Sylvain Chauveau. Now in 2008, it has been remastered and repackaged for Type Records, translated into the English The Black Book of Capitalism. This record was the first the world had heard from Sylvain, a musician who had been rooted in post-rock before realizing that he could do a lot more with the instruments around him. On The Black Book of Capitalism, we hear a rare playful side to the composer as he flirts with Gallic classical music, electronica, jazz, and even indie rock. The variety splintered into various side-projects as Sylvain moved on in the music scene, but here we get a sense of confident experimentation without a hint of cliché. Sylvain's sound would go on to influence a host of other artists and kick off an entire sub-genre of modern classical music, but strangely enough, this debut album has been out of press for some time. Now remastered by Dubplates and Mastering in Berlin and on vinyl for the first time ever, it sounds more relevant and timeless than it ever has. Beginning with a cloud of smoky ambience, piano, strings and the atmospheric field recordings that frame the record, we are dragged into Sylvain's noir-esque world. This sets the scene for the entire album which drifts through the kind of piano-led classical vignettes popularized by Max Richter and more recently Goldmund, yet punctuates these with doomy jazz and lighter pieces such as the guitar-led "Dialogues Avec Le Vent." The result is a beguiling collection of pieces which show an incredibly inventive mind at work, a mind refusing to be held to one specific style, or even time." [label info]
www.typerecords.com
|
2008 |
€13.00 |
|
| CHEN, TANIA & STEVE BERESFORD |
Ointment |
CD |
Tania Chen: objects, toys, violin, piano
Steve Beresford: objects, electronics, toys,
trumpet, water
Pieces beginning with 'C' recorded by Tim Fletcher at The Bonnington, Vauxhall, London on December 18 2002. Event organised by Adam and Jonathan Bohman.
All other pieces recorded by Steve Beresford in west London - pieces beginning with 'L' on August 7 2003 and the rest on June 12 2003. All pieces composed by Tania Chen and Steve Beresford. Edited by Steve Beresford in March 2004.
Not to rub it in, but this is a very effective fast-acting selection from two of England's finest sonic alchemists. Applied liberally to the ears, 'Ointment' will both soothe and alarm you. Tania Chen and Steve Beresford coax a galaxy of timbres from toys and unidentified objects to produce a series of astonishing tableaux.
The album commences with the monastic 'Gel', a stinging vesper for rasp and strigil. We are wheeled into the phosphene diorama of 'Lotion', awash with images of giant ants, ducks and a campfire idyll. 'Serum' is administered,
seemingly innocuous, but then run through with a desert laser like blue cheese, it scrubs up a storm. The title track is shaken and stirred. Dextrose organs sugar the espionage.
In the aftermath there is 'Balm', an aquatic fanfare with lemon notes and a hint of playdough. 'Liniment' evokes traffic-smeared London. It is essentially a road work. A suburban ballad for mandrill, cricket and toffee guitar. 'Embrocation' steams forth, ideal for the brushing (and flossing) of teeth, it is hygienic and brief. The seasonal downstroke of 'Demulcent' counts the rings around it's carbonated core. Regular music with a soft touch.
The last two squirts of 'Ointment' are live recordings. 'Cerate' begins as a gentle seduction, waxing rustic before stiffening at the conclusion. 'Chrism' puts the funk into unction, it marks time and pierces austerity, the rhythms played out on a leash.
Chen and Beresford are quick-change artists on the fly. 'Ointment' captures them. Side effects for the listener? A sharpening of the senses which may persist for some time after the album has finished.
(Jonathan Bohman)
TANIA CHEN: pianist of the younger generation, Tania Chen, is fast becoming a leading exponent of contemporary piano music. She studied at the Royal College of Music and pursued advanced studies with Stephen Coombs and Artur Pizarro in London. She continued her postgraduate studies, specialising in contemporary music with acclaimed contemporary pianist, John Tilbury, and was awarded an MMus with Distinction from Goldsmiths College, University of London.
Tania is a recent recipient of the Shelley Scholarship in Performing Arts, enabling her to undertake performance projects in Rome and Venice. She has recently performed in masterclasses with Mtslav Rostropovich and has recorded pieces by Cornelius Cardew with Apartment House for the Matchless label. She has worked closely with Earle Brown, Yuji Takahashi, Terry Riley, Michael Parsons, Andrew Poppy, Laurence Crane, and James Saunders amongst others, and has given many performances in London, Japan and Europe. Tania has recently played music by Chris Newman for piano and voice and she has also written her own music which is composed as well as improvised for piano, electronic sounds and voice.
|
2004 |
€6.00 |
|
| CHINE NUAL |
Tomorrow's leaders are busy tonight |
CD |
"Überraschung auf Plate Lunch! RICK KITCH ist CHINE NUAL, und er bearbeitet Material von RANDY GREIF, JEPH JERMAN und STEVE BRAND. Wir hören entspannte, aber hochinteressante elektronische Soundscapes, eine sehr komplexe Vernetzung von vielerlei Frequenzen & Effekten, z.T. mit wiederum effektierten field-recordings... schwer zu beschreiben, aber äußerst empfehlenswert! Die Musik ist ausdrücklich als Kreativitäts-anspornender Atmosphärenerzeuger gedacht: "The audio is intended to be repetetive and void of emotional content, so as to provide a suitable environment for the listener to creatively participate in."
[Drone Rec. 2000]
|
2000 |
€8.00 |
|
| CHOPIN, HENRI / PAN SONIC / ACHIM WOLLSCHEID |
Composition I |
CD |
SO macht Globalisierung Spass! Wer hätte das gedacht? Das französische Ur-Tier der sound poetry HENRI CHOPIN (3 Stücke) zusammen mit den finnischen Avantgarde-Elektronikern PAN SONIC und dem deutschen Konzeptkünstler auf EINER CD, das alles auf dem japanischen Label von KOUHEI. Herausragend ist dabei das 22 minütige „Kumamoto osterit“ von PAN SONIC, ein regelrechtes elektro-akustisches Opus !
“Fascinating three-way split CD with about 20 minutes of material from each artist. Mostly minimal, concrete sounds with occasional louder parts, makes for a smooth deep listening experience. Artwork by Tatsuo Ikeda.“ [Someplaceelse]
|
2005 |
€13.00 |
|
| CHORA(S)SAN TIME-COURT MIRAGE (=CATHERINE CHRISTER HENNIX) |
Live at the Grimm Museum |
CD |
"Exemplary work from Catherine Christer Hennix's ensemble. This disc is the beginning of a series of collaborative work between Hennix, her ensemble and Important Records. Released in conjuntction with the Sonic Acts festival in Amsterdam.
BLUES DHIKR AL-SALAM (BLUES AL MAQAM)
for voice, brass, computer and live electronics in the mixed-media environment
NUR / SOLITON(E) STAR
The world premiere of the infinitary computer animation NUR and the accompanying infinitary computer sound composition SOLITON(E) STAR were given at Diapason Gallery (NYC) for the celebration of La Monte Young's 70th birthday in 2005.
Catherine Christer Hennix has now extended this installation in the venerable tradition of the pentatonic blues for a live-electronic ensemble.
Recorded live on Sunday 14 August 2011 at the Grimm Museum, Berlin
Catherine Christer Hennix – voice, computer, sine waves, live electronics
Amelia Cuni - voice
Robin Hayward – microtonal tuba
Hilary Jeffery – trombone
Michael Northam – time-mirage delay, sound engineer." [label info]
www.importantrecords.com
|
2012 |
€17.50 |
|
| |
Blues Alif Lam Mim |
do-LP |
Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).
The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”
As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:
“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”
As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.
Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.
https://blankformseditions.bandcamp.com/album/blues-alif-lam-mim
|
2021 |
€37.50 |
|
| CHRISTOU, JANI |
Enantiodromia |
CD |
Sieben Werke aus der letzten Schaffensperiode des genialen griechischen Komponisten († 1970), der nur 44 Jahre alt wurde. Ob flirrend-ekstatische Klangfelder, Geräuschkaskadenerzeugung mittels der Klangkörper der eingesetzten Instrumente, ob atonale Improvisation oder „industriell“ anmutende rhythmische Muster mit unheimlichen Stimmen, JANI CRISTOUs Musik zeugt von hoher Intensität und Dichte und einer kaum mehr zu überbietenden, körperlich spürbaren Spannung, die sich z.B. bei ENANTIODROMIA eindrucksvoll entlädt.... Hier enthalten: ENANTIODROMIA (1965-68), PRAXIS für Streichorchester und Klavier (1966-69), EPICYCLE (1968), ANAPARASTASIS III (1969), MYSTERION (1969), ANAPARASTASIS I (1968), PRAXIS for 12 für 11 Streicher und einen Pianisten (1966).
Dazu im booklet hochinteressante liner-notes über seine Konzeptionen von Metamusik, Proto-Performance, Klangpatterns und seine spezielle Kompositionstechnik mit eigener Notation...“Er sah die Musik vielmehr als ein Mittel an, uranfänglich gemeinsame Emotionen zu aktivieren, die ansonsten durch Zivilisation unterdrückt sind, und einen mystischen Zustand der Trance oder der Hysterie zu erreichen.“ TIP !!!
Seven works from this genius greek composer from the sixties, absolutely intense stuff ! Comes with booklet in german/english liner notes, with many interesting background infos about this conception and philosophy. VERY MUCH RECOMMENDED !!
|
2001 |
€18.00 |
|
| CHROME |
Alien Soundtracks |
CD |
Die frühen CHROME-Alben werden von NOISEVILLE wieder aufgelegt, ihre rauhe Science Fiction / Industrial / Psych / Post-Punk Mischung war damals (und ist es heute) ziemlich einmalig! ALIEN SOUNDTRACKS war das erste Album auf dem sich der so typische CHROME-Sound in voller Gänze entfaltete..
"This is Chrome's second album, released in 1978, and comprised of members Gary Spain (bass, guitar, vocals), Damon Edge (drums, synthesizer), and Helios Creed. Alien Soundtracks is the first of their releases that would later mark them as early innovators of post-punk industrial experimentalism. This release is raw punk heavy on the Stoogeian vibe, featuring Creed's flanging, scrawling guitar sounds backed up by Edge's use of tape manipulation and samples. " [label notes]
www.noiseville.com
|
2007 |
€16.00 |
|
| CHRYSAKIS, THANOS |
ELYTRA |
CD |
New insect music release by Greek sound artist Thanos Chrysakis
About ΕΛΥΤΡΑ
Everyone has heard the marvelous sound of crickets in the summer especially in the countryside. The sound is produced by raising and scraping against each of their protective fore-wings the elytra.
Their burrow act as a resonator bringing at times a transcendent quality to the place.
The music in this album with myriads of sounds, regular and irregular pulses, unfolds a similar transforming quality.
Thanos Chrysakis
About Thanos Chrysakis
Thanos Chrysakis is a Greek composer, musician, producer and sound-artist. He is best known for his work in electronic and contemporary music, free improvisation, and electro-acoustic music.
With several albums to his name his work has appeared in festivals and events in many countries.
His music was among the selected works at the International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category oeuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal). He operates the Aural Terrains record label since 2007 where he has released part of his work until now, alongside releases by Kim Cascone, Franscisco López, Tomas Phillips, Dan Warburton, Szilárd Mezei, Michael Edwards, Wade Matthews, Dganit Elyakim, Edith Alonso, Christian Skjødt, Luis Tabuenca, Christian Kobi, Jeff Gburek, Steve Noble, and Milo Fine. He has written music for musicians of the Hyperion Ensemble, the Stockholm Saxophone Quartet, the Konus Saxophone Quartett, and the Shadanga Duo among others. Close collaborations with Tim Hodgkinson, Vincent Royer, Chris Cundy, Yoni Silver, Lori Freedman, Jason Alder, William Lang, Wilfrido Terrazas, Philippe Brunet, Wade Matthews, Ernesto Rodrigues, Abdul Moimême, Zsolt Sőrés, Ove Volquartz to name but a few.
https://aufabwegen.bandcamp.com/track/tortoise-pilgrimage
"Insekten üben seit langem eine (nicht nur) klangliche Faszination aus: Man denke an die vielen Filme, in denen das Zirpen der Zikaden fast schon ein alternativer Soundtrack ist oder an die symbolische Bedeutung der Geräusche der Grillen in einem Stück wie Sam Shephards „True West“. Eine Reihe von Musikern wurden vom Klangpotenzial der Insekten angezogen: 1986 veröffnetlichte Graeme Revell „The Insect Musicians“, sein Versuch einer auf dem Geräusch von Insekten basierenden “micro-musique” (gerade ist das Album auf Old Europa Cafe neu herausgebracht worden), jüngst erschien noch ein Album namens “The Life Of Insects” von der in Berlin lebenden Peruanerin Ale Hop.
Der 1971 in Athen geborene Thanos Chrysakis hat zahlreiche Alben veröffentlicht und betreibt das Label Aural Terrains, “a creative space for exploratory contemporary music in its different manifestations”, auf dem er u.a. Alben von Francisco López, Tomas Phillips oder Michael Edwards veröffentlicht hat.
Auf “ΕΛΥΤΡ” basieren die Stücke auf dem Klang von Grillen, der für Chrysakis fast eine “transcendent qualitiy” hat. Das das Album eröffnende 8-minütige „Alabaster Tide“ ist eine dichte Klangfläche, die anfangs in ihrer rabiaten Unruhe durchaus an einige der perkussiven Arbeiten von Z’EV denken lässst. Hier fühlt man sich, als befinde man sich geradewegs inmitten zahlloser Insekten. Das Unruhige wird aber im Verlaufe des Stücks zurückgefahren, schließlich hört man ein paar hochfrequentere Passagen und Knirschen. „Coral Aether“ knüpft mit seinem Knistern und Flüstern daran an. „Tortoise Pilgrimage“ besteht aus flirrenden und sirrenden kristallinen Sounds, die gar nicht so weit von einigen Aufnahmen Asmus Tietchens entfernt sind, dann plötzlich meint man, ein Windspiel erklinge. Eine größere Reduktion hört man auf „Tranquil Edge“ mit seinem Knistern, das den Eindruck erweckt, als ob kleine Zweige brechen würden. Dann gibt es „Delphic Maxims“ mit fast schon wasserartigen Sounds oder das Rascheln bei „Pierian Roses, das sich im weiteren Verlauf verdichtet. Schließlich endet das Album mit „ A Shadow’s Dream“ mit erratischen perkussiven Momenten, und dann plötzlich – unerwartet – etwas, das wie ein Piano klingt. Auch ohne die Faszination, die vielleicht vom Ausgangsmaterial ausgeht, ist das ein sehr starkes Album." [MG / African Paper]
|
2020 |
€13.00 |
|
| |
Manifold Vista |
CD |
listen:
https://aufabwegen.bandcamp.com/album/manifold-vista
About Manifold Vista
Manifold Vista is the new album by composer/producer Thanos Chrysakis. Rarely can something so meticulously assembled together sound so fluid. A distinct, disciplined sense for composition emerges from each of these works, displaying formal integrity while at the same time, they are also effervescent, forceful, fiercely idiosyncratic and beautifully shaped and transformed. The album discloses an expanded and detailed vista of sound’s interiority forming a strangely pleasurable, not to mention engaging, experience.
Thanos Chrysakis is a Greek composer, musician, producer and sound-artist. He is best known for his work in electronic and contemporary music, free improvisation, and electro-acoustic music.
With several albums to his name his work has appeared in festivals and events in numerous countries, including CYNETart Festival, Festspielhaus Hellerau - Dresden, Artus Contemporary Arts Studio – Budapest, CRUCE Gallery – Madrid, Fylkingen – Stockholm, Relative (Cross) Hearings festival – Budapest, Festival Futura – Crest - Drôme, FACT Centre – Liverpool, Association Ryoanji – Ahun - Creuse, The Center for Advanced Musical Studies at Chosen Vale — Hanover - New Hampshire, Areté Gallery — Brooklyn - New York, UC San Diego – California - San Diego, Berner Münster – Bern, Fabbrica del Vapore – Milan, Grünewaldsalen – Svensk Musikvår — Stockholm, Splendor – Amsterdam, Logos Foundation – Ghent, Palacio de Bellas Artes – Mexico City, Műcsarnok Kunsthalle – Budapest, Spektrum – Berlin, Susikirtimai X – Vilnius, Festival del Bosque GERMINAL – Mexico City, ДОМ – Moscow, Oosterkerk – Amsterdam, KLANG ! – Montpellier, Nádor Terem – Budapest, Utzon Centre – Aalborg, Center for New Music – San Francisco, Västerås Konstmuseum – Västerås, Störung festival – Barcelona, BMIC Cutting Edge concert series at The Warehouse – London.
His music was among the selected works at the International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category oeuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal).
He operates the Aural Terrains record label since 2007 where he has released part of his work until now, alongside releases by Kim Cascone, Franscisco López, Tomas Phillips, Dan Warburton, Szilárd Mezei, Michael Edwards, Wade Matthews, Dganit Elyakim, Edith Alonso, Luis Tabuenca, Jeff Gburek, Philippe Petit, Steve Noble, Milo Fine and David Ryan among others.
He has written music for musicians of the Hyperion Ensemble, the Stockholm Saxophone Quartet, the Hermes Ensemble, Nemø Ensemble, the Konus Saxophone Quartett, and the Shadanga Duo among others. Close collaborations with Tim Hodgkinson, Vincent Royer, Chris Cundy, Yoni Silver, Lori Freedman, Jason Alder, Julie Kjaer, Henriette Jensen, William Lang, Wilfrido Terrazas, Philippe Brunet, Wade Matthews, Ernesto Rodrigues, Abdul Moimême, Ove Volquartz to name but a few.
https://aufabwegen.bandcamp.com/album/manifold-vista
|
2023 |
€13.00 |
|
| CINDYTALK |
In this World |
CD |
Nach "Camouflage Heart" von 1984 verschwanden CINDYTALK für vier Jahre in der Versenkung, die sie allerdings damit verbrachten, das epische Nachfolgewerk "In This World" zu schreiben und aufzunehmen. "In This World" erschien als zwei separate Vinyl LPs, die beide "In This World" betitelt, aber mit verschiedenem Cover Artwork ausgestattet waren. Die Neuauflage erscheint als Doppel-Vinyl oder einfache CD.
"In This World" is a noble venture. It's every inaccessible racket you could imagine but creeps gently in on the delectable title instrumental before kicking you in the navel with a hybrid broth of Motorslug, Swans, Red Lorry Yellow Lorry, and generally alienating cacophonies." [Chris Roberts (Melody Maker)]
" So the rumor goes that Gordon Sharp was invited to join Duran Duran after Sharp dissolved his Edinburgh glam-punk band The Freeze in the late '70s. He turned them down. Elizabeth Fraser and Robin Guthrie also put out the request for Sharp to join the Cocteau Twins. After a brief stint accompanying the Cocteau Twins for a Peel Session in 1982 and a guest spot on This Mortal Coil's It'll End In Tears, he opted for his own project -- the obscure, yet majestic Cindytalk.
In This World is an opus in every sense of the word. Originally, In This World came out in 1988 as two separate albums under the same name, each with slightly different artwork. One album, a masterpiece of abject post-punk that in all honesty is the closest parallel to Swans' Children Of God; the other, a delicate ambient construct of melancholy piano scarred with surface noice prognosticating pretty much everything that Type Records has released (e.g Machinefabriek, Jasper TX, etc.). It's very good thing that both of these albums have been repackaged into one self-contained object, as the only half of In This World that seemed to be floating around was the piano-laced ambient one. As good as that half is, you need the grit and dirge of its companion album to complete Cindytalk's ideas of grand dualities: heaven / hell, pleasure / pain, holiness / transgression, etc.
While billed by Sharp as the 'disgusting' part of the In This World diptych, the first half begins with a lovely tonefloat of scratched violin drones and painterly piano notes. Yet, with the crushing rhythm and noise attack of "Janey's Love," Sharp does not disappoint with his disgusting tag. This is a monstrous industrial dirge with huge monotone slabs of distortion and atonal drones counterpointing Sharp's soaring falsetto. The punk poet Kathy Acker supplies a brief spoken word interlude as the coda to this incendiary number. Immediately hereafter, Cindytalk continue their turgid rhythmic marches with an angular distorted rhythm, slippery bassline mired in audio rust, and twin guitars spitting acid, fire, and brimstone on such tracks as "Gift Of A Knife" and "Circle Of Shit." As the first half of the album progresses, the songs steadily disintegrate as rhythm, song structure, and noise all collapse into a blur of smeared grey that is eerily reflective of William Basinski's Disintegration Loops. The piano which opened In This World becomes
the dominant sound in Cindytalk's soundscapes, also marking the delineation between the two halves of In This World. Yes, this is the
beautiful side of Cindytalk, coated in ash, snow, bruises, and rust. Gordon Sharp's piano playing comes from Brian Eno's Thursday
Afternoon, which in turn came from Erik Satie; and that impressionist sentiment continues forward amidst subterranean drones and field
recordings of barren spaces. Sharp's voice is mostly absent from these tracks, although the eponymous finale to the album showcases
one of Sharp's most emotive croons. They really don't make albums like this any more, with such attention to detail and dynamics between rage and beauty.
Fortunately, both of these records were concise enough that they could both fit onto one CD; and if you've not had the opportunity to hear Cindytalk, please do not let this album and its predecessor Camouflage Heart pass you by!" [Aquarius Records review]
|
2007 |
€14.00 |
|
| |
The Wind is strong (lim. marble smoke viny) |
LP |
Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”
The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).
Long out of print, the album remains one of the most elusive and adventurous in the Cindytalk discography, a mix of musique concréte, haunted reverie, and desolate beauty. Even unaccompanied by their intended visuals, this is overtly cinematic music, conjuring forests at dusk and shadowed corridors, equal parts remote and reflective. Cinder cites a belief that “all sound is music,” which fully manifests here, utilizing tape hiss, ticking clocks, flicking flames, and distant whispers as evocative accents in tapestries of luminous negative space.
Although Cinder included the subtitle “A Cindytalk diversion” in the sleeve notes, The Wind Is Strong... is crucial to the project's canon, demonstrating the depth and versatility of her unique ear and intuition. She describes each album as a direct response to the previous one, and in that sense The Wind marks a bold break from the coiled song-oriented post-punk of 1988's In This World, venturing into unknown, unnamed terrain, and finding foreboding new futures to call her own.
https://www.daisrecords.com/products/cindytalk-the-wind-is-strong
Cindytalk ist das quecksilbrige, expressionistische Ventil der schottischen Künstlerin Cinder. Als Weiterentwicklung ihrer Edinburgher Punkband The Freeze aus den frühen 1980er Jahren gründete sie das Projekt, nachdem sie nach London gezogen war, inspiriert von der Kreuzung aus forschendem britischen Post-Punk und frühem europäischen Industrial. Ihre Arbeit lebt vom Zufall und der Verwandlung, sie collagiert Elemente von Lärm, Balladen, Soundtracks, Katharsis und Improvisation.
Nach einer Reihe gefeierter Alben für das Label Midnight Music sowie Kollaborationen mit This Mortal Coil und den Cocteau Twins wanderte Cinder in die Vereinigten Staaten aus und engagierte sich in verschiedenen Underground-Techno-Kollektiven im Mittleren Westen und an der Westküste. Spätere Umzüge nach Hongkong und Japan erweiterten Cindytalks Horizont und führten zu einer fruchtbaren Partnerschaft mit der Wiener Experimental-Institution Editions Mego, für die sie fünf Alben mit schwelgerischer, granularer Atmosphäre veröffentlichte. 2021 ist sie so engagiert wie eh und je und steht an der Schwelle von lang erwarteten Wiederveröffentlichungen des alten Katalogs neben zahlreichen neuen Werken, geleitet von ihrer anhaltenden Liebe zur Entdeckung und Abweichung: Immer neue Wege werden aufgedeckt.
Das dritte Album des schottischen Industrial-Enigmas Cinder aka Cindytalk begann als Soundtrack zu einem Experimentalfilm des englischen Regisseurs Ivan Unnwin mit dem Titel Eclipse (The Amateur Enthusiast's Guide To Virus Deployment) und sollte ursprünglich über die Videoabteilung von Factory Records, Ikon, veröffentlicht werden. Inspiriert von Alan Splets unheimlichem, körperlosem Sounddesign in David Lynchs Eraserhead, bewegen sich die 15 Stücke der Sammlung zwischen Field Recordings, wehmütigen Klaviervignetten und lauerndem Metalldunst - eine hybride Palette, die Cinder damals als "ambi-dustrial" bezeichnete. Unglücklicherweise brach Ikon am Vorabend der Fertigstellung des Projekts zusammen, so dass der Film nie vertrieben wurde, aber das Midnight Music Imprint verpackte Cindytalks Partitur 1990 als LP unter dem Namen The Wind Is Strong... (vollständiger Titel: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).
Längst vergriffen, bleibt das Album eines der schwer fassbarsten und abenteuerlichsten in der Diskographie von Cindytalk, eine Mischung aus konkreter Musik, geisterhafter Träumerei und trostloser Schönheit. Selbst ohne die visuelle Untermalung ist dies eine offenkundig filmische Musik, die Wälder in der Dämmerung und schattige Korridore heraufbeschwört, die zu gleichen Teilen entlegen und nachdenklich sind. Cinder beruft sich auf die Überzeugung, dass ügalles Geräusch Musik ist,üh was sich hier voll und ganz manifestiert, indem sie Tonbandrauschen, tickende Uhren, züngelnde Flammen und entferntes Flüstern als evokative Akzente in Wandteppichen aus leuchtendem Negativraum verwendet. Obwohl Cinder den Untertitel "A Cindytalk diversion" (Eine Cindytalk-Abwechslungü) in die Cover-Notizen geschrieben hat, ist The Wind Is Strong... entscheidend für den Kanon des Projekts und demonstriert die Tiefe und Vielseitigkeit ihres einzigartigen Gehörs und ihrer Intuition. Sie beschreibt jedes Album als direkte Antwort auf das vorherige, und in diesem Sinne markiert The Wind einen kühnen Bruch mit dem songorientierten Post-Punk des 1988er Albums In This World, indem sie sich in unbekanntes, unbenanntes Terrain wagt und eine neue Zukunft findet, die sie ihr Eigen nennen kann. Für Fans von: Harold Budd, Tor Lundvall, Lawrence English, Kevin Drumm, Loscil, This Mortal Coil, Drekka, Zoviet France.
|
2021 |
€23.50 |
|
| CINDYTALK / ROBERT HAMPSON |
Five Mountains of Fire |
10inch |
"Cindytalk - Five Mountains Of Fire: Gordon Sharp (electronics), Paul Middleton (drums), Dan Knowler (Guitar), Gary Jeff (Percussion) and Sherrill Crosby (Electronics). Pre-mixed and re-played by GS at Roi Vert, Okamoto, Japan, March 2009. Robert Hampson - Antarctica Ends Here: Dedicated to John Cale. Recorded and Mixed at Thirst 2007Ð2009 in London and Paris. Design: Dave Coppenhall. Cindytalk's Gordon Sharp and Robert Hampson (Loop. Main...) are 2 characters of legend circulating on the periphery of London (and beyond) underground music over the last 2 plus decades. It may come as a surprise then that this stunning split 10 is the first meeting of these two singular minds. 'Five Mountains Of Fire' by Cindytalk is a cracking track taking their recent brittle electronic experiments and charging them with firecracker like percussion to create a pleasantly disorienting soundscape. Flip it over and Hampson delivers the practical polar opposite with Antarctica Ends Here. An exceptionally beautiful piece utilizing piano and carefully placed electronics so as not to break the ice, a tribute to John Cale's 'Antarctica Starts Here' (from 'Paris, 1919' album). Limited to 500 copies." [label info]
www.editionsmego.com
"Eine eher unlikely Split, die aber zwei schöne aktuelle Entwürfe des Experimentellen zeigt. Die entzündeten Berglandschaften von Cindytalk klingen wie aus einem Jodorowsky-Film entsprungen: erdig, ekstatisch und irgendwie religiös. Die sirrend-dronige Klangfläche wird in einem Bandkonstrukt mit Gitarre und Schlagzeug erarbeitet und dann in der Nachbearbeitung zerlegt. Besonders die rukelnden Percussion, die sich in der zweiten Hälfte des Tracks in den Mix schiebt, läßt neue Hoffnung für die Kombination von Elektronik und Instrumentarium aufkommen. Der eher scheue Robert Hampson (Main, Loop) hat sich mit seinem konzentrierten Beitrag, nicht wie es scheinen will auf den Eternal Music Cale berufen, sondern sich wohl explizit vor John Cale’s ‘Antarctica Starts Here’ (aus Paris, 1919) verneigt. Der Track klingt wie eine traurig-zerfleischte Geigenmelodie im Lockgroove, angereichert mit Mikropartikeln und schwüler Atmosphäre. Eine unbedingt lohnenswerte Veröffentlichung!" [Zipo, Auf Abwegen]
"Cindytalk is back, thanks to Editions Mego. The CD released last year (see Vital Weekly 702) was mainly the solo effort of Gordon Sharp, and saw him move towards the computerized music, say that of microsound, ambient, drones and such like, so much to my surprise its a band line up here again. Besides Sharp, who gets the credit for electronics, there is also drums, percussion, more electronics and guitar. The pieces was recorded in Japan last year (in concert?) and consists largely of sustaining notes played with bows on the cymbals, drones created from the guitar and electronics having quite an obscure role in this. Great mood music. Which is exactly what can be said of Robert Hampson on the other side. Great mood music. Just like Cindytalk, Hampson has been active in the underground of the UK music life since more than twenty-five years, as Loop and as Main, and since the last decade mainly under his own name, working in that obscure niche where popmusic meets musique concrete.
Popmusic? Things with guitars, more likely. His piece is dedicated to John Cale, another such character on the crossroad of many musical styles. Followings Cindytalk's full sound spectrum approach, Hampson goes out with just a few sounds on his hands. A bowed guitar, some far away crackles and maybe the odd field recording. Carefully constructed as opposed to the somewhat 'live in concert' approach on the other side, but both pieces are complimentary to eachother. An excellent record. I have no idea if Cindytalk now returns as a full band, or that it will continue to confuse us. I hope the latter." [FdW, Vital Weekly]
|
2010 |
€12.50 |
|
| CINEMA PERDU |
2 Compositions with Found Sounds |
mCD-R |
cinema perdu is the dutch sound artist martijn pieck. here's what he says about "2 compositions with found sounds":
"in my project cinema perdu i work with field recordings as starting point for my compositions. with all kind of manipulations and additions from other sound sources like synthesizers and contact-microphone recordings i recreate the feeling of a place during a certain time, sometimes more factual, sometimes more storytelling. in this case the 2 tracks are evolved around 'found sounds’ in an urban environment."
aside from working as cinema perdu, martijn is also co-composer in the [law-rah] collective next to bauke van der wal since 2008 and together with jon unger formed woodbender.
reviews:
vital weekly 1150
It wasn't for nationalistic reasons I started with Cinema Perdu, the Dutch musical project of Martijn Pieck. It was just the first one that I played. Pieck is also a member of [law-rah] collective next to Bauke van der Wal since 2008 and together with Jon Unger formed Woodbender (see Vital Weekly 1077). His latest release as Cinema Perdu was the excellent CD 'Amsterdam CS' (see Vital Weekly 1127), in which he used field recordings at the Amsterdam Central Station. Taking field recordings and feeding them to his extended modular set up. I recently saw a concert by him and the field recordings disappeared in there, just they do in these two pieces here. They are just called 'found sounds' and are not specified in any way, just from an 'urban environment'. I don't even want to go in there and think about it; I don't care that much, as I was lost easily in the dark currents produced by Cinema Perdu that hold the middle ground between a grinder and synthesizer, playing some darker chords. This is quite an un-earthy rumble that is going on here, exactly the spooky tone in combination with a delicate atmosphere that I like so much. (FdW)
|
2018 |
€5.00 |
|
| CIRCAEA |
The Bridge of Dreams |
LP |
"Released July 2019. An edition of 300 copies.
Mastered by Denis Blackham at Skye Mastering. Cut onto lacquer at 33/45 in London by Noel Summerville. Sleeve design by Tom James Scott
Circaea is ; Tom James Scott, Ecka Mordecai & Andrew Chalk
The Bridge of Dreams was begun as a series of piano miniatures, played by Tom in St. Matthews church in Hull before it closed many years ago. In the airy and (cold) spaces of the vast church in the winter of 2013 the pieces further condensed into 12 parts of the album here, with wistful string arrangements by Ecka Mordecai and mapped out, finally, by Andrew Chalk.
"Birds love the woods
If you are not a bird
you will not know its truths
A quiet life is much the same.
How would anyone know it
without living it ?
The moon
of my life is setting.
The life now left me
sinks into the hills"
(from Visions of a Torn World by Kamo-no-Chomei)" [label info]
"Circaea is the debut project of ; Tom James Scott (piano), Ecka Mordecai (cello) & Andrew Chalk (arrangements).
After the previous album, Scott and Chalk’s Calluna (Skire) a pause of some years followed and The Bridge of Dreams in fact began life even before Calluna did. With the addition of poignant and fluttering textures on strings by Ecka Mordecai, the album took on a completely new and special direction, which we present here now. ‘The Bridge of Dreams’ spans twelve tracks and becomes a story in its own right.
Viae Memoriae & A Inocencia Mastered by Denis Blackham and cut by Noel Summerville at 33/45 in London.
Full colour sleeve and pressed in an edition of 350 copies." [Penultimate Press]
"Circaea, the latest collaborative project involving prolific British musician Andrew Chalk (Ora, Mirror, Isolde...) debuts with The Bridge of Dreams. Alongside Chalk in this new adventure we find young cellist Ecka Rose Mordecai and classically trained guitarist Tom James Scott, also founder of the Skire label. The twelve delicate miniatures that make up this album find protection in the caring arms of Faraway Press - Chalk's own label - and are a work of pure beauty."[Soundohm]
|
2019 |
€20.00 |
|
| CISFINITUM |
Devotio |
10inch |
Das Projekt CISFINITUM von Evgueny Voronovsky gehört für uns zu den momentan besten russischen experimentell-atmosphärischen / Drone / Post-Industrial - Acts, weshalb die Einladung zur neuen SUBSTANTIA INNOMINATA–Reihe nach dem phänomenalen Konzert im Bremer Dom (November 2005) sich fast zwangsläufig ergab.
Bereits im Namen CISFINITUM steckt die Auseindersetzung mit dem Nicht-Mehr-Erfassbaren, DEVOTIO verweist klanglich mit monumentalen Kirchenglocken-Drones auf sakrale Sphären des Transzendenten, nicht mehr Hinterfragbaren.... kommt auf weissem Vinyl und eine fantastische Artwork des Berliner Artworkers TILMANN BENNINGHAUS . “Hinter CISFINITUM steckt Evgueny Voronovsky, ein ausgebildeter Violinist, der neben konkreten und instrumentellen Klangquellen auch alte sowjetische Synthesizer in neuem Kontext benutzt (wie auf der letzten CD-Veröffentlichung „BEZDNA“ [Monochrome Vision]), z.B. den legendären ANS. CISFINITUM (=„Jenseits des Endlichen“) ist ein Text (1930) & Begriff des russischen Dichters Daniil Charms, der für die „Logik der unendlichen Nicht-Existenz“steht: das was hinter dem Verstandesmässigem liegt. Die Endlichkeit der logischen Welt wird durch die Logik selbst nachgewiesen. ’ Das Cisfinitum zerstört die Postulate eines nach dem anderen. Das entzieht jeder Grundlage ihren Halt. Das zweifelt alles an. Das raubt einem sein Vermögen. Das hat kein Heiligtum, keine Moral, keine Tugenden. Das Cisfinitum ist brutal.’ [Michail Demidov]“ [Drone Records / REM-info 2005]
The fourth volume in our new series comes from one of the currently best projects of the russian experimental-atmospheric / drone / post-industrial-scene. Main force behind CISFINITUM we find Evgueny Voronovsky, an educated violinist from Moscow.
CISFINITUM is a notion by russian poet & writer DANIIL CHARMS, meaning the „logic of the infinite non-existence“, that „something“ that is beyond all rational things.
DEVOTIO uses monumental bell-sounds that build complex overlappings & hypnotic drone-waves in various layers, dissolving into pure vibrations. To us It sounds like a journey into the heart of the sacral, pointing at a sphere of transcendence where all questions end. Or begin again. Comes on white vinyl and with great artwork by Berlin-based artworker TILMANN BENNINGHAUS.
|
2006 |
€12.00 |
|
|
Tactio |
CD |
Mitschnitt des denkwürdigen CISFINITUM-Konzerts im Bremer St. Petri-Dom vom 24. November 2005, welches v.a. durch die Verwendung monumentaler Kirchenglocken-Drones besticht (Aufnahmen einer russischen Kirche basieren); es fand statt im Rahmen der REIHE ELEKTRONISCHER MUSIK ("Rapid Ear Movement"), kuratiert von CHRISTOPH OGIERMANN.
"CISFINITUM ist eines der am längsten bestehenden Moskauer Industrial / Experimental/ Elektronik - Projekte (Gründung 1989) und steht für die russische Variante des sogenannten „ambient Industrial“, „drone“ oder „dark ambient“. Als „dark ambient“ bezeichnet man in der neueren elektronischen Musik seit einigen Jahren die „dunkle“ Seite der atmosphärisch-experimentellen Musik, bei der es oft weniger um den explizit Ablauf der Komposition geht, als vielmehr um die Schaffung „bewusstseinsverändernder“ Atmosphären mit Hilfe von Klang. Hinter CISFINITUM steckt Evgueny Voronovsky, ein ausgebildeter Violinist, der neben konkreten und instrumentellen Klangquellen auch alte sowjetische Synthesizer in neuem Kontext benutzt (wie auf der letzten CD-Veröffentlichung „BEZDNA“ [Monochrome Vision]), z.B. den legendären ANS. CISFINITUM (=„Jenseits des Endlichen“) ist ein Text & Begriff des russischen Dichters Daniil Charms, der für die „Logik der unendlichen Nicht-Existenz“steht: das was hinter dem Verstandesmässigem liegt. Die Endlichkeit der logischen Welt wird durch die Logik selbst nachgewiesen." [Konzertankündigungs-Info Drone Records]
"With a parsimonious discography mostly released on seasoned Russian labels such as Waystyx, Ewers Tonkunst and Monochrome Vision, Evgeny Voronovsky has established himself as an uniquely engaging artist in the country's current ambient scene. Under the name of Cisfinitum, he has taken a syncretic approach to an often codified genre, uniting his formal training as a violinist at the Moscow State University with his affinity for concrete sounds and experimental structures. Past releases have shown a capacity to synthesize these factors at times while emphasizing the contrasts between them at others, sometimes over the course of a single track. In this aspect, this album follows the tradition faithfully.
Tactio is the live recording of a Cisfinitum concert at the St. Petri Dom (St. Peter's Cathedral) in Bremen, on November 24, 2005. The particular (and as expected highly favorable) acoustics of this environment were consistently used not only as an enhancing effect but as an integral foundation for the performance, making it unmistakeably tied to its context. Presented in the form of six continuous tracks, the album is a contemplative composition of vibrant drones, reverberating bells and synthesized resonance, gracefully evolving from the celestial tones of its start to the tellurian pulses of its climax. This is a piece of work that is elaborate in its simplicity, and it's with much appreciation that it is presented here today. The beautiful iconic artwork by Evgeny Kuprienko further emphasizes the relic-like qualities of this recording."
[label description]
www.mechanoise-labs.com
|
2008 |
€10.00 |
|
| |
Landschaft |
CD |
"Erste CDR des Moskauer dark/drone ambient-Projekts CISFINITUM, die spacig-harmonische Räume erschaffen, die von der Stimmung an alte ULTRA MILKMAIDS oder MAEROR TRI erinnern, aber auch an Endlos-Minimal-Ambient a la CHALK und mystischem dark ambient ... rauschende Wellen von Sound, in hand-geschnitzter Papphülle, erste CDR des Moskauer Labels.. Tip!" [old Drone Rec. info]
|
2012 |
€13.00 |
|
| CIULLINI, DANIELE |
Cosmetic for Mannequins |
CD |
All tracks written and produced by Daniele Ciullini
Manipulated field recordings, toy instruments, noises from radio, turntable, tape deck, automatic voices
https://lucesia.bandcamp.com/album/095-daniele-ciullini-cosmetics-for-mannequins
"From former Trax (famous Italian label) member Danielle Ciullini, I reviewed a previous release, ‘Great Events Are Coming’ in Vital Weekly 1254, and now he returns with another album, a short one; eight pieces in thirty-one minutes. As before, the credits are for “manipulated field recordings, toy instruments, noises from radio, turntable, tape deck, automatic voices”, and the result is a wackadoodle mash-up of styles, ideas, concepts and sounds. Try and imagine what it would sound like if you had a bit of noise, some plunderphonics, some click n-cut, cut-up, some drones, lots of voices (not sung, no sound poetry), computer technology and all of that went into a blender, and twisted at high speed. If that makes any sense, then you may have an idea. None of this takes control, so it’s never too noisy, plunderphonics, or such a thing (not wanting to repeat the whole list). Keeping his pieces short, between three and five minutes, and adding quite some variation within each of these pieces, using a massive pile of sounds, means there is some great speed on this album. Yet, Ciullini knows how to keep fine pacing in his music. It never becomes an amorphous mass of sound, as he cleverly adds breaks and changes in his songs, such as in the best of the lot, ‘Mass Loneliness’, which has the markings of a pop song, for the lack of a better word. Overall a great album and one that could have been longer, say, the length of an old-fashioned LP. Maybe next time!" [FdW/Vital Weekly]
|
2023 |
€12.00 |
|
| CLAU D.E.D.I. |
V.I.T.R.I.O.L |
mCD-R |
Viereckige mCDR, Wiederveröffentlichung eines obskuren alten Tapes des AIN SOPH-Mitglieds mit „archaischen“ instrumentellen Klängen...
“Re-edition of a very limited & long time sold out tape ! Legendary side project by ClauDeDi of Ain Soph dealing with magic & esoterism !
Close to the first Ain Soph age but more extreme ! Real pre industrial-esoterims .... For purists & adepts only ! Professionally printed CDR with special square shaped disc. Limited and on CD label numbered to 200 copies, comse in oversized cover ...” [label info]
|
2005 |
€10.00 |
|
| CLOUWBECK |
Wolfrahm |
CD |
" 'Wolfrahm' is the latest work by UK artist Richard Skelton, who records under many different guises, including A Broken Consort and Carousell. It's the follow-up to 2007's "A Moraine", and continues his preoccupation with landscapes, land formation, erosion, decay and renewal. The album's title is a reference to the mineral ore that produces Tungsten - a metal, which amongst other things, is used to make violin strings. The music itself brims with a rich, textural ebb and flow - a sonorous drift of shifting layers, with dark seams of beautiful, bowed melodies and eddying, turbulent undertow." [label info]
www.shiningday.pl
"Clouwbeck is yet another pseudonym for the British ambient folk experimentalist Richard Skelton, following A Broken Consort, Carousell, and a couple others which haven't yet found their way through these doors. Each of his monikers has its own slight yet particular bent on his signature sound of rough hewn melancholia, with Clouwbeck being the most somber and abstract that we've heard from him so far. He strips down the instrumentation to just the violin, although he does allow for a considerable amount of processing and thick applications of layered drone from that instrument, building up a ponderous atmosphere of wintry sadness. The album's opening track "Gossan" scratches out the melody as if the bow were dragged across a piece of barbed wire instead of violin, yet the buzzing, luminous beds of sound that Skelton broadcasts around these scraped recursive melodies prevents the whole thing from tumbling into dissonance. "Leached" softens the rustic buzz with a majestic billowing of overlapping violin melodies, distended and blurred into a rich mass of sound. The rest of the album continues to dive deeper with each track becoming incrementally more submerged in the dense loopings and hazy drones. Throughout, Skelton's album sounds like those beautiful orchestrations from Johann Johannsson as played by Alastair Galbraith and produced by the Caretaker. Really, fantastic stuff." [Aquarius Records]
|
2009 |
€13.00 |
|
| CLUSTER |
Grosses Wasser |
CD |
"Kammermusikalischer Minimalismus: 1979er-Album des Avantgardeduos. Auftakt einer 23-teiligen Reissue-Serie mit Elektronik-, Ambient- und Krautrock-Alben: 1971 gründeten Hans-Joachim Roedelius und Dieter Moebius Cluster, eine der einflussreichsten deutschen Bands der 70er-Jahre. Cluster zählen zu den Protagonisten der internationalen Elektronik-Avantgarde, gelten je nach Standpunkt als Erfinder der Ambientmusik, als Wegbereiter des Synthiepop, der Industrial-Musik, oder einfach als strahlender Stern im Krautrock-Universum. "Großes Wasser" erschien erstmals 1979, wurde
von Peter Baumann (Tangerine Dream) produziert und ist Clusters fünftes Album. Das Cover illustriert seinen Minimalismus, steht für die Konzentration, Transparenz und Abgeklärtheit der Musik, die fast kammermusikalisch anmutet. Mehr als jemals zuvor bei Cluster sind akustische Schallquellen zu hören, allen
voran ein sauber gestimmter Steinway-Flügel, aber auch E-Bass, Gitarre, Percussion und Stimme. Das Reissue des Albums ist Start einer 23-teiligen Wiederveröffentlichungsreihe von Elektronik-, Ambient- und Krautrock-Alben der Firma SKY Records. Der Begleittext stammt von Asmus Tietchens." [label info]
www.bureau-b.com |
2009 |
€16.50 |
|
| CODE INCONNU |
Abgesang |
CD-R |
Eher in „rockilde“ Gefilde geht es bei diesem Newcomer auf Tonto.....treibend-wuchtiger Instrumental-Rock, mit wunderbaren ruhig-melancholischen Passagen, düstere THIS HEAT treffen auf AIDAN BAKER-Drones....
A trio from Graz, Austria, with minimal experimental drone-rock between THIS HEAT and AIDAN BAKER maybe.
„Benannt nach dem Film "Code Inconnu" von Michael Haneke, welcher Verständnisprobleme zwischen den Menschen thematisiert, behandelt die dreiköpfige Grazer Band mit "Abgesang" ähnliche Themen: Das Erleben von gesellschaftlichen Zwängen und die Auseinandersetzung des Einzelnen damit bzw. die Banalität des Alltags, die zum Auslöser seelischer Konflikte und innerer Zerrissenheit wird. Die Musik ist zu verstehen als Abfolge von "Schnappschüssen"(kurzen Geschichten), die den "Kampf" des Einzelnen mit sich selbst und seiner Umwelt
darstellen sollen. Daraus resultieren Gefühle wie Zerissenheit, Wut und Resignation, die musikalisch ausgedeutet werden. Wichtiger Träger der Emotionalität ist die Klangfarbe (der Sound), welche daher als Ausdrucksmittel im Vordergrund steht. In den minimalistisch angelegten Arrangements mischen sich "brachialer Lärm" und "romantische Zurückhaltung", wobei der oft unvermittelte Wechsel zwischen den Kontrasten als Umschlagen der Stimmung verstanden werden kann. Zu einfachen Drumgrooves kommen tiefe Synth-Bässe und eine extrem effektierte Gitarre sowie computergenerierte Samples. Realisation: akustisches Schlagzeug (Markus Sworcik), effektierte Gitarre (Gottfried Krienzer), Synthesizer (Christoph Uhlmann), Samples." [label info]
www.tonto.at
|
2002 |
€11.00 |
|
| COH |
To beat |
CD |
"Recorded May 2013 - January 2014. All music and lyrics by Ivan Pavlov / COH. Picking up right where the last track on the previous COH release RETRO-2038 left off, the new album is focused on the use of beats within the similar aesthetics. While most of the previous COH records openly shy away from accentuated beat structures and instead build up their rhythmical content by layering waves and pulses, every track on To Beat is padded with just that - beats. The music transition is illustrated in the album's artwork, displaying transformation of a sine-wave, a tone, into a waveform which is beat. This mathematical progression is made audible in the album's opening track Wave To Beat. The rest of the album, however, steers clear from dull math and presents the beats in their more traditional context of what could be referred to as adventurous dance music, taking the listener through various examples of beat use with the sense of playfulness and joy. The final piece, Beat to wave, wraps it up by dissolving a simplistic post-techno piece into a tonal chord. This brings back the album's main idea, where tone and beat are essentially one and the same, like vowels and consonants in a language, like Yin and Yang in music." [label info]
www.editionsmego.com
"I enter the airlock of TO BEAT: an isolated zone away from the logic and consequence of a linear life, where rebellion and transformation materialise in time and then dissipate into the files of forgotten memory. The opening track tracks the compression of a constant sine tone into sharp punctuations of beat – dynamic curvature compacts into sheer right-angles. For the following 45 minutes, the eternal, fluid unwind of being is chopped up into square and unambiguous blocks of rhythm; life pixelates momentarily, and the endless string of insatiable curiosity becomes a finite ribbon of understanding I can hold in my hands. Once it’s over I shall never speak of it again, taking the airlock out the other side via “BEAT TO WAVE”.
The album’s interior is a strange emulation of dance music. The melodies are tangible and thick – riding 4/4 like an unforgettable congregative chant (it feels somewhat Eastern at points, although I feel ignorant thinking that) – yet the beat emphasis falls in eerie places, causing my body to jut out in a series of unnatural angles. It’s an inhuman sound but far from clinical, and while the combination of hum and pulse evoke a sort of chorus of stable spacecraft monitoring equipment, none of these tracks are sheened with mathematical precision; there are bubbles of warm mid-frequency and the sliding voices of alien worship, placing TO BEAT in an error void between abstract calculation and the music of corporeal organisms.
There are moments that fling themselves into the lust of nightclub strobes: the sterile pump of blood around a dancefloor, puppeteered by rhythms that speak to the instinct to move. For instance, “ungear moi” sends the drip of neon sweat into half-time as rave synthesisers flit between subterranean corners like lasers, or perhaps surveillance cameras. And then there’s “Moonviewhigh”, whose mixture of major-key colour and geometric certainty depicts it as a Rubik’s cube rotating in front of my face – a flicker of squares in digital contrast, punctuated by a sloping reverb that mockingly emulates the spaces that exist beyond TO BEAT’s four titanium walls. It’s a simulated reality, and to step inside is to subvert gravity and co-ordination for just a short while." [ATTN:Magazine] |
2014 |
€13.50 |
|
| COIL |
Time Machines |
CD |
"Coil's four legit drone pieces, released under the moniker 'Time Machines' in 1998, recorded one year earlier, using single takes with minimal post production. What has become one of the most treasured and revered pieces of COIL history ever released, is now for the first time available on vinyl.
"4 Tones to facilitate travel through time." So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released.
Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as "temporal slips" in time and space, allowing both the artist and audience to figuratively "dissolve time".
Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept.
Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”
Dais Records announces the official remastered reissues of Time Machines on both LP and CD. The reissued CD edition includes reproductions of the 6 original vinyl stickers and comes in a double-pocketed brown board digipack. The reissued double vinyl LP will feature deluxe double pocket gatefold, matte with gloss overlay with printed eurosleeves inserts. The European LP edition is limited to 1000 on transcent orange vinyl."
"The art of Coil involves a confluence of the surreal, the deviant, the magical and the psychedelic, all stemming from their inception within Industrial culture in the early '80s. Time Machines was conceived by Coil's John Balance, Peter Christopherson and Drew MacDowall back in 1998 as a series of audio hallucinogens, constructed by means of method acting. The zeitgeist of Time Machines is the very same as Spacemen 3's early compendium Taking Drugs To Make Music To Take Drugs To, while the compositional sensibility travels down a very different path. For Balance, the concept to the album reflected the notion of hallucinogens as means of time travel, as he posited, "they can conjure up histories of yourself and/or act as predictors of the future. In any case, they can remove you from 'temporal reality.'" The four tracks are named after four powerful chemical compounds with hallucinogenic properties, with each track presumably engineered both for and through those exact chemicals. Such is deeply rooted in the tradition of kosmische electronica and psychonaut minimalism. La Monte Young, early Tangerine Dream, Nurse With Wound and certainly Coil stand at the pinnacle of a tradition for lysergic music that transcends the need for drug-taking to embrace the full experience.
Time Machines remains one of the few truly successful pieces of electronic music in this liminal oeuvre. Slow oscillating tones gird vibrating patterns, and black-hole echoes of rhythm slither in the distance behind slightly dissonant saw-tooth drones. This simple structural sensibility belies the investigative and imaginative prowess that Coil have long mastered. You can't just turn on a synthesizer and have these sounds spill from the circuitry. In Coil's calibration of electricity with chemistry, this immersive pool of sound is a stark document of their power in dissolving time." [Stranded Rec.]
"Vier Klangreisen zu halluzinogenen Verbindungen. Meditation in post-spiritueller
Versuchsanordnung.
Vier Töne, um eine Reise durch die Zeit zu erleben. So beginnt der Trip zu einer der geheimnisvollsten Veröffentlichungen in der langen Geschichte von Coil. Jedes der vier Stücke von "Time Machines" ist nach
der chemischen Verbindung einer halluzinogenen Substanz benannt. Das Album wurde konzipiert, um zu ermöglichen, was John Balance als eine Art "Fehltritt" in Zeit und Raum bezeichnet; die Möglichkeit für Künstler wie Publikum, sich im übertragenen Sinne in der Zeit aufzulösen, eine Art Gegenstück zu spiritueller Musik. Die drei Musiker verstehen dieses Werk als eine elektronische und von der Primitivität des Punks
inspirierte Antwort auf die lange Tradition zeremonieller Musik und Stammeskonzepte verschiedener Religionen, denen es darum geht, zu meditieren und sich in der Musik zu verlieren. Das Projekt begann als Demo-Tape, das ausschließlich von Drew McDowall aufgenommen wurde, und formte sich voll und ganz aus,
als er es Balance und Peter Christopherson vorstellte. Es entstanden vier Klanggebilde, die 1997 als First Takes aufgenommen und nur minimal nachproduziert wurden." [label info]
|
2017 |
€16.00 |
|
|
Musick to play in the Dark |
CD |
Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra.
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€15.00 |
|
|
Musick to play in the Dark (yellow vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€32.00 |
|
|
Musick to play in the Dark (black vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark |
2020 |
€30.00 |
|
|
Musick to play in the Dark 2 (Black Vinyl) |
do-LP |
After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.
Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.
Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.
As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”
// Unter der erstaunlichen Reihe von Meisterwerken der späten Coil-Ära gilt das Mond-Opus „Musick To Play In The Dark“ als künstlerischer Zenit der Band. Die Sessions, aus denen es hervorging, waren sogar so fruchtbar, dass eine zweite LP noch während der Entstehung der ersten Gestalt annahm. Unterstützt durch den walisischen Multi-Instrumentalisten und Tontechniker Thighpaulsandra tauchten Coil weiter in die Tiefen der surrealistischen Elektronika, die Bandgründer John Balance als "Mondmusik" bezeichnete. „Musick To Play In The Dark²“ umspannt eine ganze Geisterstunde post-industrielle Zauberei an der Achse von narkotischen und nächtlichen Energien: „Bad Acid“-Sounddesign, Synthesizer-Reisen, opiumhaltige Balladen, luziferischer Glitch und unterschwellige Hymnen; abwechselnd unheilvoll, orakelhaft und absurd. Die schottische Gothic-Ikone Rose McDowall ist bei zwei Stücken als Gastsängerin zu hören."
Mastered by Josh Bonati.
Double LP, with Side D Moon Etching.
https://www.daisrecords.com/collections/releases/products/coil-musick-to-play-in-the-dark-2
|
2022 |
€29.50 |
|
|
Musick to play in the Dark 2 |
CD |
After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.
Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.
Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.
As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”
// Unter der erstaunlichen Reihe von Meisterwerken der späten Coil-Ära gilt das Mond-Opus „Musick To Play In The Dark“ als künstlerischer Zenit der Band. Die Sessions, aus denen es hervorging, waren sogar so fruchtbar, dass eine zweite LP noch während der Entstehung der ersten Gestalt annahm. Unterstützt durch den walisischen Multi-Instrumentalisten und Tontechniker Thighpaulsandra tauchten Coil weiter in die Tiefen der surrealistischen Elektronika, die Bandgründer John Balance als "Mondmusik" bezeichnete. „Musick To Play In The Dark²“ umspannt eine ganze Geisterstunde post-industrielle Zauberei an der Achse von narkotischen und nächtlichen Energien: „Bad Acid“-Sounddesign, Synthesizer-Reisen, opiumhaltige Balladen, luziferischer Glitch und unterschwellige Hymnen; abwechselnd unheilvoll, orakelhaft und absurd. Die schottische Gothic-Ikone Rose McDowall ist bei zwei Stücken als Gastsängerin zu hören."
Mastered by Josh Bonati.
https://www.daisrecords.com/collections/releases/products/coil-musick-to-play-in-the-dark-2
|
2022 |
€15.00 |
|
|
Constant Shallowness leads to Evil |
do-LP |
"The first-ever official vinyl edition, completely remastered by Josh Bonati.
The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.
Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment.
An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown."
https://coilofficial.bandcamp.com/album/constant-shallowness-leads-to-evil
|
2022 |
€33.50 |
|
| |
Constant Shallowness leads to Evil |
CD |
The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.
Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment.
An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.
https://coilofficial.bandcamp.com/album/constant-shallowness-leads-to-evil
|
2022 |
€15.00 |
|
| COIL WITH BLACK SUN PRODUCTIONS |
The Plastic Spider Thing |
CD + DVD |
"This album, featuring Coil’s music literally remixed and re-arranged in ritual form to serve as the soundtrack to the Black Sun Productions extreme performance art spectacle entitled Plastic Spider Things, following the performers’ (among who was counted John Balance himself) every move. Synths, drones, and psychedelic textures lead us on mystical tour of sex and magic, serving as a testament to the undeniable connection between Coil’s music, ritual magic, and performance art.
Included with the CD is a collection of Black Sun Productions videos documenting the history of Black Sun Productions and it’s strong ties with Coil. The DVD features rare clips and backstage footage (Coil Live Gigs) with both Peter Christopherson and John Balance, as well as video manipulations.
A release that all hardcore Coil and Black Sun Productions fans have long been waiting for. Limited 500 copies Not to be missed!"
"Tolle Wiederveröffentlichung des legendären COIL-Albums von 2002. Das Album entstand
in Zusammenarbeit mit der Performance „The Plastic Spider Thing“ von BLACK SUN
PRODUCTIONS. CD und LP kommen jeweils mit DVD und erscheinen auf RUSTBLADE.
2002 veröffentlichte THRESHOLD HOUSE bereits dieses legendäre und kontrovers
diskutierte Album von COIL. Es war im Prinzip der Soundtrack zu der künstlerisch inszenierten
Extremperformance „The Plastic Spider Thing“ in Kollaboration mit dem Schweizer Kollektiv
BLACK SUN PRODUCTIONS. COIL, bzw. JOHN BALANCE war selbst Teil dieser Performance
und der Soundtrack perfekt auf ihn abgestimmt. Das Projekt tourte damals durch verschiedene
Städte in Europa und führte ein anstößiges und nicht überall akzeptiertes Konzept auf, bei dem
es um sexuelle Neigungen, Nacktheit aber auch um spirituelle und rituelle Praktiken wie „Chaos
Magick“ und „Spirituel Sex Magick“ ging. 2003 wurden BLACK SUN PRODUCTIONS in der
Schweiz für die Perfomance sogar vor Gericht gestellt, weil sie in ihrer Kompromisslosigkeit gegen nationale Gesetze verstieß. Das vorliegende Re-Release enthält das Album, welches sich musikalisch zwischen Industrial, Drone und Psych-Noise bewegt, wie auch eine
Videodokumentation der „Plastic Spider Thing“-Tour, exklusiven Backstagematerial und weiteren (Live-)Videos." [Broken Silence]
|
2017 |
€23.00 |
|
| COLECLOUGH / MURMER |
Husk |
CD |
Starke Collaboration des field-recording-Spezialisten MURMER aka PATRICK MC GINLEY (er betreibt auch die Radiosendung „Framework“ auf dem Londoner Kult-Sender ‚Resonance104.4fm’) und JONATHAN COLECLOUGH. 4 Stücke, über 70 Minuten Spielzeit, feinstoffliche Resonanzenteppiche verbinden sich mit konkretem Material aus Natur & Alltag und von Instrumenten, der Geist öffnet sich für Mikro-Detail-Geräusche & subliminale Klangwelten... watch out: demnächst (2007) wird es von MURMER eine 7“ auf Drone geben!
“They first met in 2002 after appearing on the compilation LP ‘Chaleur’, and soon began work on the material that would become ‘Husk.’ Sharing a fascination with using ‘found sound’ in their music, ‘Husk’ includes recordings of refrigerators, thunderstorms, sheep, car horns, ferryboats, windblown sand, crackling charcoal, as well as more conventional instrumental sounds including a variety of percussion instruments. Much of the music started as live improvisation, in one case during a radio broadcast on McGinley’s regular ‘Framework’ slot on the London-based radioart station Resonance FM. These live recordings have been carefully edited and mixed over several years. ‘Husk’ is packaged in a 6-panel Digisleeve featuring photographs by Patrick McGinley.” [label info]
|
2006 |
€14.00 |
|
| COLECLOUGH, J. & LETHE |
Long Heat |
CD |
Collaboration von JONATHAN COLECLOUGH mit dem japanischen Cellisten & Impro-Droner LETHE ! Far-away drones, die man kaum fassen kann, dicht & subliminal, unwirklich & undurchdringlich, zeitweise sehr kraftvoll & konkreter werden in Mikrosound-Bereiche hinein, alles andere als statisch, mit überraschenden Wendungen.
“It's a pity that there is not much information on the cover of this CD, since it would be interesting to know what is going on here. Lethe is the Japanese Kuwayama Kiyoharu, who has released a CD on Trente Oiseaux of his cello/drone music aswell as a couple of releases on his on own label (and a collaboration with Kapotte Muziek is forthcoming on Intransitive). The reader who has been paying attention knows the name Jonathan Coleclough as being on this reviewer's favourite drone artists. Now, why would it be nice to know just a little bit more? Is it Lethe sending sound material to Coleclough? Perhaps. It seems to me the most logical thing upon hearing this CD - well, two actually. If you want you can order a copy and order an extra bonus CD with 'Long Heat - Second Part'. It has the majestic sounds that is the trademark of Coleclough. These long drone sounds that slowly change shape, change colour. But that's only one part of the game. Coleclough adds another layer of heavily reverbed sounds of falling objects. An additional third layer is used for utter dry sounds – scratching the surface. Three distinct layers of sounds that over the course of each disc start to intermingle with eachother, they slowly merge together, but it's not that a blurr arises, not at all. From these slowly merging masses a new distinct and powerful drone arises above the field which slowly moves on and follows it's own course. Once this course is gone, the material falls apart like small particles, suddenly, without warning.
But like said: is this what is done, or is it the work of Lethe producing this work with the use of Coleclough soundmaterial? Something says here, this is not the case. Hard to tell why, so it remains mere guessing. But is it important, all this guessing? Perhaps not, I am sure it is not important at all. Isn't this were the result counts? I am sure it does. And sure it does count. This is a beautiful work of drone music. Majestic stuff, moving slowly forward. Great stuff, but maybe I'm a little biased here.” [FdW / Vital Weekly]
|
2005 |
€14.00 |
|
| COLLINS, TIM / REIKO GOTO / CHRIS MALCOLM |
Plein Air / Silva Datum Musica |
LP |
"Plein Air the album presents recordings from a plant-driven synthesizer. A custom built instrument that uses scientific sensors and software programming to generate real-time tree leaf data. Light, photosynthesis and transpiration modifies sound: the rhythm, melody, texture, tempo and harmony shift with atmospheric conditions and tree response – electronically.
The sounds of each leaf of regional deciduous trees by scientifically sensored data-sonification are much more musical than one could imagine. Their timbre and volume always depend on light and temperature, number of audience. It varies from site to site and from country to country. We can hear loops of rhythmic sequences, groups of tiny computer generated signals, long drones which change constantly and are hard to describe.
Side 1 includes four short recordings, in total twenty-six minutes, of one leaf from Scottish Elder, Oak, Elderberry and Birch, recorded in one of Glasgow’s historical green houses, June 2017. Due to dramatic light and temperature changes that occur as sunshine and cloud formation changes in proximity to the north Atlantic; the computer generated music is highly dynamic, an intense hearing experience at times as I would imagine a tornado.
Side 2, is one recording, in total twenty-five minutes, of a regional heritage pear tree leaf that sounds more like Minimal Music. During the Cologne Tree Sound Study, we made the recording in a small office room in 2015, we had less dramatic weather changes. A warm summer, smooth light changes, generating a more gentle soundscape to deeply plunge into music. (Georg Dietzler)
Plein Air the album is based on a ten-year artist-led project. In simplest terms our intention is to provide a ‘mind/body experience’ of trees by attending to the sound of physiological reaction (photosynthesis and transpiration) as one leaf adjusts to the day to day changes (rush hour traffic, crowds of people) in ground level atmospheric chemistry in venues and cities. Physiological data is transposed into sound through computer software. We have chosen sound for its aesthetic purity with the goal to hear the trees more clearly as they react to changes in CO2, temperature and humidity. This system is called ‘Plein Air’, a stable single platform system that embraces the portable easel, as a metaphor for the historic practice of open air painting. Where Millet extended the idea of landscape to peasants working in the fields and the impressionists examined the phenomenological exchange between light and material. At the same time, recent work with the system raises questions about what we expect to ‘hear’ when we listen to nature, as it reacts to intense inputs of carbon dioxide?"
(Tim Collins)
https://www.gruenrekorder.de/?page_id=17206
|
2019 |
€17.50 |
|
| COMBATIVE ALIGNMENT |
... and outside glows the red dawn |
CD & CD-R |
Nach einigen Veröffentlichungen auf deutschen Labels jetzt die erste volle CD, und das auf dem profilierten MALIGNANT – Label aus den Staaten! AND OUTSIDE GLOWS THE RED DAWN ist eine einzige Manifestation von archaisch-mythisch anmutenden Klängen, die von unentzifferbaren Hieroglyphen zu berichten scheinen. Eine undurchdringliche, dickflüssige, dunkle aurale Glut wird hier in Szene gesetzt, die von auftauchender Perkussion & harmonischen Sprengseln begleitet werden.... ein grandioses archaic-ambience Album !
“After several releases, including full length vinyl releases on LOKI and their own label Avatar, and a 7" on Eternal Soul, it is with great honor and pride that we present 'And Outside Glows the Red Dawn', the first full length CD from this powerful and visionary German project. And Outside Glows the Red Dawn can perhaps be seen as Combative Alignments benchmark, offering 6 tracks that work as a virtual musical thoroughfare to a more dreamlike, illusory state. Deeply brooding atmospheres, where omniscient layers of drones and reverberating sound currents meet measured, ritual percussion as performed under the glowing, gloomy haze of a primordial sunrise. And Outside Glows the Red Dawn shines a dim light on a world of obscure origin, full of dark permanic mysticism and unearthly sonic terrain. On a whole, this is a more focused, deeper, and fluid recording than you've heard before, yet triumphantly carrying on the tradition laid down by previous releases.” [label description]
|
2005 |
€18.00 |
|
| |
....and outside glows the red dawn |
CD |
Nach einigen Veröffentlichungen auf deutschen Labels jetzt die erste volle CD, und das auf dem profilierten MALIGNANT – Label aus den Staaten! AND OUTSIDE GLOWS THE RED DAWN ist eine einzige Manifestation von archaisch-mythisch anmutenden Klängen, die von unentzifferbaren Hieroglyphen zu berichten scheinen. Eine undurchdringliche, dickflüssige, dunkle aurale Glut wird hier in Szene gesetzt, die von auftauchender Perkussion & harmonischen Sprengseln begleitet werden.... ein grandioses archaic-ambience Album !
“After several releases, including full length vinyl releases on LOKI and their own label Avatar, and a 7" on Eternal Soul, it is with great honor and pride that we present 'And Outside Glows the Red Dawn', the first full length CD from this powerful and visionary German project. And Outside Glows the Red Dawn can perhaps be seen as Combative Alignments benchmark, offering 6 tracks that work as a virtual musical thoroughfare to a more dreamlike, illusory state. Deeply brooding atmospheres, where omniscient layers of drones and reverberating sound currents meet measured, ritual percussion as performed under the glowing, gloomy haze of a primordial sunrise. And Outside Glows the Red Dawn shines a dim light on a world of obscure origin, full of dark permanic mysticism and unearthly sonic terrain. On a whole, this is a more focused, deeper, and fluid recording than you've heard before, yet triumphantly carrying on the tradition laid down by previous releases.” [label description]
|
2005 |
€13.00 |
|
| CON-DOM / MILITIA |
Scorched Earth Policy |
CD |
Wiederveröffentlichung eines alten Split-Tapes: CON-DOM mit rohem, flirrendem analog-harsh noise, verzerrten found sounds und Hass-Vocals; MILITIA differenzierter und weniger reduziert, post-Industrial mit Metall-Percussion und –Effekten...
“ re-release of the legendary tape out on OEC, completely remastered by Frank Gorissen (Militia) for the CD format !
First part of the cd is featuring more songs of faith & war by Con-Dom in his usal scraping way, with great rough vocals and pulsing & beating sounds : "Power is nothing without Control " & "Butchers Call to Arms" are 2 of the 6 titles by Con-Dom, you now wat to aspect ! The second part of the cd features Militia's best power & war structured industrial agony .... reiterative sound fields changing into great industrial tradition ! Militia is also delivering 2 unreleased live-attacks with great sampled voices recorded during their very first live gig ! a new cult release by OEC, not to loose !” [label press release]
www.oldeuropacafe.com
|
2002 |
€12.00 |
|
| CONCERN |
Truth and Distance |
CD |
Neue Drone-Entdeckung aus den Staaten! Nah-Klänge & Vibrationen diverser Instrumente wie Zither, Klarinette, Horn oder Posaune werden mit Kontaktmikros aufgefangen und in obertönreiche, polyphone und recht rauhe Klangfelder transformiert. Drei Stücke mit sehr lebendigen, erhabenen Drones in verschiedenen Färbugen sorgen hier für sonores Entzücken! Zum entdecken !
"...Essential listening for the drone inclined, and any one into Tim Hecker, Aidan Baker, Fennesz, Belong and the like might just have
a new favorite record." [Aquarius Rec]
"Also Gordon Ashworth, also known as Concern, is a new name for me, who delivers three pieces on his 'Truth & Distance' release, which are alike Darwinsbitch in the field of drone music. He uses zither, lap harp, mbira, banjo, piano, clarinet, alto horn, trombone, accordion and lots of reverb. His instruments are scanned with vibrating objects in order to create overtones and it makes this almost a modern classical release. Somewhere in between music for an installation and Phill Niblock, I'd say. This is more the territory where things are on endless sustain, but perhaps due to the variety of sources and the relative shortness of the pieces things don't leap into static, but are vibrating, changing throughout its minimalist approach to keep things fascinating. Ashworth has plenty of skills to deliver three fine pieces. Not a second too long, not a minute too short. Very nice work." [FdW / Vital Weekly]
"Gordon Ashworth is Concern and this is his manifesto. Truth & Distance is a mini-epic, a minor masterpiece. Within these sonic walls lies a stunning landscape, adrift in golden tones and silver siren songs. Ashworth creates beautiful, shimmering music that defies categorization. It stands on its own, droning away into the furthest reaches of the night. Using only acoustic instrumentation, Ashworth conceives pieces of music in which resonance and timbre mutate and in the air and unfold naturally, organically. Hints of piano glisten like night shadows whispering through the leaves. Strings are bowed and plucked into oblivion. Everything is turned into a pile of reverb. Everyone is a ghost. Concern will shine a light on it all. Truth & Distance indeed. It's all coming up roses this time. Co-released with Iatrogenesis. Packaged in custom-designed silkscreened gatefolds by Seizure Palace."
[label info]
www.digitalisindustries.com
|
2009 |
€10.00 |
|
| CONTAGIOUS ORGASM |
Flows out |
CD |
Das Moskauer Label bereits mit dem vierten Release, ein neues sehr sehr ungewöhnliches Werk von HIROSHI HASHIMOTO (inkl. Verstärkung) mit dem genialen Projektnamen. Dies ist "a kind of experimental Mutanten-Pop", ungewöhnliche rhythmische Strukturen & weird Samples, jedes Stück klingt anders, hypnotisch, außerweltlich, analogisch. Kommt in aufwendiger Artwork mit diversen Inlays!
„Contagious Orgasm is the band which was always cutting the line of japanese noise units. The music of Hiroshi Hashimoto appears to be much more structured and heavily "composed". Even in early albums released by Tesco and Ant-Zen, one can feel mind warping and challenging atmosphere instead of more usual raw instinctual aggression freed by sound. With every new album, the Contagious Orgasm music becomes more complex and unpredictable. "Flows Out" probably takes the band to the high point of career - to the moment , it's most mature and completed work. It's homogenous, but implicated with a plenty of different elements, not contrary but hardly combined within the noise music unwritten rules. These elements are mostly rhythmic parts related to minimal techno, techno ambient, glitch, electro industrial and even dub and swing grooves, which are fitting perfectly in every aspect of industrial aesthetics which flows out of the album. One can see the organic sounding as the optimizing feature for those who couldn't accept the real voice of nowadays underground. Anyway, this album is the perfect choice for the newcomers and people who never heard this band before. As always for Waystyx, deluxe edition including a set of nice postcards, placed with CD into the black pseudo-digipack. Ltd edition of 777 copies.” (I.E.M. magazine)
|
2003 |
€13.00 |
|
| |
Spill Drop |
CD / object |
Es gibt wohl kein anderes Projekt aus der früheren Japan-Noise Fraktion, das inzwischen einen so eigenartigen & eigenständigen Experimental-Stil entwickelt hat, der meilenweit vom harsh noise früher Tage entfernt ist, und schlicht nicht einem bestimmte Genre zuzuordnen ist. Hiroshi Hashimoto lädt wieder zu 11 mutierten Musik-Rätseln ein: elektronisches & found sounds & field recordings, ruhige electro-pulses, dunkle Stimmungen, aber auch recht „durchgeknallte elektronik“, manchmal eher wie ein Hörspiel mit Sprach- und anderen Samples, nimmt dann aber auch „ethnischen“ Charakter an, auch strukturiertere Sachen mit richtigen Rock-Gitarren gibt es, immer ungewöhnlich, insgesamt hier eher ruhig und dunkel elektronisch. Die CD ist passend dazu verpackt in einer rot bedruckten Gummi-Banderole, auch das passt wie die Faust aufs Auge...
„....ein weiteres Eintaucen von CONTAGIOUS ORGASM in das ‚aqua soma’, das Halb- und Unterbewusstsein eines Japaners, seine versteckten sexuellen Obsessionen, den absorbierten Feinstaub unter der medialen und kulturellen Käseglocke..[..]..Telefonische Zeitansagen auf Deutsch, ein Interview mit einem Elektronikveteran auf Englisch, ein afrikanischer Mädchenchorus, ein Esoterikguru, der einem die Seele einseift, werden als Treibgut mitgewirbelt auf einem elektronischen Fluss aus Beats, zischenden Drones und einem pathetischen March of Godzilla, bei dem man das Totemtier der japanischen Trashculture schwerfällig heranstapfen hört.“ [Rigobert Dittmann, Bad Alchemy # 47, 2005]
“New step on the way of Hiroshi Hashimoto creative evolution, one of the most controversive japanese musician, presenting a dense stream of sound,explosing by traditional for Contagious Orgasm flashes of sexual obsession, ritualism and culture permeate. Mature and complicated work. Its a mirror in which crystall depths everyone of us will see his real matter-purest drop of human prejudices, fears and drawbacks essence. On one hand you can find microglitches, clicks, subtle melodies and controlled rhythmic clicks n cuts. And on the other hand more experimental sounds: from rough field recordings, noisy frequencies and distorted voices to sinewaves and continuous glitches. As always for Waystyx Records, exclusive design,consisting of
transparent heavy polyethelen and strip of technical ribbon with red landmark.” [label description]
|
2005 |
€13.00 |
|
| CONTRASTATE |
35 Project |
10inch |
"Black Rose Recordings are proud to present the new 10” single from Contrastate containing four brand new tracks. The release will be limited to 250 white vinyl copies and comes in a beautiful gloss finished cover.
Active from the late 1980s through to the present day Contrastate have released several critically acclaimed albums. Their early experiments in music were heavily influenced by the industrial and experimental music and art scene of the 70’s and 80’s. Contrastate’s idiosyncratic take on challenging, industrial tinged music has certainly changed and evolved through the years. Their current sound insinuates itself inside the dark ritual ambience of the electronic avant-garde shot through with a vein of experimental noise and stentorian vocals that are strewn amongst touches of industrial surrealism and sonic soundtracks."
“Contrastate achieve an amazing equilibrium between organic sound and brooding electronics.” – Heathen Harvest
“Contrastate covers a bit of everything in their sound, and that black humor component…makes for a project that I can never predict what they will sound like next, but I know it will be fascinating no matter what” – Brainwashed.com
https://www.facebook.com/contrastate/
"Contrastate haben über die Jahr(zehnt)e einen ganz eigenen Klang entwickelt, der sich sicher aus dem reichen Fundus der Industrialculture speist(e), enge Genrekorsetts aber schon früh abstreifte. Sie waren auch vielleicht auf reflektiertere Weise politisch als die an Transgressionen reiche Insustrialszene und klanglich immer im besten Sinne unvorhersehbar. Nach einer etwa zehnjährigen Pause zwischen 2000 und 2010 sind in den letzten Jahren eine Reihe von Aufnahmen veröffentlicht worden.
Auf ihrer neuen 10” „35 Project“ finden sich insgesamt vier unbetitelte Stücke. Der erste Track beginnt mit vereinzelten Töne, leichten Dissonanzen, dann setzen melodisch-flächige Sounds ein, die abebben. Eine verfremdete, roboterhafte Stimme deklamiert u.a.: „you do not have the right to physically harm“ oder „you do not have the right to go to war“. Man hört rückwärts abgespielte Stimmen, dunkles Pulsieren und von leichter Unruhe durchzogene ambiente Passagen. Das zweite Stück der A-Seite besteht aus melodischen Flächen und perkussiven Momenten, in Teilen so, als schlage man auf Pauken. Der dritte Track ist von einer melancholischen Melodie durchzogen, in der Ferne tönen Glöckchen, man hört erneut verfremdete Stimmen und dann fast so etwas wie eine opulent klingende verrauschte Orgel. Das letzte Stück ist dagegen treibender und erneut mit verlangsamt-verfremdeter Stimme.
Worauf die 10 ” konzeptionell abzielt, bleibt unklar; in einem Promovideo, das die Band anlässlich der Veröffentlichung des Vinyls verfügbar machte, werden Ausschnitte aus Willy Zielkes 1934 erschienenen Film „Das Stahltier“, einem Industrie- und Wirtschaftsfilm über die Reichsbahn, verwendet. Der Film gefiel damals allerdings weder der Reichsbahn noch dem „Dämon aus der Reklame-Abteilung“ (Klaus Mann).
„Contrastate’s sound insinuates itself inside the dark ritual ambience of the electronic avant-gard “ heißt es auf ihrer Facebookseite und in der Pressemitteilung wird die Band in einem Spannungsfeld von „dark ritual ambience [und] experimental noise industrial surrealism sonic soundtracks“ verortet. In einem 1991 gemachten Interview meinte Stephen Meixner: „I would like to see Contrastate progressing in new areas with each new release“ – nachträglich kann man feststellen, dass ihm und Contrastate das sicher mehr als gelungen ist und auch diese auf 250 Exemplare in weißem Vinyl limitierte Veröffentlichung bezeugt das." [MG / African Paper]
|
2022 |
€16.50 |
|
| CONTROL |
Natural Selection |
CD |
CONTROL-Stücke beginnen oft eher ruhig und untergründig dronend, bevor sie sich monumental noisend erheben – maschinenhaft, kalt, zerstörerisch, mächtig, unter Hochspannung... kein plumper harsh noise, zeigt „Natural Selection“ das US-Projekt mit zeitgemässen Maelstrom-Industrial, der zerstörerische Prozesse zu ästhetisieren scheint...
“Brand new album of this legendary power noise artist. Concrete & abrasive songs, consuming & devastating sounds, evolving & mutating noise. Keep your aspirines at hand - CONTROL is here
to crush you. To little pieces.“ [label info]
www.eibonrecords.com
|
2003 |
€13.00 |
|
| CONTROLLED BLEEDING |
Distress Signals I |
do-LP |
"Re-Issue auf limitiertem, schwarzem Doppel-Vinyl Gatefold Sleeve Offiziell autorisiert Die erste autorisierte Wiederveröffentlichung von CONTROLLED BLEEDINGS seltenem Debütalbum "Distress Signals I" auf Vinyl. Ursprünglich wurde es im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Diese 2LP-Edition wird im Gatefold Sleeve mit originalem Artwork veröffentlicht und enthält die ursprünglichen Liner Notes der Kassetten-Veröffentlichung.//
Originally released as a tape on Broken Flag in 1984, Controlled Bleeding's first album 'Distress Signals' is a rare delivery of brutal powernoise and experimentally distorted and tortured vocals. The near hour-long performance is immediate and harsh, and the tape has a kind of holy grail'ish quality amongst collectors, not the least because of the special status of Broken Flag, but also because it had never been properly reissued on either CD or vinyl. Now the material is issued as a DOUBLE-LP, presented in a sublime gatefold sleeve featuring the original artwork, as well as a copy of the liner notes from the tape insert. This edition is limited to 200 copies on GREY VINYL." [label info]
www.artoffact.com |
2016 |
€30.00 |
|
|
Knees and Bones |
do-LP |
"Remastered Version auf schwarzem Doppel-Vinyl Inkl. Bonus-Material Gatefold Sleeve Offiziell autorisiert! Eine fantastische Wiederveröffentlichung von CONTROLLED BLEEDINGS Album "Knees & Bones" auf Vinyl, inkl.
Bonus-Tracks. "Knees & Bones" war die erste Vinyl-Veröffentlichung der Band überhaupt. In vielerlei Hinsicht war es DAS Industrial-Album der damaligen Zeit. Die Wiederveröffentlichung über Artoffact Records beinhaltet zusätzlich eine ganze Reihe an Bonus-Tracks, wie zum Beispiel den von der CD-Version bekannten Song "Swallowing Scrap Metal Pt. 5 1/2" und erscheint als Doppel-LP."
www.artoffact.com
|
2016 |
€30.00 |
|
|
Distress Signals I & II |
do-CD |
"Erste Re-Issue von DISTRESS SIGNALS I & II als Doppel CD Inkl. unveröffentlichter Bonus-Tracks Remastered Offiziell autorisiert! "Distress Signals I & II" ist eine Wiederveröffentlichung der beiden "Distress Signals"-Alben von CONTROLLED BLEEDING, die nun zum ersten Mal auf CD erhältlich sein werden und mit einer Menge an Bonus-Tracks daher kommen. Ursprünglich wurde das erste der beiden im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Nun wird es zusammen mit "Distress Signals II" über Artoffact Records als Doppel-CD wiederveröffentlicht - inklusive des originalen Artworks des Debüts von CONTROLLED BLEEDING und Liner Notes der ursprünglichen Kassette. Zusätzlich enthält diese Version eine ganze Reihe an unveröffentlichtem Bonusmaterial."
www.artoffact.com
|
2016 |
€20.00 |
|
|
Body Samples |
do-LP |
"Both original vinyl and CD are hopelessly out of print, and the Artoffact Records reissues expand the original vinyl pressing with a healthy dose of unreleased bonus tracks into a gorgeous 2LP remastered edition. The vinyl is housed in a gatefold sleeve."
"Expanded Re-Issue auf schwarzem Doppel-Vinyl Gatefold Sleeve Inkl. Bonus-Tracks Offiziell autorisiert! "Body Samples", eines der wichtigsten Dokumente aggressiven Industrials der 80er-Jahre kommt als Wiederveröffentlichung auf Vinyl zurück. Im Jahr 1984 veröffentlichten CONTROLLED BLEEDING ihr erstes Album auf dem deutschen Label Broken Flag, mit dem sie später sehr eng zusammen arbeiten sollten. Mit experimentellem, Noise-geladenem Industrial ist "Body Samples" weniger aggressiv als seine Vorgänger. Artoffact Records erweitert die originale Vinylversion mit einer Reihe an unveröffentlichten Bonus-Tracks und veröffentlicht das Album als wunderschöne 2LP-Edition. " [label info]
www.artoffact.com
|
2016 |
€28.50 |
|
|
Body Samples |
do-CD |
"Both original vinyl and CD are hopelessly out of print, and the Artoffact Records reissues expand the original vinyl pressing with a healthy dose of unreleased bonus tracks into a gorgeous 2LP remastered edition. The vinyl is housed in a gatefold sleeve."
"Expanded Re-Issue auf schwarzem Doppel-Vinyl Gatefold Sleeve Inkl. Bonus-Tracks Offiziell autorisiert! "Body Samples", eines der wichtigsten Dokumente aggressiven Industrials der 80er-Jahre kommt als Wiederveröffentlichung auf Vinyl zurück. Im Jahr 1984 veröffentlichten CONTROLLED BLEEDING ihr erstes Album auf dem deutschen Label Broken Flag, mit dem sie später sehr eng zusammen arbeiten sollten. Mit experimentellem, Noise-geladenem Industrial ist "Body Samples" weniger aggressiv als seine Vorgänger. Artoffact Records erweitert die originale Vinylversion mit einer Reihe an unveröffentlichten Bonus-Tracks und veröffentlicht das Album als wunderschöne 2LP-Edition. " [label info]
|
2016 |
€19.00 |
|
|
Knees and Bones |
CD |
"Remastered Version auf schwarzem Doppel-Vinyl Inkl. Bonus-Material Gatefold Sleeve Offiziell autorisiert! Eine fantastische Wiederveröffentlichung von CONTROLLED BLEEDINGS Album "Knees & Bones" auf Vinyl, inkl.
Bonus-Tracks. "Knees & Bones" war die erste Vinyl-Veröffentlichung der Band überhaupt. In vielerlei Hinsicht war es DAS Industrial-Album der damaligen Zeit. Die Wiederveröffentlichung über Artoffact Records beinhaltet zusätzlich eine ganze Reihe an Bonus-Tracks, wie zum Beispiel den von der CD-Version bekannten Song "Swallowing Scrap Metal Pt. 5 1/2" und erscheint als Doppel-LP."
www.artoffact.com |
2016 |
€16.50 |
|
| |
Distress Signals I |
do-LP |
"Re-Issue auf limitiertem, schwarzem Doppel-Vinyl Gatefold Sleeve Offiziell autorisiert Die erste autorisierte Wiederveröffentlichung von CONTROLLED BLEEDINGS seltenem Debütalbum "Distress Signals I" auf Vinyl. Ursprünglich wurde es im Jahr 1984 auf Gary Mundys Label Broken Flag ausschließlich auf Kassette veröffentlicht. Ein Album voll von Powernoise und verzerrtem Gesang. Diese 2LP-Edition wird im Gatefold Sleeve mit originalem Artwork veröffentlicht und enthält die ursprünglichen Liner Notes der Kassetten-Veröffentlichung.//
Originally released as a tape on Broken Flag in 1984, Controlled Bleeding's first album 'Distress Signals' is a rare delivery of brutal powernoise and experimentally distorted and tortured vocals. The near hour-long performance is immediate and harsh, and the tape has a kind of holy grail'ish quality amongst collectors, not the least because of the special status of Broken Flag, but also because it had never been properly reissued on either CD or vinyl. Now the material is issued as a DOUBLE-LP, presented in a sublime gatefold sleeve featuring the original artwork, as well as a copy of the liner notes from the tape insert." [label info]
www.artoffact.com
|
2016 |
€26.00 |
|
| COOPER, LINDSAY |
Rags / The Golddiggers |
CD |
Wiederveröffentlichung ihrer ersten beiden LPs von 1980 & 1983!
"Consists of the whole of the LP previously issued as Re/arc and most of "The Golddiggers". Featuring Lindsay Cooper, Sally Potter, Phil Minton, Georgie Born, Fred Frith, Chris Cutler, Marilyn Mazur, Kate Westbrook, Collette Lafont, Eleanor Sloan, Lol Coxhill and Dave Holland. Explores the song form as so many of the early post Henry Cow records by ex alumni did. With a full book of texts and pictures (74+ minutes)." [label info]
www.rermegacorp.com
|
1991 |
€14.00 |
|
| |
Rarities Vol. 1 & 2 |
do-CD |
"This double CD set collects together, amongst other things, all of Outtakes for Other Occasions and The Small Screen, both of which were never commercially released, all four pieces from The Classic Guide to NoMansLand, the subscription 7” Pictures from the Great Exhibition collage, an extract from the Concerto for Sopranino Saxophone and Orchestra, an amazing, unreleased, live recording of Trio Trabant with Alfred Harth and Phil Minton, Education sung by Sally Potter, In the Dark Year, sung by Robert Wyatt, material from the with David Thomas and - the really great discovery - a really extraordinary solo piano performance recorded at Roulette in 1985. Comes with a substantial memorial booklet with newly discovered photographs, and texts by Sally Potter, Tim Hodgkinson, David Thomas and Kate Westbrook." [label info]
www.rermegacorp.com
|
2014 |
€20.00 |
|
| COPH NIA |
A Prelude to Lashtal Lace |
12inch |
"before appearing on raubbau with a long-awaited full length album, coph nia mastermind mikael aldén serves us a scrumptious appetizer on a 12'' plate: one outtake, a radical remix and two b-sides are a classic satiable ep size serving for the vinyl gourmet.
first up is the album's title track, a homage to coph nia's ongoing fascination with crowleyan matters, an enchanting dark folk hymn in which the female backing vocals swell on slowly, before, after a moody break, the song plunges into full-on hazlewood / sinatra-style psychedelia. 'mother of songs' is a lesser known original, here as a slowly grinding goth tune with angelic choirs, while joy division's 'in a lonely place' is an undisputed classic, stripped to an even bleaker carcass of despair in the unique coph nia style. finally, michael idehall's version of 'lashtal lace' replaces everything female, acoustic and romantic about the song with haunting atmosphere and industrial darkness. appease your appetite quickly, the serving is scarce!" [label info]
www.raubbau.org
|
2014 |
€16.00 |
|
| CORDIER, ERIC |
Osorezan |
CD |
Eine faszinierende Welt der Vulkangasgeräusche und -ausströmungen betritt man im ersten Stück auf ERIC CORDIERS "Osorezan", der hier "reine" Feldaufnahmen aus Japan verwendet hat. Daneben finden sich auf dieser Kollektion auch Aufnahmen aus einem (französischen?) Bergdorf, pure field recordings mit Maschinen- Tier - Menschen- Naturgeräuschen.....
dazu sehr schöne Farbaufnahmen auf dem 6-teiligen Digipack.
"Selected field recording 1993 - 2006. Recorded in Niseko, southwest of Hokaïdo and in Osorezan, northern of Honshu in August 2006. Gas emanation of volcano in Japan. The sound recordings were carried out in the depths and then re-organised. We listen to gas bubbling in water, gas mouths, gas that creates rhythms while escaping from under a dead leaf down in the clay, whistling. All panoramic movements, repetitions, effects of phasing have been carried out during the time of the recording, travelling at the mouth to gather the sound of sulphur gas as a sound pallette." [label info]
http://geocities.com/herbalrecords
|
2007 |
€13.00 |
|
| CORDIER, ERIC & JEAN-LUC GUIONNET |
Synapses |
CD |
Eine beeindruckende Instrumental / Objekt-Installation, diverse Saiteninstrumente (Cello, Gitarren, etc.) bilden in einem aufgehängten, verbundenen System mit Metall-Resonatoren & und aufgespannten Drähten ein akustisches, 3-dimensionales System. Egal wo man es berührt, es werden dadurch weitere Klänge ausgelöst, meist von dröhnend-metallischer Textur. Das schöne aufklappbare Booklet zeigt die unglaubliche Kreation, zwei Improvistationen von 1996 & 1998 wurden hier verewigt (Paris), über 70 Minuten Spielzeit.
NOISE-MAKER'S FIFES, ORGANUM, Y-TON-G fallen einem als Referenzen ein, aber hier passiert alles in "real time" und ohne weitere Effektierung.
"Synapses (Jean-Luc Guionnet et Eric Cordier) is an instrumental device of combined string instruments (acoustic and electric guitars, detuned piano, spinett-vina, hurdy-gurdy and cello), percussion instruments and metal resonnators --all interconnected with double-bass-, cello- and guitar strings. When one string is played the resulting sound or movement is transfered by the connected strings to the next resonator. Thus one action causes several sound events. In fact, it's impossible to touch one element of the system without getting response of the whole device. Synapses is an hanging sensible network... "
[label info] |
1999 |
€13.00 |
|
| COSEY FANNI TUTTI |
Tutti |
LP |
TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.
TUTTI besteht aus acht Tracks und ist ein Audio-Selbstporträt, das aus manipulierten Tonaufnahmen aus Cosey Fanni Tuttis Leben, Musik und Kunst besteht: "Es ist das einzige Album, das ich gemacht habe, das eine allumfassende Aussage ist, die die Gesamtheit meines Seins ausdrückt. Ein Gefühl der Vergangenheit in Bezug auf die Gegenwart und alles dazwischen." Diese acht Stücke waren ursprünglich als Soundtrack zum autobiografischen Film ,Harmonic Coumaction" konzipiert und wurden im Februar 2017 im Rahmen einer Veranstaltungsreihe zur Retrospektive über COUM Transmissions live aufgeführt. COUM Transmissions war eine subkulturelle Gruppe von britischen Musikern, Undergroundfilmemachern, Aktions- und Konzeptkünstlern, der Cosey anghörte und die Anfang der 1970er Jahre durch aggressive, provokante und schockierend-verstörende Performances medienpräsent auf sich aufmerksam machte und zu den Wegbereitern des späteren Industrial zählt. ,Harmonic Coumaction" wurde ebenfalls als audio-visuelle Installation bei Cosey Fanni Tuttis Einzelausstellung in der Cabinet Gallery, London, präsentiert. Cosey Fanni Tutti erklärt: "Die Arbeit an der Ausstellung COUM Transmissions fiel auch mit dem Schreiben meiner Autobiografie zusammen - dem Sammeln von Archivmaterial und dem Wiedereinbringen in meine Vergangenheit. Meine Arbeit ist ein Kontinuum, die Vergangenheit speist die Gegenwart und umgekehrt. Das Album ist eine Interpretation meiner Vergangenheit und Gegenwart, meines Verständnisses der wechselnden Wahrnehmungen, wie sie sich gegenseitig beeinflussen. Eine Form, die eine andere durch einen metamorphen Prozess erzeugt." Auf ,TUTTI" wurde die Musik aktualisiert und mit Elementen der Original-Tracks ergänzt, die neu aufgenommen und speziell weiterverarbeitet wurden, um ein einzigartiges eigenständiges Dokument zu erstellen, das von der Live-Performance und Installation getrennt ist. Das in ihrem Studio in Norfolk aufgenommene Album, wie auch ihre Debütveröffentlichung ,Time To Tell" von 1982, verbindet Cosey's künstlerische Aktivitäten mit ihrer Erforschung des Sounds: Das autobiografische Thema des Albums ist nicht an eine bestimmte Zeit oder einen bestimmten Ort gebunden, die "Stimmen", Instrumente und Klänge reichen zusammen über Jahrzehnte ihres Lebens, Musik und Kunst. In diesem Zusammenhang verschiebt sich ihr Name ,TUTTI" von seiner Rolle als Substantiv, um das Konzept des Albums perfekt darzustellen und gleichzeitig als Zeichen für Cosey als Künstlerin zu fungieren. ,TUTTI" ist Cosey Fanni Tutti's einziges Soloalbum seit ,Time To Tell" 1982. Sie ist Mitbegründerin von Throbbing Gristle und des Genres Industrial Music, bekannt für ihre Kunst, ihre Arbeit in der Sexindustrie, für ihren Beitrag zur elektronischen Musik als Teil von Chris & Cosey, Carter Tutti und Carter Tutti Void und für ihr bahnbrechendes Solowerk. Ihr Motto: ,Mein Leben ist meine Kunst, meine Kunst ist mein Leben". Coseys Autobiografie ,ART SEX MUSIC" wurde 2017 von Faber & Faber weltweit mit großem Erfolg veröffentlicht, eine japanische Ausgabe ist gerade erschienen, mit weiteren Übersetzungen und einem Hörbuch, das folgen wird.
|
2019 |
€29.50 |
|
| |
Tutti |
CD |
UTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.”
These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London.
Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”
On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation.
Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.
TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”.
Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.
TUTTI TRACK LISTING
Tutti
Drone
Moe
Sophic Ripple
Split
Heliy
En
Orenda
TUTTI besteht aus acht Tracks und ist ein Audio-Selbstporträt, das aus manipulierten Tonaufnahmen aus Cosey Fanni Tuttis Leben, Musik und Kunst besteht: "Es ist das einzige Album, das ich gemacht habe, das eine allumfassende Aussage ist, die die Gesamtheit meines Seins ausdrückt. Ein Gefühl der Vergangenheit in Bezug auf die Gegenwart und alles dazwischen." Diese acht Stücke waren ursprünglich als Soundtrack zum autobiografischen Film ,Harmonic Coumaction" konzipiert und wurden im Februar 2017 im Rahmen einer Veranstaltungsreihe zur Retrospektive über COUM Transmissions live aufgeführt. COUM Transmissions war eine subkulturelle Gruppe von britischen Musikern, Undergroundfilmemachern, Aktions- und Konzeptkünstlern, der Cosey anghörte und die Anfang der 1970er Jahre durch aggressive, provokante und schockierend-verstörende Performances medienpräsent auf sich aufmerksam machte und zu den Wegbereitern des späteren Industrial zählt. ,Harmonic Coumaction" wurde ebenfalls als audio-visuelle Installation bei Cosey Fanni Tuttis Einzelausstellung in der Cabinet Gallery, London, präsentiert. Cosey Fanni Tutti erklärt: "Die Arbeit an der Ausstellung COUM Transmissions fiel auch mit dem Schreiben meiner Autobiografie zusammen - dem Sammeln von Archivmaterial und dem Wiedereinbringen in meine Vergangenheit. Meine Arbeit ist ein Kontinuum, die Vergangenheit speist die Gegenwart und umgekehrt. Das Album ist eine Interpretation meiner Vergangenheit und Gegenwart, meines Verständnisses der wechselnden Wahrnehmungen, wie sie sich gegenseitig beeinflussen. Eine Form, die eine andere durch einen metamorphen Prozess erzeugt." Auf ,TUTTI" wurde die Musik aktualisiert und mit Elementen der Original-Tracks ergänzt, die neu aufgenommen und speziell weiterverarbeitet wurden, um ein einzigartiges eigenständiges Dokument zu erstellen, das von der Live-Performance und Installation getrennt ist. Das in ihrem Studio in Norfolk aufgenommene Album, wie auch ihre Debütveröffentlichung ,Time To Tell" von 1982, verbindet Cosey's künstlerische Aktivitäten mit ihrer Erforschung des Sounds: Das autobiografische Thema des Albums ist nicht an eine bestimmte Zeit oder einen bestimmten Ort gebunden, die "Stimmen", Instrumente und Klänge reichen zusammen über Jahrzehnte ihres Lebens, Musik und Kunst. In diesem Zusammenhang verschiebt sich ihr Name ,TUTTI" von seiner Rolle als Substantiv, um das Konzept des Albums perfekt darzustellen und gleichzeitig als Zeichen für Cosey als Künstlerin zu fungieren. ,TUTTI" ist Cosey Fanni Tutti's einziges Soloalbum seit ,Time To Tell" 1982. Sie ist Mitbegründerin von Throbbing Gristle und des Genres Industrial Music, bekannt für ihre Kunst, ihre Arbeit in der Sexindustrie, für ihren Beitrag zur elektronischen Musik als Teil von Chris & Cosey, Carter Tutti und Carter Tutti Void und für ihr bahnbrechendes Solowerk. Ihr Motto: ,Mein Leben ist meine Kunst, meine Kunst ist mein Leben". Coseys Autobiografie ,ART SEX MUSIC" wurde 2017 von Faber & Faber weltweit mit großem Erfolg veröffentlicht, eine japanische Ausgabe ist gerade erschienen, mit weiteren Übersetzungen und einem Hörbuch, das folgen wird.
http://www.coseyfannitutti.com/content/tutti-lp-resources.html
|
2019 |
€16.00 |
|
| COSTA, RUI & FRIENDS |
Sightseeing for the Blind |
CD |
"Ausgehend von der Idee, dass Touristen beim Besuch einer Stadt die Eindrücker derselben unbewusst mit ihren Wünschen, Vorstellungen und Ideen des Ortes abgleichen benutzte Rui Costa Empfehlungsrouten aus einem Lissabon-Reiseführer quasi als Instruktionen für eine Klangarbeit. Sightseeing For The Blind ist eine knapp halbstündige Soundmap der persönlichen Art geworden. Costa hat in der Folge der Fertigstellung seine Rohmaterialien seinen “friends” zur Verfügung gestellt, unter ihnen Gregory Büttner, Marc Behrens, Bill Jarboe u.a. Einige haben eher mental-psychische Kommentare abgeliefert, andere haben ihre eigenen Feldgeräusche mit dem Ursprungsmaterial vermengt und lösen so den direkten Zusammenhang zwischen Aufnehmendem und Geräuschpostkarte auf." [Zipo / Auf Abwegen]
"The idea for the piece first came to me in 2005, when I was invited to develop a sound project with the city of Lisbon as its theme. I decided to wander through the city, making a series of sound recordings using a pair of binaural microphones. What I concluded from these recordings was that, more than capturing the sound of the place or its “atmosphere”, they reflected a lot about me: my decisions of where to go, what places to avoid, how fast to walk, how long to linger in one place… preconceived ideas of what I wanted to be captured on tape. Later I followed up on this idea by introducing an element of “sonic sightseeing”. I grabbed a tourist guide of Lisbon, walked along the recommended hiking routes and made recordings with binaural and shotgun microphones. I wrote down my impressions, states of mind, mental associations and decisions and then mapped the recorded sounds against these notes, considering them as “instructions” or “cues” for a sound composition. I suppose that the experience that tourists get from a city is in great measure determined by the randomness of these almost unconscious impressions, of a permanent mapping out of what they see against their desires, preconceived ideas, memories, etc. All in all, my intention was to convert this process into a method for sound composition using field recordings. (Rui Costa, 2009)
Sound recordings made by Rui Costa between 2005 and 2008 in Lisbon, Portugal. Composed and mixed by Rui Costa in 2008,
About the Artist:
Rui Costa is a sound artist from Lisbon, Portugal. He has been publicly presenting his work since 1997.
From 1999 to 2003, Rui Costa collaborated with the Spanish musician Iñaki Ríos, under the name ja_dijiste. This duo explored improvisational and compositional techniques based on Max/MSP and Lisa computer software and developed a series of site-specific works in the village of Nodar, Portugal, with subsequent presentations in sound and media arts festivals in Spain.
In 2007, Rui started collaborating with the Italian vocal performer Manuela Barile, through a large scale intermedia project entitled ‘La Scatola’, which was conceived as a series of installations and performances. Rui developed processes that captured the reverberations of the voice inside the body (laryngeal microphones, amplified stethoscopes) so that the spoken word is invested with a musicality and spatial dimension that further extend the expressive capabilities of the voice.
Rui has performed in many venues and sound art festivals in Portugal, Spain, Italy and the United States. He has played with such musicians as Maile Colbert, Iñaki Ríos, Manuela Barile, Pablo Rega, Nilo Gallego, Toshio Kajiwara, Casey Rice, Lê Quan Ninh, Richard Antez, John Herndon, André Gonçalves, Carlos Santos, Pali Meursault and Cédric Anglaret.
Rui Costa is a founding member and artistic director of Binaural, an arts collective dedicated to the promotion of context-based sound and media arts. Binaural runs an artist residency space in Nodar, a small village in the north of Portugal.
Rui Costa’s current artistic research is centered on the use of the psycho-acoustic characteristics of sound to create “sonic fictions” where the notions of space, perception and meaning are submitted to a process of recontextualization and of creation of improbable and unstable relations. He investigates the different ways of making the space audible and of studying the place of the listener within the triangle formed by him/herself, the sound and the space. By capturing the sound resonating through the materials that structure a given space, manipulating it in real-time and then projecting it into the same space, it is possible to create “sensorial extensions” that configure a sonic architecture that operates in real-time and is therefore fluid and unstable. An example of this approach is his ongoing project “The Future Memory”, with the American sound and video artist Maile Colbert, where they visually and sonically map abandoned and almost silent spaces to create poetic fictions around them." [label info]
www.1000füssler.com
|
2009 |
€12.00 |
|
| COURTIS, ANLA |
Greatest Hits |
CD-R |
Wenn der ehemalige REYNOLS – Mastermind von “Greatest Hits” spricht, dann sind das ätherische Schwingungen feinster Güte, halluzinogene Shortwave-Kaskaden, verzerrte backwards Gitarren-Drones & irgendwo tauchen auch Stimmen auf....
When the former REYNOLS-masterminds speaks of „greatest hits“, it means finest ethereal vibrations, hallucinogenic shortwave-cascades and distorted backwards guitar-drones... cheap cover, but great music !
|
0000 |
€10.00 |
|
|
Antiguos Dolmenes del Paleolitico |
CD |
„Alan Courtis hat altsteinzeitlichen Grabstätten, wie auf dem Cover zu betrachten, reine Feedbacks, ohne Einsatz von Mikrofonen oder anderen Instrumenten gegenübergestellt. Mit einem nachempfundenem Grundraunen steinalter, mit Menschenschweiß getränkter Felsen, beginnt der erste der mit Part I – IIII betitelten Stücke. Im Verlauf der gesamten knapp 48 Minuten erfahren die im Feedbacksystem gefangenen Töne eine Läuterung von sirrenden zu glasigen Drones – refreshed Drones, wenn man so sagen will. Damit ist aber keine einschmeichelnde Glätte erzeugt, denn die Töne wandern immer wieder in alarmierende Frequenzen höchster Register. Zur Schmerztherapie kommt der Gedanke an die Erbauer der Felskonstruktionen, wie sie tonnenschwere Steine ohne Kräne etc. aufeinanderstapeln. Behaglich lehnt man sich dann im Hörsessel zurück und lässt sich die Ohren mit akustischen Sticheleien reinigen.//
Megalithic stone structures, to see on the cover, seems like an inspiration for these very pure recordings of Alan Courtis. „No microphones, instruments or inputs of any kind were employed in this project.“ as the linernotes are telling. The first track starts with a basic murmer of the old rocks. In the course of the 48 minutes, the tones of the feedback system change from buzzing to drones of crushing glasses – drones refreshed. That means no smoothness, because the sharp tones are moving up to highest frequencies. Thinking about the humans who have built up these stone structures under pain, the listener leans back in his armchair while acoustically brooms are cleaning up his ears.” [Peter Schlewinski for Drone Records]
"...a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. It was created in early 2004 and is the first full-length solo CD from Argentinian composer Alan Courtis, a founding member of the group Reynols. Courtis currently lives in Buenos Aires, and has toured extensively in USA, Europe, Japan & Latin America collaborating with artists such as: Pauline Oliveros, Damo Suzuki, Toshimaru Nakamura, Makoto Kawabata, K.K. Null, Rick Bishop, Thomas Dimuzio, Jason Kahn, Solid Eye, Birchville Cat Motel and Lasse Marhaug.
Technical equipment employed: Phonic 1002? Mixing Desk, Art SGX LT Effects Processor, Digitech RP6 Effects Processor, DOD FX55B Supradistortion, Tascam 424, PC (Wavelab). No microphones, instruments or inputs of any kind were employed in this project. Recorded and mixed at 8(8)8 Studios, Buenos Aires, Argentina. January-March 2004" [label info & credits]
|
2006 |
€13.00 |
|
| |
Tape Works |
CD |
Eine Art Retrospektive von Solo-Arbeiten des REYNOLS-Kopfes ANLA COURTIS, mit Material datierend von 1991-1998, und das waren wirklich TAPE-Kompositionen im klassischen Sinn, da COURTIS ausschliesslich mit 4-Spur-Rekorder arbeitete…die CD enthält hervorragendes elektro-akustisches Material, kraftvollen Loop- & Schnipsel-Noise, sehr abwechslungsreich und furios....
...und endlich wird auch einmal erwähnt, dass C.D. (CHRISTIAN DERGARABEDIAN) zur Urbesetzung von REYNOLS gehörte (von 1993 bis Anfang 1995, damals noch unter dem Namen BURT REYNOLS ENSEMBLE).
“Anla Courtis continues to produce music and was even quite prolific during his time in Reynols. It goes without saying that Courtis learned a thing or two from his experience in Reynols; and there's a fundamental constant to all of his work: the cassette. One of Reynols' most infamous albums Blank Tapes was pieced together from the endemic hiss from, you guessed it, blank tapes. Far from being an empty album of silences, Blank Tapes is extraordinarily dynamic, amplifying the magnetic energy of the tape hiss into undulating fluctuations that mirror the somatic patterns of the human body. Reynols' tapes have a heart beat, blood pumping through their veins, and oxygen rushing through their lungs.
This crudely built anthropomorphism continues in Courtis' work today, as the cassette and the tape deck remain primary tools in his compositional sensibility. Courtis himself explains: "Well to be honest for many years the cassette was the only medium I had to record music. Maybe this is because Argentina is always a bit behind in technology, or because I was never interested in having "the new thing." It might sound ridiculous but mainly my overdubbing work until now has been basically in a Portastudio. Maybe, this is just an old friend I don't think is necessary to leave; but on the other hand, there is a lot you can do with 4 channels... I mean there is no sense to discard old technology because you have a new one. A pen is technology; you don't need to kill the pen because now you have a mouse! In fact there are some things you can do with my old reel-to-reel that you cannot do with a disk drive, I mean pushing the tape, changing the aleatory speed... there are a bunch of unpredictable irregular things you can do with this old machine. In this sense, I think we should find a way to make different technologies live somehow together." It is in this context that Anla Courtis presents Tape Works, a collection of material that dates back to the early '90s. Here, Courtis splatters dense slabs of petrified tones with spasmodic algorithms, dissembodied vocal samples that spiral into a electric chorale, and hot-wired musique concrete techniques, all buried under the weight of the mighty distortion pedal. Once again, all things are possible for Anla Courtis. - Jim Haynes (from the liner notes)
"Talking about a tape-works record in the Œ90s might sound rather anachronistic but, be it because of Argentina¹s technology lag or for some other mysterious reason, I did not get hold of a computer to work with sound until 1999. That¹s why the sound experiments I¹ve worked on throughout the last decade are mainly tape explorations. This CD contains a selection of re-mastered tape-works dating from the period 1991-1998." [Anla Courtis]
www.pogus.com
|
2006 |
€15.00 |
|
| CRAY |
InvalidObject Series (comment) |
mCD |
Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50
Better priced now, last copies of this absolute compendium of IDM. € 9.50
“ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works.
Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}
|
2000 |
€9.50 |
|
| CTACIK |
Amur Region |
CD-R |
"CTACIK ist dunkel as fuck und bewegt sich mit seinen Klangforschungen irgendwo im Dark Ambient, Noise und Field Recordings Bereich. Weite mächtige Klangfelder mischen sich mit nervtötenden Radiowellen und verschiedenen Samples von Stimmen und Tieren, welche ineinander wallen- und wabern, generiert durch synthetische Sounds. Dass hier keine schöne angenehme Musik geschaffen wird, dürfte klar sein. CTAICK wirkt eher ungeschliffen, dreckig und entfremdet von jeglicher menschlicher Kommunikation. Entstellte Maschinen dominieren hier die Erde. Interessant wie verstörend." [Creative Eclipse]
"mur Region´is a concept album influenced by memories of a time as a child. Memories about places, streets, factories quay, malicious beauty, love and pure hatred, life...! The first edition comes in a handmade frame out of wood." [label info]
www.verato-project.de
|
2005 |
€9.00 |
|
| CUNI, AMELIA |
... sings Dhrupad |
CD |
"Was ganz besonderes auf dem ALIO DIE-Label Hic Sunt Leones: original indische RAGA-Musik, gesungen von AMELIA CUNI, aufgenommen in Bombay 1995. A.CUNI singt über Sitar-Drones und Tablas ihren eigenartig harmonischen, in Trance versetzenden Gesang, auch für "westlich" sozialisierte Ohren ein Genuß! Im 20seitigen Booklet ausführliche Erklärungen (englisch/italienisch) über Dhrupad, Cuni's Gesang, den Ablauf einer Performance, und das RAGA-System... " [Drone Records info 2000]
see also: www.aliodie.com |
1999 |
€13.00 |
|
| CURRENT 93 |
If a City is set upon a Hill [coloured vinyl] |
LP |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG, African Paper] |
2022 |
€37.50 |
|
|
If a City is set upon a Hill |
CD |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG / African Paper]
|
2022 |
€18.50 |
|
| |
In Menstrual Night |
pic-LP |
In Menstrual Night was recorded in 1985 by Current 93, who could never be: David Michael Tibet, Hilmar Örn Hilmarsson, Steven Stapleton, Diana Rogerson, John Balance, Ruby Tathata Wallis, Keiko Yoshida, Rose McDowall and Bee. The album was mixed by Steven Stapleton, and was originally released as a picture disc on United Dairies / Maldoror (UD022/M) in 1985.
"Das 1985 mit einem mehr als soliden Line-up (neben David Tibet waren das Bee, Diana Rogerson, Hilmar Örn Hilmarsson, Keiko Yoshida, Rose McDowall und Ruby Wallis, wobei man v.a. Stephen Stapletons finaler Abmischung Respekt zollen muss) aufgenomme und als Picture Disc auf United Dairies veröffentlichte “In Menstrual Night” nahm im Frühwerk von Current 93 insofern eine Sonderstellung ein, dass es auf die harschen Lärmelenente, die auf “Nature Unveiled” oder “Dogs Blood Rising” zu hören sind, weitgehend verzichtet und seinen hörspielhaften Kollagen-Charakter auf subtilere Weise offenbart. Dabei fallen die beiden Stücke “Sucking up Souls” und “To Feed the Moon” aber kaum weniger beängstigend aus.
Das einundzwanzigminütige “Sucking up Souls” basiert überwiegend auf dem Einsatz von (in der Mehrheit weiblichen) Stimmen, die zu einer unentwirrbar wirkenden Kollage montiert sind. Dabei ist die Vielfalt der Performance von Gesang über Spoken Words bis zu gespenstischem Flüstern beeindruckend: Den Auftakt macht ein liturgisch anmutender Sopran, der sich schon bald mit anderen klassischen Gesängen überlappt und mit ihnen zusammen verquere Ornamente entstehen lässt. Der Loop einer bellenden Männerstimme, die man als Reminiszenz der abgründigeren Vorgängeralben verstehen könnte, bringt etwas Kantiges ins Bild, bis sie von einem dröhnenden Rumoren gepackt und in den Hintergrund gezogen wird. Rasselnde Ketten lassen einen neuen Abschnitt beginnen, in dem verwaschene Chöre den Hintergrund bilden für eine kindliche Stimme, die einen lyrischen Text rezitiert, bis alles verschwimmt und die liturgischen Gesänge wieder an die Oberfläche dringen. All diese immer wieder abtauchenden und in der einen oder anderen Weise wieder auftauchenden Motive scheinen stets auf der Suche nach einer adäquaten Form zu sein und müssen doch immer wieder ihre Auflösung erleben, die hier in einer Feinsinnigkeit inszeniert wird, die damals wahrscheinlich Standards gesetzt hatte.
Das die zweite Seite füllende “To Feed the Moon” wirkt im herkömmlichen Sinne “musikalischer”: Was mit dunkler Dröhnung und hellen, entrückten Klangtupfern startet, wird schnell zum melodischen Fundament für einen fast den ganzen Track durchziehenden tribalen Trommelrhythmus, der – das ist der einzige Wermutstropfen – immer etwas aufgeklebt wirkt, und zwischen dessen leicht aus den Fugen geratenen Anschlägen sich dann auch wieder Stimmen nach oben schleichen. Neben der kindlichen Stimme (wahrscheinlich Ruby Wallis), die eine Art Kehrreim aufsagt, ist dann auch Tibet etwas deutlicher zu hören. Im Unterschied zum ersten Track ist das Stück veränderlicher und mündet nach einer Phase relativer Ruhe in ein fast rockiges Szenario, das mit etwas Fantasie wie eine Vorstufe zu einem Stück wie “Panzer Ruin” klingt.
Die Soundkollagen als eine Art Archiv geträumter (und gestorbener) Träume zu sehen, ist eine durchaus naheliegende Assoziation, die Tibets Ideen zu dem Album entspricht, während Stapleton die Sounds als Geräusche eines nächtlichen Sanatoriums verstand. Natürlich öffnen Album- und Tracktitel weitere Assoziationen. Über David Tibets Interesse am Menstruationszyklus ist viel geschrieben worden, und in der Tat tauchten damit verbundene Motive, auch in für Tibet typischer Verknüpfung mit anderen Themen, für lange Zeit immer wieder im Werk von Current 93 auf, und bis heute tragen Veröffentlichungen den Mond im Titel. Bei den beiden Stücken auf “In Menstrual Night”, in denen Seelen aufgesaugt und der Mond gefüttert wird, könnte man mutmaßen, dass eventuell G.I.Gurdjieff inspirierend war. In dessen kosmologischer Theorie gibt es die Vorstellung, dass der Mond, der wie alle Himmelskörper wie ein lebender Organismus beschrieben wird, in seinem Bestreben, selbst ein Planet zu werden, Energie aus der irdischen Biosphäre saugt. Besonders die Seelen der Menschen dienen ihm als Nahrung, und entziehen können diese sich dem Sog des Mondes nur durch einen enormen Fokus auf bestimmte esoterische Praktiken. Wer zu passiv und verführbar ist und dem hypnotischen Zauber des Trabanten erliegt, endet als Energiequelle für dessen Planetwerdung. Viele Interpreten haben diese Mythologie als Reflexion über feminine Energie gedeutet, was dann den Bogen zum Periodenzyklus schlägt – zur Frage, ob Tibet sich davon inspirieren ließ und wenn ja, wie tiefgehend, gibt es keine Belege. Wundern würde es nicht.
“In Menstrual Night”, in dessen CD-Version noch der Nightmare Culture-Track “KillyKillKilly (A Fire Sermon)” enthalten war, eröffnet einen interessanten Seitenpfad in der Diskografie von Current 93, der seine spätere Fortführung in Releases wie “Faust” und in den v.a. mit Andrew Liles produzierten EPs wie “The Moons At your Door” finden sollte – einer Musik, die vielleicht eine viel zentralere Rolle gespielt hätte und noch einige elaborierte Resultate hervorgebracht hätte, wäre das folkig eingefärbte Songformat nicht dazwischen gekommen. Da dies so nicht gekommen ist, sticht “In Menstrual Night” noch deutlicher hervor. House of Mythology gehen nun zu den Ursprüngen zurück und bringen als HomAleph eine neue limitierte Picture Disc des Albums heraus." [African Paper] |
2024 |
€32.00 |
|
| CUSACK, PETER |
Baikal Ice (Spring 2003) |
CD |
“Location recordings” vom (teilgefrorenen) sibirischen Baikal-See, dem wahrscheinlich ältesten und tiefsten See der Erde. Sehr konkret und “unprocessed” hat PETER CUSACK v.a. Sounds von brechenden und knirschenden Eisflächen aufgenommen, Eisstücke auf Wasser,
Steine, knirschen & knacksen verschiedenster Coleur, diverse herumschwirrende Tierlaute, irgendwo vorbeifahrende Züge, vokales Material von ihm selbst und EIS, immer wieder mysteriöse EIS-Sounds....
“Subtitled: Spring 2003. "Over the last thirty years Peter Cusack has built a reputation as an improvising musician, and is often to be found plucking an array of string instruments, including guitar and balalaika, while simultaneously triggering live electronics. Peter had known for some time about the extraordinary Lake Baikal, a 600 kilometre long lake in Siberia. It is thought to be the world's oldest and deepest lake and holds one fifth of the earth's fresh water. It was only recently, however, that he came across a reference on the internet to the mysterious noises made by the ice, which covers the lake from autumn to spring to the depth of a meter. The sounds are most spectacular when the ice melts and breaks up, and the lake transforms itself back into water. This album is a document of Peter's journey, on a mission to record these sounds. There are humorous incidents, as when a telephone engineer unexpectedly falls through the ice while Peter is recording (he made it out to safety!), or when the local children take over the village's PA system. There are haunting vignettes; a young girl burst into song on the train, on the small branch of the Trans-Siberian railway part of which runs along the shore of the lake; an accomplice of Peter's performs bell-like angular music on the broken metal fountain which they find in the town of Angarsk. But centre stage belongs to the sounds of the ice break-up itself, as ghostly creaks and agonising groans emerge from the tinkling, sparkling flow. Baikal Ice is comparable to Chris Watson's pristine sound recordings, to be found on the Touch label." [press release]
www.rermegacorp.com
|
2003 |
€14.00 |
|
| |
Sounds from dangerous Places |
do-CD & BOOK |
"Two remarkable and important CDs of remarkable and very diverse - site recordings made in Chernobyl - (occupying the whole of CD1), the Caspian Oilfields around Baku (Azerbaijan) and in various UK sites, including Lakenheath, Dungeness, Sellafield, Snowdonia &c. (CD2). The CDs are accompanied by a very beautifully made 90pp hardback book filled with a huge number of original colour photographs, background information, interviews and detailed documentation of the recordings, their collection, the history of the environments recorded and the curious and inadvertent inverse relation between human hazard and broader environmental recovery. An essential and unusual document." [label info]
www.rermegacorp.com
|
2012 |
€24.00 |
|
| CUTLER, CHRIS |
Solo |
CD |
„Ein elektronisch verstärktes Drumset und daneben stehend ein Tisch voll diverser, ebenfalls zum Teil elektronisch verstärkter Klangerzeuger wie Eierschläger, Violinenbogen, Cocktailmixer, Feuersirene oder Ping-Pongbälle, bieten die Spielfläche für ausgelassene Improvisationen. Live sieht man einen achtarmigen Cutler zwischen Drumset und Tischset hin und herflitzen, Klangschalen schüttelnd, hier ein Gerät kurz anreissend, Tischtennisbälle rührend, während an Effektgeräten und Mixer zeitgleich die Einstellungen justiert werden, aber dann sitzt oder steht er schon wieder am Schlagzeug und wirft so nebenbei feine Patterns ins Geschehen ein. Es hüpfen und springen die Materialien scheinbar unkontrolliert durch die Luft und werden durch den Jongleur im Chaos zum Funktionieren motiviert. Die fünf Live-Stücke dieser CD bieten den Beweis. Unterschiedlichste und farbenreiche Klangschichten werden mit musikalischem Feingefühl improvisiert und bewegen sich im vibrierendem Dreieck zwischen Rhythmus, Collage und Noiseanklängen. Aufgenommen wurden die Stücke in den Jahren 2001/2002.
You listen to acoustic drums amplified and modified with standard electronic processors. There is a table with a few tambours, a frying pan and an egg-slicer- also amplified -, a miscellaneous collection of sticks, battery operated cocktail mixers, some ping pong balls, a fire bell and a massager. On stage an eight armed Cutler is changing quickly between these pieces of equipment. It seems like an chaotic act but it’s for finest improvisation between rhythm, collage and noise sounds. With it’s five tracks this CD will give you a further example for Cutlers musical sensitivity. All material was recorded live between 2001 and 2002 on different locations. Without further processing these are the sounds you would have heard at the concert.” [Peter Schlewinski for Drone Records]
www.rermegacorp.com
|
2001 |
€14.00 |
|
| |
Twice around the Earth. An Experiment in listening |
CD |
Ein Hör-Experiment vom Recommended Records-Betreiber, diese Produktion fürs ORF Kunstradio (www.kunstradio.at/2003A/cutler).
Eine unglaubliche Fülle von field recordings werden quasi als „Reise um die Welt“ verarbeitet: ein Versuch, die Subjektivität und Voreingenommenheit beim Hören zu überwinden...
„Out of the Blue Radio ist eine Radiosendung, die in London täglich zwischen 23.30 Uhr und Mitternacht auf Resonance FM (http://www.resonancefm.com), einem unabhängigen Sender für Radiokunst, ausgestrahlt wird. Gestartet wurde das einjährige, budgetlose Projekt im Juli 2002.
Meine Idee für diese Sendung war es, den HörerInnen das Ohr einer anderen Person für jeweils eine halbe Stunde zu "leihen"; ein Fenster zu einer anderen Geräuschkulisse zu öffnen - entfernt oder nah -, die nicht ident mit der eigenen akustischen Umgebung ist. Die AutorInnen, die uns ihre Ohren zur Verfügung stellen, gestalten durchgehende, ungeschnittene halbstündige Aufnahmen von einem Ort ihrer Wahl, aufgenommen zwischen 23.30 Uhr und Mitternacht Londoner Ortszeit; d.h. halb vier Uhr nachmittags in Vancouver, 7.30 Uhr morgens in Peking oder 00.30 Uhr in Wien. Sie schicken diese unbearbeiteten Aufnahmen dann nach London, wo sie wie sie sind gesendet werden.
Ein wichtiger Aspekt des Projekts ist es, ganze Zeitblöcke in ihrer Entfaltung einzufangen; sie nicht zu verbessern oder umzumodellieren zu versuchen; sie nicht den Vorstellungen eines Produzenten, was gut klingt oder ästhetisch wertvoll ist, anzupassen, sondern einfach nur diese Momente einzufrieren. Ort und Tätigkeit sind gewählt, der Rest sich selbst überlassen. Dies sind allerdings nicht Schnappschüsse aus dem Leben, sondern Hörobjekte: Geräusche, die eingefangen werden und in fremden Kontexten reproduziert werden; Sounds, die gerahmt und objektiviert und unabhängig wiedergegeben werden.
Es scheint mir, dass die Beiträge mit ihrer rohen Beschaffenheit, am "Mangel" an Bearbeitung überhaupt nicht leiden - ganz im Gegenteil: sie entwickeln dadurch eine unglaubliche Kraft. Von allen anderen sinnlichen Wahrnehmungen und von ihren lebenden Quellen getrennt, enthüllen sie, was durch die Zwänge des Alltags, durch das wir eilen, unbedacht überhört wird. Geräusche, die instinktiv ignoriert, in Objekten aufgelöst oder absichtlich unterdrückt werden, können durch ihre unmittelbare Irrelevanz und die Gleichgültigkeit von Maschinen, die keine Subjektivität besitzen, zu neuem Leben erwachen.
Selbstverständlich "klingen" diese Geräusche, doch das ist nicht deren "Bekenntnis". Sie verlangen nicht, als reiner Sound gehört zu werden. Sie sind, was sie sind: Autos, Hämmer, Atmosphären - zugleich vertraut und rätselhaft. Und - wie Geräusche, die durch ein offenes Fenster dringen - können sie Beachtung finden oder ignoriert werden. Sie können lediglich eine Atmosphäre tönen - oder die Aufmerksamkeit auf sich ziehen und unser ästhetisches, analytisches und sogar narratives Auffassungsvermögen in Gang setzen.
Als ich gebeten wurde, diese Kompilation zu machen, wollte ich natürlich die Aspekte des Zufälligen und des Unmittelbaren, die so wichtig für das Projekt sind, bewahren. So, anstatt eine Auswahl der "best of" zu treffen oder besonders "interessante" Sounds herauszusuchen, entschied ich, mich von Geografie und Zeit leiten zu lassen. Ich plante eine akustische Reise zweimal um die Welt, wofür 43 der bislang 230 Aufnahmen verwendet werden. Geografische Angaben bestimmten die Reihenfolge der Stücke; der Zeitfluß welche Abschnitte/Orte innerhalb dieser geographischen Zonen gewählt wurden. D.h. ich nahm die ersten 55 Sekunden von der ersten Aufnahme, dann eine Strecke von ca. 0.55 bis etwa 1.50 Minuten von der nächsten usf. durch die Arbeit hindurch. Ich dies aber nicht so genau und entschied beim Anhören erst, wieviel ich von jedem 55-Sekunden-Abschnitt schlußendlich nahm und wo und wie ich die Übergänge gestalten wollte. Anders als die Überblendungen verweilen die "reisenden" Ohren allerdings immer an einem Ort nach dem anderen. Keine der Sounds wurde bearbeitet oder verändert.
Diese freeze-frame Ausgabe von Out of the Blue Radio, die sich eigentlich ähnlich einer Diaschau entwickelt, kann natürlich weder die Ganzheit des Programms noch den kumulativen Effekt, jeden Tag eine andere Welt zu betreten, transportieren; doch ich habe mich an die Priorität des Hörens gehalten, wilde Landschaften zu nehmen, bevor sie gejätet, bepflanzt und verbessert werden. Die täglichen Sendungen, sogar diese Montage, tragen nur leicht die Handschrift von menschlichen Entscheidungen oder Absichten. Der Rest ist, wie er ist.
So wie ich das Stück geschnitten habe, passiert alles, was man hört, während John Scott am Londoner Themseufer entlang läuft, in Hörweite des Big Ben. Das Stück geht John Scott los, der seinen Lauf beginnt, holt ihn bei der ersten Umrundung des Globus ein und kehrt wieder zu ihm zurück als er kurz vor Mitternacht seine Aufnahme beendet. Zwischenzeitlich reisen wir mit virtuellen 49.803 Meilen/Stunde (79.500 km/Sek.) in Quantensprüngen von Ort zu Ort.“ [Chris Cutler]
“An experiment in listening. These compositions are an offshoot of the daily soundscape programme I ran for Resonance FM radio between July 2001-2002, which consisted of commissioned real-time recordings made all around the world between 23.30 and midnight GMT (the time of the broadcast). This CD begins with material from these broadcasts confecting, as it were, two composites of the Earth and a few of its inhabitants, somewhat analogous to what an impossible satellite ear with pinpoint acuity might hear in transit - plus one ear-cleaning stretch between them, taken from a single hear-point. I have tried to make these pieces both open and to work on parallel levels: not only do they have their own narrative and aesthetic qualities, but I hope they also offer a meditation on listening and not listening, interpretation and structure, chance and microphonics. The list of ears around the world who supplied basic material is too long to print here, but it includes many names familiar from these catalogues, and many from the still young soundscape and phonograpic community. Full details of people and places are given in the booklet, along with artwork and thorough notes. You have to trust me on this, it's a really engaging record. Sometimes unbelieveable. I don't think you'll regret giving it a chance.” [ReR]
|
2003 |
€14.00 |
|
| CUTLER, CHRIS & THOMAS DIMUZIO |
Quake |
CD |
Live-Aufnahmen von 1999 aus Portland und Lowell, MA, die die ganze Klasse der ungewöhnlichen Geräuschmusik-Collab/Improvisation zeigen. Neben mächtigen Drones & Samples gibt es perkussive, manchmal fast rituell anmutende Strukturen, aber auch feinste konkrete Mikro-Detail-Geräuschmusik, ein Clash von handgespielter & elektronisch erzeugter Klangblase.... eine Musiklandschaft, die einen auf seltsame Art und Weise innerlich vitalisiert, die voller Energie steckt, dynamisch und lebendig..
“Last year we saw the welcome reissue on ReR of Headlock (1989), the debut solo album by US electroacoustic composer Thomas Dimuzio, which is hallmarked by his sure handling of an expansive, yet detailed, sonic architecture crafted in the studio. However, Quake finds his samplers and processors feeding off Chris Cutler's percussion ('electrified' and otherwise) and sundry objects in two live improvised performances from March this year. Both events have been subdivided into numerous short, titled tracks, though in many cases the music appears to be continuous. Given the vampiric nature of the process, authorship of sounds is not always easily attributable, but the general impressions of Cutler's abrasive percussives, and gritty electronics supplying the microsonic detail, with Dimuzio expanding these textures and unleashing his own ominous stormcloud drones. The result is intelligently paced, decidedly atmospheric noise mongering.” [Chris Blackford, THE WIRE, 1999]
|
1999 |
€13.00 |
|
| CYCLOTIMIA |
Metamorphosis |
10 |
Music for the lost! Elegische Synth-Wellen voller Schwermut und Pathos, Piano-Tupfer, Choräle im Hintergrund, getragene E-Beats... schon die zweite 10“ für das Moskauer Projekt, die hier eine sehr traurig-sehnsüchtige, aber herbstlich-warme Stimmung verbreiten... erinnert an alte CONTROLLED BLEEDING, RAISON D’ETRE, REUTOFF.
“ New release of the Moscow project widely known today for its recent StateArt CD release "Wasteland". This 6-track release continues in the same vein as the above full-length album, but it's less rhythmic and more deep and meditative, being maybe the most dark and melancholic Cyclotimia release to date. Analogue electronic layers submerge listener to an atmosphere of uneasy hallucinatory reverie. Subtle clear sound and sad melodies unite to create the unique mix of cold psychodelia and soulful grief. The release is limited to 300 copies and comes printed silver on black deluxe paper.”
|
2002 |
€12.50 |
|
| CZAJKOWSKA, INDIA |
Cosmospir |
CD |
Very expressive ethereal vocal ambience from this female Polish singer, who also plays prepared piano, synths & flute, with guest musicians on cello & bowed guitar. Next to the vocal-based pieces there are also more experimental free floating instrumental tracks, the atmosphere oscillates between sacral beauty and melancholic slowness, its not really "east-european" or "folk" influenced but rather based on classical music and electronica..
" “Cosmospir” is a debut album from Polish singer/improviser and composer, India Czajkowska. Her music overturns categories through a fluid blend of classical instruments, experimental vocal technique and electronic spectrum arrangements.
The dark alchemic laboratory in a deserted factory, the walls of which are breathing still with industrial noise. The space is sinking into strange sacral whispers and through the broken panes birds are flying in. The roar of the wind and the dripping of raindrops. From this mosaic of sounds the golden ringing of voice appears, cutting the thick air. This abstract landscape came to me from the sounds of the Cosmospir album.This is music for those who aren’t afraid to plunge into the deep, and sometimes, even dark areas of their own soul. Especially for those who love to travel far away, without going out, just focused on listening to fascinating sounds."
[Joanna Kasztelaniec]
www.aliodie.com
|
2008 |
€14.50 |
|
| CZUKAY, HOLGER |
Cinema |
5 x LP-BOX + DVD + 7inch VINYL-VIDEO |
Am 24. März 2018 wäre Holger Czukay 80 Jahre alt geworden. Die Vinylbox »Cinema«, die auf fünf Schallplatten assoziativ Holgers fast 60 Jahre währende musikalische Karriere nachzeichnet, war dementsprechend nicht nur als Retrospektive gedacht, sondern auch als Geburtstagsgeschenk, als Ehrung, als Dankeschön. Am 05. September 2017 jedoch stirbt Holger Czukay in seinem Kino in Weilerswist (Köln), dem alten Innerspace-Studio von Can, das er seit den 1970er-Jahren bewohnt, inmitten seiner Instrumente. Er wird neben seiner nur wenige Wochen zuvor nach langer Krankheit verstorbenen Frau Ursula Schüring (geb. Kloss, aka U-She/Ursa Major) begraben, schräg gegenüber liegt sein Freund und musikalischer Begleiter seit Can-Tagen, Jaki Liebezeit (✝2017). Es finden so gleich mehrere musikalische Urgesteine auf dem Kölner Melaten-Friedhof ihre letzte Ruhestätte, ganz nah beieinander.
Ihr Nachlass jedoch hat mit jener Stille des Friedhofs nicht viel zu tun – davon zeugt auch die Retrospektive »Cinema«: Die musikalische Reise beginnt mit der Jazz-Nummer »Konfigurationen«, bisher unveröffentlicht, die der universale Dilettant, wie Holger sich selbst zu bezeichnen pflegte, 1960 mit seinem Jazz-Quintett aufnahm. Es folgen Experimente, musikalische Meditationen, Meilensteine, Stolpersteine, Hits, Raritäten und Ausgegrabenes. Die noch vor Can entstandenen Stücke unter dem Projektnamen Canaxis 5 etwa (mit Rolf Dammers), die 1969 heimlich im Stockhausen-Studio aufgenommen wurden und hier – längst vergriffen – nun ihre Auferstehung feiern, die sich über vier Jahrzehnte streckenden Solo-Arbeiten (wie das zeitlos-tanzbare »Cool In The Pool«), Kollaborationen mit Brian Eno und Cluster, das Projekt Les Vampyrettes (mit Conny Plank) oder Produktionen mit der japanischen Sängerin Phew (mit Plank und Jaki Liebezeit) – und nicht zuletzt die Songs der Jah Wobble-Kollaboration »Full Circle« (ebenfalls mit Liebezeit), die Holger rückblickend zu den Höhepunkten seines kreativen Schaffens zählte. In allen diesen Klängen zeigt sich, wie vielseitig und erfinderisch Holger Czukay als Künstler war – und wie tief seine unkonventionellen Ansätze sich denn unzähligen Zusammenarbeiten einschrieben.
Der Titel »Cinema« kommt dabei nicht von ungefähr, Holger hat ihn sich so gewünscht, war seine musikalische Arbeit doch stets mit dem Kino verbunden. Sein Verfahren, aus der Situation der Aufnahme heraus vermeintliche Sound-Unfälle oder heimliche Aufnahmen in seine Stücke zu integrieren, etwa durch die Verwendung von zufällig gefundenen Radiowellen oder unbemerkten Mitschnitten, schuf musikalische Assoziationsketten, die das sprunghaft Visuelle der Post-Moderne zu Klang brachten, wie man es sonst nur aus dem experimentellen Kino kannte. »Movies«, Titel des ersten Solowerks (1979), war dabei eine Konsequenz aus dieser Affinität zur Filmmusik, die schon seit der »Soundtracks«-Compilation (1970) auch die Geschichte von Can begleitete. Über progressive Songs mäandern da die Bassläufe, mal treibend, häufig gemütlich und schunkelnd, darauf drapiert Geräusche, deren Ursprung nicht immer ganz klar ist. Auf der musikalischen Leinwand offenbaren sie das Malerische in Czukays Klangwelten. Und Holger verfolgte diese Leidenschaft konsequent, sein Film »Krieg der Töne« aus dem Jahre 1987, den er vertonte und in dem er gleich auch noch die Hauptrolle übernahm, liegt der Box exklusiv auf DVD bei.
Die visuelle Musik Holger Czukays, fußend auf seiner meisterhaften analogen Schnitttechnik, hat ihn nicht nur international zu einer Legende gemacht, sondern auch Einfluss auf große Teile der elaborierteren Musikwelt genommen. Zu seinen Bewunderern gehören internationale Größen wie Sonic Youth, Radiohead und Geoff Barrow. Blurs Damon Albarn hat von Czukay gar die Idee zu seiner virtuellen Band Gorillaz gestiftet bekommen. Der stets zu Scherzen aufgelegte Musiker war eine Leitfigur der kreativen Soundbastler. Mit sicherem Gespür für eingängige Rhythmen und Melodien bewegte er sich, 1938 als Holger Schüring in Danzig geboren, stets jenseits der ausgetretenen Pfade, schuf seine eigene klangliche Signatur, einen oft verschmitzten Holger-Sound, den man in seinen Arbeiten mit den Eurythmics, S.Y.P.H., den Bläck Fööss, The Edge von U2, der Zeltinger Band oder auf Platten mit David Sylvian genauso wiederfindet wie im Katalog seiner Band Can. Auch mit Ursa, die er die letzten Jahre bis zu ihrem Tod pflegte, hat Holger Musik aufgenommen, einige der Stücke finden s »Breath Taking«ich zum ersten Mal überhaupt auf Vinyl veröffentlicht, ebenso wie das Stück, auf dem die rar konservierte Stimme Karlheinz Stockhausens zu hören ist.
Die Box lädt dabei auch zu einer musikhistorischen Reise ein, illustriert sie doch anhand von Holgers Lebensweg gleich mehrere musikalische Epochen. Der frühe Jazz der BRD, die Innovation der Krautrock-Ära, das Bad in diversen neuen Wellen, die elektronischen Experimente: Holger war überall dort zuhause, wo etwas passierte. Und er hat Spuren hinterlassen. Zwischen Linernotes, raren Fotografien, einem Zeitstrahl und diskografischen Angaben tauchen im aufwändigen Booklet der Vinylbox immer wieder Statements und Anekdoten von Musizierenden, die ihre Wertschätzung zum Ausdruck bringen oder in Erinnerungen an einen großen Künstler schwelgen. Sie alle sind sich einig: Holger Czukay hat einen festen Platz in der Musikgeschichte. Er wird niemals vergessen werden.
Die von Hendrik Otremba kuratierte Holger Czukay Retrospektive »Cinema« erscheint am 23. März 2018 als 5-LP-Box (+ Film »Krieg der Töne« + VinylVideo und umfangreichem Booklet) und als 5-CD-Box bei Grönland Records.
https://www.groenland.com/product/holger-czukay-cinema/
|
2018 |
€120.00 |
|
| D'ANGIOLINI, GIULIANO |
Simmetrie di Ritorno |
CD |
" 1. Composer:
Giuliano d’Angiolini
2. Title:
Simmetrie di ritorno
3. Studios:
Auditorium du Conservatoire de Gennevilliers
Auditorium Antonin Artaud in Ivry-sur-Seine
4. Performers:
Ensemble 2e2m, Franck Ollu, Pierre Roullier, Monique Bouvet,
Barbara Morihien,
Quatuor Parisii: Arnaud Vallin, Jean-Michel Berrette,
Dominique Lobet, Jean-Philippe Martignoni
5. Format:
Audio CD, Digisleeve, Booklet German/English
6. Total time:
ca. 64:11
7. Catalogue #:
ed. RZ 10020
8. EAN Code:
4029455100208
9. Release date:
18. November 2010
10. Tracklist:
Simmetrie di ritorno für 10 Instrumente • 2000
Ita vita zita rita für verstärktes Klavier • 1997
Orizzonte fisso, bordoni mobili für 8 Instrumente • 2007
Und’ho d’andà für 9 Blechbläser • 1995
Ho visto un incidente für Solostimme • 1991¬92
Notturno in progressione für Streichquartett • 2004 " [label info / credits]
"Giuliano d’Angiolini ist ein absoluter Sonderfall in der musikalischen Landschaft. Sein gründliches, wohl überlegtes,
hartnäckiges Vorgehen hat ihn dahin gebracht, eine Musik zu erschaffen, die er selbst »unpersönlich« nennt. Eine Musik, aus der jede Vorstellung von Entwicklung oder Form getilgt ist. D’Angiolini erklärt, er wollte aufgrund
einer Reihe erhellender Erkenntnisse »dem Ton seinen Raum lassen, damit der Musik weniger Willen aufgeprägt wird«. Ein Ansatz, der ihn dazu geführt hat, sich der Oberfläche
zuzuwenden, ¬ ein alles andere als oberflächliches Verfahren ¬ die unmittelbare Seite eines jeden Klangentwurfs und die Gegenwart als die Oberfläche der Zeit.
In seinen Werken bilden Prozess und musikalisches Material eine Einheit, sie werden unverhüllt vorgestellt. Was wir zu hören bekommen, ist nicht diskursiv, auf formale
Artikulation wird bewusst verzichtet.
Es ist sogar gestattet, sich vom Gehörten zu lösen, um sich ihm später nach Gutdünken wieder zuzuwenden.
Giuliano d’Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls »impersonal« music —
music that has fully abandoned the idea of
development or form.Through successive states of presentation, which aim to elucidate, d’Angiolini wanted to »leave place in sound so that music could become less voluntary«.
This led him to favour the surface and present,
an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time.
In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will — as if the composer wanted to make positive use of the negative metamorphosis of today’s urban listeners, listeners who are constantly assailed with stimuli." [Gérard Pesson]
|
2010 |
€15.50 |
|
| D'INCISE |
Rivages sur l'Antipode |
LP |
"Laurent Peter has produced and released electronic music under the d'incise moniker since 2002, from dub to electronica, gradually opening those styles to electroacoustic experimentations. With his projects Diatribes (an open formation with drummer Cyril Bondi) and Karst (quartet with Bondi, Luc Muller and Abstral Compost), he is also involved in free improvisation, for which he is using his laptop, live treatments and various contact miked objects. These projects have included musicians such as Barry Guy, Keith Row, Jason Kahn, Christian Weber, Norbert Moslang, Hernani Faustino, Joao Pedro Viegas, Tzii and many more. Finally, besides coordinating the insubordination netlabel, dedicated to improvised music, and being a member of the audiactiviste netlabel, Laurent Peter is also active as a graphic designer. Composed on a special request from ini.itu, “Rivages sur l'antipode” (shores on the opposite side of the earth) is his first vinyl LP and is based on similar archival material as the one used by Francisco López in his stunning “untitled #228”. Nonetheless, d'incise has achieved radically different results, combining digitally-processed textures, microsamples and humming harmonics rippling out over broken rhythms. He has collaged the least obvious bits of gamelan, many grainy soundbytes from Jakarta, Makassar, Bandung and Yogjakarta into a kaleidoscopic reinterpretation of these shattered fragments. Sudden transitions, alinear progressions and melancholic, sprawling, autumnal atmospheres reveal a very personal soundworld. This LP could evoke Kim Hiorthoy on sedatives under moist tropics, or an alter-ego of Burial in a futuristic decaying Jakarta won back by the jungle, with hints of digital crispiness from Kid606 période Mille Plateaux; a touch of the microsampling of Akufen, all of this marinated into the experiments in folk deterritorialisation made by some Ritornell artists such as Random_Inc / Sebastian Meissner. Icing on the cake, this LP was mastered by James Plotkin in Philadelphia. 250 copies, hand numbered. Some copies come with a serigraphy made by Laurent Peter himself." [label info]
www.iniitu.net
"On an entirely different nature is the album by Laurent Peter, finally we have a name for D'Incise from Switzerland, who received slighty similar sound material as Francisco Lopez did for his album for this label (see Vital Weekly 711), but Peter does something completely different with it. His main method is sampling the hell out of anything. It perhaps also reveals a bit more what Lopez used, as that was rather a mystery back then. Percussive sounds from Indonesia for instance, which D'Incise explores these for the lowest, grainy textures, chopped up to form new rhythms, cut from 'real' sound and the hiss between. Ini.itu compares this with some of the older and more experimental releases on Mille Plateaux/Ritornell, and I can see that. It shares that somewhat crude approach to sampling, the click 'n cut approach musicians like Random Inc and Kid606 had back then, but D'Incise never comes close to playing any 'dance' related music. The textures are sometimes pretty 'vague', shimmering perhaps, but I think that kind of adds nicely to the record. Its probably the best record by D'Incise I heard so far. The compositions are worked out better, and never seem to take more time than necessary. Very nice." [FdW/Vital Weekly] |
2010 |
€12.50 |
|
| D-EFFECTS |
No. 1 |
mag |
"Neues Magazin aus Berlin über „die sich spontan einstellenden Effekte von Deffekten“, d.h. eher abseitige Underground-Kultur: Musiken, Literatur, Film, Subversion. Im Heft Artikel über TG, CHROME, SPK, CHARLES MANSON, CIORAN, BRAUTIGAN, CROWLEY, BATAILLE; philosophische Reflexionen, Artikel über Biowaffen etc etc., dazu Bücherrezensionen und Kurzgeschichten, alles munter durcheinander & undogmatisch unborniert verfasst ..... TIP !"
[Drone Rec. 2004]
„B e i t r ä g e u. a. ü b e r Aktualität des Paranoiakinos, Visuelle Aggression, Schnittstellen bei Luis Bunuel, Versuch über Unzurechnungsfähigkeit, essbare Biowaffen, Anthology for industrial People, D-effects-Duden, Beathotel, Charles Manson, Postmoderner Splatterfilm als Theater des Grauens, Sodom oder die Musik der Vegetation ... sowie Retrospektiven über Throbbing Gristle, SPK, Chrome, Minerva, Richard Brautigan. I n t e r v i e w s m i t Alexander Christou, Deffector, Ironflame, Steven Lowe, Robert Görl R e z e n s i o n e n u.a. über Bücher von D. Thompson, J. Baudrillard, M. Büsser, Qrt, S. Ruf, A. Veit, C. Bouchet, A. LaVey, S. Stölzel, W.S. Burroughs. G.Bataille, D.Todorow, K.Borchardt L i t e r a r i s c h e T e x t e Gesamt: 60 Seiten (ca. 35 Seiten über Musik)“ [website info]
|
2004 |
€3.00 |
|
| DAIJING, PAN |
Jade |
LP |
"LP on white vinyl! What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record "Jade", Pan Daijing composes at a different scale than that we've come to know. Since the release of her groundbreaking LP "Lack" in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, "Jade" is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, "Jade" speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. "Jade" comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing's own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. "Solitude is like an immense lake you're swimming through," says Daijing of these songs. "Sometimes you dip your head in and sometimes you lift it above. On album centerpiece "Let," she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: "I take my bath in the ocean." We are not just consuming Daijing's story; we are being invited to join her in the water. The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani Gospodinov & design by NMR."
"High-minded noise operatics and ruptured spoken word experiments from PAN mainstay Pan Daijing on her second album for the label.
If Daijing's PAN debut "Lack" was operatic body horror, all fireworks and theatrics, "Jade" drags that body inside, dumps it into a grimy bathtub and locks the door. It's an anxious, solitary album that twins basement noise aesthetics with Daijing's cathartic performance, playing her signature vocals against screaming oscillators, booming Wolf Eyes-esque percussion and uncomfortable analog bass.
'The Goat' allows her words to creep slowly over a backdrop of slithering, industrial distortion. Her voice is barely audible, whispered in the spaces between muted squeals and repeating pulses. On 'Dictee', Daijing wails and hums over distorted cello moans; on 'Dust' there's the suggestion of a song, shattered into pieces and rebuilt using ill-fitting replacement parts.
The album's most successful moment is when Daijing allows a crack of light to shine in through the tightly-drawn curtains. 'Let' layers disarmingly sweet synthesizer chimes over Daijing's cool, confident vocals. "Could it be possible, I take my bath in the ocean, I can't get out," she repeats ominously as synth tones creep into view.
It's a suffocating album, made in solitude to represent the visceral anguish of the void. Fans of '80s industrial drone tomes from Ramleh or M.B. or more recent noise plates from Puce Mary, LINGUA IGNOTA or Pharmakon should investigate without delay." [Boomkat]
https://soundcloud.com/pan_hq/pan-daijing-dust-pan-113
|
2021 |
€23.50 |
|
| DAKOTA SUITE |
The Night just keeps coming in |
CD |
"Tieftraurige Melodien und melancholische Schwermut zeichnen den Singer/Songwriter Chris Hooson von Dakota Suite aus. Das waren auch die Hauptanregungen der letzten Platte "The End Of Trying", welche Anfang 2009 erschien. Das Nachfolgealbum "The Night Just Keeps Coming In" wiederum enthält Versionen und Remixe von einer illustren Schar Musikern aus den Bereichen neuer und elektronischer Musik. Auf Hoosons eigenem Label Navigators Yard erschien bereits 2009 eine auf 300 Exemplare limitierte Auflage des Albums. Die Originale erzählen von Kummer und Schmerz des Komponisten aus Leeds. Künstler wie Machinefabriek, Peter Broderick und The Boats hauchen den einzelnen Tracks ein völlig neues Leben ein. Dadurch wirken die einzelnen Lieder graziöser (Jasper Leylands "Hands Swollen With Grace"), tragischer (Hauschkas "A Quietly Gathering Tragedy") und manchmal auch unheimlich wie Elegis "All The Love I Had
Was Not Enough". Neben der CD wird es auch eine streng limitierte Vinylauflage geben. ***
01. Machinefabriek „One Day Without Harming You“ // 02. Peter Broderick „This Failing Sea“ // 03. Jasper Leyland „Hands Swollen With
Grace“ // 04. Hauschka „A Quietly Gathering Tragedy“ // 05. Elegi „All The Love I Had Was Not Enough“ // 06. Deaf Center „Very Early
Morning On Old Road“ // 07. Arve Henriksen „The End Of Trying Part 1“ // 08. Greg Haines „The End Of Trying Part 2“ // 09. Hannu „The End Of Trying Part 3“ // 10. Tape „The End Of Trying Part 4“ // 11. Swod „Een Langzaam Lekkende Wond“ // 12. The Boats „The Night Keeps Coming In“ // 13. Jacaszek „How Could You Let Me Go“ // 14. Emanuele Errante „Second Hand Light“ // 15. Loscil „Things We Lost Along The Way“ // 16. Dakota Suite & Nick Hawley „Z-Cars“ " [label info] |
2009 |
€15.50 |
|
| DAS SYNTHETISCHE MISCHGEWEBE |
Casual Praise of Domestic Calamities |
CD |
"Another attempt to dissolve any kind of structures from DSM, something like micro-concrete Noise, very small bits and pieces are put together in fast sequences, sometimes it climaxes in harsh outbursts, radiowaves are appearing as well..... comes in nice box on our favourite British anti-music label." [Drone Rec. info 2005]
"Edition of 500. All compositions by Guido Huebner, created between 1999 and 2004 in Caen, France and Berlin, Germany. Sections of track 6 recorded in the studio for electro acoustic music at the arts academy of Berlin. Field recordings for track 8 and 9 were carried out at the harbour of Hamburg, Germany, as well as at the shores of Lower Normandy and in the countryside around Caen, especially the bridges trespassing the canal between Caen and the sea." [label info]
„Guido Hübner, Ex-Berliner und seit über zwei Jahrzehnten ununterbrochener Noisebastler, kommt tatsächlich mit einem neuen Album auf richtig fertiger CD und obendrein auf dem Label, das uns bisher lediglich bzw. fett selbstbewußt ein Album der New Blockaders auftischen konnte. Neulich kamen schon mir leider unbekannte DSM-Kompositionen auf Vinyl-On-Demand, die CD aber, soviel läßt sich sagen, knüpft definitiv an DSMs frühere Versuche an, Form völlig aufzulösen, bevor sie sich als greifbar und folglich interpretierbar entblößt. All die tausend kleinen, dreckigen noises passen ganz sicher auf eine CD, das steht fest. Aber Hübners einzigartige Anordnung dieser Unjuwelen an sound (eine Anordung übrigens, die offenbar ohne Wiederholung auskommen will) übertrifft ganz sicher alle banalen Versuche, die Harmonie zwischen diesen unvereinbaren Geräuschen auszumachen. Form ist immer Harmonie und somit Mittelmaß. Vielleicht ist es genau dieser Gedanke, den DSM in uns wachrütteln wollen; und natürlich gelingt es ihnen perfekt.“ [Ed Benndorf , de:bug]
|
2005 |
€13.00 |
|
| DAS SYNTHETISCHE MISCHGEWEBE / TBC |
split |
CD |
"Das Synthetische Mischgewebe is Guido Hübner, living in Cean, France. He is some of the leading modern electro-acustic composers of today. Many mentionable releases he has done in the last years: a collaboration retropersective for Monochrome Vision or the collaboration with The New Blockaders. Out of isolation he is always looking to work with other musicans in some or other way. So seems to be natural to do a split-CD for Reduktive Musiken and Wachsender Prozess. His track is dry, only filtering effects based surrealistic domestic home noises composition on objectsound. Yes, it is in some sense quit, but noise as can be. It\'s seems the home be a living organismen!
TBC is Thomas Beck, the man behind Wachsender Prozess. His track is a tour de france of cut-up technics. Sometimes loud, sometimes sensual quit with some aural shock effects. They use all technics of modern composition: noise, fieldrecording, abstract electronics, plunderphonic and ambient in one composition. It's like a best of or showcase recording." [label info]
www.reduktivemusiken.de
"Wachsender Prozess, das Label von Thomas Beck alias TBC und Reduktive Musiken von Noisekünstler m. stabenow verlagern auf ihrer ersten gemeinsam gestützten Veröffentlichung das Interesse an konkreten Strukturen und minimalistischen Interruptionen (im Falle vom Synthenthischen Mischgewebe) bzw. in leicht noisophil angelegte, plunderige Aussetzmanöver (siehe TBC). Die edle Aufmachung im DVD-Schuber erinnert nicht nur an die AIC-Veröffentlichung des DSM vor einigen Jahren, sondern ist auch graphisch von Nicolas Wiese (alias [-HYPH-]) ädaquat umgesetzt worden. Das TBC sich in seiner von Art Of Noise’schen Cut-Ups und geschwinden Richtungswechseln taktil beeinflussten Komposition aus seiner Noiseecke getraut, ist hierbei obersten Respekt zu zollen. Die Hauptseite, das Arrangement des DSM verzärtelt sich zwar in den altgewobenen Strukturen minimalistischer Konkretness, differenziert sich jedoch im letzten Viertel zu einer ausgewachsenen Kakophonie kleinster Geräuschpartikel, auf Tonband mit dem Zimmermannshammer geheftet. Die beiden Stücke, nur unwesentlich von einander in Technik und Montage getrennt ergeben hier eine gänzlich fusionierende Einheit aus konkreter Musik und Noise, jedoch in gezähmter Manier. Ein mutiger Akt und hier wahrhaftig gelungen. 5/5 " [Thorsten Soltau / AEMAG]
|
2010 |
€12.00 |
|
| DATASHOCK |
Kräuter der Provinz |
do-LP |
Crossed the desert? Check. Seen the pyramids? Check. What's next? "Kräuter der Provinz"... Herbs of the Province. Smoking dope with Edgar Reitz (the man who made Heimat)? A homage to regional cuisine or a celebration of backwoods origins? Absolutely not. But two for the price of one can't be bad and a pun a day keeps the critics away. Still, how to get a handle on what's going on here? Can it even be explained?
Datashock 2018: Eighty fingers playing, but what are they all up to? Are Datashock in command of their instruments or is it the other way around? What we do know – this is freely improvised music, complete with rattles, rumbles and whistles. Music as a social happening, both in terms of process and outcome, where individual and collective development can thrive – an ecstatic experience! Sheesh! No, really! This much you already knew? Well, no harm in saying it again, is there?!
Imagine gathering eight people under one roof and ushering them into a recording studio – everybody's busy nowadays (sometimes in precarious situations, but always doing one thing or another, incessantly), this being the age of late capitalism and all that. Anyway, diaries checked and off we go. Next stop: Oetinger Villa, Darmstadt. Kolter has already swept the place clean, DJ Ulf Eyes has brought beer from the waterfront, MC Cobra is dressed in the latest threads from Berlin, McWerner and Cha Cha have everything they didn't forget to bring from Cologne and up the Rhine and – natch – El Haze and Biber Bergi line up alongside LL Cool P from Saarbrücken. Pizza delivery number dialled, bottles opened, lights, camera, action. Machines bleep, a violin cries out, a clarinet howls, guitar and bass weave their way around the drums. The spell lasts for several days, then the magic goes back in the box, the recording is done. Everyone heads back to where capitalist realism awaits in fifty shades of gloom. Alas, it was over so quickly! Luckily, a tour is in the offing, a chance to see one another again!
Groups like Datashock are few and far between, more's the pity – raise your glasses to friendship! – groups who, in spite of everything, meet up regularly to record free improvisations and then hit the road to share their experiences with an audience. It's a trust thing. So: bring on the herbs! Not provincial in the slightest – but they get everywhere, into every last nook and cranny. They may not have any songs to speak of, but they do have their instruments.
Salvador am Ei
German:
Die Pyramiden besichtigt, die Wüste durchquert, und jetzt? „Kräuter der Provinz“. Kiffen mit Edgar Reitz? Eine Hommage an die regionale Küche oder die Feier hinterwäldlerischer Herkunft gar? Natürlich nicht. Wie immer gilt: doppelter Boden hält besser, und ein Kalauer am Tag die Kritik auf Abstand. Wie aber sich nähern oder erklären gar, was vor sich geht?
Datashock 2018: Achtzig Finger im Spiel aber was wird gespielt? Spielen Datashock ihre Instumente oder spielen die Instrumente Datashock? Es rappelt, rumst und pfeift - soviel steht fest. Hier spielt eine frei improvisierte Musik. Musik, die im Prozess und dem Ergebnis ein soziales Ereignis ist das sowohl die individuelle Entfaltung als auch eine gemeinsame – mithin sogar exstatische! – Erfahrung ermöglicht. Sheesh! Aber hallo! Kennt man schon? Na und, das kann ruhig noch mal gesagt werden! Warum auch nicht!?
Aber wie muss man sich das vorstellen? Acht Leute unter einen Hut bzw. in einen Aufnahmeraum zu bringen – weil alle doch so (teilweise prekär aber natürlich dauernd mit irgendwas anderem) beschäftigt sind, ist doch immerhin Super-Spätkapitalismus und so! Aber dann, Terminkalender gecheckt, los geht’s, nächster Halt: Oetinger Villa, Darmstadt. Kolter hat schon durchgefegt, DJ Ulf Eyes bringt Bier von der Waterkant mit, MC Cobra hat die neusten Modetrends aus Berlin dabei, McWerner und Cha Cha kommen mit allem, was sie nicht vergessen haben, aus Köln den Rhein hoch und – klar – El Haze und Biber Bergi rücken nebst LL Cool P aus Saarbrücken an. Pizza bestellt, Flaschen geöffnet und dann geht’s los. Maschinen piepsen, die Geige ruft dazwischen, die Klarinette jault, die Gitarren und Bass schleichen ums Schlagzeug herum. Wenige Tage später ist der Spuk vorbei. Aufnahmen im Kasten und alle müssen erstmal wieder dahin, wo der kapitalistische Realismus in all seinen trüben Facetten auf sie wartet. Schade, war wieder viel zu kurz! Aber bald ist ja auch wieder Konzertreise angesagt, dann sieht man sich wieder!
Es gibt längst nicht genug Gruppen wie Datashock, die – ein Hoch auf die Freundschaft! – regelmäßig und trotz allem zusammenkommen, um frei improvisierend aufzunehmen und durch die Gegend ziehen, und so ihre Erfahrungen mit dem Publikum teilen. Das muss man sich natürlich auch erstmal trauen. Insofern: Kräuter, gerne! Provinz, mitnichten – aber sie kommen überall hin, noch in den letzten Winkel. Songs haben sie dann zwar keine dabei, dafür aber ihre Instrumente.
Salvador am Ei
LP version in a 3 color Gatefold cover.
The 2-Vinyl Version (indcluding CD) comes with a bonus track!
design by Manuel Wesely
https://datashock.bandcamp.com/album/kr-uter-der-provinz-2
|
2018 |
€26.00 |
|
| DBMG/RAF (DIE BAADER-MEINHOF GRUPPE / RED ARMY FACTION) |
same |
CD |
Radikaler Elektro / Noise / Rhythmic Industrial aus Kanada mit starker politischer, antikapitalistischer Ausrichtung (das RAF-Logo auf dem Cover), dabei musikalisch abwechslungsreich & überzeugend arrangiert, teils fast rockig-tanzbar, teils extrem krachig!
"Die Baader-Meinhof Gruppe / Red Army Faction is Joshua David Richardson with a revolving door of collaborators, which include: Scott E. Farmer (Russian Futurists), Sam Devos (For Greater Good), and Edwin Vanvinckenroye (Tribe) amongst others.
According to Richardson, DBMG/RAF is a chance for musicians and multi-media artists to explore the use of violence within their chosen medium for the expressed purpose of destroying the economic, social, and artistic structures imposed on them by Late 20th and 21st Century Capitalism. It is inspired by the actions of West-Germany’s Red Army Faction (also known as the Baader-Meinhof Group), which sought the violent overthrow of West-Germany’s post-war governments from the 1970’s until its official disbandment in 1998.
Politics aside, this is one freshing new release that actually lives up to being true INDUSTRIAL music. It is noisy, chaotic, harsh, violent, full of anguish and torment while still carrying a strong beat. This is the kind of industrial that will immediate clear the dancefloor at your local goff-idustrial club, will sort out the real rivetheads from the poseurs, and have noise music enthusiasts begging for more. There’s a good amount of variety on this CD too- a post-punk “Peter Gunn” inspired rhythm track with whacked out old school analogue electronics, middle-eastern Indian ambience with the sound of war in the background (perfect for planning your next Jihad), Deutsch Nepal and Memorandum inspired beats with radio transmissions in the background, slabs of whale-toned cries from the deep, broken and distorted sonics over a militant backbeat with appropriately painful processed vocals, wacky distorted rhythmic melodies, and much more. It is experimental without being unlistenable. Alienating while still being engaging. Even when Richardson is using those overly-familiar sounds and elements, they never seem dated or clichéd. When it comes to this kind of music, this guy obviously seems to know what he’s doing and doesn’t wear his influences on his sleeve like so many others who’ve attempted it. If I had one thing to nit-pick about, it might be the use of overuse of spoken word samples, which is a pet peeve of mine in any music genre. Purists can argue as to its appropriateness, but I feel that a constant barrage of it is a bit clichéd. Thankfully, Richard tempers it with other interesting elements.
This release has an awful lot going for it and has so much variety that it has a very high replayability factor, something that I haven’t heard in a good number of harsh music projects that I’ve reviewed positively. It is also not a constant torrent of torturous sounds; there are quite a few quieter moody moments. Nothing is overly-long or intolerable. If this was released on CMI, it might be the album of the year in Europe. Red Army Faction is like having the best moments of bands like Mental Destruction, In Slaughter Natives, Esplendor Geometric and Brighter Death Now rolled into one steaming package.
Perhaps it’s due to the duality of the name Die Baader-Meinhof Gruppe / Red Army Faction and its association that makes this music project totally oblique in a Google search. If you want this music, you REALLY have to know where to look. You can find it on iTunes (Die Baader-Meinhof) or CD Baby (http://cdbaby.com/cd/baadermeinhof) but I’d recommend just going directly to the website since there videos, more info and purchase options there. Definitely recommended!" [Steve Mecca / CHAIN D.L.K.]
www.dbmg-raf.com
|
2009 |
€13.50 |
|
| DE BABALON, CHRISTOPH |
Scylla & Charybdis |
LP |
"In light of his hugely acclaimed and recently reissued classic 'If You're Into It, I'm Out Of It', CDB’s monstrous 'Scylla & Charybdis' [2008] plate creeps back out of whatever hole it slid down for a 10 year anniversary reissue on his Hamburg-based CFET label.
Scylla & Charybdis is a first rate example of breakcore at its mutant and gothic best, executed by one of the sound’s definitive operators. In two 12 minute parts - De Babalon unfurls scenarios traversing from darkly cinematic, atonal strings and looming bass to lurching hybrids of Alexandra von Bolz’n’s doom metal vocals with distended speedcore rhythms and harpy chorales in Scylla, while the B-side’s Charybdis tests out a more mercurial, fluid blend of rolling 180bpm jungle breaks and uncannily naif vocal from Panacea-collaborator, Hanayo." [Boomkat]
|
2008 |
€20.00 |
|
| DE KLEER, MARTIJN |
Flow |
CD |
Erstes Album des LPD-Gitarristen MARTIJN DE KLEER mit nach texanischer Weite klingenden Folk- & Country-tunes, unglaublich aber wahr !
“Martijn de Kleer (rhymes with "red wine, beware") is the guitarist for the Legendary Pink Dots, and "Flow" is his first solo album. A few hundred copies were sold at concerts during the band's tour of North America last year, after which it was licensed to Soleilmoon for release and worldwide distribution. The music is evocative and atmospheric, built on a foundation of straightforward songwriting and uncomplicated vocal arrangements. Loyal LPD fans will be surprised by the contrast between de Kleer's Spartan approach and the more elaborate constructions that define the Dot's characteristic sound. "Flow" is about nuance and subtle shades, about leaves fluttering in the wind, and the feelings of contentment that come from a simple tune played well. It's a man and his guitar, a few songs and sketches, and your imagination.” [press release]
|
2003 |
€13.00 |
|
| DEAD CAN DANCE |
Dionysus |
CD |
"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album.
If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East.
While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps.
Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico] |
2018 |
€16.00 |
|
|
Dionysus |
LP |
"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album.
If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East.
While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps.
Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]
|
2018 |
€28.00 |
|
| |
Wake |
do-CD |
######
Anthology release designed to replace the Dead Can Dance box set DCD BOX 1 once it's sold out.
Comes in clear jewel 2cd case with 24 page booklet and 2-sided printed back tray liner.
#####
Ihr Konzept machte Dead Can Dance zu Außenseitern und dadurch zu Kultstars: Mit großer Beharrlichkeit schufen Lisa Gerrard und Brendan Perry sorgfältig entworfene Alben fernab von sämtlichen musikalischen Trends. Die sakralen, im Mittelalter verwurzelten Kompositionen stehen der klassischen Musik oftmals näher als der aktuellen Popmusik. Mit "Wake" erscheint nun 2003 die ultimative "Best of" dieser Kultgruppe - eine Doppel-CD prallvoll mit mystische Melodien, magischen Momenten und geheimnisvollen Stimmungen. |
2003 |
€13.00 |
|
| DEAD VOICES ON AIR & SIMON FISHER TURNER |
MzMzLaLaLa |
7inch |
"This single is a double A side and is the first of the DVOA@20 series.
Side A is entitled, ‘MzMzLaLaLa for Peace,’ and Side A is entitled, ‘MzMzLaLaLa Sing-Song-Sing.’
Simon Fisher Turner
Simon had a highly successful career as a child/young hopeful actor, appearing in movie and TV roles from Black Beauty, Tom Brown’s Schooldays to The Big Sleep (re-made with Robert Mitchum). Aged 17 he signed to Jonathan King’s UK Records and released the album “Simon Turner” in 1969. He then discovered tape recorders and ended up playing with the legendary Portsmouth Symphonia with musicians such as Brian Eno.
Simon first worked as a runner on the sets of films by Derek Jarman, before becoming Jarman’s favoured soundtrack composer. Simon’s association with Jarman was lasting and massively fruitful. “Caravaggio”, “The Last Of England” (with contributions from Barry Adamson and Diamanda Galas), “The Garden” (with the Balanescu Quartet), and “Edward II”, were amongst the most innovative film sound projects of the ’80s and early ’90s, most of them surfacing as CDs though Mute. His final film with Jarman was the powerful, poignant “Blue”, where a soundscape recorded by Simon at Eno’s country house, plus Jarman’s AIDs inspired spoken words, stood in for the visuals - only a blue screen was projected. Simon also worked under the name of The King Of Luxembourg and has collaborated extensively. He has released many albums and in addition to his work with Jarman has contributed to numerous other film soundtracks for directors such as David Lynch.
Simon and Mark Spybey first met backstage at a Can concert at the Barbican in London in 1999. They work together, in spurts and fits, under the name MzMzLaLaLa and this single is their first release. They recently played a concert in London together under a railway arch.
DVOA @ 20 Anniversary Series
Since leaving :zoviet-france: in the late eighties Mark Spybey has released fifteen albums as Dead Voices On Air. He’s appeared on over 80 releases in the past twenty years. When the late Michael Karoli, the seminal guitarist, put together a band in the late nineties to celebrate the 30th anniversary of Can, it was Spybey who he asked to help him.. He has made a career out of collaborating extensively with a wide range of musicians, film- makers and visual artists. He was a member of Download and formed Beehatch with Phil Western of Download and Reformed Faction with ex-:zoviet-france: members, including Robin Storey of Rapoon. Between 1992 and 2000 he lived and worked in Vancouver, Canada and has toured extensively around the world with a variety of collaborators including Karoli and Damo Suzuki of Can, The Legendary Pink Dots, Pigface, Michael Rother of Neu! and Dieter Moebius of Cluster. He’s remixed Neu! and Faust amongst others. His has worked with labels such as Kranky, Nettwerk, Soleilmoon Recordings, Invisible, Spoon, Scratch, Cleopatra, Lens and for the 20th anniversary seven inch single series, Tourette Records of Houston Texas." [label info]
www.touretterecords.com
"To celebrate twenty years of existence, Dead Voices On Air, also known to mankind as Mark Spybey, will release a bunch of 7"s in collaboration with people who he has worked with in those years. The series kicks of with Simon Fisher Turner, perhaps best known for scoring soundtracks for the films of Derek Jarman (Caravaggio", "The Last Of England", "The Garden" and "Edward II") and also with David Lynch. he met Spybey at a concert of Can in 1999 and worked together since as MzMzLaLaLa, but this 7" is their first release. I am in a bit in the dark wether this 7" is t45 or 33 rpm, and I decided for 33. One side has an interesting tape collage of sounds and spoken word in a very film noir like style, while the other side ('MzMzLaLaLa Sing Song Sing') is more a pop like track with a very sparse guitar, a wacky percussive sample and a sad voice. This side did less for me, I think, maybe its too short, or perhaps too vague, but the other side is in fact very good. In the future there will be 7's with James Plotkin, Troum, Edward Ka-spel, Cevin Key, Robert Hampson, Robin Storey, Jochen Arbeit, Dave Wright, Ryan Moore and Orbit Service, which me thinks looks a promising series. Great cover too." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| DEADVERSE MASSIVE |
Son of Concrete |
pic-LP |
Starke 4-track long-play EP einer Art Supergroup des US-amerikanischen Experimental-Dub & Hip-Hop Undergrounds, mit erstaunlichem Ergebnis zwischen melancholischer slow-Dub Ambience und frei flottierenden Experimenten, viel vokales Material & halluzinogene Atmo...und auch ruhig-harmonische parts tauchen auf. Leute von DÄLEK, DESTRUCTO SWARMBOTS, ODDATEE sind beteiligt. Erschien auf dem wahrhaft grenzüberschreitendem Label PUBLIC GUILT aus Baltimore, MD.
"The Deadverse Massive 12" picture disc brings together three intense forces in music-- avant hip-hop unit, Dälek, ambient guitarist, Destructo Swarmbots and hip-hop madman, Oddateee. Spontaneity, open-mindedness to the recording process and a collective cohesiveness sprung forth an album that none of them would have every created alone and none of them would have imagined before the moment of creation. Easily, the strangest record any of these artists have ever touched. Artwork from the amazing Paul Romano rounds out the release." [label info]
"When hip-hop gets weird, it gets "Deadverse Massive". Mescaline dreams from the deep unconscious rise through psych-ambient guitar drones to meet street socially-conscious poetry and spoken-word in a no less than stellar collision... 8/10 "[Foxy Digitalis]
"A stunning mashup of heavy beatscapes, surrealist avant hip hop, and spacey drones from beyond the wall of sleep... a surreal and drifting collage of beats and psychedelic drones, powerful rhymes and voice transmissions, as informed by classic krautrock and cassette experiments as it is by actual hip hop." [Crucial Blast]
www.publicguilt.com
|
2007 |
€15.00 |
|
| DEAS (CAMERON) |
Time Exercises |
LP |
Cam Deas is a guitar virtuoso who has switched to modular synth and computer productions resulting in these staggering studies in polymetric, mercurial and dissonant tunings - hugely recommended if you’re into the work of Autechre, Rashad Becker, Roland Kayn, Fis, Coil, Xenakis.
Time Exercises is a complex study in amorphous polymetric rhythms by Cam Deas for The Death of Rave. His first album composed solely for modular synths and computer, Cam’s follow-up to the acclaimed String Studies for Luke Younger's Alter label marks a headlong tilt from acoustic to electronic spheres with a staggering effect resulting from meticulous research and process. It sounds as advanced as Xenakis or Roland Kayn superstructures, with the rhythmic displacement of FIS or Autechre, and with a grasp of slippery, mind-bending timbral dissonance comparable to Coil and Rashad Becker records.
Cam’s six Time Exercises form both a bold break with - and an extension of - the avant, folk, blues and outernational traditions that he’s worked to deconstruct and fluidly syncretise over the past decade. In the past four years he’s stepped away from the guitar as a compositional tool, turning to electronic hardware in a focussed effort to consolidate myriad tunings and meters with a precision that had previously eluded him in the acoustic sphere.
Severed from the tactility and sentimentality of instrumental inflection, Cam’s disembodied music plays out a thrilling dramaturgy and syntax of alien dissonance and disorienting rhythmic resolution. Harmonic shapes as densely widescreen as those in Roland Kayn’s Cybernetic Music roil in unfathomable fever dream space, where massed batteries of synthetic percussion swarm like an orchestra of Cut Hands in viscous formation, and where polychromatic mentasm figures converge like cenobites laying siege to Rashad Becker’s utopia.
On Time Exercises Cam articulates a synthetic musical language that speaks to the listener in myriad, quantum tongues awaiting to be deciphered by keen ears everywhere. It’s an outstanding record for lovers of forward-looking but deeply rooted electronic music.
https://boomkat.com/products/time-exercises
|
2018 |
€18.00 |
|
| DEATH & BEAUTY FOUNDATION |
same |
CD |
Noch bevor 1984 die ersten Aufnahmen von THE HAFLER TRIO das Licht der Welt erblickten, war H30-Mastermind ANDREW MC. KENZIE mit VAL DENHAM aktiv, einem britischen Transvestiten & frühen Industrial-Aktivisten der als Maler(?) & Artworker für TG, PSYCHIC TV, MARC ALMOND oder CYCLOBE tätig war. Die insgesamt 21 Stücke, die mit "Darlington Tapes" betititelt wurden sind hier nun erstmals auf einer CD zu hören - äusserst eigenwillige experimentelle "Songs" mit kruden Stimmverfremdungen und elektronischen Sounds, wie sie - etwas eleganter - z.T. auch auf die erste H30 LP "Bang! An Open Letter" oder die krasseren sprachbasierten NURSE WITH WOUND-Alben gepasst hätten. Auch über 20 Jahre später ist das noch absolut unzugängliche Anti-Musik, die sich nicht mit klassischen Maßstäben "bewerten" lässt, da es kaum Vergleichsmöglichkeiten gibt.
"... present the legendary "Darlington Tapes"recorded in 1982. At last, the sound of Val Denham and Andrew M. McKenzie's long awaited avant garde masterpiece for the bewildered is available after 26 years. Remastered, frightening and beautiful. The strangest album ever recorded. You have been warned." [label info]
" The Death & Beauty Foundation is an odd footnote in the history of The Hafler Trio. It's a project that began sometime in the early '80s presumably in and/or around Newcastle, UK featuring a young Andrew McKenzie (who later went on to found The Hafler Trio) and Val
Denham, a visual artist who has some history with Psychic TV, Marc Almond, and Cyclobe. Only a couple of compilation tracks of the Death
& Beauty Foundation had appeared on Touch cassette compilations, and a tape-only release emerged in 1986; but beyond that, the story to the Death & Beauty Foundation is pretty mysterious. This CD represents the complete 'Darlington Tapes' which the two began in 1982. Instead of the media-savvy collages and psychoacoustic investigations which The Hafler Trio mastered throughout the '80s, the Death & Beauty Foundation penned songs, really weird and fractured songs; but these are nonetheless tunes. A curious falsetto (which we're presuming to belong to Denham) floats in flanging tremolo haze above odd, Spartan electronics, sounding somewhat like "In Heaven" from the Eraserhead soundtrack, but ever more evasive and purposefully meandering. In line with primitive BBC Radiophonic tricknology meets Cabaret Voltaire cut- up methods, tape manipulations guide the bulk of the arrangements to that fluttering voice, with Shadow Ring like splutter across guitar and tin-can percussion on a few tracks. Some of the electronic sounds seem to have reappeared on the h3o album Sea Org; but those recognizable instances are few and far between in this confusing album." [Aquarius Records review]
www.somnimage.com
|
2008 |
€16.00 |
|
| DEATHPROD |
Compositions |
LP |
listen: https://deathprod.bandcamp.com/album/compositions
Oslo’s Deathprod (aka Helge Sten) announces Compositions, his new album out January 27th on Smalltown Supersound, and presents its lead single/video, “Composition 1.” The first new Deathprod studio project since 2019’s OCCULTING DISK—“a mesmerizing, terrifying, and emotionally nuanced ‘anti-fascist ritual’ of an album” (Pitchfork)
—Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Sten used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself.
Lead single “Composition 1” doubles as Compositions’ opening track, and looms over its nearly 4-minute runtime. An eerie and sparse track, “Composition 1” gently submerges listeners in Deathprod’s new soundscape. On Compositions, the music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience, directing your attention to a succession of ever more spellbinding details and textures.
https://deathprod.bandcamp.com/album/compositions
Deathprod (alias Helge Sten) ist einer der Gründer der norwegischen Improvisationsgruppe Supersilent und hat Platten von Motorpsycho, Susanna, Jenny Hval, Arve Henriksen und anderen produziert. Seine Spezialität ist ein zutiefst atmosphärischer, körniger Minimalismus, der die Zeit verlangsamt und die Partikel des Klangs selbst erforscht. Compositions, ist das Ergebnis einer intensiven Zeit in seinem legendären Audio Virus Lab Studio im Zentrum von Oslo. Ein komplexes Geflecht aus selbstgebauter Elektronik, Samplern, Klangbearbeitung und analogen Effekten kombiniert mit veralteten Samplern und Abspielgeräten, um Klänge zu verzerren und in unerkennbare Verwandte ihres früheren Selbst zu verwandeln. Auf Compositions hat sich der Virus zu noch faszinierenderen und kaleidoskopartigen neuen Stämmen entwickelt. Jedes Stück enthält seine eigene voll ausgebildete Galaxie von Tönen und Clustern, während alle Stücke hörbar in dasselbe Universum gehören. Es sind 17 Kompositionen auf der Suche nach einem klanglichen Ideal.
|
2023 |
€22.50 |
|
| |
Compositions |
CD |
listen: https://deathprod.bandcamp.com/album/compositions
Oslo’s Deathprod (aka Helge Sten) announces Compositions, his new album out January 27th on Smalltown Supersound, and presents its lead single/video, “Composition 1.” The first new Deathprod studio project since 2019’s OCCULTING DISK—“a mesmerizing, terrifying, and emotionally nuanced ‘anti-fascist ritual’ of an album” (Pitchfork)
—Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Sten used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself.
Lead single “Composition 1” doubles as Compositions’ opening track, and looms over its nearly 4-minute runtime. An eerie and sparse track, “Composition 1” gently submerges listeners in Deathprod’s new soundscape. On Compositions, the music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience, directing your attention to a succession of ever more spellbinding details and textures.
https://deathprod.bandcamp.com/album/compositions
Deathprod (alias Helge Sten) ist einer der Gründer der norwegischen Improvisationsgruppe Supersilent und hat Platten von Motorpsycho, Susanna, Jenny Hval, Arve Henriksen und anderen produziert. Seine Spezialität ist ein zutiefst atmosphärischer, körniger Minimalismus, der die Zeit verlangsamt und die Partikel des Klangs selbst erforscht. Compositions, ist das Ergebnis einer intensiven Zeit in seinem legendären Audio Virus Lab Studio im Zentrum von Oslo. Ein komplexes Geflecht aus selbstgebauter Elektronik, Samplern, Klangbearbeitung und analogen Effekten kombiniert mit veralteten Samplern und Abspielgeräten, um Klänge zu verzerren und in unerkennbare Verwandte ihres früheren Selbst zu verwandeln. Auf Compositions hat sich der Virus zu noch faszinierenderen und kaleidoskopartigen neuen Stämmen entwickelt. Jedes Stück enthält seine eigene voll ausgebildete Galaxie von Tönen und Clustern, während alle Stücke hörbar in dasselbe Universum gehören. Es sind 17 Kompositionen auf der Suche nach einem klanglichen Ideal.
|
2023 |
€16.00 |
|
| DEISON |
Una Notte Che Non Finisce Mai |
BOOK + CD |
CD + 8" 48-page booklet in Italian, ltd. 200 copies
Deison / Tonizzo
Una notte che non finisce mai
"It often happens that crime stories are able to influence the larger history that surrounds them, but very few are those that managed to change aspects of society and pass through more than five decades unharmed, at least in terms of fascination. The whole story of the Monster of Florence is one of them. It is impossible not to get entangled or at least to be captured by it, if one delves into its pages of far-fetched features and too many unanswered questions. For us, as for many, the case of the Monster of Florence has become an obsession. We periodically dusted it off, racking our brains in vain over details or the possible culprit. This time, 40 years after the crimes that started the psychosis of the infamous couple killer, we told ourselves that we had to somehow get rid of it and we did it our way."
The project "Una notte che non finisce mai" (A Night that Never Ends) is made up of eight short stories (written by Sandra Tonizzo) and eight sound episodes created by Deison, and tells the incredible story of the "Monster of Florence" through suggestions, chronicles, impressions and memories. The booklet (21x21cm, 48 colour pages) and the CD included are published in a limited edition of 200 copies for Silentes' newborn label "1970".
store.silentes.it/catalogue/7001.htm
https://deison.bandcamp.com/album/una-notte-che-non-finisce-mai
"Buch und CD: Sandra Tonizzo, Deison und das Monster von Florenz
Schon seit ein paar Wochen erhältlich, hierzulande aber immer noch eine News wert ist das aktuelle Gemeinschaftswerk zwischen dem Soundkünstler Cristiano Deison und der Autorin Sandra Tonizzo. “Una Notte Che Non Finisce Mai” setzt sich aus einer CD Deisons und einem mehrfarbigen Bild- und Textband von Tonizzo zusammen, in dem auf 50 Seiten die faszinierende Geschichte des sogenannten Monsters von Florenz – Il mostro di Firenze, auch genannt der Mörder mit dem Skalpel - in acht Geschichten, Dokumenten, Reportagen und anderen Textsorten erzählt wird.
Der spektakuläre Kriminalfall, bei dem ein oder mehrere Täten in den Jahren zwischen 1968 und 1985 im Umland von Florenz acht Liebespaare in Serie massakrierten, wurde in Italien schnell zum Stoff urbaner Legenden und zahlreicher fiktionalisierter Umsetzungen in Büchern, Filmen, Comics und Serien, in deren Tradition das vorliegende Werk steht. Die CD enthält gewissermaßen den Soundtrack zum Buch in Form dunkler, in weiten Teilen samplebasierter, harsh-ambienter Klangwelten. Das Werk erscheint beim Silentes-Ableger 1970." [African Paper]
|
2021 |
€20.00 |
|
| DEISON / MATTEO UGGERI |
In the other House |
CD-R |
"It was not born as a concept album, but as it was slowly becoming like the music inside it the sound work of Cristiano Deison and Matthew Uggeri ended up finding itself, step by step, enclosed between the narrow walls of an exceptional home. Arriving there from different places and positions, and never actually meeting, Friulian and Milan found themselves, perhaps in spite of themselves, together in uncomfortable rooms which were populated by dark invisible presences. It is not the scenario of a horror movie, there is no tradegy or fear, just the knowledge that somewhere else or the escape itself may be less reassuring than one has hoped. Therefore Francesca Mele's photos, both a seal of the work and source of inspiration for the music seem to further cloak the place in t that sense of quiet desperation that daily life often implies."
https://matteouggeri.bandcamp.com/album/in-the-other-house
Zwei jüngere italienische Soundbastler treffen sich hier. Beide haben schon vielfach ein Händchen für atmosphärische Landschaften bewiesen; DEISON (komplett: CRISTIANO DEISON) unter anderem hier auf NONPOP mit "Quiet Rooms", einem Album über die Stimmung in leeren Hotelzimmern. Auch UGGERI (komplett: MATTEO UGGERI) hat sein sicheres Gespür für beeindruckende Klangwolken schon aufgezeigt, unter anderem in Zusammenarbeiten mit DE FABRIEK oder MAURIZIO BIANCHI. Beiden Künstlern gemein ist die wohltuende Zurückhaltung bei Veröffentlichungen, man hat nie den Eindruck, dass sie den ohnehin übersättigten Markt der entsprechenden Genres fluten würden. Ihr erstes gemeinsames Album erscheint nun auf FINAL MUZIK (in Kooperation mit OLD BICYCLE RECORDS und OAK EDITIONS), wobei sich die Musiker kein einziges Mal persönlich gesehen haben – Arbeiten im digitalen Zeitalter. Der Titel des Albums sowie die Namen der einzelnen Tracks geben natürlich eine ganz klare Idee vor, aber – und dies ist das erste Kompliment für ein gelungenes Album – es geht auch ohne.
"Fessure" (01) fühlt sich an wie das Hinabsteigen in eine pilzige, fluoreszierende Höhle. Warme, aber gleichzeitig aufschreckende und unruhige Sounds umwabern den Hörer, es ploppt und droned. Sehr atmosphärisch und, außer zu einer Höhle, auch passend zu der wohl toten Frau auf Vorder- und Rückseite des Covers, die ich eben entdeckt habe – Film noir-Feeling. Ein bassiger und unregelmäßiger Beat kommt langsam dazu, ebenso ein schräger Streicher. Und immer kurz vor einer Melodie nimmt die Komposition die nächste Abzweigung. Das äußerst filmische Ambiente bleibt in "So Detached" (02) bestehen. Türen quietschen, Schritte rascheln – hier wird eine Story erzählt, ein ganzer Storyteppich voll von organischen Klängen ausgerollt. Ich höre aufmerksam und angespannt zu, weil jederzeit etwas passieren könnte. Zunehmend freunde ich mich mit der titelgebenden Idee eines fremden Hauses an, durch das wir als Hörer schleichen. Das "Micro Drama" (03) spielt sich in der Küche ab, melodiös liegen gezupfte Piano-Teilchen auf dem Tisch, ein dickes Brummen und Summen zeugt von Insektenleben, und die Streicher quietschen immer wieder dramatisch. Passend zum Besuch im Bad ("Stasis", 04) plätschert Wasser, die Sounds wechseln in noisiges Quietschen und Rauschen, und insbesondere die Cluster aus Blasinstrumenten beeindrucken mich. Menschen räumen Möbel in "Worried Stagnation" (05), verursachen dabei lange, ewige Drones. Und mein Lieblingssound des gesamten Albums erklingt auf der Treppe und im Keller ("Prelude, Largo", 06) – ein Tuba-ähnliches Brummen, welches die sich abwechselnden Passagen zum einen aus ruhigen Ambientflächen, zum anderen aus mächtigen, majestätischen Drones inklusive Piepen und Klingeln umrahmt, wobei sich alle Ebenen mehr und mehr übereinander schieben.
"In The Other House" ist ein wirklich beeindruckender Hörfilm, der mich an andere starke filmische Werke wie zum Beispiel die LAND-Trilogie ("Praha | Wien | Budapest", NONPOP-Besprechung) erinnert. Schleichen durch ein fremdes Haus, Erkunden einer dunklen Höhle, Hauptrolle in einem Film noir – das Album ist fast unabhängig vom möglichen Thema eine fesselnde Reise, und zwar von der ersten bis zur letzten Sekunde. Eine der bisher schönsten, weil stimmungsvollsten Basteleien des Jahres.
Michael We. für nonpop.de |
2015 |
€10.00 |
|
| DELPHIUM |
Snowhill X (SOLD OUT) |
7inch |
a strange and unique blend of ambient Industrial with sometimes even dub-rhytmical-tunes; low-fi and very deeply frequenced... reminds on SCORN or early COIL sometimes! A very own style...
first edition
250 copies, clear vinyl,
handmade cover art with printed
linoleum finishing/center piece
released May 1997
"This outfit from berkshire, uk, has gained some attention through the releases of several self-produced 7"es in the past few years, which showed a great variety and mixture of influences, all combined in an experimental
manner to reach unknown fields of musical creation. One can find elements of industrial, techno & ambient & even rock in the songs of Delphium, that are mixed and varied into a kind of "low-fi" homerecording-style that is sometimes dark & melancholic, sometimes rhythmically pulsating and even danceable. As this is really hard to describe we recommend this 7" to everyone who is able to confront him/herself with a musical style that can't be sticked into a musical drawer, that is always surprising and shifting (some people even
compared it with early-coil!). This e.p. contains 4 tracks of a darker nature,
spheric electronics, noises and guitars with a very cineastic character... [label info]]
"This group proceeds from the british school of guitar-noise groups (such as their friends and colleagues Splintered), combining experimental
music elements within the rock format. However Delphium are strangely different from this. Having appeared near 4 years back and having written currently a variety of works on the small independent labels (mainly 7" singles;
the long awaited CD "How Can You Hide from What Never Goes Away?" has seen the light of day only recently through Outsider), they continue dubbed bass studies in combinations with sampled technological rhythms and guitar.
Their sounding is a strange and unique mixture of ambient-industrial, dub-rhythmic tonality, low- and exceedingly deeply frequencies of low-fi-darkness, harmonics, repetitive noise-feedbacks, industrial drones and voices, riffs
and gloomy electronic depths, melancholies and more active rhythmic beat-pulsations,
reminding a strange dance on the edge of trance and claustrophobia, freely based on the firm foundation of their creative ideas. Written in the style of homerecording, their work reminds Scorn or even early Coil in places, but their own style is individual.
The recording of four compositions for "Snowhill-X" was made in 1995, but mixed only recently, having present getting dark sullen fall in tones of spherical electronics play "Unforgiven", polished extremities with thick
striking sounding of title composition, finishing with massive wall of guitar sounding, oppressive drone-philosophies of internal sample cogitations of "Stringsong 1" and strange keyboard canto with knocking time and again on background gloomy spheres of "Lie to Me". Manual design on the linoleum, best work."
[Achtung Baby!]
SELECTED WORKS:
Delphium/Lull (7", split, Aquese, 1994)
Delphium/Husk (7", split, Aquese, 1994)
Delphium/Sheephead (7", split, Alleysweeper, 1995)
Breeding Bad Blood (7", Outsider, 1996)
Delphium/Big City Orchestra (7", split, Aquese, 1997)
How Can You Hide from What Never Goes Away? (CD, Outsider, 1997)
|
1997 |
€ |
|
| DELPLANQUE, MATHIAS |
Drachen |
LP |
"News from Ici D'Ailleurs Mind Travels Series: Mathias Delplanque is an artist from Nantes who was born in Burkina Faso and has close links with the ambient, electronic, electro-acoustic and concrete musical spheres as well as dub and field recordings. His approach is therefore intimately intertwined with the creation of sound. Sound in the physical sense of the term, sound which goes through your body modifying your perception without ever giving into the academism which can sometimes be found in music in the field of pure musical sound research. There is no question of theorization here - rather questioning all the possibilities which enable an artistic vision to be pushed to reach its pinnacle. Mathias has been perfecting this approach to music for 15 years name under his own name or different pseudonyms (Bidlo, Lena). However, the premising underpinning the album we are discussing today is slightly different from that of his other productions. Normally Mathias takes his time to finely and obsessively sculpt his work down to the smallest detail but here Drachen (Dragons in German) reveals itself to be a much more direct and incisive album. Taking the idea that impurities can also give life to music as a starting point, he set himself a constant working rhythm and the aim of adding interference rather than the sublime going so far as to create actual interference with his mobile phone to disturb the rhythm and harmony of his compositions. By his own admission, he works urgently to induce mistakes or accidents to liberate himself from his own automatic reflexes. Drachen is therefore a dangerous album both for its author and for listeners. However the result remains impressive because, even though questioning accepted ideas is an essential facet of the record, there is an intact sensibi lity which provokes emotion. All sorts of instruments (guitar, bass, melodica, kora, synths etc.) are run through live electronic processing and he manages to bring a beautiful melancholy - even a certain tenderness - out of this sonic mass despite the roughness of the overall sound. The record is made up of 7 highly distinct pieces which nevertheless fit together as a coherent whole. Although instrumental, Drachen is a largely narrative album which recounts its own story. It is a necessary reminder that just sound and consequently silence are fantastic vectors for communication. At the end of the record, an eighth track makes an appearance to prolong the story and provide a conclusion for the album. The track is introduced by 2008 field recordings from the village of Gandefabou in northern Burkina Faso and offers a calm environment full of humanity.
It is heavy with meaning given the current situation of this region of the world struggling with jihadism. "Vielleicht sind alle Drachen unseres Lebens Prinzessinnen, die nur darauf warten uns einmal schön und mutig zu sehen".
"Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage." RAINER MARIA RILKE, Letters to a Young Poet " [label info]
www.icidailleurs.com
|
2015 |
€16.00 |
|
| |
O Seuil |
CD |
Seven years after «Drachen», Minds Travels Series invites you to discover the new album by Mathias Delplanque from Nantes: «Ô Seuil». Expert in sound landscapes, Mathias Delplanque is above all a multi-faceted artist: electronic music composer, performer, improviser, sound installation designer, sound creator for dance and theatre... All these hats have allowed him to multiply his musical journeys and to perpetually evolve his creative process.
It has been said that he creates «pieces that are both prospective and introspective, sophisticated and simple to access, in the heart of which it is good to move and be moved» (Mouvement). A meticulous composer of atmospheric works that he sees as «oceans of sound», Mathias Delplanque is also known for his excursions into dub techno (the Lena project), as well as for his collaborations with various musicians using traditional instruments: the Korean E’Joung-Ju (geomungo player in the Keda duo), or the Nazairian François Robin (veuze, duduk and mizmar player in the L’Ombre de la Bête duo).
This diversity of projects does not prevent him from revealing a musical path of great consistency. This sixteenth album under his birth name, in more than twenty years of career, demonstrates once again that the man from Nantes is a skilful, curious and passionate creator.
«Ô Seuil» was conceived as a direct follow-up to «Drachen» (his previous solo album, released in 2015 on Mind Travels). The same taste for powerfully immersive sound pieces, based on electronically processed acoustic instruments, can be found here. The album is an exhibition of constantly changing sound paintings, alternately simple and complex, constantly oscillating between light and shadow. Mathias Delplanque continues to develop his matierist approach to sound, which he carves, hollows out, cuts and models endlessly, like a composite sculpture.
But this new album differs from the previous one in many ways. First of all, it marks the return of rhythm in Mathias Delplanque’s work, through the use of a wide range of percussive instruments: dafs, gongs, cymbals, drums, metal percussion... Seuil 3 and Seuil 6 present all the aspects of a trance music, strongly inspired by various Middle Eastern musical traditions. Threshold 8 evokes some of the timbres and rhythms of Southeast Asian music. The other tracks regularly draw on the slowness and heaviness of doom metal drums.
Brighter than its predecessor, «Ô Seuil» presents a new melodic character and an enriched harmonic work. The instrumentarium has been broadened: bass, guitars, hurdy-gurdy, veuze... to which analogical synthesizers respond, trying to sound like acoustic
instruments.
The tracks (and the album itself) carry a strong narrative charge and are similar to winding tales, whose endings always seem unpredictable. Despite the extremely meticulous production, the accidental is the best part. A profuse work, « Ô Seuil » does not deny its author’s taste for «symphonic» electronic music, which plays on contrasts: bluesy or raging, static or agitated, chaotic or orderly..
https://mathiasdelplanque.bandcamp.com/album/seuil
|
2022 |
€14.00 |
|
| DESACCORD MAJEUR |
La Coulour Odorante |
CD-R |
Eine weitere Wiederveröffentlichung in der Kokeshidisk-Reihe, erschien im Original 1998 auf MC beim Taalem Vorgänger-Label HARMONIE (harm09). Das Tape der markanten französischen Ethno-Elektroniker war eine Zusammenstellung aus älterem Compilation-Material 1990-1995, plus zweier unveröffentlichter Stücke von 1989.
"reissue of the tape released in 1998 on our previous label Harmonie, "la couleur odorante" gathers eight tracks previously released on various international compilations from 1990 to 1995, showing the evolution of Desaccord Majeur music & sounds with more and more ethnic influences while keeping a melodic and evolutive structure. this reissue includes two previously unreleased track from 1989 (one of the first Desaccord Majeur tracks, very ambient) and 1993 (more in the ethno-ambient sounds he's known for). full color pro-printed A5-sized cardboard cover in a plastic sleeve & full printed cd-r with artwork by cyril herry."[label info]
|
2006 |
€9.00 |
|
| |
La neuvieme heure |
mCDR |
Überraschung ! Nach langer Zeit was neues von der französischen Ethno-Ambient Band. Great stuff ...
”Just like his collegue and friend from Internal Fusion (whose we've recently released a 3"), Désaccord Majeur is another rare and discreet french band.His discography is also quite breif when you know D.M. has been active for 15 years ! Two CDs ("thétys" on PlayLoud and "samana" on Staalplaat), the Tlön Uqbar (D.M. + Internal Fusion) CD on Staalplaat, three tapes (two self-released and one on our own Harmonie) and a bunch of compilations
including the famous "ophir" self-released by Désaccord Majeur years ago where he invited Tuu, Muslimgauze or Hybryds.
Just like Internal Fusion, Désaccord Majeur creates long haunting ambient tracks with of course an ethnic and ritual touch... Less dark maybe, his music sometimes includes some more electronic sounds that could remind some em:t releases (Woob especially). Pure clear ritual ethno-ambient music.” [press-release]
|
2002 |
€5.00 |
|
| DESPREZ, JOSQUIN |
The Renaissance Master. Sacred music and Chansons |
3 x CD / book |
Sublime génie
Il y a 500 ans, disparaissait Josquin Desprez. Traversant infatigablement l’Europe d’une cour à l’autre, il fut l’un des fers de lance les plus actifs de la Renaissance franco-flamande. Pour rendre hommage à cette figure majeure de l’histoire de la musique, harmonia mundi a réuni ici quelques-unes de ses œuvres profanes et religieuses les plus caractéristiques. Ce livre-disque, richement illustré, replace son parcours dans le contexte de cette période bouillonnante.
JOSQUIN DESPREZ [1440-1521]
Missa de Beata Virgine (Missarum Josquin liber tertius, Ottaviano Petrucci,Fossombrone, 1514)
· Kyrie (3'47)
· Gloria (8'01)
· Credo (7'15)
· Sanctus - Benedictus (5'47)
· Agnus Dei (4'54)
· Ave Maria
(Mottetti A, Ottaviano Petrucci, Venezia, 1502) (4'38)
· Stabat mater dolorosa
(Mottetti de la corona, libro tertio, Ottaviano Petrucci, Fossombrone, 1519) (8'01)
· Ave nobilissima creatura
(Mottetti de la corona, libro tertio, Ottaviano Petrucci, Fossombrone, 1519) (8'36)
· Salve regina à 4
(Vatican, Cappella Sistina, ms. 42, c. 1503) (4'01)
· Pater noster - Ave Maria
(Novum et insigne opus musicum, Hieronymus Formschneider, Nürnberg, 1537) (7'03)
· De profundis - Requiem æternam
(Motetti libro secondo, Andrea Antico, Venezia, c.1521) (4'28)
· Qui habitat à 24
(Cantiones triginta selectissimae, Ulrich Neuber, Nürnberg, 1568) (5'38)
Missa Pange lingua
(Missæ tredecim quatuor vocum, Hieronymus Formschneider, Nürnberg, 1539)
· Introït (5'43)
· Kyrie (2'42)
· Gloria (4'57)
· Graduel (6'04)
· Alleluia (4'29)
· Credo (7'03)
· Offertoire (3'09)
· Sanctus (6'33)
· O Salutaris (1'02)
· Agnus Dei (7'04)
· Hymne 'Pange lingua' (2'44)
In principio erat Verbum
(Secundus tomus novi operis musici, Hieronymus Formschneider, Nürnberg, 1538)
· In principio erat Verbum (2'41)
· Fuit homo missus a Deo (4'36)
· Et Verbum caro factum est (1'46)
Miserere mei,Deus
(Liber selectarum cantionum, Sigmund Grimm & Marcus Wirsung, Augsburg, 1520)
· Miserere mei, Deus (5'34)
· Auditui meo dabis gaudium (4'14)
· Domine, labia mea aperies (5'01)
· Déploration sur la mort d'Ockeghem. Nymphes des bois / Requiem æternam (Jean Molinet)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (3'31)
· Douleur me bat - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'57)
· Adieu mes amours - 4 violes
(Harmonice musices odhecaton, Ottaviano Petrucci, Venezia, 1501) (2'08)
· Plusieurs regretz - 2 voix (Hc, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'36)
· Petite camusette - 3 voix (Hc, T, Ba) et 3 violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'10)
· Mille regretz - 4 voix (Hc, T, Ba, B) et luth
(Chansons amoureuses a quatre parties, Livre 11, Tielman Susato, Antwerpen, 1549) (2'00)
· Mille regretz (Canción del Emperador) - luth solo (Transcription de Luis de Narváez)
(Los seys libros del delphín, Libro 3, Diego Hernãdez de Cordova, Valladolid, 1538) (1'58)
· En non saichant - 5 voix (Hc, T, Ba, Ba, B)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'47)
· J'ay bien cause de lamenter - 3 voix (Hc, T, B) et luth
(Selectissmæ necnon familiarissimæ cantiones, Melchior Kriesstein, Augsburg, 1540) (1'28)
· Nimphes, nappés - tutti : 6 voix, violes, luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'41)
· Ile fantazies - violes
(Rome, Biblioteca Casanetense, ms. 2865, 1479-81) (2'03)
· La plus des plus - violes
(Harmonice musices odhecaton, Ottaviano Petrucci, Venezia, 1501) (1'24)
· Plus n'estes ma maistresse - 4 voix (Hc, T, Ba, B) et luth
(Trente sixiesme livre contenant trente chansons, Pierre Attaingnant, 1550) (1'45)
· Cueurs desolez . Ne cherchez plus/Plorans ploravi - cantus (Hc) et violes
(Trente sixiesme livre contenant trente chansons, Pierre Attaingnant, 1550) (1'44)
· Plaine de dueil - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'26)
· Fortuna desperata - violes (1'47)
· Faulte d'argent - 5 voix (Hc, T, T, Ba, B) et luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'28)
· Cueur langoreulx - 2 voix (Hc, T) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'22)
· Fors seulement - luth (1'59)
· Je me complains - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'47)
· Se congié prens à 6 - 2 voix (T, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'15)
· Tenez moy en vos bras à 6 - tutti
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'55)
· El grillo - 4 voix (Hc, T, Ba, B) et luth
(Frottole libro tertio, Ottaviano Petrucci, Venezia, 1505) (1'37)
· Si j'ay perdu mon amy - violes
(Paris, Bibliothèque nationale de France, ms. fr. 1597, c. 1500) (1'47)
· Parfons regretz - 5 voix (Hc, T, T, Ba, B)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'55)
· Vous l'arez, s'il vous plaist - 3 voix (Hc, T, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'52)
· Allégez moy - 6 voix (tutti) et luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'08)
Ensemble Clément Janequin
La Chapelle Royale
Huelgas-Ensemble
Cappella Amsterdam
Theatre of Voices
Philippe Herreweghe
Direction
Ensemble Les Éléments
Daniel Reuss
Direction
Paul Hillier
Direction
Dominique Visse
Direction
Ensemble Organum, Marcel Pérès
Direction
https://www.harmoniamundi.com/albums/sacred-music-and-chansons/ |
2021 |
€29.50 |
|
| DI SCIPIO, AGOSTINO |
Hörbare Ökosysteme |
CD |
" “Das komplexe Gefüge von Einflüssen, denen Schall auf seinem Weg von der Quelle zum Ohr unterworfen ist (...) ist das Aktionsfeld der Musik von Agostino Di Scipio.“ (Linernotes) Seine Kompositionen entstehen auf der Basis sich selbst steuernder und regulierender Systeme. In den live-elektronischen Studien „Hörbare Ökosysteme“ „dienen einfachste Schallsignale oder gar nur der Geräuschhintergrund des die Mikrophone beherbergenden Raumes als Input für autopoietische Prozesse, in deren Verlauf die Parameter der digitalen Signalverarbeitung sich stets weiter den resultierenden Klangformen anpassen (...).“ Zwischen knisternden Inseln Ryoji Ikedaischer Digitalsounds entstehen punktuell oder fließend gesetzte Rückkopplungen, die kontrolliert tastenden Erkundungen der Klangmöglichkeiten durchführen. Ebenso arbeiten die Interpreten in den gemischt Instrumental/live-elektronischen Stücken. Sie lauschen ihren, von der Elektronik zurückgeworfenen Klängen und passen ihr weiteres Spiel den veränderten Sounds an. In steter Umarmung mit der signalverarbeitenden Software und in Abhängigkeit vom Raumverhalten setzen Bassflöte, Bassklarinette, Violine, Violoncello, Klavier und Vibraphon forschende Instrumentalbewegungen, welche die Konzentration der Zuhörerin/ des Zuhörers reichlich belohnen.
„Sounds making ist way from the source to the ear is subjected to a complex nexus of influences. This is the operation field for the music of Agostino Di Scipio.“ (linernotes) His compositions are built up on the basis of complicated cybernetic procedures. The newer studies „Hörbare Ökosysteme“ are purely live-electronic. „In these works the most simple sound signals, or even the background noise of the space housing the microphones, provide input for autopoetic processes which continously adjust the parameters of their digital sound synthesis and transforming processes to the resulting sound shapes.“ Between crackling islands of Ryoji Ikeda-like digital sounds you hear particular pointed or flowing feedbacks carrying out the possibilities of sound in a controlled tentativ research. Also the players of the combined instrumental/ live-electronic pieces are working in this way. Listening very closely to the transformed sounds resounding from back from the sound system, they adjust their actual sound production to those transformations. Caught up in the system of sound processing software and the spaces aural signature, bass flute, bass clarinet, violin, cello, piano and vibraphone searchable put together instrumental movements which amply reward the listeners concentration.” [Peter Schlewinski for Drone Records]
|
2005 |
€16.00 |
|
| DIE FORM |
Baroque Equinox |
2LP+CD+DVD-BOX |
"Sturdy box with lid - exquisitely and lavishly printed, incl: regular album in digipak,
EXCLUSIVE Vinyl [Black 180g 2x12" vinyl], High quality, super-audiophile disc, incl. 4 EXCUSIVE Tracks!, EXCLUSIVE DVD feat. Videoclip of „Psychic Poison“, exclusive LARGE sized Poster-booklet (30x30 cms), 16 pages with all graphics in large format, printed as High quality art print! Hand-numbered Certificate for limitation of 500!"
www.trisol.de
Ein neuer Sündenfall. Ein neues Paradies. Ein neuer Anfang, geschaffen aus einem weiteren Ende. Wir alle sterben jeden Tag, wir alle atmen jeden Tag. Besonders greifbar wird diese Dualität seit jeher im chimärenhaften Schaffen des elektronischen Chamäleons DIE FORM.
Vor beinahe 40 Jahren als revolutionärer Live-Act für die anrüchige, jedoch auch visionäre BDSM-Szene begonnen, hat sich das französische Künstlerpaar Philippe Fichot und Éliane P. bis heute zwei Dinge bewahrt: Ihre künstlerische Einzigartigkeit – und ihr Händchen für druckvolle Clubhits am schwarzen Puls der Zeit. Sie wandeln auf Messers Schneide, umarmen den Tod und das Leben, die Nacht und den Tag, den Schmerz und die Liebe, das Böse und das Gute. Nie heißt es schwarz oder weiß für sie. Es sind die ungezählten Grautöne, die ihre Kunst beherrschen. Es sind die ungezählten Grautöne, die unser Leben beherrschen.
„Baroque Equinox“ ist ein sinnlicher Vorstoß in eine neue Zeit. Ein in die Zukunft weisendes und selbstbewusst auf das erreichte zurückschauende Manifest, ein neues Äquinoktium. Tagundnachtgleiche, schöner und treffender könnte man das Wirken von DIE FORM nun wirklich nicht in Worte fassen. Tag und Nacht, Eros und Thanatos, in Harmonie vereint, untrennbar verbunden sogar. Eines ist undenkbar ohne das andere, für einen endlosen Augenblick ist unklar, in welche Richtung das Pendel ausschlagen wird. Sicher ist nur: Es wird mit treibendem Beat und visionären Sequenzen auf die Tanzflächen treiben. Musikalisch kongenial umgesetzt von diesen Pionieren der elektronischen Musik, umarmt „Baroque Equinox“ druckvollen Electro und Avantgarde, die rauschhafte Opulenz des Barock und den sterilen Beat, das Schwärmen und das Drängen. Die sündige Nacht und der unschuldige Tag bilden die Bühne für ein Werk von beschwörender Kraft, für ein Panoptikum aus Electro, Industrial, Techno, Gothic, Klassik, Erotik, Poesie und fernöstlichem Butoh-Tanztheater. Sündhafte Club-Kultur und künstlerischer Anspruch gehen nirgendwo sonst derart harmonisch ineinander auf.
Sie sind vorbei, die Phasen, in denen die Franzosen mit Haut und Haar dem Fetisch, dem Sex ergeben waren. Ebenso vorbei sind ihre Zeiten purer Bach-Huldigung, in denen sie weit über die dunkle Szene hinaus auf Verehrung stießen. Jetzt, zu diesem besonderen Anlass der barocken Tagundnachtgleiche, gebären sie ein neues Wesen, das der dunklen Electro-Welt ein weiteres Mal neue Impulse verleiht. Ein Wesen mit Januskopf und zwei Herzen in der Brust. Ein Menschwesen in einer postapokalyptischen Maschinenwelt, eine Kreatur, die die Unberührtheit der Natur im Herzen und den stampfenden Takt der industriellen Revolution im Geist hat. „Baroque Equinox“ ist ein Moment in der Schwebe, ein Zustand, der ins Licht oder ins Dunkel, in die Stille oder ins Chaos kippen kann. Wie in einem Bild von Gustave Courbet (insbesondere „L‘Origine du Monde“), in dem bei aller Sinnlichkeit immer auch die Präsenz eines Abgrunds mitschwingt, ist dieses Album ein Manifest für diese Zeit, das gleichzeitig klingt wie aus ihr herausgefallen. Wie sie das auch nach 40 Jahren immer wieder hinkriegen? Es wird auch diesmal ihr herrlich dunkles Geheimnis bleiben. |
2017 |
€45.00 |
|
| DIMUZIO, THOMAS |
Balance (Duos, Trios, Combos) |
3 x CD |
"49 Artists, 28 shows, 10 years… Thomas Dimuzio and friends deliver a stunning live anthology of noise, dark ambient, textural, experimental, and electro-acoustic music in distinct duo, trio, and combo configurations. Exquisite excerpts combine the sublime synergy of live spontaneous music with the visceral energy of the stage across this colossal and compelling collection.
Dimuzio’s modular electronics and live-sampling prowess serve as the common thread as he teams with a dazzling array of fringe music luminaries: Scott Amendola, Cilla Vee, Bob Bellerue, Chuck Bettis, Easy Bake Oven, Illusion Of Safety, Demonsleeper, Fugitive Pope, Alan Courtis, Beth Custer, Matmos, Antimatter, Evelyn Davis, Doctor Nerve, Sharkiface, Jon Evans, Thea Farhadian, Kris Force, Phillip Greenlief, Solid Eye, Emily Hay, Shelley Hirsch, Motoko Honda, Aurora Josephson, Blevin Blectum, Joe Lasqo, Wobbly, Scott Looney, Robert Aiki Aubrey Lowe, Ava Mendoza, T.D. Skatchit, Transient, Arcane Device, Kanoko Nishi-Smith, Rick Reed, Gino Robair, Xambuca, Moe! Staiano, Amma Ateria, Larry Thrasher, Richard Teitelbaum, Lori Varga, Music For Hard Times, and Kit Young.
#######################################
Balance is dedicated to the listener, the audience, the venues, the sound systems, the promotors and to everyone that does what it takes to make live music happen and thrive. Balance could not exist without any one of these vital elements. For music lovers our lives revolve around seeing our favorite bands and supporting local artists, spaces and venues. We can only hope that the musicians and venues will persevere during this pandemic and that live music will recover and thrive again.
My heartfelt thanks also goes out to all of the artists on this record. It is a true thrill to make music together and an honor to know you as a friend.
All of the music in this collection was composed live by the performers on each track. All tracks were engineered and recorded live by Thomas Dimuzio (except for B8 recorded by Mitchell Brown & C10 recorded by KFJC-FM). All material was edited, mixed and mastered by Thomas Dimuzio (except A8 mixed by Xopher Davidson). Cover design and layout by Thomas Dimuzio. ©Ⓟ2020 Gench Music (BMI)
Scott Amendola
Claire Elizabeth Barratt (Cilla Vee)
Bob Bellerue
Chuck Bettis
Gregg Bielski (Easy Bake Oven)
Dan Burke (Illusion Of Safety)
Alexandra Buschman (Demonsleeper)
Barry Conley (Fugitive Pope)
Alan Courtis (Reynols)
Beth Custer
Drew Daniel (Matmos)
Xopher Davidson (Antimatter)
Evelyn Davis
Nick Didkovsky (Doctor Nerve)
Angela Edwards (Sharkiface)
Jon Evans
Thea Farhadian
Kris Force (Amber Asylum)
Phillip Greenlief
Joseph Hammer (Solid Eye)
Emily Hay
Shelley Hirsch
Motoko Honda
Aurora Josephson
Bevin Kelley (Blevin Blectum)
Joe Lasqo
Jon Leidecker (Wobbly)
Scott Looney
Robert Aiki Aubrey Lowe
Michael Lytle (Doctor Nerve)
Ava Mendoza
David Michalak (T.D. Skatchit)
David Molina (Transient)
David Lee Myers (Arcane Device)
Kanoko Nishi-Smith (KaMoTo Trio)
Tom Nunn (T.D. Skatchit)
Rick Potts (Solid Eye)
Rick Reed
Gino Robair
M.C. Schmidt (Matmos)
Chandra Shukla (Xambuca)
Moe Staiano (KaMoTo Trio)
Jeanie-Aprille Tang (Amma Ateria)
Larry Thrasher (Thee Majesty)
Richard Teitelbaum
Lori Varga
Paul Winstanley (Music For Hard Times)
Kit Young
https://thomasdimuzio.bandcamp.com |
2020 |
€22.00 |
|
| DISCORDLESS |
Fear on Every Side |
MC |
In the three years since Marius Costache’s previous full-length album for Amek as Discordless, his usual menacing and anxiety-fuelled music has reached even further into the sonic extremes. We can blame it on the world we live in, on the year that just passed or on Costache’ very own distortion-worshipping approach to electronic music and his decades-worth of experience as a sound and recording engineer. Whichever you pick, ‘Fear On Every Side’ will remain a brutal take on contemporary noise music. It is demanding, disorienting and primal work but still captivating and sincere.
Every element found on the record contributes to a narrative that feels simultaneously vast and intimate. ‘Fear On Every Side’ can be perceived both from a first person perspective and as an overview of our decaying reality. The record doesn’t want you to overcome the sense of hopelessness, paranoia and tension it unfolds in front of you, but rather to plunge you deeper in this place of no way out.
https://amekcollective.bandcamp.com/album/fear-on-every-side
|
2021 |
€8.00 |
|
| DISFATUM |
Death Instinct |
CD |
"Death Instinct is the debut album of DisFatum and delights us with dark ambient and black atmospherics ambience spiraling us towards an absolute pureness - there where nothing is needed nor nothing remains.
Taking the inspiration from the Freudian psychology, this album suppresses the equilibrium of being by combining the formless ambient drones and quietly sung vocals, harsher guitar and industrial ritualistic bits.
The album takes us on a delightful dark journey within the confines of the psyche, which is trying to survive a world ablaze. It conveys a mirror reflection of the outside into the inside and a natural wish to escape from the material - non material to a super position. A state from which there is no desire to return…ever.
Written, Performed by Ksenya Sirin."
|
2019 |
€12.00 |
|
| DISSECTING TABLE / MATTHIAS GRASSOW & TOMAS WEISS |
split |
LP |
" 2 Track 12” , mehr als 40 Minuten Musikgenuss, Mathias Grassow & Tomas Weiss mit einem New Age / Ambient Track, der seinesgleichen sucht, die Ruhe pur, mit sehr ruhiger Bewegung, ein Track zum meditieren, relaxen, bevor man aus allen schönen Träumen gerissen wird und Dissecting Table (Ichiro Tsuji) uns an den Alltagswahn erinnert, meines Erachtens die komplexeste Noise Granate, die je Dissecting Table hervorgebracht hat, brachial und kompromisslos.
Diese LP ist nun der lang erwartete Zweite Teil, der „A-Childs-Color-Play Serie, diesmal limitiert auf 100 Exemplare mit Insert und kommt im handbemalten Coversleeve heraus, gemalt haben Kinder und Jugendlich mit
einer Geistigen Behinderung, an den Covern kann man erkennen, das es Ihnen Spaß gemacht haben muss, viele sehr schöne Motive, verständliches und unverständliches, aber mit viel Phantasie wird man auch das eine oder andere verstehen können.
Wie auch bei dem ersten Teil, geht ein Teil des Preises der LP an die Cover-Künstler." [label info]
www.psych-kg.de
" 'Plus - Minus' is the title of the composition by Mathias Grassow and Tomas Weiss on this record. It might have been the title of the entire record, as things are very opposite. I have a certain weakness for the music of Dissecting Table, simply because one of the first CDs I ever bought as a young man was by Dissecting Table. It was a time when it was hard to get 'my kind of music' on CD. Not that I kept up with subsequent releases very much, of which some of the more recent is a bit too noisy (or ordinary noise) for my taste, but on 'Sky' it seems that Dissecting Table pulls back gear a bit, and not just works with noise, but glides back down and let sound effects run their course and die out, before starting up again. Its actually quite a nice piece of solid noise. The piece on the other side is something else. Both Mathias Grassow and Tomas Weiss are known to be players from the world of drone music, and that's exactly what they set out to do here. What ties in noise and drone, is that both ends of the musical spectrum don't seem to have many new developments in recent years. Just as noise is perhaps so much as it is, drone is no different. What Grassow and Weiss do here is what they have been doing for years. That again is no problem, and knowing myself to love drones more than noise - these days - I think this a wonderful side, in which time doesn't seem to be moving. Excellent. The cover of these records, which come in an edition of 100 copies, are 'designed' (drawn is perhaps the word) by a child with a mental handicap. I have no idea what the bigger idea behind that is." [FdW/Vital Weekly]
|
2011 |
€20.00 |
|
| DITHER |
Urei |
CD |
"Auch der vormaliger NOISE MUSEUM – Liebling DITHER ist zurück mit einer neuen CD, auf dem neuen Pariser Label M-TRONIC! Softer als auf den bisherigen Alben, verbindet DITHER hier gegenläufige Beats mit komplexen elektronischen Arrangements und dunklen Stimmungen, sehr eigen und ungewöhnlich!
New work from this french (former NOISE MUSEUM) act, softer than before but very complex and unusual electronic beats & arrangements & dark moods..." [Drone Rec. info 2002]
“ With its 3rd album, Marc T. aka Dither proves that he is the french master of dark-ambient electronics. His micro-electronic works are so subtle that they invite you into an abyssal trip, growing deeper and deeper inside your body and mind. Close to the universe of acts like Scorn, Autechre or beefacke but with a much darker touch, Dither is the new sensation not to be missed. This cd comes out in a very charming 3 panels digipack. Choose your chemical element choose He2 : Dither 'Urei' !” [label description]
www.m-tronic.com |
2001 |
€7.00 |
|
| DJ ORDEAL |
Sea / Seagull |
LP |
"Die zweite monatliche Empfehlung geht diesmal an DJ Ordeal und Jacques Beloeil. Die raue stürmische See, konterkariert mit den Geräuschen hochgepitchter Bandschlaufen, die im musikalischen rauen Klangkorsett wie Seevögel wirken und sich neben den echten Möwengeräuschen wie artifizielle Soundsplitter ausnehmen. Für Ambient zu sperrig, wirken die zwischen der Brandung und dem Auftreffen der Wellen am Strand eingesetzten Cut-Ups tiefgesetzter Streicher wie eine Nachvertonung des Spielberg’schen Weißen Hai-Themas.
DJ Ordeal mischt zwischen die Wellen neben allerlei Vogelgeräuschen auch die kurz eingespielte Acapellastimme einer unbekannten Soulsängerin, während eine weitere Frauenstimme kurz nach Entsteigen der Wellen ihr Sauerstoffbedürfnis mittels eines feuchten Seufzens kundtut. Ordeals Mischung steigert sich mit Fortlauf der A-Seite, die Wellen werden zum Träger weiterer leiser Informationen (vielleicht die »tiny bits«, die kleinen {klanglichen} Stücke, die Ordeal in den Notes erwähnt?), ehe das Stück endgültig in die Auslaufrille der LP überschwappt.
Umseitig findet sich das Stück »Seagull«, eine Vertonung des Möwenthemas mittels einer unechten Möwe (generiert aus dem zu schnell abgespielten Teil einer Vokalaufnahme) sowie dem Anschein nach echten Klängen der Wassermöwe. Das Experiment wirkt als hätte Ordeal das ganze auf Echtzeitbänder übertragen und noch während des Mischens kräftig am Band gezerrt. Gespeist in feinste Reverbschwaden und mit leicht angezerrter Struktur klingt die B-Seite so dermaßen kunstvoll via Rückwärtsspur und Tapedelay dass die Monotonie und Repetition des ganzen sich nach kurzer Eingewöhnungszeit mehr und mehr in Wohlgefallen löst." [AEMAG]
www.entracte.co.uk
|
2006 |
€15.50 |
|
| DOCKSTADER, TOD & DAVID LEE MYERS |
Bijou |
CD |
„Bijou (ReR TGM2) ist nach Pond (2004) erneut ein Generationen übergreifendes Gemeinschaftswerk von TOD DOCKSTADER (*1932, St. Paul, MI) und dem New Yorker DAVID LEE MYERS. Während Dockstader mit seinem charmanten elektroakustischen Sonderweg seit Anfang der 60er zu den frühen Gurus der amerikanischen Musique concrète zählt (Eight Electronic Pieces, 1961, OWL-Recordings, 1966), trat Myers unter dem Pseudonym Arcane Device Ende der 80er Jahre an die Öffentlichkeit mit seiner eigentümlichen Feedbackmachinen-ästhetik (Engines of Myth, 1988, Also sprach Zarathustra, 1991, Diabolis Ex Machina, 1992), von der er sich in Kollaborationen mit etwa Asmus Tietchens (Speiseleitung, 1996, Flussdichte, 2001) und Thomas Dimuzio (Uncertain Symmetry, 2002) zunehmend löste, eine Entwicklung, die er auch durch die Verwendung seines Familiennamens unterstrich. Myers teilt mit Dockstader, mit dem er lange vor ihren Kollaborationen bereits im Briefwechsel stand, mehr als nur eine Vorliebe für Frösche, der sie mit Pond frönten, während Myers einen Frosch namens Beaumont als Held eines Kinderbuchs auftreten lässt. Bijou ist pures Cinema pour l‘oreille, das sich aus 27 kleinen Szenen entfaltet, mit ratterndem Vorführgerät als illusionistischem Vor- und Abspann und schmetternden Hollywoodfanfaren als ‚Credits‘. Dass das audiovisuelle Moment bei Dockstader immer eine große Rolle spielte, zeigt schon seine Recorded Music for Film, Radio & Television: Electronic (1979/1981). Zusammen mit Myers blättert er im „unconscious lexicon of sound“ (Chris Cutler), das als Bodensatz von millionenfach geteilten Stunden vor TV-Bildschirmen und Kinoleinwänden dem modernen Bewusstsein eingeschrieben ist. Dabei wurden Verbindungen gebahnt und Signale verankert, die rein auf klanglicher Basis so evokativ wirken, dass über das Gehör unwillkürlich ‚Atmosphären‘, ‚Stimmungen‘ und ‚Imaginationen‘ rückgekoppelt werden. Jeder weitere Werbeclip, jeder neue Film basiert auf solcher Konditionierung, solcher ‚Medienkompetenz‘. Bijou ist aber nur insofern der ‚totale Film‘, dass in ‚Dementia‘, ‚Scene of the Crime‘, ‚The Cringing Unknown‘, ‚Battle Finale‘ etc. Elemente aus Thriller, Melodrama, Doku, Film Noir, Kriegsfilm, SF usw. anklingen. Das Cover zeigt ein Psycho-Motel, der Soundtrack ist aber kaleidoskopischer, auf narrativer Ebene überwirklich und ambig, wie Erinnerungsfetzen, die nur von Traumlogik und Traumdeutung zusammengezogenen sind. Dockstader löst seinen Anspruch, „trying to push the sound a little farther forward toward Something we hadn't heard before“, insofern ein, dass er und Myers eine aus dem Medialen destillierte ‚Metasprache‘ finden mit der nahezu magischen Kraft von Klängen, die mit nichts als gewellter Luft und dem Reservoir medialer Erinnerungen im Stande sind, effektvoll Raum und Zeit auszuhebeln.“ [Rigobert Dittmann, Bad Alchemy # 49]
"A subtle, moody, rich and wide-ranging work, in which atmosphere, emotion and dramaturgy lead the ear far beyond music into a world of hints, evocations, anticipation and association -- and, in passing, reveal a complex metonymic language that, at a deep level, invokes that mostly unconscious lexicon of sound we have all absorbed collectively and subliminally in the course of a century of movie-going, television viewing, documentary recording and electroacoustic experimentation. Once sounds have been abstracted from events, they are free to act and interact as signs; they are no longer indications of the real. And from their use as indicators we learn new meanings (the low drone from Jaws, the shower strings from Psycho, a TV theme -- these are all as directly meaningful to us as a barking dog or an approaching train; after 1000 movies, the sound of a helicopter has as many fictional as factual meanings, and these accretions make experience imaginatively richer. This is the language Dockstader and Myers explore, and although, in a sense, such signs are weightless (there is nothing there) nevertheless we cannot unhook them and they conjure instinctively fragmentary narratives, events, places, situations and meanings. Where their last CD (Pond) abstracted sounds from real life (in fact, documentary recordings of frogs), this one invokes a fictional life invoked in a language of purely mediated abstraction." [label description]
|
2005 |
€14.00 |
|
| DOCKSTADER, TOD & JAMES REICHERT |
Omniphony 1 |
CD |
„Omniphony 1“ ist die Neuauflage der gleichnamigen, 1966 auf OWL Records erschienenen LP. 1963 komponierte Tod Dockstader eine Reihe von Tonbandstücken, „cells“, bestehend aus natürlichen Klangquellen (Glocken, menschliche Stimmen etc.) und elektronischen Klängen (z.B. Oszillatoren). Der Filmkomponist James Reichert (1932 ¬ 1995) entwarf, der Klangintention der „cells“ entsprechende Orchesterstücke, sogenannte „inparts“, die anschließend nochmals durch Filter und Ringmodulatoren gejagt wurden, um den instrumentalen Klangumfang und die Dynamiken zu verändern. Die
anschließende Re-Komposition zeitigte ein sehr homogen angelegtes Ergebnis, das auch heute noch in Erstaunen versetzt. Elekronisches umschwirrt reißend und manchmal ein bischen frech die moog-manipulierten Bläsergruppen. Ständige Wechsel der Dynamik verwirren die Fäden der Klänge so weit, dass Elektronik und konkreter Instrumentalklang jeweils mit der Sprache des anderen zu sprechen scheinen. So wirken manche Stellen glatt wahnwitzig: wenn die kammermusikalischen „inparts“ im Zusammenspiel mit Dockstaders
prä-Industrial-elektronischen „cells“ eher Hollywood denn Donau-Eschingen beschwören, werden Bereiche des Grotesken befühlt. Das ist nicht schlimm, sondern erzählt vielmehr von der Besessenheit mit der echte Freaks am Werke waren, um in einem Jahr 100.000 Fuß an Tapematerial zu bearbeiten. Als Bonusmaterial gibt es Dockstaders „Study no.7“ (1961) in einer Stereoversion, sowie seine dringliche „Past prelude“ von 1990. //
„Omniphony 1“ is the rerelease of the OWL-LP from 1966. In 1963, Tod Dockstader composed a set of taped sounds which he called „cells“ consisting of natural sounds (bells, wind, voice) and electronically sounds (as from oscillators, recording circuitry, etc.). James Reichert (1932 ¬ 1995) composed a series of orchestrated parts which were based upon the sound intention of Dockstader’s „cells“. Those „inparts“ were transmuted using R.A. Moog music processing equipment to change the instrumental ranges and dynamics. With the following re-composition they produced a very homogeneous result wich is today still amazing. Electronically sounds pungent and sometimes a kind of saucy are flowing through a moog-manipulated brass group. The permanent changing of dynamics entangles the sounds. It seems that electronic and concrete instruments have particular swapped their very own sound. So some parts might have a strange atmosphere: when the chamber music -like „inparts“ together with Dockstader’s prä-industrial-electronically „cells“ evoke Hollywood more than Donau-Eschingen it is getting grotesque. But it is cool, because it tells from the truly obsessive fashion of two music freaks who edited and mixed down over 100.000 feet oftapes for that release. Further bonus tracks are Dockstader’s „study no.7“ (1961) in a stereo version and his „past prelude“ from 1990." [Peter Schlewinski for Drone Records]
"In the early 1960's Tod Dockstader was a young maverick composer of electronic 'organised sound', and James Reichert a film composer and music supervisor. They met in New York in 1963, and launched one of the most extraordinary collaborations in modern music, a unique attempt to integrate electronic sounds and the classical orchestra. Unlike Varese's Deserts, and Stockhausen's Kontakte, it does not merely have the orchestra play along with a tape, or even process orchestral sounds live. What makes this project unique is that the orchestra was transformed by electronic processes at a fundamental level, and organically fused with the purely electronic sounds. The completed work is a bizarre blend of Dockstader's fundamentally intuitive approach to sound, and Reichert's more conservatoire-based feeling for melody and orchestration. It often sounds like an unlikely collaboration between Stravinsky and Frank Zappa in avant garde mode, or Stockhausen and his alter-egos, Stock, Hausen and Walkman. Its not simply an important historical document, but an intriguing and entirely convincing listen; a truly extraordinary combination of electronic and orchestral textures, in which the orchestra seems to have been drenched in Technicolor, and dragged through a cartoon sound studio." [label
info] |
2002 |
€14.00 |
|
| DOCKSTADER, TOD / DAVID LEE MYERS |
Pond |
CD |
Überraschende Collaboration zweier Urgesteine der experimentellen Elektronik – der wiederentdeckte TOD DOCKSTADER und der ebenfalls nach langer Pause wieder aktive „ARCANE DEVICE“ DAVID LEE MYERS. Hier frönen sie ihrer Faszination für Frosch- & Kröten-Sounds, die elektronisch bearbeitet werden - so entspringen ihrem „Klang-Teich“ die merkwürdigsten stakkatohaften & pulsierenden organisch-elektronischen Akusmen.....sehr kurios & obskur !
"Tod Dockstader and David Lee Myers are two pioneers of electronic music, but from very different epochs. Dockstader started working with optical sound in the 1950s, later working with vast Telefunken tape recorders that became so hot they had to be left overnight to cool down. His electronic soundscapes ('Lunar Park' and 'Apocalypse' among them) are now being re-discovered and given the respect they deserve. Pond is his first new album-length piece since 1967. David Lee Myers, on the other hand, made his name in the 1980s under the name Arcane Device, and the music was derived from almost uncontrollable feedback systems. His Engines of Myth was originally released by ReR on vinyl in 1988, and was re-released on CD in 2001. A collaboration between these two legendary figures -- the painstaking, highly organised researcher Dockstader with the younger, more go-with-the-flow Myers, is an intriguing proposition. The first problem to overcome was computers; Dockstader had never used them, having perfected methods of working with optical and tape formats. It was only with much coaxing from Myers that it became possible. Dockstader recently remarked that when he began working with computers he 'realised that many of the old principles -- slowing, speeding, pitch-change, reversal -- were the same -- but with much more control and better sound. And no tape hiss. Because it was faster and I could keep my belief in what I was doing, more fun.' Fun is what they had. Most of the sounds derive from frog and toad calls, garnered by hanging around ponds with recorded equipment late into the night. The results are extraordinary -- the cries are transformed into an electronic melee that does not so much resemble a pond, as fragments of a road-movie soundtrack left over by Kraftwerk or Eno."[label description]
|
2004 |
€14.00 |
|
| DONOSO, RICARDO |
Sarava Exu |
CD |
"Der brasilianische Komponist, Percussionist und elektronische Musiker RICARDO DONOSO kommt ursprünglich aus Rio de Janeiro und lebt mittlerweile in Boston, wo er am renommierten Berklee College of Music und am New England Conservatory Komposition studierte. Ricardo Donoso hat in den vergangenen Jahren an einer Menge Musikprojekten mitgewirkt; unter anderem ist er Drummer bei der Avant-Death-Metal band Ehnahre und formt zusammen mit Luke Moldof das Electronic Duo Perispirit. Ricardos musikalische Sprache ist von zeitgenössischer Komposition inspiriert und ebenso auch bestimmt von Drone, Techno und Noise. Im Kontrast zu dem beständigen Streben nach Leistung, das die heutige Kultur uns lehrt, ist das Thema des Abstiegs - wie es in vielen Mythen vorkommt in Form eines Helden, der in den Untergrund geht um eine Periode der Abgeschiedenheit zu durchlaufen - nicht länger in unserer Gegenwart repräsentiert. In den meisten traditionellen Gesellschaften existierte ein kultureller Freiraum für eine solche Periode im Leben einer jeden Person und es war allgemein angesehen, dass dies eine Notwendigkeit war um sich in Verbindung zu bringen mit der Vergangenheit und damit begleitend dem kollektiven Unbewussten bzw. der ursprünglichen menschlichen Existenz zu begegnen. "Sarava Exu" wurde durchweg in einer solchen Periode geschrieben - eine beabsichtigte Isolation, ausgedrückt und geführt durch die sakralen esoterischen Rituale des braslianischen Kults 'Quimbanda'. Die musikalische Folge bewegt sich entlang der '7 Lines & Kingdoms of Quimbanda', die durch die traditionellen Candomblé Rhythmen, brasilianische Percussion, Noise sowie klassische Streichinstrumente verkörpert werden - allesamt bekannte Elemente aus Donosos Vergangenheit, die er neu betrachtet und reinterpretiert. "Sarava Exu" ist das symphonische Poem eines Quimbanda Rituals und eine musikalische Begleitung des Abstiegs in die eigene persönliche Hölle. Sicherlich Donosos bisher ambitioniertes und herausforderndes Vorhaben, aber all diejenigen, die Zeit damit verbringen und die Schichten darunter aufdecken, werden belohnt. Die Linien sind nun verschwommen zwischen den kompositorischen Strategien von Donosos Soloarbeit, dem Scuba Death Projekt und den Techniken, die genutzt wurden um für Gruppen wie Perispirit & Ehnahre zu schre iben. Musikalisch nimmt das Album Inspiration von Filmtrailer-Musik; Musik die sich gewöhnlicherweise extrem und vollkommen in zwei Minuten oder weniger entwickelt und gänzlich darauf konzentriert ist, eine emotionale Reaktion beim Betrachter zu triggern. Obwohl jedes der sieben Stücke untrennbar miteinander verbunden ist, spürt man dennoch das permanente Push & Pull, das am Ende keine Auflösung bereit hält. Ein konstanter Antrieb als Versuch irgendwohin zu gelangen, aber doch niemals wirklich anzukommen - dynamische Crescendos kommen und gehen, entwickeln sich, fallen wieder auseinander und bringen uns dahin zurück, wo wir begonnen haben; die Musik, entfaltet sich konstant, führt doch gleichzeitig nirgendwo hin und schafft darin einen klares Gespür für die Zeitlosigkeit. Wenn das Album "Assimilating The Shadow" die Theorie war, dann ist "Sarava Exu" die Praxis - ein Nachtrag, der nicht ein zielloser oder destruktiver Fall in den Abgrund ist, aber eine bedeutsame Erneuerung. "Der Weg hin zur Weisheit, wie ihn Exu vorschlägt, ist einer des Höllenfeuers und Schwefel, von unbarmherziger Ehrlichkeit und Mut, wo der grausamste aller Feinde das eigene Selbst ist." Für Hörer von Emptyset, Alva Noto or Raime." [label info]
www.denovali.com
|
2015 |
€14.50 |
|
| DONZEL-GARGAND, BERNARD |
Still to be a Storyteller |
CD |
"No easy listening" hier von dem bisher nur durch eine CD auf PLATE LUNCH hervorgetretenen französischen Komponisten, dafür offenbart sich gleich ein ganzes Universum an schräger Geräuschkunst und weirden Klängen, alles sehr lebendig & überfordernd, viele field recordings & original Zitate werden benutzt & verfremdet, seltsame elektronische Sounds sind überall, das kommt uns manchmal vor wie die Schnittmenge aus BRUME, NURSE WITH WOUND und ASMUS TIETCHENS, viel weniger klassisch "elektro-akustisch" als das vielleicht bei seinem Werdegang zu vermuten gewesen wäre.
"The 20 years anthology of creative work from the french composer,consisting of only previously unreleased material. Fantastic soundscapes, drawing images without any visual similarities and presenting the best ever sense of acousmatic music.
BIOGRAPHICAL NOTES
Bernard Donzel-Gargand is the unique musician and composer. He is a celebrity in Annecy but unfortunately less known abroad, especially
because he published just one CD of fabulous works on Plate Lunch in 2001. Before discovering electroacoustic music in 1978, he participated in the free jazz movement and improvised music. Since that, he is the author
of acousmatic music, works for animation, dance and interactive contemporary art. In 1981, he founded the Collectif & Cie studio, together
with Philippe Blanchard, Alain Basso, Philippe Moenne-Loccoz, and Peter Ernrooth, amongst others. Later on, with Philippe Blanchard he founded Studio Forum and the yearly festival "Le Bruit de la Neige". Bernard was born in 1955 and composing the music since 70s, he knew personally Pierre Schaeffer and received some prizes at GMEB concours in Bourges.
He influenced Blanchard a lot, and his music was perfect example for many other young musicians in Annecy. But his musical career was not so active, because Bernard prefers to work alone in his studio rather than promote his music for publicity. But his works can be compared with the best electroacoustic music coming from France, and his name should be
mentioned with celebrities like Michel Chion, Xavier Garcia, Bernard Parmegiani, Luc Ferrari and Francois Bayle. His pieces are breathtaking
and transcending the sense of time.
'Bernard was my teacher there during 5 years between 1983 and 1988. With his help, I learned all inventives and sophisticated events in the sound art. I remember we have met together Pierre Schaeffer at a memorable concert that drew our way up to today. In such pieces as "Eloge de la folie" or "Erasme 1509", his music starts from a thought and constructs philosophical idea suggested by Mary, who was his muse for many years and until today, they used to travel together in the limbo land of the
universe and more beyond... Poetic! - it's the best word to explain the music of Bernard, his stretches of tones, sounds from nature, animals,
thunder, crazy cycle and subtle combinations of electronic sounds and field recordings. I also remember this early morning when we were waiting
for the rumour of a hunting horn in the distance of country, only to have a new life experience. For over ten years, we have established the Studio Forum and the Festival "Le Bruit de la Neige", this is a place where we work and develop our ideas, for which we may die one day! And defend also all projects of composers we invite each year. Finally, it is pure pleasure to be lost elsewhere in Bernard's music, primitive chaos, a confused state of the
elements that preceded the creation of the world. I hope this CD will interest a large audience because Bernard Donzel-Gargand is a unique composer and storyteller!'
Philippe Blanchard, May 2009 " [full press-release]
www.monochromevision.ru
|
2009 |
€13.00 |
|
| DORELLA, BRUNO |
Paradiso |
CD |
Italian musician and producer Bruno Dorella guides us to \"Paradiso\", his new solo album, with the music for the homonymous choreographic project of gruppo nanou, to be released on CD and digital on November 25th, 2022 by the independent label 13 / Silentes.
\"Paradiso\" was born for the choreography of the new show by gruppo nanou, a contemporary dance and performing arts company, founded by Marco Valerio Amico, Rhuena Bracci and Roberto Rettura. The collaboration between Dorella and the company has started almost a decade ago and over time has also involved Ronin and OvO, the main bands of the Ravenna-based musician - OvO were on stage in 2021 for Canto Primo: Miasma | Arsura, an encounter between sounds and infernal images, with Dante\'s recurring reference.
But there is more than this. \"Paradiso\" is also the first electronic music album made by Dorella who, during the lockdown period, focused himself more and more on softwares. The tracks are composed according to the bodies and the choreography of the show. Dorella says: \"The composition took a long time. The choreographic needs, and the effect of music on the bodies, often led me to think with a broader perspective. Me and the members of gruppo nanou started the work from mutual suggestions and gradually we understood each other faster and faster. We defined a common conception of rhythm, deciding to work on apparently \'off-grid\' rhythms, creating the illusion of something wrong together but perfectly timed. In reality, these rhythms are parallel planes that travel in time with each other, even if out of phase.\"
\"Saturno\" is the first single taken from \"Paradiso\" and contains the fundamental elements of the entire work. That is, parallel, overlapping, sinuous rhythms, apparently out of phase but which \"turn\" together. In addition to abstract guitars and breath as the only source of voice.
According to gruppo nanou: \"Bruno has composed a choreographic work. We have verified together how sound can accommodate the body and be in dialogue with the scenic action. It was a transitive operation between scene and sound, bodies and the material density of sounds, vibrations and motion. The beauty of this musical work is that it is concrete matter and at the same time it is a precise thought. All the rules and limitations that we set for the creation of the show - regarding choreography, sound, lights and scene - have managed to be assimilated to become creative resources and therefore to become exact viscera.\"
The journey of \"Paradiso\" is articulated into thirteen tracks and ends with the title track, which is also the brand new single from the album and the only episode that can be assimilated to an \"alien\" song-form, featuring Francesca Amati (Comaneci) on vocals. Dorella speaking: \"We always thought that, at a certain point, we needed a \'song\'. With Francesca there is a long-standing collaboration and gruppo nanou loves her tone of voice, so it has always been clear that she would be the one to sing the song. But she had to do it in a non-existent and unidentifiable language. So, I broke down the syllables of what Francesca had sung, recomposing them with a new result.\"
In Dorella\'s long and eclectic career, \"Paradiso\" is only his second solo record, following \"Concerto per chitarra solitaria\", created for a contemporary classical music festival and released in 2019 by Bronson Recordings. \"I always thought of ensemble music, never really in the solo dimension, and I always imagined that if I ever made a record on my own and with my name on it, it would be related to pure composition\", Dorella explains. Active since the late 90s, Bruno Dorella is also known under the pseudonym Jack Cannon and was a member of Wolfango, as well as founder of OvO, Ronin and Bachi da Pietra, and more recently of Tiresia and the GDG Modern Trio, as well as an element of Sigillum S. \"Paradiso\" is the first record that testifies his experience in the field of theater music, developed through collaboration with various theater and dance companies.
\"Paradiso\" is a collective effort among the contemporary research dance company gruppo nanou and the artist Alfredo Pirri. Its path begins in 2021 and continues until July 2022 through appointments, called sketches, intended as the progressive deepening and development of research and tests for the construction of a performative process that removes the concept of the beginning and end of a performance, as well as its front use.
The space is intended as an active place in which to immerse oneself, creating an impromptu community that accesses the performance as it happens in a museum exhibition. \"Paradiso\" is the beginning of a common journey starting from the Third Canticle of Dante Alighieri’s Commedia; as a paradise, it is an elsewhere space, inhabited by light and evanescent figures; a long cinematic shot in which to immerse yourself thanks to the music of Bruno Dorella. The stage space consists of a mirrored dance floor obtained by combining different layers of silver and gold carpets where reverberating spaces and territories, intertwined and choreographed by gruppo nanou. Indirect lighting allows the carpet to reflect the surrounding space, welcoming it inside visually and creating a floating perception and making the floor like a pond where the bodies in movement flake with evanescent contours. The place determines each time the use and arrangement of the scene created by Pirri; the space, as well as the bodies and the light, is reflected by the mirrored surface of the carpets, redesigning the geometry of the space itself. For this identity of relationship between place and scene, each Paradise is unique and unrepeatable, thus finding the impossibility of describing a Paradise uniquely, as Dante wrote in the beginning of the Third Canticle.
The gestures lose all trace of naturalism to turn into an abstract choreography, whose meaning is in the desire to bridge the distance between the gaze (of the viewer) and the bodies in action. The limit of the backgrounds is forced, torn, deteriorated by the body that attacks it with its choreographic action. The choreographic images are produced “accidentally”, and the bodies are immediately pulverized thanks to the process of abstraction that produces pure plasticity that surpasses all other instances. The evidence of every research step or residency is called sketch and, even if is still a studio form, it shows how the performative device works on the space, its architecture or lack of it, recreating and rethinking both the stage and how the audience interact with it. As it will be in his final form, every sketch is different from the others; not a step forward but a step in deep the research. In each different spaces there will be different sets and choreographic compositions. A difficult experience to tell.
Album credits:
Music composed, played, recorded and mixed by Bruno Dorella
Mastered by Giuseppe Ielasi
Vocals on 6 & 13 by Francesca Amati
Vocals 4, 9 & 10 by Elisabetta Da Rold
Voices treatment on 1 by Bruno Dorella & Giovanni Lami, 5 includes parts of Old Vogue Dancer by Bruno Dorella, 11 includes a sample by Stefano Ghittoni
Layout and artwork by Marco Valerio Amico
Photos by Daniele Casadio
Project credits:
Project: gruppo nanou, Alfredo Pirri, Bruno Dorella
Choreography: Marco Valerio Amico, Rhuena Bracci
Scenic space: Alfredo Pirri
Music: Bruno Dorella
Lights: Marco Valerio Amico
Colors: Marco Valerio Amico, Alfredo Pirri
Costumes: Rhuena Bracci
With Carolina Amoretti, Marina Bertoni, Vera Borghini, Rhuena Bracci, Francesca Dibiase, Andrea Dionisi, Agnese Gabrielli, Marco Maretti, Emanuel Santos, Sofia Pazzocco, Michele Scappa
And the graduates (2019) of the Post Diploma – Dance Course of the Civica Scuola di Teatro “Paolo Grassi” of Milan: Livia Bartolucci, Alessandra Cozzi, Elisabetta Da Rold, Agnese Gabrielli, Nicolò Giorgini, Simone Mazzanti, Camilla Neri, Francesca Rinaldi, Pablo Ezequiel Rizzo, Bruna Romano
Production: Nanou Associazione Culturale, Ravenna Festival
Contributon: MIC, Regione Emilia-Romagna, Comune di Ravenna, Fondazione del Monte di Bologna e Ravenna
Collaboration: Civica Scuola di Teatro “Paolo Grassi” di Milano
Support: Centro di Residenza della Toscana (Armunia-CapoTrave/Kilowatt), E Production, ATCL Circuito Multidisciplinare del Lazio per Spazio Rossellini Polo Culturale Multidisciplinare della Regione Lazio, C.U.R.A. Centro Umbro Residenze Artistiche, Spazio ZUT!, Indisciplinarte, La Mama Umbria International
https://brunodorella.bandcamp.com/album/paradiso
13.silentes.it/private_sounds/sps2258_bruno_dorella.htm
|
2022 |
€12.00 |
|
| DOYLE, ROGER |
The Ninth Set |
CD |
Noch aus UNITED DAIRIES-Anfängen bekannt ist ROGER DOYLE - sein 66 minütiges prämiertes Werk "The Ninth Set" überzeugt mit raumfüllenden atonalen Sphären-Drones, so rauh und symphonisch wie einige KAYN-Stücke! Durchsetzt von elektro-akustischer Spannung
schaffen "stehende" Wellen von Klang tiefe suggestive Räume, harmonische Wechsel geschehen unerwartet und zirkulär, Lautstärkelevel verändern sich dynamisch. Mitreissend!
"Irish composer Roger Doyle's first release on Die Stadt is his prize-winning work The Ninth Set, a 67 minute masterpiece in 5 parts. He was awarded the Magisterium Prize at this years's Bourges International Electro-acoustic Music Competition in France for parts 4 and 5. The award, which is one of the most important prizes in the world for electronic music, is open to composers having at least 25 years of professional experience in the field, and its objective is 'the promotion and diffusion of works that might become milestones in the history of electroacoustic music'. Previous works of Doyle include a 5-CD set Babel which took ten years to compose, where each track corresponds to a room or place within an imagined tower city; and the 3 hour Passades, music made from software that freezes sounds like a freeze-frame in DVD. He's also known for his project OPERATING THEATRE which released the classic "Rapid Eye Movements' album - consisting of 4 works composed between 1968 - 1980 - on Steven Stapleton's (Nurse With Wound) own United Dairies label in 1980. Furthermore he guested on Fovea Hex's 'neither speak nor remain silent' EP number 2 'Huge', alongside among others Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter. More at http://www.rogerdoyle.com.
The CD comes in a color digipack in a first edition of 600 copies. Total playing time: 66:29 min." [press -release]
"...Through the five lengthy pieces of The Ninth Set, Roger Doyle cycles through rumbling episodes of recontextualized tumult and industrial heft, with every sound recorded and presented with impeccable digital clarity. At times, his work mangles Ligetti-esque vocal chorale through timestretching DSP tricks and thick digitally swabbed crescendos of grey noise; at others plucked cords, wires, and strings congregate into an unsettled mass with opaque rumblings and seasick swells. Throughout each movement, there's plenty of pregnant
interludes of relative quiet with punctations of rapidly approaching noise that halt at its peak with a razor cut to silence. Uncool, it
may be; but The Ninth Set is a brilliant record." [Aquarius Records review]
label-website: www.diestadtmusik.de
|
2007 |
€15.00 |
|
| |
Babel |
5 x CD |
"This is a phenomenal listening experience of Wagnerian dimensions from composer Roger Doyle — and, arguably, also one of Wagnerian ambitions. Each of the five discs is separately titled: “Temple Music”; “Chambers & Spirit Levels”; “Delusional Architecture”; “Earth at Full-Moon”; “Leisure Pursuits.” The idea is that each piece in the first three discs is seen as an individual “room” within an overall city (Babel). Some are more explicitly physical spaces (“The Stairwell”; “Mrs Brady’s Room”, “The Dressing Room”) than others. Both discs two and three begin with “Entry Level” tracks, comprising montages of other music from the “house.” The final two discs are supposedly from a (fictitious) radio station of the Tower of Babel, KBBL.
The whole concept is amazing. Pieces are interlinked not just via the translocation of snippets, but via imagined stories (an instrumentalist heard in one track might be warming up for his/her solo in another track, for example). The rooms of the tower are individually characterized, along with the invocation of a panoply of imagined spaces: the orientalisms of the initial “Concert Music — Pagoda Charm,” for example. Doyle’s composition is virtuosic; his imagination seems to know no bounds. His technique of voice cut-ups and snippets of sound, which seems to owe a debt to the electronic music of Stockhausen, is perhaps heard in its purest form in “The Room of Rhetoric” from the “Chambers and Spirit Levels” section. At one point it seems to threaten to quote (or even morph into) Gesang der Jünglinge ; the vocal slides (near-groans) of the next track, “Spirit Levels I-IV” seem to link to the sliding God names of another Stockhausen piece, Stimmung . Yet while there are debts here, the “Cantilena” from “Temple Music” reminds us that, while using gestures linked to this composer, Doyle has a voice all of his own.
Doyle’s music can be tremendously evocative. The use of solo horn in the nocturnal scene that is “Yummus” from “Temple Music” works extremely well. He can do delicacy, too: the keening phrases of “The Stairwell” from “Chambers & Spirit Levels” are a case in point. But it is the unpredictability of much of what we hear, coupled with the ability to create a whole new individual universe, is what appeals here.
Finally, for Babel , the disc entitled, “Delusional Architecture.” The next track, “Dark Scenery Court Games,” seems to hearken back initially to the orientalisms of the opening of “Temple Music” before gaining its own trajectory. Drums seem to introduce a more primal, human element (the overall impression so far is, unsurprisingly, otherworldly); electronic slashings seem to seek to counteract the tendency to bring the music to Earth and its inhabitants. But for sheer zaniness, “Vertical Figures in Stone” takes some beating. Olwen Fouere is wonderful here. The track only lasts five minutes, but seems to encapsulate all that is special about Babel : virtuoso composition, an ear that can imagine entire (and musically consistent) universes; humor; otherworldliness; and a curious depth that seems to imply some sort of extraterrestrial otherness. The humor is carried over into “Beautiful Day” (whatever you imagine this piece as sounding like, I would bet money that you are wrong). The entire edifice ends with a death: “Mr Foley’s Last Moments”, a dark conclusion to a kaleidoscopic listening experience.
The final two discs are of the imagined radio station broadcasting from floor 25 of the Tower of Babel. The first is “Earth at Full Moon.” It opens with “The Morning Show” and an announcer giving the weather report (“Always a nice day, here in the Tower”) and moves on to far more human concerns than we have heard so far, all pinned together by Doyle’s brilliance with electronics. Singer Elena Lopez seems to imply that the vocal lines of her song “You must be in” are derived from the music of Puccini. The news report is impeccably humorous (we get traffic and hilarious ads with out-takes, too, plus a rather restrained jingle that informs us that they are broadcasting “in a language of your choice”). World music is up next, with “Surface du Monde,” a collage of musics from around the planet. Some of the music could almost come under the “easy listening” classification. The 16-minute “Trapeze in Full-Moon Nights (four acts from an imaginary circus)” is magnificently evocative. Waltzes appear, distorted in an aural mirror; think of the fairground from the popular TV series Heroes and that should give some idea. It is all great fun.
Finally, “Leisure Pursuits,” split into two “shows.” First up is “The Entertainment and Leisure Pursuits Show,” complete with adverts. This is the slow side of radio, with a twist. The implication, from the phone-in on the second show, “The Nightshow” (“We’re going to transfigure the night,” says the announcer), is that the show is piped into everyone’s home whether they want it or not (track 24), and can’t be turned off. The adverts for a sleeping pill (from “Soma Pharmaceuticals”) imply that to be the only escape. Heard on their own, the last two discs might be shrugged off as clever, but so what? Heard in the context of the preceding three discs of Babel , they take on a whole new level of meaning as part of a story, part of an impeccably imagined alternative world experience. Fascinating, and well worth the time required to properly immerse oneself in the weird and wonderful contents of Roger Doyle’s head." [Colin Clarke]
|
2013 |
€35.00 |
|
| DREAM WEAPON RITUAL |
The Uncanny little Sparrows |
CD |
"Formed in November 2006, Dream Weapon Ritual is the duo of Simon Balestrazzi and Monica Serra. They play free-form music that draws equally from droning electronica soundscapes and imaginary folk visions.
Simon Balestrazzi is an electronic/electroacoustic composer and sound artist active since the 80's. He released many albums and performed live around Europe under various names.
Monica Serra is a talented actress whose artistic research led to double as vocalist since 1999. Both are members of the long-lived Italian cult band T.A.C. (Tomografia Assiale Computerizzata).
Togheter as Dream Weapon Ritual they released their music through Radical Matters, Old Europa Cafe and Magick With Tears.
All music by Dream Weapon Ritual
Mastered by James Plotkin
Masks by Gabriela Mulas
Photos by Franco Casu
Artwork by Daniele Serra"
"Gut drei Jahre nach „Ebb and Flow“ lassen die beiden Multiinstrumentalisten Simon Balestrazzi und Monica Serra zum fünften Mal von sich hören und erzählen mit allerhand schrägen Ideen im Gepäck die Geschichte einer Gruppe von unheimlichen kleinen Spatzen – das klingt auf den ersten Blick vielleicht nach Ironie und Spielerei, v.a. wenn man von dem hierzulande üblichen Image dieser nicht gerade gruseligen Vogelart ausgeht. Doch „The Uncanny Little Sparrows“ lädt nicht gerade zu letztgültigen Interpretationen seines Inhalts ein, und das ist auch gut so.
Bei dem langsam an- und abschwellenden Drone, das an elektrisch aufgeladene Harmoniumklänge erinnert, den trunkenen Echolalien undeutbarer Stimmen, dem Rasseln und Scheppern und den seltsamen Bläserklängen des eröffnenden „Bird Mother“ zeigt sich schnell, dass die beiden sich in grundlegender Hinsicht treu geblieben sind, denn ihre „Freeform-Musik“, die ebenso von dröhnender Elektronik wie von folkigen Spuren durchdrungen ist, bewegt sich in den bekannten Bahnen, die quer durch moderne und primordiale Gefilde führen. In diesem Rahmen kommt es aber zu einigen Verschiebungen, denn auf den neuen Stücken scheint die Musik noch um einiges unregelmäßiger und unruhiger als auf den Aufnahmen zuvor. Kratzige Spielereien, eventuell erzeugt mit dem von Massimo Olla entworfenen [d]Ronin, allerhand Gereusel und geheimnissvolle Perkussion rufen Balestrazzis Projekte Hidden Reverse und A Sphere of Simple Green in Erinnerung, bei der Mischung aus untergründigem Brummen und falsettigen Hochtönereien denkt man vielleicht an so unterschiedliche Musiker wie Ka Baird oder die viel zu wenig beachteten Mailänder Sothiak – Vergleiche, mit denen nur eine vage Richtung angedeutet sein soll.
Deutlich erkennbare Vogelstimmen treten erstmals in dem kurzen, in einem seltsam schleppenden Rhythmus hinkenden „Mating Call“ auf den Plan, wo sie sich sanft und verhuscht in mysteriöse Rückwärtspassagen einweben. In dem folgenden Track, der von „zwei kleinen Spatzen, die auf einem Zweig sitzen und auf die Erleuchtung warten,“ kündet, erinnern sie eher an übermütige Spechte. Weiter geht es durch noisige Gefilde, in denen man nicht mit dem Klang orientalischer Flöten gerechnet hätte, hin zu einer Urwald-Kulisse, in der ekstatische Perkussion und tremolierende Stimmen wie das Echo eines schamanischen Rituals wirken. „The One with the Iron Beak“ ist das letzte Stück betitelt, und wieder beschleicht einen der Verdacht, dass all die tiefschürfenden rituellen Elemente, die ebenso wie rhythmische und melodische Pop-Ansätze um jede zweite Ecke lugen, zwar auch, aber nicht nur mit erhabenem Ernst eingebracht werden.
Das Album erschien jüngst bei Boring Machines als LP mit achtseitigem Booklet und ist darüber hinaus natürlich in den üblichen digitalen Formaten zu ergattern." (U.S./African Paper]
|
2018 |
€16.50 |
|
| DRUMM, KEVIN & DANIEL MENCHE |
Gauntlet |
CD |
"Gitarre, Orgel, Fuzz Boxes und die Liebe zu Noise, Noise, Noise. Ein großes Dröhnen und mittendrin ein Gitarrenloop oder pumpender Puls. Konsonanz, die im Obertonbereich verklumpt zu einem Hornissen- oder schwirrenden Heuschreckenschwarm, groß genug, um den Himmel zu verdunkeln. Zu einem Geläut, das alles erbeben lässt. Die Hornissen schwellen an zu Bombern, des Schwirren zu Hubschrauberrotoren, die Gitarren entzündet sich selbst in Hendrix‘scher Pyromanie. Ich liege längst wimmernd auf den Knien, als noch nicht einmal die Hälfte dieses Spießrutenlaufes vorüber ist. Zwei sarkastische Ritter spielen mit eisernen Fingern Metal Machine Music. Nach 21 Min. wird das Dröhnen heller, sirrender, die Rotoren schrappen aber weiter und gegen Ende zu immer schneller. Den Schlusspunkt dieser Herausforderung für die Höre-mit- Schmerzen-Fraktion setzen grobe Störimpulse." [Bad Alchemy]
"Kevin Drumm (guitar and noise) and Daniel Menche (organ and noise) recorded Fall of 2006 in Chicago at Uggae's Porta-toilet studio. Mixed and mastered at Stereophonic Mastering in Portland, Oregon. One organ, one guitar, several fuzz boxes and two highly regarded purveyors of american extreme sonics are the savuory ingredients that created Gauntlet. Building on Menche's aural low end physicality and Drumm's exacting attention to high frequency detail - the aptly titled 'Gauntlet' is sizzling, scorching slab of essential audio. Heavy in iron and protein. A lean cut indeed, no fat included." [label info]
www.editionsmego.com
|
2007 |
€12.50 |
|
| DUAL |
Klanik |
7inch |
Nahezu weiss in weiss ist die dezente Gestaltung für die Klanik / 4tH-EP.... DUAL gehören für uns definitiv zu einer der besten wirklich experimentellen "ambient-guitar“-Bands ...Wiederveröffentlichung der EP von 1999!
"DUAL hail from Doncaster, now based in London, England and have so far released two cassettes and a 7" on Dirter Promotions. Their music is a mixture of mighty guitar-drones with massive sub bass undertones & slight rhythmic structures that evoke feelings of total transcendence and grandeur. On Side A (KLANIK) there seem to be cascades of tuneful layered guitars that speak a special language of their own, on Side B (4tH) more concrete elements (rumbling and squealing) and unpleasent feedback arising, added by strange backwards sounds creating a rather eerie and challenging feel to it. This is highly demanding incremental experimental guitar-music with a very individual style!” [original label info August 1999]
|
2005 |
€6.00 |
|
| DUENN |
On Layer |
CD |
Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. With "On Layer" he brings us 5 fragile dreamscapes reminding of the late, great Oophoi, which says a lot about the impact of the music...
Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum of equipment. Through collaborations with other artists, both sonic and visual, Duenn seeks an expansion of self. In 2017, Duenn formed the experimental collaborative unit 3RENSA with Merzbow and Nyantora. Duenn co-hosted the ambient event "Hardcore Ambience" with Nyantora.
Duenn's works have been published by Entr'acte (UK), SicSic Tapes (DE), New Motion (COL), OnmyÅdÅ Cassette (US), Grumpy Records (UK), Slowdown Records(JP), Progressive Form (JP), White Paddy Mountain (JP).
duennjp.tumblr.com
https://soundcloud.com/silentes-13
"The latest from Japanese electronic sound artist Duenn is Pattern. This recording is laid out in two parts, or two lengthy ambient ‘patterns’. The sonic soundscape drifts, or rather it glides along extremely fluidly. Any slight ripple is noticeable in this rather minimal composition of secluded harmony.
About five minutes in most listeners will dip slowly into a quasi consciousness. The light layers, many of them, overlap just slightly, all quite transparent, but in succession create a haze induced by a low-slung reverb and a glaze of light static. Though a cloudy density is certainly well built, the impossibility of gravitational disconnect is presented. These resonances seem incurably weightless. I’m reminded of countless documentaries of rockets zooming toward outer space, as the atmospheric layers are pierced, parts of the ship are discarded to make way for the central navigation pod, think Apollo 9 and its more glorious successors. Consider space as a whole, and altitude, and the complexity of being untethered to Mother Earth. It’s daunting, and somehow as soothing as any sleep concert I’ve ever attended.
On the flipside Pattern [part II] opens in darkness, but quickly opens with split warm and chill tonalities. We are now on a journey it seems, and the synths here are aligned with smoothly brushed lines making for quite a meditative piece. The inflections developed are more ranging in the second part, rising to a brighter hue that seems to continue expanding with each gentle modulation. If sound were nature, this would be a waterfall upon a high mountain peak." [Toneshift] |
2019 |
€13.00 |
|
| DUNCAN, JOHN & C.M. VON HAUSSWOLFF |
Our Telluric Conversation |
CD |
„John Duncan und Carl Michael von Hausswolff sind bestens bekannt für ihre Erkundungen auf dem Gebiet der minimalen Klangbereitung. Schon für sich allein vermeiden beide den Überfluss und das Geplapper. Zusammen nun sind sie der reduzierten Form noch ein großes Stück näher gekommen. Ihre zweite Kollaboration beweist den brillianten Umgang mit hohen und tiefen Klangfrequenzen und Geräuschelementen, die sie dem Kurzwellenempfang, Oszillatoren und mikrofonbestückten Drähten entlocken. Auf dieser CD sind drei entsprechende, langförmig gestrickte Dronekonstruktionen zu hören. Auf spürbar tiefem Grundraunen werden Geschichten geflüstert. Ströme unterschiedlicher Qualitäten, zwischen weissem Rauschen und scharf peitschenden bis hoch tönenden Wellen oszillierend, spielen zusammen, überlagern sich und sind doch fein abgesetzt voneinander. Während man damit beschäftigt ist, verirrte Digitalsplitter abzuwehren, drückt der Stereoeffekt einen, alle Materie unmerklich deformierenden, schleppenden Brei aus dicker Watte in den Raum. Diese Form der Meditation ähnelt dem ersticktem Schreien. Doch kann man in den Minuten, in denen man subtil auf Herz und Nieren geprüft wird, wunderbar im 40seiten Booklet nachblättern, warum Unterhaltung auch Schmerz bedeuten kann. Eine gummiartige Ummantelung, der ein Titel in Brailleschrift eingeprägt wurde, hält Booklet und CD zusammen.
_Duncan and Hausswolff are wellknown for their explorations in the fields of minimal sound settings. Both names are standing for an almost minimal musical gesture.Together they have found their way to reduce it yet again. Their second collaboration shows a brilliant handling of deep and high frequencies and noise elements from shortwave, data streams, oscillators and wire tapping microphones. Three pieces of long-form drone constructions are assembled on that CD. Deep background noises, controlled white noise and streams of sharp high tone waves are growing slowly up from the nowhere. A hypnotical continuum of sound forces the listeners full attention, nudging him into airless space through sudden breaks in it. There is also a quiet interesting 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies, explaining also their accurate purity. It is a very good completion to a music which is composed from the point of psychology research and visual art. All together in a card board embossed with braille and covered with a rubbery coating.” [Peter Schlewinski for Drone Records]
”23five Incorporated proudly presents Our Telluric Conversation -- the second collaborative album from John Duncan and Carl Michael von Hausswolff. This is an album which Duncan describes as having been galvanized by magnetism. In a semantic sleight of hand, Duncan and Hausswolff reveal magnetism through a duality of meanings. One on hand, they speak of the physical phenomenon of charged objects that exert an attraction or repulsion upon other objects; yet on the other, magnetism can be defined the psychological influence wielded by charismatic individuals. Our Telluric Conversation maps out the complexities that emerged through the collaborative pursuits of these venerated sound artists.
The tools that the two employed for Our Telluric Conversation are common to their respective catalogues of recordings, with Duncan bringing his shortwave, data streams, and uncanny use of the human voice while Hausswolff employed oscillators, sonar, and wire tapping microphones. The album opens with the mechanical rotation of modulated sonar, providing a hypnotic pulse which slowly submits to an obstinate surge of rumbling noise, that in turn collapses into focused white-noise turbulence and tone-bent SSB transmissions. All of this abruptly detours with a protracted spoken narrative from Hausswolff who whispers a Pynchonesque text about a maggot-infested individual who seeks to remedy his affliction by communing with cobras and geckoes. Afterwards, Duncan and Hausswolff entertain the seduction of the long-form drone constructions; however, their sublime minimalism is so brilliant in its beauty as to be piercingly acute through the purity of honed sinewaves. The final entry from their Conversation is the perfect marriage of the established Duncan and Hausswolff aesthetics, with a spare low-frequency hum deadening the sonic architecture before a static charge of crackled ether supplements the auditory smoldering.
Our Telluric Conversation stands as a bold, expressive piece of sound art, confident in its multiplicity of perspectives caught in a constant flux of attraction and repulsion. The recording comes with a 40 page booklet with an interview between Duncan and Hausswolff about their histories, ideas, and methodologies; furthermore, the packaging is completed by a curiously tactile O-card, which has been embossed with braille and covered with a rubbery coating.....” [press release]
|
2006 |
€14.00 |
|
| |
Stun Shelter |
CD/BOOK |
Ähnlich wie “Keening Towers” eine edle Dokumentation einer Ausstellung/ Installation von DUNCAN... hier verbinden sich die Sounds seiner japanischen Porno-Filme mit von VON HAUSSWOLFF erzeugten wallenden Frequenzen zu einer unwirklichen Melange.. dazu ein 50 Seiten-Katalog mit Bildern und Texten..
"50-pages catalogue with full color photos and audio CD in DVD plastic cover. Audio and still images from the Stun Shelter installation at Galleria Nicola Fornello, Prato. Created and composed by John Duncan & Carl Michael von Hausswolff. Installation recording by Carl Michael von Hausswolff. Mastered at Scrutto by John Duncan. Catalogue text by Daniela Cascella. From the text of the catalogue : 'John Duncan's See is a video installation made up of four separate and simultaneous projections of sequences taken from the John See Series, a series of adult movies he directed (...). In those moments in which the sound is softer, a voice emerges, whispering Japanese phrases until it is drowned once again by the wave of louder sounds. Carl Michael von Hausswolff's Thinner & Low Frequency Bar
Glue & High Frequency Lounge consists of two bars made of steel and glass on which lie bottles and cans containing (...) glue and thinner. On the bar two oscillators produce frequencies varying in intensity, whose sound penetrates the ears altering normal perception levels. Both works fill the space perfectly, one by means of strong images (See), the other through the substances shown. Attention level is at its maximum in attempts to grasp the Japanese whispering (See) and the ghost-sounds of the oscillators (Thinner Bar...), defying the threshold of audibility as they act on the unconscious." [Daniela Cascella]
|
2003 |
€26.00 |
|
| DUNCAN, JOHN & D. CABRERA |
Infrasound-Tidal |
CD |
JOHN DUNCAN versucht wieder das UNHÖRBARE hörbar zu machen und bearbeitet Rohaufnahmen von Gezeiten, Luftdruck- und Erdbebenmessungen, wobei er z.B. 300 Jahre australische Tidenfrequenzmessungen von 60 Häfen so verdichtet, daß 1 Jahr genau eine Sekunde Sound ergibt. Morphologischer Ambient-Noise !
“ In 1998, Densil Cabrera made several infrasound recordings he'd made and collected: barometric measurements, seismic data, tidal readings from various points on the coasts of Australia. INFRASOUND - TIDAL focuses on these sources, transforming them from dry research material into a rich and unique listening experience.” [Allquestions]
|
2003 |
€15.00 |
|
| DUNCAN, JOHN & PAOLO PARISI |
Conservatory (San Sebastiano) |
BOOK & CD |
Ein weiterer Ausstellungs-/Installationskatalog mit Audio-CD von JOHN DUNCAN, diesmal in Zusammenarbeit mit PAOLO PARISI. Alle Klänge basieren auf “human voice only”...
"Full color 64 pp. paperbound catalogue with installation audio CD mounted in separate cover, both inserted in paper box.
Catalogue : Texts (English/Italiano) by Daniela Cascella, Pietro Gaglianò, Giovanni Iovane, & Sergio Risaliti.
Audio CD : John Duncan : shortwave, processing.
Catalogue and CD cover produced by Maschietto Editore. CD produced by Allquestions." [label notes]
„The work of John Duncan should need no introduction, as he has long been one of Aquarius' favorite sound artists; however, Paolo Parisi is something of a mystery to us. An Italian sculptor, painter, and installation artist, Parisi commissioned Duncan to compose a sound component for one of Parisi's installation. The themes behind Parisi's installation for plastic tubes and eviscerated cardboard sentry houses are far too convoluted to recount within this review; but in a shocking display of Aquarian restraint, we'll merely mention that the Panopticon, Hitchcock, Deleuze, and Duchamp all get name checked throughout the book's text celebrating Parisi's installation. The CD is all Duncan; and it's well worth the price of admission. Duncan has long been known for his use of shortwave radio sounds as the springboard for his psychologically intense compositions; but slowly, he has been introducing the human voice into his pantheon of sound sources. For Conservatory, voice is the only source he is using, in particular he's amplifying and stretching the gasps, wheezes, and hisses that occur during the act of breathing. Through his manipulation of these sounds, Duncan cultivates a vast network of gaping blasts of air that collectively build into a ghastly, frigid drone emanating from a unscrupulous cryrogenics laboratory. Another epochal release from Mr. Duncan!“ [Aquarius Records]
|
2006 |
€35.00 |
|
| DUNCAN, JOHN / KONTAKT DER JÜNGLINGE / C.M.VON HAUSSWOLFF |
Untitled |
CD |
Übriggebliebene Kopien einer CD die anlässlich eines DIE STADT-Konzertabends in Brüssel (18.10.2007) veröffentlicht worden ist: Ein langes live-Stück von JOHN DUNCAN (San Francisco July 2007) -> wieder spürt man man hier die rohe & archaische Kraft von reinem Klang und die grossen Dynamikeffekte von eingesetzer "fliessender" Stille (24+ Minuten). Überraschenderweise dann ein älterer live-Mitschnitt von KONTAKT DER JÜNGLINGE, und zwar vom Mai 2003 aus Montreal, der sie sehr rauh und ausserweltlich dronig zeigt, auf verschiedenen Klangleveln (gefällt uns natürlich ausgezeichnet).
Bei CM VON HAUSSWOLFF geht es wie gewöhnlich noch 'ne Ecke verschrobener zu, wenn beim "All Tomorrows Parties"-Festival (?) rhythmisch wiederkehrende Quietsch- oder Sinustöne zu vernehmen sind.... diese CD funktioniert sowohl als rares Bonus-Material für die Fans, aber ist auch für Drone-Novizen geeignet, die sich in die Materie hineinzoomen wollen.
"To be on Die Stadt as an artist seems to me a great thing. Besides great looking releases, they organize events for you, and for such an occasion they usually release a CD or a 7", which can be bought on the night, but there is always a left-over for the unlucky who didn't make it. Last month there was an event in Brussels with three stable mates: John Duncan, CM von Hauswolff and Kontakt Der Junglinge. Perhaps Die Stadt asks too much of their artists, and none did a new studio recording, but you could also think it's interesting to capture a live track by them. So three live tracks here. Duncan's piece was recorded at the Compound, earlier this year, and although it's a while since I last heard studio recording by John Duncan, it sounds like a trademark piece for him: micro tones, composed from heavily processed shortwave sounds, make up a fine piece shifting from intense loudness to careful and delicate. Very nice. Kontakt Der Jünglinge, being Asmus Tietchens and Thomas Köner, present a recording from 2003, at the Mutek festival. They too present a characteristic piece for them with computer processing of acoustic sounds. Loads of dark rumble and high pitched processed sounds. Hauswolff's piece seems to be made with bird sounds, looped around and with a crescendo of noise coming in and more insect like sounds. Nice but not his best. Three good introductions of three great artists (well, four), in case you ever would need that." [FdW / Vital Weekly]
www.diestadtmusik.de
|
2007 |
€13.00 |
|
| DURAND, WERNER |
Remnants from Paradise |
CD |
Drei sehr schöne "organic drones" vom Berliner WERNER DURAND, alle basierend auf effektierten Blasinstrumenten. Sehr minimal, eher ätherisch-fein gesponnen als symphonisch, für die Schaffung einer kontemplativen Atmosphäre aber auch zum Detail-hören sehr gut geeignet. Tip !
"The name Werner Durand might not be very well-known, which is a great pity. His claim to fame has nothing to do with his real music: he played flute on Muslimgauze' 'Mort Aux Vaches' release. But Durand's background is with improvisation and wind instruments. As far as I can remember there is only solo release by him, 'The Art Of Buzzing' on X-TRact/Edition RZ (see Vital Weekly 305), where he plays PVC pipes with saxophone mouthpieces or flower pots and tin foil plates as resonators. His great power lies in multi-tracking his playing, obscuring the original sounds through very simple means of layering many on top of each other. After all these years it's still his favorite method of composing music. The cover lists the instruments such as bamboo and metal mouthharps, tanpura, sliding pvc-ney and sliding pvc clarinets with prepared resonators, electronics and delays. The end result is a highly minimalist pattern which he gently waves together, going to small changes all the time, thus avoiding leaping into pure minimal music. One could say that this is drone music, but like before I like to draw a parallel to the work of Phill Niblock, even when Durand's music is a bit more clouded and less detailed. Overall however it's a highly atmospheric set of sounds Durand is playing here. Hopefully more music will be made available and not in another seven years, as this is really nice stuff." [FdW / Vital Weekly] |
2008 |
€12.00 |
|
| DURAND, WERNER & ALIO DIE |
Aqua Planing |
CD |
„Aqua Planing“ ist eine begeisternde Veröffentlichung, bei der ALIO DIE sein Klangspektrum beeindruckend erweitert und keine elektronischen Klangquellen oder Synths benutzt! Kern dieser ungewöhnlichen Zusammenarbeit sind die improvisierten Drones von WERNER DURAND: Dieser steuert hier Klänge von diversen handgespielten (ethnischen), z.T. selbstgebauten Blasinstrumenten bei (NEY, KHEN, SHAKUHACHI, Klarinette, ein „Drone-Rohr“), die er sehr flächig einsetzt, während ALIO DIE v.a. field recordings dazusteuert. Fünf Stücke von sehr natürlicher Atmosphäre, energetisch & dynamisch..
“In the enigmatic Aqua Planing, Werner Durand and Alio Die create a sonorous, powerful, impervious space; sometimes liquid, subtly endearing. A meeting of mysterious sounds, both improvised and organised, of the traditional and self-made wind-instruments and their hybrids by Werner Durand (persian and circular water ney, circular clarinet, khen, prepared shakuhachi) with the editing, loops and enviromental recordings by Alio Die. As in the title track, where they recorded the sound of the wind blowing on the edge of a PVC tube sticking out of the car window, while driving on an italian highway and mixed it with the sound of the ocean, filtered acoustically by the very same PVC tube, or the noise of a night train, the church bells in a mountain village, the musicians cause you to loose tracks of home and move towards purely surreal places. Their performance is always rigorous, the accurate tunings accuracy and special timbres of Werner Durand`s playing settled in the peculiar atmospheres created by Alio Die evoke unique interwoven listening spaces, rich with hues and shades, continuously evolving.” [label press release]
|
2005 |
€14.00 |
|
| DURAND, WERNER & AMELIA CUNI & ULI HOHMANN |
Clearing |
LP |
"In addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music. In this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording. With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of. When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds."
|
2023 |
€24.00 |
|
| DÄLEK {DALEK] |
Respect to the Authors |
12inch |
180g schwarzes Vinyl, Std. Sleeve mit Glanzlaminat. In jeder Hinsicht sind Dälek ein musikalisches Extrem. Als Kollektiv nutzen sie die Collagen-Ästhetik der frühen Bomb Squad Produktionen und versetzen ihren HipHop mit Elementen von Faust, My Bloody Valentine und Velvet Underground. Betrachtet man die Texte verwendet Dälek als MC Ideen und Gedanken, die jenseits gängiger HipHop-Issues liegen. Sowohl Dälek's Musik als auch seine Lyrics bilden eine ganz besondere Komposition und ergänzen sich zu einem großen Ganzen. Und obwohl dieser Act die wohl größte Herausforderung in der Geschichte der experimentalen Musik angenommen hat, geht es hier nicht um elitäre Standortbestimmungen sondern geerdete Synapsenmassage. Dälek bleiben sich selbst treu und präsentieren HipHop als eine progressive Form von Kunst und nicht Kommerz. Es ist heutzutage einfach, eine Band mit den großen Künstlern der Vergangenheit zu vergleichen, aber wenige sind es, die Einflüsse aus der Popgeschichte aufsaugen und die Summe dieser zu einem Größeren machen als die Einzelteile. Exile On Mainstream verbindet eine tiefe Freundschaft mit Dälek seit nunmehr 17 Jahren und wir sind stolz und glücklich wie bekloppt, diese EP zu präsentieren. Sie erscheint strengstens limtiert ausschließlich auf Vinyl.
Dubbed as ‘alt hip-hop’ by their iconic label Ipecac Records we can’t agree more to the implication of this honorific as the New Jersey tone evangelists are indeed an alternative, if not thee alternative: being Hip Hop for those who don’t pigeon-hole themselves as typical Hip Hop diehards, attracting those who keep listening outside the box. Subversive. Paradigm-changing. Mindblowing.
Dälek do not have a message, they are the message: with focusing both on tone and content while staying true to the roots of HipHop but bringing in the love for monolithic sound arrangements as well as dream-like haze of sheer volume they combine both the powers of sound and words solely and undisputable. For us at Exile On Mainstream it’s nothing less than a long dream coming true to release a strictly limited, one-off vinyl-only EP called “Respect To The Authors” in time for the EU tour in March/ April 2019. The EP features 6 tracks and 30 mins of playing time.
Exile On Mainstream has been friends with Dälek for well over 17 years and the release marks bringing together likeminded efforts to full circle.
|
2019 |
€17.50 |
|
| EARTH |
Pentastar: In the style of demons |
CD |
Die vierte EARTH CD von 1996, wo es neben „klassisch“ metal/rockig instrumentierten slow-drone Stücken auch sehr feine ambience-tracks gibt (wie das wunderbare „Crooked Axis for String Quartet“), die ihre sensibel-harmonische Seite zeigen.... eine ungewöhnliche Mischung to say the least.
“Dylan Carlson and Dave Harwell use drums and Vocals on the fourth release. Some people think this is ambient metal, grindcore refusniks, classic minimalists, or industrialists making soundscapes. A little bit of all of that is true. Dylan says the music is built around the riffs, and claims 70s riff rock as an influence, but it is run through the Earth machine, and the riffs are slowed down to a molasses in winter pace, but not down to a hibernation Grief pace. "High Command" "Peace In Mississippi" and "Coda Maestoso In F(flat) Minor" are my faves here but they are all good. Great, stretched out guitar, motionless in space, contemplating the nature of emotional disorders, rock music.” [Hairy Kari, KFJC]
|
1996 |
€15.00 |
|
| |
The Bees made Honey in the Lion's Skull |
CD |
"... und die „bees" ist dann so etwas wie die positive „hex": die kräfte sind gesammelt und fast mit einem fingerschnippen rollen die riffs (in typischer earth-manier, zweifellos, aber sie rollen und verharren eben nicht in ihrer eigenen statik wie zuvor). wie ein soundtrack zu einem extrem verlangsamten cruisen. dazu die in einzelfällen uplifting melodieführung... da könnten einzelne freunde der erde schon dran zu knacken haben... in ihrer mischung aus hypnotisch (die wiederholungen) und dem neu entdeckten drehmoment (der innere, ja, swing) plus dem offenen sound und der harmonik aber einfach ein sexy gesamtpaket." [N, Unruhr.de]
"...After refaceting some old gems for greater illumination on "Hibernaculum". The band returns once again to it's continuing evolution. Where "Hex" reveled in dark satanic twang and austere american beauty, "The Bees Made Honey In The Lion's Skull" finds Dylan Carlson and the band growing into a harder, more rock, american Gospel and improvisitory direction framed by truly psychedelic production and blazing guitar sounds. Earth shows it's affinity with a nod to the best elements of the more adventurous San Francisco bands of the late 60's and 70's, and the more spiritually aware and exciting forms of Jazz-Rock from the same era. This is no nostalgia trip but a thoroughly inspired and original metamorphosis. Earth is also very honored to be joined on this record for three songs by legendary and virtuoso guitarist BILL FRISELL (doing some of his most fuzzed out playing in years!) . Bill Frisell adds a brilliant texture and counterpoint to the scintillating and inspired riffs of Dylan Carlson and the band. Adrienne Davies joins again on drums lending a classic and steady feel to the proceedings. Steve Moore also returns adding heavy hammond organ and his intense jazz inspired piano playing. Live Bassist Don McGreevy also makes his full length Earth debut on this record. Earth will begin touring throughout the world when the album is released, Australia, Europe and a full US campaign and on from there. The new songs are equally compellinglive where EARTH takes the vehicles and expand and explore them for further musical and meditative exploration..." [from the label notes]
www.southernlord.com
|
2008 |
€15.50 |
|
| EASTLEY, MAX |
Installation Recordings (1973-2008) |
do-CD |
"This 2CD is essentially a retrospective of Eastley’s installation work. As such, it updates and adds many new examples to the 1975 release “New and Rediscovered Musical Instruments”, which was released as a split LP with David Toop on Brian Eno’s Obscure Records.
This is Eastley’s first solo CD. Of the 35 tracks, only the last 2 have any guests or ‘playing’ (the most virtuosic moment being George Lewis playing a grass blade). All the other pieces are either powered by the natural forces of wind and water, or else are motor driven gallery installations.
The ethereal sounds of the aoelian harp, the haunting aeolian flutes, and the violent tension of his aerophone installations are hallmark Eastley sounds. These sounds, and many others, sit amidst a wide range of acoustic settings, from windy hill tops to quiet brooks, residential street scenes to coastal shores. The indoor recordings are no less varied, ranging across a rich variety of acoustics and gallery spaces from tiny micro sounds to large scale amplification. Wood, metal and stone are brought to life with electricity. Although there are many photos in the 20 page booklet, much is left to the imagination to work out how the sounds are made. With this limited access to the visual, the focus is pulled towards the musicality of the sounds themselves. This musicality is reinforced by the slow crossfades of most of the pieces from indoors to outdoors to form a series of suites.
The recordings mostly date from the mid 70s, but there are pieces from later decades. Nearly everything was recorded either to Revox or Uher and occasionally cassette, using what microphones were available at the time. Recent recordings are digital. The varying quality of the recording set-ups across this 2CD adds yet another dimension to the shifting sound fabric of this anthology." [label info]
www.stalk.net/paradigm
"Max Eastley begann 1972 damit Skulpturen mit Klang zu verbinden, indem er Bewegung und Materialien seiner Skulpturen mit den Grundprinzipien des Instrumentenbaus verband. Dies führt für die vorliegende Retrospektive, die Aufnahmen aus den Jahren 1973 – 2008 auf 2 CDs enthält, notwendig dazu, dass nur Klang dokumentiert wird, doch die ihn erzeugenden Installationen trotz der zahlreichen Fotos nicht adäquat abgebildet werden können. Immerhin kann man auf ihnen die verschiedenen
Instrumente zumindest sehen. Die Aerophone sind teilweise sehr schlanke Kreuze, deren Arme im rechten Winkel außen mit Saiten verbunden sind, die im Wind schwingen, und erinnern beinahe an Antennen, in deren Zentrum noch ein Stück bunter Stoff geknotet wurde. Auch an den schmalen dünnen aufrechten Kästen der Aeolian Flutes finden sich diese bunten Bänder wieder, so dass sie an abstrakte Figuren erinnern, deren Schals im Winde wehen. An den Hydrophonen fällt ihre Schlichtheit auf, wie sie als verschieden lange dünne Rohre aus dem sie antreibenden Wasser ragen. Klanglich erinnern die Skulpturen überwiegend an vom Wind betriebene Klangspiele und – meist archaische – Drones sowie verfremdete Tierstimmen und seltener an präparierte Saiteninstrumente. Da bei den Innenraum-Installationen die natürlichen Kräfte fehlen, um sie erklingen zu lassen, wurde auf mechanische Antriebe zurückgegriffen, die jedoch die unregelmäßigen Strukturen natürlicher Ereignisse nachahmen sollen. Nichts desto trotz erinnern einige ihrer Aufnahmen eher an Loops als an Klangereignisse, denen jedes Muster fehlt. Für diese Retrospektive wurden alle Aufnahmen auf „radiotaugliche“ Ausschnitte von oft nur zwei bis fünf Minuten gekürzt. Doch da die kinetischen Installationen keinen kompositorischen Aufbau haben, der einen bestimmten Anfang und Ende „erfordert“, lassen die als einzelne Tracks dokumentierten Ausschnitte fragen, ob eine einzelne Installation auf einer eigenen – dann wohl leider weitgehend unverkäuflichen – CD nicht besser repräsentiert worden wäre, da dies dem fortdauernden Klang einer Installation angemessener wäre. Ohnehin sind die Mehrzahl der Aufnahmen durch Ein- und Ausfaden zu collagenartigen kleinen Suiten arrangiert, was dem Material eine dem bloßen Hören angemessene neue Form gibt. Da die Ebene eines Dokuments, das den für Eastley gleichberechtigten visuellen Teil ausspart, verlassen wird und etwas Neues entsteht. Damit wird ebenfalls deutlich, dass auch eine kinetische Kunst letztlich das Werk eines – oder mehrer – Künstler ist und damit einen sozialen Charakter hat. Leider findet sich dazu nichts in dem 20seitigen Beiheft, das keine konzeptionellen Überlegungen enthält. Mit dieser Eastley-Retrospektive macht Paradigm Disc einmal mehr Musik zugänglich, die sonst kaum auf Tonträgern zu bekommen ist. Denn nach der 1975 auf Brian Enos Obscure Records Label erschienen Split-LP New And Rediscovered Musical Instruments mit David Toop, ist diese Doppel-CD erst die zweite Veröffentlichung, die Eastleys Klanginstallationen dokumentiert. Wer sich für Musik jenseits chromatischer Tonleitern, in der Zufall eine zentrale Rolle spielt, interessiert,
dem ist diese Doppel-CD sehr zu empfehlen."
[Ingo Techmeier / Bad Alchemy]
|
2010 |
€20.00 |
|
| EBSK |
Secret Highways |
mCD-R |
“EBSK are an improvising duo from Washington DC, with a new release, "Secret Highways/Wobbly" (Scarcelight SLR15), a very goddam original take on contempo basement prog (or some such thing). The instrumentation is Casios, drums, bass guitar, and B flat clarinet. If this suggests some kind of Milo Fine or Flaherty/Colbourne action, the direction that they head in is pretty original. Without the help of beats, they manage to create a newish sounding electronic environment, inside of which events happen which eventually coalesce into something that walks, looks and quacks a whole lot like rock. The crudity of the electronics and the sparseness of certain elements brings to mind such small units as Young Marble Giants or even The Method Actors, but the sounds are of such aesthetics placed inside a strange post-Rock In Opposition Prog continuum, then manhandled by picnic apes. Which is pretty cool, no matter how hard you shake it.” [Byron Coley. The Wire]
|
2003 |
€5.00 |
|
| EBTEKAR, ATA & THE IRANIAN ORCHESTRA FOR NEW MUSIC |
performing works of Alireza Mashayekhi: Ornamentalism |
CD |
"An Organic Electrocution: perfect follow-up to the highly acclaimed Persian Electronic Music (SR277), this new Persian Music album involves a cast of seasoned musicians performing works written by legendary Iranian composer Alireza Mashayekhi; in which Ata Ebtekar (aka Sote) was granted complete creative freedom by Mashayekhi himself to transform these compositions into fully realized pieces using his techniques of synthesis and electronic manipulation. it's an organic electrocution without sacrificing the beauty of the performance. these sound sources and compositions were metamorphosed via electronic processing, rearranged and decomposed using sound generators, effect boxes, modular synthesizers and samplers. finally, Ebtekar programs synthetic sounds and adds new electronic harmonies, melodies and soundscapes to the sonic palette of Western classical music and Persian instrumentation for a unique musical experience. Sote unites the grace and symmetry of noise and silence inside the magic circle of electronic music composition.
________________________________________
The Tehran Contemporary Music Group: cofounded in 1993 by Farimah Ghavensadri and Alireza Mashayekhi. in 1995 Mashayekhi established the Iranian Orchestra for New Music as a performing entity. the Tehran Contemporary Music Group's main goal is the presentation of new music in order to promote young composers and performers. the Group has also helped to establish the Biannual For Composing and Performing of Contemporary Music in Iran.
________________________________________
Alireza Mashayekhi: a short biography.
Alireza Mashayekhi was born in 1940 in Tehran, Iran. He is one of the pioneers of modern music in Iran. Mashayekhi's works have been performed in Iran and abroad for more than 35 years. Mashayekhi believes that contemporary composers should create music in wide range of styles. His own compositions have tended towards three
major direction: pieces that are directly inspired by Iranian music (e.g. Symphony No. 5,
Persian Suite and Shahrzad) and compositions that are not directly related to Iranian music
(e.g. Symphony No. 6, Concerto for Violin and Orchestra,Sonata for Piano) and multicultural
compositions (e.g. Symphony No. 8 and the electronic composition East-West).
'At the time of Stalin in the USSR, many pieces were composed with predetermined identities
in honor of Marxism and Leninism by the request of the governmental authorities or by the
artist's own whishes. Among these pieces those with artistic rightfulness remained and they
were honored in both East and West, but the political weight of the other ones did not succeed to help them survive.'
[Alireza Mashayekhi]
'Alireza Mashayekhi is regarded as a pioneer Iranian avant-garde composer whose ideas and
works, which have been performed in Iran and abroad for more than 35 years, have greatly
influenced the contemporary music in Iran..'
[Hooman Asadi of the University of Tehran, Iran]
________________________________________
Ata Ebtekar aka Sote: a short biography.
aka Sote is an Iranian-American electronic composer and sound artist. he was born
in Germany to Iranian parents, spent the first eleven years of his life in Iran and the next
six years in Germany. at the age of seventeen he moved to the United States and lived in
the Bay Area for fifteen years. he has spent the last few years living in Tehran and working
on several projects. one of these projects was released in 2007 as a double disc set called
'Persian Electronic Music - Yesterday and Today' (sub rosa SR277) for which he compiled early electronic music from Alireza Mashayekhi who had created these compositions forty years ago. disc two features Ebtekar's own electronic compositions to present a timeline in modern Iranian music history. Sote's compositions are sonic tales synchronously decoding and regenerating customary patterns of thought in nature; aural designs of crisis and harmony where contempo meets folklore, orchestrating an artificial saga with a variety of illuminations and analysis. he believes that music is a cultural habit of sound and anti-sound (silence). therefore, he generates music without a specific culture, which he believes to be 'The Other Sound'. He has released several cds and vinyls on Dielectric/RLR, Spundae and especially on Warp." [full label info]
www.subrosa.net
|
2009 |
€13.00 |
|
| ECKLOFF, JÜRGEN |
Angeflantschte Fugenstücke |
LP |
“Bei Wanzen Geld zurück” originally recorded 2004 for an exhibition at Sibirische Zelle (Berlin) fills the A-side of this two sided 30,48cm rotating audio-archive. A seemingly empty room with greasy walls is somehow filled by situations and more - of course with happy ending!
Side B contains six shorter pieces including the unusual trilogy Mörtel
I – IV. This is the very first trilogy that consists of four pieces instead of the usual three! A masterpiece using the most modern techniques of composition. (That's also the reason why the additional `T´ is used in the record-title...)
All the sounds used for the pieces on Side B where recorded by the author himself mainly for his forthcoming film "Girls In Dirty Aprons"
at several places. Five scenic figurines of photographic beauty and understanding of sonic nature. `Miniatures Concrètes´ a French maybe would say.... The final piece entitled “Jazz” sets another direction, Eckloff never has shown before. Not Dixieland...the other Jazz! Yes!
The not fully printed backside of the coveroffers a lot of space for notes - a new & fresh invention on the fast growing record-market that underlines once more the forward-thinking way 90%Wasser steps on since years!
Tracklist:
side one:
1. Bei Wanzen Geld zurück
side two:
2. Fettröhre
3. Mörtel I
4. Mörtel II
5. Mörtel III
6. Mörtel IV
7. Jazz
"Und gleich noch etwas Neues aus dem Hause 90%WASSER, dem Berliner Label, das uns so exzellente Platten wie die von COLUMN ONE, JÜRGEN PLOOG und die letztlich hier präsentierten KEIN ZWEITER beschert hat. Das heißt, neben eben KEIN ZWEITER wird uns gleich noch die neuste Scheibe von JÜRGEN ECKLOFF angetragen, demjenigen, der so großartig Collagen und Videos mit surrealem Inhalt schnitzelt, dem, der Alben produziert, seine Collagen ab und an ausstellt (wie z.B. in der Sibirischen Zelle, der Rumsti-Pumsti-Galerie am Treptower Park in Berlin und – wie gemunkelt wird – demnächst in Zernikow bei Berlin) und sowohl mit COLUMN ONE als auch mit dem oben genannten Label eng verbunden ist.
Auch auf dem Cover prangt eine Collage von ihm – wobei hier die einzelnen Teile wie ein Langschatten ineinandergefügt wurden. Dieser ist der eines Mannes. Und der wird von hinten wie von vorne gezeigt – mit einer Mütze auf dem Kopf, die darauf schließen lässt, dass es sich hier wohl um einen (Stahl- oder Bergwerks-) Arbeiter aus den – sagen wir – 1950er Jahren handelt.
Musikalisch, oder was die zu hörenden Geräusche betrifft, oder auch hörspielerisch, werden wir in den Großraum einer Werkshalle entführt – möglicherweise ja die des auf dem Cover zu sehenden Arbeiters.
„Bei Wanzen Geld zurück“ umfasst dann die gesamte A-Seite des Albums. Da schlürft und schmatzt zunächst jemand. Hörbar in einer eben größeren und annähernd leeren Halle. Alle Hintergrundgeräusche, einschließlich Pfeifen, hallen hier nämlich nach. Koch- oder größere Metalldeckel rollen. Das Schmatzen bleibt. Balken, wie Klanghölzer fallen in Pfützen. Das Schmatzen bleibt, scheint sich sogar hier und da mit den Wasserpfützklängen zu verbinden. Dann wird so etwas wie eine Tonne durch die Halle gerollt. Nun schmatzt es unterbrochen. Mal äußert sich das – ja was eigentlich, vielleicht Monster – brummend, mal hustend. Ein Knirschen. Die Deckel. Und wieder das Schmatzen. Im Hintergrund dann auch einzelne Töne eines Klaviers, oder etwas kleiner – eines für Kinder vielleicht. Dann wieder das Rollen. Manchmal, zum Ende hin, sind auch Töne zu hören, die an welche erinnern, die entstehen, wenn mit Wasser gefüllte Gläser, die an den oberen Kanten mit dem Finger gestrichen werden, ertönen, klingen, summen und brummen. Das geht bis zum Rückkopplungsgeräusch. Und schließlich mündet das Ganze in ein Flaschenfallgeräusch – in etwa so, als wär diejenige Person (das Monster, Wesen) da in der Halle grad damit beschäftigt, zu kegeln ...
Die A-Seite macht dem Titel des Albums alle Ehre. Denn es flieht das besagte (Monster-) Wesen der (Arbeiter-) Person durch die Halle, und zwar in Form von Geräuschen, die polyphon und mehrstimmig sind – so wie bei einer klassischen Fuge, in der ja jedes Thema nach seinem Auftauchen, zeitversetzt wiederholt wird. Weil wir es hier aber lediglich mit Fugenstücken zu tun haben, die angeflanscht wurden, die also dicht, jedoch lösbar miteinander verbunden sind, kann das Ganze wohl auch in andere Kontexte gesetzt werden. Wer weiß? ...
Auf der B-Seite sind dann „Röhrenfett“ (B1), „Mörtel I-IV“ (B2-5) und „Jazz“ (B6) zu hören. Vielleicht geht das Ganze auch in Richtung Versuchsaufbau. Vielleicht dient der Mörtel dem Errichten einer neuen Halle außerhalb der alten. Da werden – wie auf dem Bau üblich – nämlich Flaschen mit Plopp geöffnet, da wird innerhalb der Stücke gewerkelt, Lasten werden gezogen, da wird gehämmert, verräumt usw. Vielleicht richtet sich's aber auch an die Form der Musik. „Jazz“ ließe diesen Schluss zu. Denn hier wird nicht mehr mit Instrumenten, sondern mit Türknarren gearbeitet. Türen klingen da nämlich wie Blasinstrumente. Und das Hämmern und Poltern so wie ein Schlagwerk, das wie im Jazz üblich nicht unbedingt im Takt bleiben muss.
Vielleicht ist das DADA, vielleicht konstruktivistisch oder auch situationistisch. Schließlich beschäftigten sich die Situationisten neben der Malerei und der Collage auch mit Stadtplanung. Allerdings waren sie der Arbeit gänzlich abgeneigt „Arbeit? Niemals.“ Das war einer der Slogans der Zeit ... Nun, was auch immer es ist, es lohnt sich auf jeden Fall „Angeflanschte Fugenstücke“ zu hören, und zwar um sich selbst ein Bild davon zu machen, wofür es meines Wissens nach noch keinen Begriff gibt." [andrewkorsch für nonpop.de] |
2016 |
€15.00 |
|
| EINHORN, NIKOLAUS |
+++ arbeiten +++ |
LP + 7inch |
"N. Einhorn gibt es wirklich, mit Einträgen in Ubuweb und im Transpersonalen Lexikon. 1940 in Dresden geboren, praktiziert er Gestaltpsycho- und Familientherapie und angewandte Tiefenökologie.
Daneben jedoch hatte Einhorn ein Faible für Lautpoesie und Klangexperimente entwickelt, das Anfang der 70er zur Mitherausgeberschaft im S-Press Tonbandverlag führte, einem Forum für Arbeiten von etwa Raoul Hausmann, Oskar Pastior, Ernst Jandl, Ludwig Harig, Hartmut Geerken oder Bazon Brock. Der Tonbandvirus packte ihn auch selbst, mit Resultaten wie ‚Cudrefin (minuit) - Found Music No.1‘ (1973), windspielähnlichem Stabglockenbimbam, von Wind umblasen und von Wasser beplätschert; und dem bei S-Press veröffentlichten Titelstück ‚Arbeiten - ein Stück für alle‘ (ebenfalls 1973 entstanden), das drei Loops des Wortes ‚arbeiten‘, einen kommandotonhaften, einen ‚tüchtigen‘ und einen monotonen, durch die Asynchronität des Schlaufenlaufes miteinander roboterhaft ‚arbeiten‘ lässt. Der Bonustrack ‚Don‘t you may be, the essential interview‘ (1975) mit den Stimmen von John Cage & Hans G. Helms war - neben Gerhard Rühm und Franz Mon - Teil der Futura 5-LP der POESIA SONORA- Anthologie von Cramps Records gewesen. Helms ist ein Avantpionier zwischen Jazz & Poetry, Frankfurter Schule, Studio für Elektronische Musik Köln und Darmstädter Ferienkursen sowie Autor von John Cage – Gedanken eines progressiven Musikers über die beschädigte Gesellschaft. ‚Don‘t you may be‘ operiert ebenfalls mit den Repetitionen von Satzfetzen, Gelächter, Schnieflauten. Mit dem Haupteffekt Keine Lust auf Arbeit und der Nebenwirkung Mehr Lust auf Helms." [Bad Alchemy]
www.youdonthavetocallitmusic.de
"And oh: that Nikolaus Einhorn record is an interesting piece from 1973 of sound poetry. A loop like Steve Reich's 'Come Out' phasing in and out on the word 'arbeiten' (working). The other side is also from 1973 and not released before. It applies the same working method but then for chimes in the wind - or perhaps its just chimes in the wind. Get a copy while they last." [FdW/Vital Weekly]
|
2007 |
€18.50 |
|
| EINSTÜRZENDE NEUBAUTEN |
1/2 Mensch |
LP |
"Halber Mensch ('half man' in German) originally came out in 1985, at the height of the apex of punk self-immolation, pure German expressionism, and industrial theatricality. The infernal vocal chorale of the title track is about as intense as a vocal piece could ever be, without resorting to pure guttural howling. Here is it a searing repetition of an atonal plainsong, buttressed by the always unique snarl of frontman Blixa Bargeld. The repurposed metals from junkyards and constructions site which have become synonymous with Neubauten immediately appear afterwards on their anthemic single "Yu- Gung (Fuetter Mein Ego)," whose insistent rhythm works almost Gamelan- like as the principal melody to this amazing tune. It should also be pointed out that Pussy Galore, who were already heavily indebted to EN, covered this on their Sugar Shit Sharp ep! later. As a grand climax to the album, Neubauten again returns to hellish imagery through the symphony of bowed metals on "Der Tod Ist Ein Dandy," where these cacophonic scrapes amass into a dramatic arc of acoustic noise that easily parallels those same constructions that David Jackman built in Organum.
This is one of those seminal records that should always be in print, and one of those records that you should already have. But if not, you shouldn't pass this up!" [Aquarius Records]
www.neubauten.org |
2002 |
€22.00 |
|
|
Elektrokohle (von wegen) |
DVD |
" Doku über das erste Konzert der Einstürzenden Neubauten in Ostberlin: Der 21. Dezember 1989 in Berlin: Eine Stadt im Umbruch. Die Einstürzenden Neubauten sollen ihr erstes Konzert im Osten der noch geteilten Stadt geben. Vorbei an Grenzkontrollen und durch die Mauer, deren Abriss nur noch eine Frage der Zeit zu sein scheint. Im Wilhelm-Pieck-Saal des VEB Elektrokohle trifft schließlich nicht nur ein westdeutscher Kulturexport auf eine Industriestätte der DDR, nicht nur künstlerische Avantgarde auf ein Symbol der Arbeit. Die Band sieht sich einem besonderen Publikum gegenüber, das trotz Grenzöffnung nicht die Flucht, sondern die Konzertkarte ergriffen hat. - Uli M. Schueppel wurde Zeuge eines historischen Moments. Er zeichnet die Wege der damaligen Konzertbesucher zum VEB Elektrokohle nach, die in jener Dezembernacht in ein kulturelles Zwischenreich führten - aus der Offiziersschule Löbau, aus den Offenbacher Stuben, von wo aus Heiner Müller gleich eine Delegation französischer Minister anschleppte, aus der westlichen Nachbarschaft und dem östlichen Umland. Ein beeindruckendes Mosaik deutsch-deutscher Zwischenzeit." [Verlagsinfo / Indigo]
|
2009 |
€20.00 |
|
|
Lament |
do-LP |
»Lament« heißt das brandneue Meisterwerk der Berliner Kultband Einstürzende Neubauten, geschrieben für die 100-jährigen Gedenkfeierlichkeiten des Beginns des Ersten Weltkrieges.
Die flämische Stadt Diksmuide beauftrage die Einstürzenden Neubauten im Rahmen der 100-jährigen Gedenkfeierlichkeiten des Beginns des Ersten Weltkrieges zu den Arbeiten an »Lament«, dem neuen Album der 1980 in Westberlin gegründeten Band. Die Einstürzenden Neubauten verstehen »Lament« nicht als reines Studioalbum, sondern als eine Dokumentation der Geschichte der Stadt Diksmuide, wo das Werk im November 2014 uraufgeführt wird, bevor sie damit auf Tour gehen werden.
»Lament« enthält viele bereits bestehende Elemente wie die beiden Prejazz-Songs der Marschkapelle The Harlem Hellfighters, die die US-Regierung als erste afroamerikanische Einheit in die Schlacht schickte. Das Album thematisiert zwei Texte des belgischen Autors Paul van den Broeck sowie ein Stück des weniger bekannten deutschen Schriftstellers Joseph Plauts, der die Geschichte des Ersten Weltkriegs aus Sicht eines Tieres erzählt. Des Weiteren singt Blixa Bargeld die deutsche Version von Pete Seegers Antikriegslied »Where Have All The Flowers Gone«, die Marlene Dietrich mit »Sag mir wo die Blumen sind« weltberühmt machen sollte. Die Band erweckte außerdem eine Nationalhymnne wieder zum Leben, die einst von Kriegsteilnehmerländern wie Deutschland, Großbritannien und Kanada gleichermaßen verwendet wurde. Schließlich folgt der dreigeteilte Titeltrack »Lament«, der eine Reihe historischer Wachszylinderaufnahmen enthält. Diese wurden damals von Sprachforschern deutscher Gefangenenlager aufgenommen, die ihre Insassen dazu zwangen, die Bibelstelle des »verschwenderischen Sohns« in ihrer eigenen Sprache zu rezitieren, von denen viele inzwischen ausgestorben sind.
Über all dem schwebt die drastisch verlangsamte Version des Motetts des Komponisten Jacob Clemens non Papa, der im Diksmuide des 16. Jahrhundert lebte.
//
LAMENT the new album by Einstürzende Neubauten is released Friday 07 November 2014 on BMG Records.
LAMENT should be heard as a studio reconstruction of a work primarily designed to be performed live, rather than an official new Einstürzende Neubauten LP proper.
In truth, the piece can only be fully realised, as well as best experienced, in its physical embodiment, performed on or by founding member Andrew Unruh’s gigantic instruments and noise generating devices that visually evoke the horrors the work describes or embeds in the sounds they conjure from the filth and terror of the industrialised 20th century world at war with itself.
But in fulfilling what at first appears to be a surprise commission for such a formidable longtime outsider group, Einstürzende Neubauten transformed the earthy, idiosyncratic contents they mined from academic, state, music hall and internet archives with the help of their two researchers into a richly complex cycle of original and cover songs and performance pieces.
The music often originated in LAMENT’s storytelling needs, be it in terms of sounds used or compositions structured along First World War flow charts or scored from calendars of the involvement of the 20 plus countries embroiled in it.
The way LAMENT plays off pre-existing and composed materials, pieces clipped together from historical records next to direct cover interpretations, or indeed their Frankenstein like construction of an ur-anthem/national hymn delivers a differently angled history of the war.
Finally, LAMENT opens Bargeld’s case that the First World War never ended - the interwar and postwar periods being essentially pauses for breath as the great military powers carry on their conflict at some remove in faraway wars fought by proxy." [label / website info]
|
2014 |
€22.00 |
|
|
Phase IV : the box set (Alles in Allem) |
LP-Box |
Nach über 12 Jahren erscheint nun endlich das lang ersehnte neue Studioalbum der Band Einstürzende Neubauten ALLES IN ALLEM. Das Album markiert die Quintessenz ihres Schaffens und es öffnet sich wieder eine unerwartete Tür der mittlerweile 40 Jahre dauernden Klangexperimente des Forschungsteams um Blixa Bargeld. Wie kaum eine andere Band haben sie es geschafft einen eigenen musikalischen Kosmos zu erschaffen, ja sogar ein eigenes Genre zu kreieren, das sowohl klangliche Härte als auch ausgefeilte Poesie auf einzigartige Weise vereint. Passenderweise im Jahr der Ratte, gemäß Chinesischem Horoskop dem Symbol für Einfallsreichtum und Vielseitigkeit, ruht sich die Band nicht auf dem nunmehr vier Dekaden umfassenden Werk aus, sondern agiert zukunftsgewandt und erforscht weiterhin neugierig und mit grenzenloser Spielfreude alles, was das Klang-Universum hergibt. In den einzigartigen Klang- und Textlandschaften der 1980 in Berlin gegründeten Gruppe offenbart sich so jene Zeitlosigkeit, die sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit und Rudi Moser stets erhalten haben: Durch ihre experimentellen Herangehensweisen ans Songwriting, die in vier Jahrzehnten entwickelten Instrumente und das kollektive Arbeiten klingt die Band in ihrer eigenen Zeitrechnung auffallend gegenwärtig. Ja, die Einstürzenden Neubauten scheinen mit ihrer einzigartigen Musik stets äußerst präzise im jeweiligen Jetzt zu walten, ob im Industrial der Frühphase, den treibenden 90er-Jahren oder dem bedachten Spätwerk. Die Verse "Wir hatten tausend Ideen / Und alle waren gut" aus dem Albumtrack "Am Landwehrkanal" könnten durchaus eine Selbstbeschreibung der Band sein. So ist eine besondere Platte entstanden: ALLES IN ALLEM das erste reguläre Studioalbum der Einstürzenden Neubauten seit 12 Jahren, zeigt eine unvergleichbare Band, die ihre eigene Kategorie bildet, ihr eigenes Genre stiftet.
Neben der CD und LP wird es auch ein limitiertes Deluxe Boxset geben. Dieses beinhaltet zusätzlich zur CD und LP noch jeweils eine CD und LP mit Outtakes sowie eine CD mit Bild-Tonaufnahmen aus dem Studio, welche die Entwicklung sowie Fortschritte der einzelnen Stücke festhalten. Einige Stücke sind ungeschliffen, aber schon fast fertig und andere noch in der experimentellen Findungsphase. Eine kleine Dokumentation der Entstehung des Albums. Abgesehen davon beinhaltet die Box ein 164-seitiges Buch mit allen handschriftlichen Aufzeichnungen von Blixa Bargeld hinsichtlich der Entstehung der Liedtexte sowie Essays von einigen Supportern.
|
2020 |
€90.00 |
|
|
Grundstück |
LP + DVD |
Die Einstürzenden Neubauten entdeckten Töne jenseits der Schmerzgrenze, die Schönheit der Dissonanz und eine Ästhetik des Schrottplatzes. Mit anderen Worten: Blixa Bargeld & Co. haben die musikalische Landschaft so nachhaltig geprägt wie kaum eine andere deutsche Band. Seit fast vier Dekaden reißen sie bestehende Soundgrenzen ein, um nach der Maxime "Nur was nicht ist, ist möglich" immer wieder neue Klangräume zu schaffen. Seinem unstillbaren Forscherdrang folgend, hat sich das Berliner Musikerkollektiv seit dem ersten Auftritt am 1. April 1980 im Berliner Club Moon als radikale, unberechenbare und eigenwillige Avantgarde-Formationen etabliert, die mit lärmgeladenem Anti-Pop bis heute globale Hörgewohnheiten prägt. Mit "Grundstück" wird eine Rarität von 2005 im regulären Handel veröffentlicht. Damals gab die Gruppe das Album als streng limitierte Kleinstauflage nur an eingetragene Band-Supporter aus, jetzt kann "Grundstück" offiziell als CD und LP erworben werden. Den Tonträgern liegt jeweils eine DVD mit bislang unveröffentlichten Filmaufnahmen sowie ein umfangreiches Booklet bei. "Grundstück" gilt als Bindeglied von "Perpetuum Mobile" (2004) und "Alles wieder offen" (2007). Es handelt sich um ein bewusst im unfertigen Zustand konserviertes Interimswerk, das den laufenden Entwicklungsprozess zwischen zwei Alben festhielt. |
2018 |
€31.00 |
|
|
Alles in Allem |
LP |
"Nach über 12 Jahren erscheint nun endlich das lang ersehnte neue Studioalbum der Band Einstürzende Neubauten ALLES IN ALLEM. Das Album markiert die Quintessenz ihres Schaffens und es öffnet sich wieder eine unerwartete Tür der mittlerweile 40 Jahre dauernden Klangexperimente des Forschungsteams um Blixa Bargeld. Wie kaum eine andere Band haben sie es geschafft einen eigenen musikalischen Kosmos zu erschaffen, ja sogar ein eigenes Genre zu kreieren, das sowohl klangliche Härte als auch ausgefeilte Poesie auf einzigartige Weise vereint. Passenderweise im Jahr der Ratte, gemäß Chinesischem Horoskop dem Symbol für Einfallsreichtum und Vielseitigkeit, ruht sich die Band nicht auf dem nunmehr vier Dekaden umfassenden Werk aus, sondern agiert zukunftsgewandt und erforscht weiterhin neugierig und mit grenzenloser Spielfreude alles, was das Klang-Universum hergibt. In den einzigartigen Klang- und Textlandschaften der 1980 in Berlin gegründeten Gruppe offenbart sich so jene Zeitlosigkeit, die sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit und Rudi Moser stets erhalten haben: Durch ihre experimentellen Herangehensweisen ans Songwriting, die in vier Jahrzehnten entwickelten Instrumente und das kollektive Arbeiten klingt die Band in ihrer eigenen Zeitrechnung auffallend gegenwärtig. Ja, die Einstürzenden Neubauten scheinen mit ihrer einzigartigen Musik stets äußerst präzise im jeweiligen Jetzt zu walten, ob im Industrial der Frühphase, den treibenden 90er-Jahren oder dem bedachten Spätwerk. Die Verse "Wir hatten tausend Ideen / Und alle waren gut" aus dem Albumtrack "Am Landwehrkanal" könnten durchaus eine Selbstbeschreibung der Band sein. So ist eine besondere Platte entstanden: ALLES IN ALLEM das erste reguläre Studioalbum der Einstürzenden Neubauten seit 12 Jahren, zeigt eine unvergleichbare Band, die ihre eigene Kategorie bildet, ihr eigenes Genre stiftet. Neben der CD und LP wird es auch ein limitiertes Deluxe Boxset geben. Dieses beinhaltet zusätzlich zur CD und LP noch jeweils eine CD und LP mit Outtakes sowie eine CD mit Bild-Tonaufnahmen aus dem Studio, welche die Entwicklung sowie Fortschritte der einzelnen Stücke festhalten. Einige Stücke sind ungeschliffen, aber schon fast fertig und andere noch in der experimentellen Findungsphase. Eine kleine Dokumentation der Entstehung des Albums. Abgesehen davon beinhaltet die Box ein 164-seitiges Buch mit allen handschriftlichen Aufzeichnungen von Blixa Bargeld hinsichtlich der Entstehung der Liedtexte sowie Essays von einigen Supportern."
|
2020 |
€22.50 |
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Rampen - APM: Alien Pop Music (lim. yellow vinyl) |
do-LP |
Double LP version. Yellow color vinyl. Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.
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2024 |
€48.00 |
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| ELECTRIC SEWER AGE |
Contemplating Nothingness |
CD |
ELECTRIC SEWER AGE was born as an “anonymous / secret and aural experiment” in 2006.
In fact this project was a collaboration between PETER “SLEAZY” CHRISTOPHERSON (legendary former member of TG / COIL / PTV) and long time friend and collaborator DANNY HYDE (Dan might be better known for being the Sound-Maestro behind many COIL albums…).
Following the unexpected passing of SLEAZY in 2010 and after the publication of first posthumous ELECTRIC SEWER AGE album, ESA became a solo project by DANNY HYDE.
Well, after 5 years from the release of second ESA album here finally comes the awaited third chapter in the ESA saga.
Very elegant, first-class electronic muzak.
Dan was the sound-engineer for a number of COIL albums, e.g. “Love Secret Domain” which clearly bears his mark, similarly doped sounds & muzak can be deeply heard also on this new release.
.... just like the previous release, this CD will come in a limited numbered edition of 750 copies."
"In den letzten Jahren hat Danny Hyde durch seinen – und hier setze jeder das ihm passende Adjektiv ein – Umgang mit Coil-Material für Kontroversen gesorgt. Ich habe schon an anderer Stelle geschrieben, dass die gegenwärtige Situation des Coil-Nachlasses zu den traurigsten Kapiteln der Industrial Culture gehört. Vor etlichen Jahren debütierte Hyde nach langen Jahren als Studiomann als Solokünstler unter dem Projektnamen Aural Rage mit rhythmischen Tracks und auf dem bislang einzigen Album überarbeitete er auch Stücke, die er mit/für Coil geschrieben hatte. Mit „FJ Nettlefold“ konnte man dort das letzte von Balance eingesungene Stück hören.
Das Projekt Electric Sewer Age hat eine schwierige Genese, Hyde hat das hier dargelegt. Die erste Veröffentlichung “In Final Phase” knüpfte an Coils „Equinoxe/Solstice“-Singles an. “Contemplating Nothingness”, ursprünglich 2019 auf Old Europa Café als CD und nun von Hallow Ground auf LP veröffentlicht, erinntert durchaus etwas an den Vorgänger “Bad White Corpuscle”. Von Labelseite wird das neue Album beschrieben als “a lysergic tapestry culled from the deep end of the collective pop cultural unconscious”.
Der Einfluss Coils wird thematisch und musikalisch mehr als virulent. “Still Too Far To Go” ist ein atmosphärischer Beginn: Orgelartige Drones, Beats, die wie Überbleibsel aus den “Backwards”-Sessions klingen, dunkle Streicher und pastorale Flöten untermalen, wie jemand von seinem ersten Pilztrip berichtet („My first mushroom trip. It was so profound”). Das Cover des Gnarls Barkley-Stücks “Who’se Gonna Save My Soul” (hier leider ziemlich sicher unbeabsichtigt als “Whose Gonna Save My Soul” tituliert), kombiniert orientalische Flöten, Akustikgitarre und choralartige Passagen, wobei die leicht mit Effekten unterlegten spoken words nicht ganz überzeugen. Auf „Chebo” wird der gesamplete Gesang auf eine Weise bearbeitet, die an das erinnert, was Peter Christopherson mit seinem Threshold Houseboys Choir gemacht hat. „Surrender To The Crags“ besteht aus Sprachsamples (zum Thema Alkoholismus), orientalischen Flöten und Perkussion, die an Muslimgauze denken lässt. Eine Assoziation, die nicht nur ich hatte. „Self Doubting Trip”und „Dekotur“ mit ihren sphärischen, flächigen Passagen haben eine dezent melancholische Atmosphäre und schließen das durchaus stimmige und stimmungsvolle “Contempating Nothingsness” angemessen ab." (MG/African Paper} |
2019 |
€15.00 |
|
| |
Moon's Milk (in four phases) (lim. clear vinyl) |
3 x LP BOX |
About "Moon's Milk (In Four Phases)"
First compiled as a double CD in 2002, Moon’s Milk (In Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.
Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").
Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant” to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance’s oft-quoted couplet: "Pay your respects to the vultures / For they are your future."
The album’s final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall’s doomed, beautiful voice.
The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation – both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own desig
|
2024 |
€63.50 |
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| ELLICIST |
Point Defects |
LP |
"Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment.
Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. Passage People is permeated by a groove of throbbing synths. The tapestries of sound of Ponds & Graves, on the other hand, are creating the foundation for expressive percussions. Ihnen Steg is almost a dub track. During the opener Hennepin and its follower Lilei sounds of palpable corporeity are being combined with ones that are hardly tangible.
Point Defects has a incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds.
Biographical Notes:
Ellicist are Thomas Chousos & Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups. Besides Ellicist he is a member of Saroos and Driftmachine."
https://ellicist.bandcamp.com
"Springs have sprung on the opener, Hennepin, and the duo Ellicist (Thomas Chousos & Florian Zimmer) is off to an eventful start on their latest Point Defects. Their murky, quirky sound combines elements of abstraction, noise, electronics and synthetic nature. There’s is a swampy universe where engines don’t kickstart, where sluice-like regurgitation is the norm while night creatures devour the surroundings. The first three tracks (also including Lilei and Passage People) uniformly fold into one another.
The highlight here, aside from the wondrous sound effects, is the assorted, moderated and otherwise unexpected percussion. It’s as though layers of warm static and a beehive have collided mid air in slow motion and as they slowly tumble to the surface even that gives way, almost like a video game that just added a new level. There are hazy synth blurs by way of random chords that abruptly vanish. And suddenly a little post-techno gem, Ihnen Steg, is before our ears. Roughly translated to “your jetty” the sparkles and spray-paint can jitters and like a flowering ground cover shivering in the breeze. As it moves deeper into the track, the more retro-cosmic cinema it becomes. And in between there are plenty of pops, hiss and wavering filters that arbitrarily mask and reveal what could be pieces of encoded messages.
Somehow I’m nudged with elusively vague reminders of the incidental post-rock music of either To Rococo Rot, Kreidler and/or hints of Labradford. It’s only through the haze and transistor-like bits, croaking and jerking on the wild-style outdoorsy Ponds & Graves (listen above) that I begin to partially understand their off-Earth conjuring. And for all this sophisticated rumination it’s essential to point out that this is these gents’ debut! For that, alone, I am floored. Though it doesn’t deter my further listening, nor my appetite for more.
On the closer, Trace, they continue with the moody rhythmic points afloat and rocking, swaying, back and forth. It’s a dreamlike world, slightly discombobulated, but reflective of fleeting out jazz and post-electro-pop. They make no pint in covering small defects, and utilize sounds of falling, of movement, quite effectively, and in doing so keep your ears active between channels." [TJ NORRIS/ TONESHIFT]
|
2019 |
€18.00 |
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| ELODIE (TIMO VAN LUIJK & ANDREW CHALK) |
La Porte Ouverte |
LP |
La Porte Ouverte was recorded by Timo van Luijk, Andrew Chalk and Tom James Scott and was cut by Noel Summerville at 33/45 in London.
Available in a standard only edition and cut at 45 RPM for higher fidelity.
350 copies pressed.
Sleeve is printed in reverse board with poly-lined inner sleeve.
Any orders are always shipped vinyl out of main sleeve to prevent seam ripping.
'An open door...
an exit... an entrance...
a new horizon
we never know where we are...
as long as the door remains open
there will be light...'
www.farawaypress.info
"Few musical artists have explored the notion of quietness as a virtue — and, let’s face it, as a reaction to the fetishization of high volumes in rock music — with as much rigor as Andrew Chalk and Timo van Luijk do in their Elodie duo. Performing live in about 2012 or so, opening for Eyvind Kang and Jessika Kenney, they held the audience in rapt silence, Chalk gently — barely — caressing the strings of his acoustic guitar and van Luijk only occasionally whistling with unbelievable restraint into his flute, was remarkable. Not to mention bold. It’s a potentially risky approach, but the control van Luijk and Chalk have in their interactions (not to mention their musical skill) means they have consistently been able to evince new forms of minimalism.
For La Porte Ouverte, originally issued in 2016 on cassette, the duo is joined by Liberez pianist Tom James Scott, and his keys, added to subtly applied textures from other instruments, lead to a slight change in the overall aesthetic of Elodie. There was always a difference between Elodie live and their studio output, but on this album they shake off the shackles of lowercase altogether, removing the constraints of that genre’s formalism and delving into a delicate, moonlit realm somewhere between barroom jazz and modern minimalism.
On most tracks, Tom Scott’s piano acts like a semi-regular metronome: emerging gradually but with confidence, delineating the atmosphere with patient, slow-building clusters of notes, arranged like outlines. Within — and even without — the resulting canvasses, Timo van Luijk and Andrew Chalk have the space to reflectively dab their own considered shades, reacting both to the piano and each other. “Matin de Marbre” shimmers like light on a marble statue, a thread-like keyboard note drifting anxiously in and out of tremulous piano notes. There are hints of Angelo Badalamenti’s compositions for David Lynch, especially the Straight Story soundtrack, in the aching tone of the instruments; it’s equally easy to imagine a lot of the tracks on La Porte Ouverte forming the backing track for a song sung by Isabella Rosselini in Blue Velvet. “La Marche” is more austere, with piano notes struck almost angrily by Scott only to find no echo in van Luijk and Chalk’s unflinching keyboard drone. Somewhere deep in the mix, van Luijk’s flute seems to echo like a defeated cry, but that could just be my ears finding textures that aren’t there. Or maybe they are, it’s hard to tell. As an entire album, La Porte Ouverte can have that effect, especially on the longer tracks.
On average, the tracks on the first half are most minimal and quiet, borrowing most noticeably from lowercase traditions in the sparseness of the piano notes and barely audible flourishes on flute or guitar. Scott’s playing will instantly appeal to fans of Morton Feldman or Michael Nyman, whilst the keyboard arrangements evoke the ambient works of Fennesz or David Sylvian’s mid-1980s work (sans the vocals, of course). “Le Jardin Onirique” is the side’s longest work, and also the most abstract, fittingly given the title. A dreamlike quality drifts through much of the entire album, the earthiest moment coming with the emergence of Andrew Chalk’s guitar on “Par la Main,” as he sketches out a gentle series of scales to dance hesitantly with Scott’s piano motif, rewarding listeners with the most intimate piece on the album.
In contrast, the second side features synths and keyboards more prominently, although don’t go thinking the results are lush or dense. Elodie make a virtue of stillness and calm, and the lengthier tracks (of eight, only three feature on side B) somewhat paradoxically underline this further. The title track drifts on a curtain of synthetic strings into which piano notes drop like rain into a pond. It’s a profoundly moving and melancholic piece, its apparent simplicity hiding a range of depths. Tom James Scott really shines, delicately deploying his notes only when necessary, and the synth arrangement is positively haunting. I’m not sure what the title, which translates as “The Open Door,” means, beyond maybe a sense of welcome, which this track certainly carries in abundance. The organ-drenched “Lumen” is possibly the loudest Elodie has ever got, the venerable church instrument building a foundation over which piano and vibraphone notes swirl like motes of dust caught in a shaft of light. Again, I find myself reaching for Badalamenti, but in truth that’s a lazy shorthand for music that is both emotionally-resonant and cinematic in scope. Elodie have jazz and minimalism in their bones, and feeling in their hearts, and by broadening their palette so effectively on La Porte Ouverte they have created an album as close to unique as you can get in 2016." [Joseph Burnett/Dusted Mag]
"Utterly sublime ambient jazz from consummate, lower case collaborators, Timo Van Lujik and Andrew Chalk, joined here on piano by Tom James Scott (Charcoal Owls, Liberez) in a subtly breathtaking LP of melting romantic gestures and spectral electronics. Big recommendation if you're into David Lynch, Bohren Und Der Club of Gore, Af Ursin, Oren Ambarchi...
Their 8th album - alternately released like all previous Elodie LPs since 2011 on the duo's respective labels, La Scie Dorée and Faraway Press - they navigate thee finest line of anticipatory tension and vaporous release, resulting in some of the most tender, unshowy yet arresting musical expressions that we’ve heard in years.
In eight parts they expand, contract and drift off on shafts of moonlight, oscillating shorter vignettes which appear like magnetically suspended bonsai trees - as with the hyaline delicacy of Matin de Marbre or the latinate acoustic guitar that slides between the silken ambient tones and Feldman-meets-Sakamoto keys of Par La Main - with longer sections such as the midnight stroller Le Jardin Onirique and the B-side’s sail-away suite of three pieces, including the unmissable title track, afford teasingly intangible visions of a sound which we’re sure everyone can agree, is some of the most beautiful music imaginable.
We were lucky enough to catch the duo in this record’s line-up with Tom James Scott at Salford’s Islington Mill in 2016, where we witnessed them totally silence the room with an almighty, barely-there demonstration of how to enchant a crowd. As with everyone else in the room, we were duly pinned to our seat for the duration, with incidental creaking chairs and refrigerator hum only heightening the sublime tension whilst waiting for the trio’s next, curious jazz chord in sequence, or when attempting to follow their chromatic gasses off into the ether.
Like the weeks after seeing their show last year, you just kinda want to make sure everyone in earshot knows about or can at least get a glimpse of this music. It just seems to reset everything..." [Boomkat] |
2017 |
€16.50 |
|
| ELOY, JEAN-CLAUDE |
Erkos / Galaxies (Chants pour l'autre Moitie du Ciel Part III & IV) |
do-CD |
"Songs for the other half of the sky. With 'Erkos' (1990-91) and 'Galaxies' (1986-1996). Performed by Junko Ueda (satsuma biwa and voice) and Jean-Claude Eloy (sound projection).
Erkos is a word from the Indo-European language and means song, praise. It is close to the Sanskrit word Arkas (hymn, chant, radiance) and to the Tokharien term Yarke (reverence, homage). The texts consist of extracts from the Devî-Upanishad and Devî-Mâhâtmya writings, in Sanskrit. In those texts, an homage is paid to the Goddess who, in Indian philosophy, is considered as the mother of all energies. For this work, I have been inspired by Junko Ueda, a particularly gifted young musician whom I met in Japan in 1987, mastering at the same time the traditional technics : those from Japan (Shômyô and Satsuma-Biwa), those of the other countries of Asia (Gamelan), as well as the western technics (piano, composition). It was possible, with a performer of such a vast background, to translate these ancient and original techniques into a free contemporary creation without distorting their original nature. Erkos was commissioned by the Cologne Westdeutscher Rundfunk (WDR), at the invitation of Karlheinz Stockhausen, in collaboration with the Institut Français de Cologne and was produced in its entirety in 1990-91 at the WDR Electronic Studio. The electroacoustic materials are essentially concrete in nature and have been drawn from three sources Junko Ueda's voice, Satsuma Biwa (plucked string instrument with plectrum), Unban (metallic plate with complex resonance). Consequently, the recording studio is not used here as a generator but as a 'multiplier-transformer' to the soloist, who is the real origin of all sounds. Symbolically, she is the source, the Goddess-mother as written about in the Sanskrit texts I have used here.
'Galaxies' is an electroacoustic work composed of two large groups of elements, contrasting with each other in function, construction, etc. but still unified as they are born from the same sources of timbre and treatment : the Japanese Shô (traditionnal mouth organ) from which all of the work's sound material is taken, to which are added an ensemble of five Bonshô's (temple bells from Japan and Korea)." [label info]
www.hors-territoires.com
"...In 'Erkos', three parts are instrumental, and the two use the voice of Junko Ueda, and the title means 'song' or 'praise'. Whereas on the other CD the voice material prevails, here's it's the other way round, and the instrumental parts are much stronger. It's hard to see this as an electro-acoustic work, since the percussion sounds most of time as percussion, and it doesn't always seem to swirling around in electronics. 'Erkos' is a particular more 'quiet' work, which meanders slow and peacefully, with very few outbursts. 'Galaxies' is more like a sandwich, with an electronic piece at the beginning and at the end and three solo voice pieces in the middle, which make a nice contrast. Here the music sounds much more electronic indeed, with clusters of sounds derived from temple bells, making a beautiful, powerful drone. The form a great contrast with the solo voice of the three shorter pieces in between, which have a likewise contemplative character, but then perhaps of an entirely different nature. It's great to see two such different sides of the same coin work together on this work." [FdW/Vital Weekly]
|
2012 |
€22.00 |
|
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Butsumyôe / Sappho Hiketis (Chants pour l'autre Moitié du Ciel Part I & II) |
CD+BOOK |
"A book (English text) around the cycle 'Songs for the other half of the sky' with the following pieces 'Butsumyoê', 'Sappho hikètis', 'Erkos', 'Galaxies', 'Gaia-songs'. Interview, documents, technicazl specification, photos. A CD with 'Butsumyôe' and 'Sappho hikètis'.
'Butsumyôe' (1989). For voices, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice and percussions. In 'Butsumyôe' ('The ceremony of Repentance') the singer Yumi Nara (soprano) occupies the function of a first solo voice, whereas Fatima Miranda (vocalist) assures the function of the second accompanying voice. In Sappho hiketis, it is the opposite: Fatima Miranda occupies the function of the first solo voice, and Yumi Nara assures the function of the second accompanying voice. But in practice, the vocal activities are mixed, creating an actual creative vocal duet. These two works are freely conceived and of pure imagination, which lean on not any pre-existent model. Butsumyôe is a long monologue for voice that sings, speaks, shouts, and is modulated with a host of techniques, punctuated by the exclamations of the accompanying voice and by various percussion instruments played by the two female singers. Basing myself on Saïkaku's beautiful text, I have worked in the original language (ancient Japanese from the area of Osaka), striving to magnify the expressive capacity of each word. The point is to cause Western vocal techniques to expand towards more expressive possibilities, particularly in the very difficult and rich space between 'sung' and 'spoken' texts. Curiously, the recent practice of electro-acoustic techniques sheds light on these issues, forcing us to rediscover the acoustic, whose perception and conception had been gradually obscured, standardized and diminished by our cultural certainties.
'Sappho hiketis' (1989). For voice, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice. A vocal duet articulated from an electro-acoustic piece (realized during the production of Anâhata at the Electronic Studio of the Sweelinck Conservatory in Amsterdam). The basic material is composed of pre-recorded metallic percussion instruments (samplings realized in 1984 by Michael W. Ranta). Prosody and vocal technique: unlike the previous piece, the text is used in a very broken up mode, with somewhat scattered phonemes, also integrating a listing of the names of Sappho's most famous female lovers. The adaptation of the text (in modern Greek) is totally free and makes no reference to the metrics or musical modes allegedly used by Sappho." [label info]
www.hors-territoires.com
|
2012 |
€22.50 |
|
| |
Gaia-Songs |
do-CD |
“Gaia-Songs” (1992 - revision 2015). Songs for the other half of the sky n° V - VI. For a soprano (or mezzo-soprano) solo and an actress voice (Sprechgesang technique) with electro-acoustic (fixed sounds).
Anne-Lisa Nathan, mezzo-soprano. Helena Rüegg, actress voice.
“First there’s this relation between sung voices and spoken voices with regard to the electro-acoustic parts. The sung voice is quite often separated from the electro-acoustical parts accompanying it. They may sometimes overlap each other but rather briefly. Those parts often highlight octave ratios, fifth ratios, thirdratios, etc. Hence more harmonious and consonant acoustic ratios. By contrast thespoken voice fullt covers the electro-acoustic parts dedicated to it and made out of more complex material. Hence more dissonant acoustic ratios turned towards noises spectrums.” JC Eloy from the liner notes
|
2017 |
€21.50 |
|
| ELPH VS. COIL |
Worship the Glitch |
CD |
"Bei ELpH vs Coil handelt es sich mitnichten um zwei Bands, die "gegeneinander" antreten. Vielmehr bezeichneten Coil mit ELpH die Gesamtheit an Sounds, die aus Versehen, ungewollt oder zufällig aus ihrem
elektronischen Equipment herausflossen: Brummen, Zischen, Stottern, Knirschen, Fiepen usw. All das verarbeiteten Coil auf ihrem 1995 veröffentlichten Album "Worship The Glitch" zu - im wahrsten Sinne des Wortes - verstörenden Klanggebilden, die vielfach für offene Münder sorgten. Nicht nur, weil die Produktion
weit weg war von allem, was die Formation bislang herausgebracht hatte. Vor allem waren die meisten Musikhörer Mitte der 90er mit ästhetisch radikalen Stilen wie Glitch (dt. "Störung"), Click & Cuts oder IDM schlicht überfordert: keine Rhythmen, keine Beats, keine Harmonien. Stattdessen sperrige elektroakustische Fragmente, die bei Coil zudem gewohnt düster ausfielen, und alles andere als komfortablen Musikgenuss versprachen. Die von Josh Bonati remasterte und Coil-Mitglied Drew McDowall überwachte Wiederveröffentlichung von "Worship The Glitch" erscheint bei Dais Records."
"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.
During the studio sessions that developed into what would become “Worship the Glitch”. Coil became aware of random compositions emitting from their gear, and were at odds with constant ?”accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch”.
Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.
Dais Records presents the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. Comes on black vinyl and a limited edition on translucent yellow vinyl. Also available on digipack CD."
|
2018 |
€16.50 |
|
| ELUVIUM |
Similes |
CD |
"Matthew Cooper wurde 2003 zu ELUVIUM und brachte sogleich frischen Wind in eine Ambient Electronic Szene, deren Luft zusehends stickiger geworden war. Beeinflusst von neoklassischen Helden wie Erik Satiey und Philip Glass schmuggelte ELUVIUM emotional mitreißende Melodien ins Auge eines Hurricanes aus Nebel und Fuzz und wurde so eher zufällig zu einem Komponisten, der gern in einem Atemzug mit den Namen seiner Helden genannt wird. Nach "Copia" aus dem Jahr 2007 waren ELUVIUM ein Jahr lang auf Tour unterwegs - oft und gern auf einer Bühne mit den Labelkollegen von EXPLOSIONS IN THE SKY. Doch mitten im Jahr 2008 drängte es Cooper in eine neue Richtung. Nach fünf Alben in ebenso vielen Jahren setzte eine gewisse Selbstzufriedenheit ein. Ein Jahr verging, ohne dass ein neues ELUVIUM Album erschien. Tatsächlich vergingen ganze drei Jahre. In der Zeit veröffentlichte Cooper mit "Miniatures" ein Soloalbum, schrieb den Soundtrack zu dem Kinofilm "Some Days Are Better Than Others" und brachte ein Vinyl Boxset heraus, das jedem Hörer den Atem verschlug. Nachdem "Copia" geschrieben und wieder verworfen wurde, wagte Cooper mit "Similes" den kreativen Quantensprung: erstmalig finden sich hier Percussion, eine Songstruktur und Gesang. "Similes" verschmelzt die typische traumartige Aura von ELUVIUM mit dem lakonischen Gesang von Cooper - als ob sich ein extrem grüblerischer Ian Curtis Gedanken über MAGNETIC FIELDS und Brian Eno macht. www.myspace.com/eluviumtaken " [Label info / Cargo]
"The long-awaited follow-up to the acclaimed Copia, ELUVIUM takes a courageous creative leap with Similes, an eight-song album featuring three key musical elements previously uncharted by Eluvium: percussion, a verse-chorus song structure, and singing. For a celebrated experimental musician, it was just about the bravest and scariest direction to go. In this way, Similes is the most truly experimental Eluvium album yet, and also the most accessible. Written, performed and recorded as always by MATTHEW COOPER’s own Watership Sounds studio, Similes marries Eluvium’s trademark dream-like aura with Cooper’s unique, laconic vocals, akin to an especially contemplative Ian Curtis with trace reflections of Magnetic Fields and Brian Eno. It is the most daring—and ultimately most rewarding—work of Eluvium’s impressive and prolific career." [original label info]
www.temporaryresidence.com
|
2010 |
€13.00 |
|
| EMDE, GABRIELE |
Die Natur der Klänge - Neue Musik für Harfe |
CD |
"Gabriele Emde-Hauffe was born in 1953 in Darmstadt, Germany. She received a humanistic education at a local grammar school in Darmstadt and started studying the harp after her A-levels, first in Darmstadt and finishing in Cologne. Conducted by Péter Eötvös, she worked out modern chamber music and modern improvisation by J. G. Fritsch and Vinko Globokar. Passing her exams in 1980 and 1981, she continued her studies of musical science at Cologne University, based on her thesis, "The Harp between Myth and Reality." From 1981 to 1983 she was a member of Die Junge Deutsche Philharmonie and Ensemble Modern, and collaborated on productions of contemporary music with Ensemble-Köln and Ensemble 13, as well as the NDR-Sinfonieorchester Hamburg. She has performed the solo harp at various international festivals, among them many premieres and international radio, TV, and record productions. At the invitation of the Goethe-Institut, she toured North America in 1982, presenting Walter Zimmermann's works, and also performed in South Korea; her career as a performer has included performances of contemporary music by Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann, and W. Zimmermann. Until 1992 she taught harp classes in Cologne and Düsseldorf. Since 1991 she has been teaching her private harp class in Darmstadt. This CD contains recordings from 1985-'87 of pieces by John Cage, Hans Otte, and Lou Harrison." [press release]
"Werke von John Cage, Hans Otte und Lou Harrison
John Cage: In a landscape for Harp [1948] 9:09
Hans Otte: Wassermann-Musik für Harfe [1984] 40:53
Lou Harrison: Music for Harp [1978]
a. From music for Bill and me 2:58
b. Beverly's troubadour piece 2:17
c. Avalokiteshvara 2:29
d. Jahla 2:18
Gabriele Emde-Hauffe wurde 1953 in Darmstadt geboren.
Nach dem Abitur am humanistischen Gymnasium begann sie ihr Harfenstudium in Darmstadt und setzte es in Köln an der Musikhochschule fort. Dort erarbeitete sie unter der Leitung von Peter Eötvös neue Kammermusik und bei J. G. Fritsch und V. Globokar neue Improvisationsformen.
Ausgehend von ihrer Diplomarbeit "Die Harfe zwischen Mythos und Wirklichkeit" studierte sie, nach ihrem Examen 1980-81, an der Universität zu Köln Musikwissenschaft. Von 1981 bis 1983 war sie Mitglied der Jungen Deutschen Philharmonie und des Ensemble Modern, wirkte mit im Ensemble-Köln und im Ensemble 13 sowie im NDR-Symphonieorchester Hamburg bei Produktionen zeitgenössischer Musik. Sie spielte bei vielen internationalen Festivals, darunter zahlreiche Uraufführungen, Rundfunkproduktionen im In- und Ausland, sowie Fernseh- und Schallplattenaufnahmen zeitgenössischer Musik für Harfe solo. Auf Einladung des Goethe-Institutes folgte eine Amerika-Tournee mit Werken Walter Zimmermanns und Konzerte in Südkorea.
Unter anderem spielte sie zeitgenössische Musik von Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann und W. Zimmermann.
Bis 1992 war sie als Pädagogin in Köln und Düsseldorf tätig. Gabriele Emde-Hauffe ist Mutter von zwei erwachsenen Kindern und lebt freischaffend in Darmstadt."
www.edition-rz.de
|
2015 |
€16.00 |
|
| EMERGE |
Cycle |
mCD-R |
Endlich was neues vom süddeutschen Experimental-Drone Projekt, bekannt geworden (hoffentlich) durch die DR-64 DRONE EP.
Cycle ist ein one-tracker, bei dem Quellensounds von AALFANG MIT PFERDEKOPF bearbeitet werden. Höchst seltsame Klänge (Tiere? Geschepper? Metall?) erscheinen in aufbrausender Bewegung an der wallenden Oberfläche, um gleich darauf wieder in einer Drone-Brandung zu versanden. Während sich die Ratio keinen Reim darauf machen kann, sinken die Klänge an der Analyse vorbei ins schwarze Loch des Bewusstseins....
Ein klasse one-tracker (fast 23 min ) mit vielen Details, der zeigt wie vielfältig heutige Drone-Muzak ist. Unsere wärmste Empfehlung !
“Verato Project, the CDR sub-division of Suggestion Records always know how to come up with new names, that at least sound new to me. Not that I understand much of this new 3"CDR: the band is apparently called Emerge, from Augsburg Germany but the cover also says 'original sounds by Aalfang Mit Pferdekopf', whoever they might be. So maybe it's safe to say we are dealing here with some sort of remix project? The music is rather ambient, but in a refreshing way. Sounds swirl in and out of the mix; sounds that remind the listener of processed wind recordings (that form the ambient backbone of this release) and animal calls (birds going past the microphone). A piece of floating music, that may last a bit too long, but when played in right ambience and with the right mood, probably goes straight into your subconscious. A great piece indeed and made me curious to hear some of Emerge.” [FdW / Vital Weekly] http://www.verato-project.de
|
2005 |
€8.50 |
|
|
Reeligible Redye |
mCD-R |
Mysteriöseste Drone-Soundscapes mit konkreten Elementen, das "Ungeheuerliche" wird hier greifbar! Sehr schöne neue Veröffentlichung das Augsburger Projekts, spezielle handgemachte Cover-Artwork in blauen 5" CD-Hüllen! Wieder erstklassig!
www.myspace.com/emergedependenz
|
2009 |
€6.00 |
|
|
Contrition |
mCDR-box |
"On the two 10-minute pieces that make up this release, EMERGE uses samples from bass guitar (track 1) and prepared electric guitar (track 2) to create reverberating sonic environments that combine his characteristic dark drones with chords and melodic fragments that lend these compositions an unusually warm, acoustic sound.
EMERGE aka Sascha Stadlmeier is the founder and curator of the Attenuation Circuit label. Underlining the label’s collaborative spirit, EMERGE has invited label artists Eazy and Gerhard Zander, with whom he also collaborates in live improvisations (see “Betrachtung”, ACC 1001), to contribute snippets of their playing the bass guitar and prepared electric guitar. While most of EMERGE’s earlier works process their source materials way beyond any possibility of recognition, the two compositions on this disc are markedly different. Not only does the processing sometimes enhance the acoustic, analogue, and rather delicate feel of the source instruments, instead of sculpting the source materials into massive, bass-heavy blocks of sound. What also adds a new dimension to EMERGE’s catalogue of austere, abstract dronescapes is the fact that the two pieces, especially track 2, use a varied palette of seemingly rather referential sounds, conjuring up associations that range from the zoomorphic to the oriental." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
"The final release is by Emerge, the project of Sascha Stadlmeier, who is also the man behind the Attentuation Circuit label. Knowing his previous releases, its not a surprise that on this new one he explores the edges of sampling
through the use of a single sound source, in this case the bass guitar (track one) and prepared electric guitar (track two). These new pieces see him move away from his earlier work, going more into a collage like style of sounds,
pieced together into compositions stemming from the world of musique concrete and making connections to the world of people like Marc Behrens or Roel Meelkop. Moving away from the more densely layered works with less variation, into a much richer field of music, at least that's what I think. A major leap forward for
Emerge." [FdW/Vital Weekly]
|
2011 |
€6.50 |
|
| |
Steps |
CD |
What is it that we're hearing? Is it the wind? Is it the sea? Is it the crackle of a burning fire? Where are we? A great sense of loneliness pervades the quiet setting which we cannot quite make out. And then suddenly living creatures enter the sonic scene. Birds and people, their voices and their steps. They seem to be walking, walking past us, towards a destination we do not know. We cannot understand in what language or languages they are speaking – or can we? It is hard to make out, because everything they say is strangely muffled, although they are not speaking in a low voice. Everything we hear feels either too loud or too quiet, too close or too distant. As if some shock had happened to our hearing before we started listening to this album. Like a bomb exploding in close proximity to our ears. Or something so unimaginably terrible that it bent the acoustic space in the place from which these sounds come through to us. This is how the album “steps” begins.
The album “steps” is composed exclusively from field recordings made at the Dachau Concentration Camp memorial site. It is not possible to represent the horrors of concentration camps in music, and – a lesson learned from the many failures in the history of “industrial music” – the attempt to do so will inevitably result in trivialising kitsch, at best. Therefore, the album “steps” does not claim to be an album “about” a concentration camp, it is an album about a memorial site. Like the modern-day classic on the subject, “Gurs. Drancy. Gare de Bobigny. Auschwitz. Birkenau. Chelmo-Kulmhof. Majdaneck. Sobibor. Treblinka” by Stéphane Garin & Sylvestre Gobart (2011), “steps” goes to show to what extent contextual information about the sonic subject matter of a piece influences our listening. This artistic strategy can also be read in political terms: Only if we know the history behind these sounds – and the history of the place where they were recorded – are we able to make sense of the present.
For part 2, EMERGE invited sound artists from all over Europe to give their characteristic processing to the original audio field recordings. The resulting audio fragments are fed into the performance, symbolising a peaceful, solidary encounter of cultures – in deliberate contrast to the fact that people from many European countries were brought together in the Dachau concentration camp by utmost force.
File under: electroacoustic music, field recordings
-----
Was hören wir da? Ist es der Wind? Ist es das Knistern von offenem Feuer? Wo sind wir? Der Ort lässt sich nicht genau bestimmen, aber er ist ziemlich still und fühlt sich sehr einsam an. Und dann treten plötzlich lebendige Wesen auf den Plan. Vogel- und Menschenstimmen, Schritte. Anscheinend gehen Leute an uns vorbei in Richtung eines Ziels, das wir nicht kennen. Wir können nicht erkennen, in welcher Sprache oder welchen Sprachen sie reden – oder doch? Es ist nicht leicht auszumachen, denn alles, was sie sagen, ist irgendwie eigenartig gedämpft, obwohl sie nicht leise sprechen. Alles, was wir hören, scheint entweder zu laut oder zu leise, zu nah oder zu weit weg. Als ob sich ein Schock ereignet hätte, bevor wir begonnen haben, das Album anzuhören. Wie eine Bombenexplosion ganz nah an unseren Ohren. Oder etwas, das so unvorstellbar schrecklich ist, dass es den Raum verbogen hat, aus dem diese Klänge zu uns dringen. So beginnt das Album “steps”.
Das Album “steps” wurde ausschließlich aus Fieldrecordings komponiert, die in der KZ-Gedenkstätte Dachau aufgenommen wurden. Das Grauen der Konzentrationslager musikalisch darzustellen, ist unmöglich, und der Versuch muss unweigerlich in verharmlosendem Kitsch münden – oder Schlimmerem. (Die vielen Negativbeispiele in der Geschichte der Industrial-Musik sprechen hier für sich.) Das Album “steps” maßt sich jedoch gar nicht an, ein Album “über” ein Konzentrationslager zu sein. Es ist ausdrücklich ein Album über eine Gedenkstätte. Ähnlich wie das Referenzwerk der letzten Jahre zu diesem Thema, “Gurs. Drancy. Gare de Bobigny. Auschwitz. Birkenau. Chelmo-Kulmhof. Majdaneck. Sobibor. Treblinka” von Stéphane Garin & Sylvestre Gobart (2011) zeigt auch “steps” auf, wie stark Kontextinformationen über das Klangmaterial unser Hören prägen. Diese künstlerische Strategie kann auch politisch verstanden werden: Nur, wenn wir die Geschichte hinter diesen Klängen kennen – und die der Orte, an denen sie aufgenommen wurden –, können wir die Gegenwart verstehen.
Für Teil 2 hat EMERGE Soundkünstler*innen aus ganz Europa eingeladen, die originalen Fieldrecordings auf ihre jeweils charakteristische Weise zu bearbeiten. Die dadurch entstandenen Audiofragmente sind in die Komposition mit eingeflossen und symbolisieren so eine friedliche, solidarische Begegnung der Kulturen – als bewusster Gegenentwurf zu der Tatsache, dass Menschen aus vielen Ländern Europas im KZ Dachau mit äußerster Gewalt zusammengezwungen wurden.
File under: elektroakustische Musik, Fieldrecordings
https://emerge.bandcamp.com/album/steps
|
2020 |
€13.00 |
|
| EMERGE + GERALD FIEBIG |
Flöten / Kinder |
CD-R |
"For a concert supporting DUO RECORDRONIK, who combine recorders with electronics, EMERGE and Gerald Fiebig composed several pieces that are also based on the sounds of recorders. The instruments were played by elementary school children at a workshop conducted by Elisabeth Haselberger, who forms DUO RECORDRONIK with Petra Wurz.
Gerald Fiebig's three-part piece "Recorder Recorders" is a collage of sequences played by the children (from classes 2b, 4a, and 4b of Grundschule Vor dem Roten Tor elementary school in Augsburg - hence the album title). No treatments were used - the composition showcases the experimental playing techniques the young recorderists learned during the workshop. EMERGE's piece "chuckle" tackles the workshop recordings in a different way: using no recorder sounds, but everything else recorded in the classroom - speech, laughter, giggling, and chuckles (!) -, he creates a voice/noise collage highly reminiscent of radiophonic Ars Acustica. A collaborative piece by EMERGE and Gerald Fiebig concludes the album. Here, both their tracks are processed to form a dense dronescape that makes the connection to other aspects of the work of both artists.
File under: drone, musique concrete"
[label info] |
2015 |
€8.00 |
|
| EMERGE + RE-DRUM |
Persecutory Delusion |
CD-R |
"Although recorded at a concert series titled “NoiseAngriff” (noise attack) in Berlin, this live collaboration is actually a lot less harsh than one might expect. The paranoia suggested by the title might be felt in the dark ambient dronescapes, though.
In this slowly evolving set, the two performers connect to their roots in drone ambient, combining harmonic, yet vaguely ominous electronic textures with small concrete sounds. Over the course of some 45 minutes, Russian artist Re-Drum and his German colleague EMERGE create a vast expanse of sound through which they navigate with tentative movements, like ships in dark uncharted waters in the night."
"Zusammenarbeit von Emerge mit Re-drum: und zunächst ist da ein geradezu ambientes Abtasten; Noise und Nicht-Ton als feingliedrige Bestandteile eines sehr luftigen Gewebes, das die beiden wie fast nicht spürbar im Laufe dieses One-Trackers verdichten, immer enger werden lassen. Durch dynamische Interventionen genau so wie durch ein zunehmendes Herausdrängen der Stille als zunächst noch gleich bedeutendes Element der Musik. Re-drum + Emerge verzichten aber (mit Blick auf den im positiven Sinne fragilen Gesamteindruck von „Persecutory Delusion“ dankenswerterweise) darauf, das Stück in irgendwelche vordergründigen Rechteckwellen-Verdichtungen zu schieben. Statt dessen tauchen zwischendurch überaschenderweise auch tonale Fragmente auf, wie verwehte Flächen, ein Anriss tatsächlicher Harmonie. Und ganz am Ende so etwas wie ein Fall in einen Sog… Wie ein aus der Inspiration des Moments entwickeltes Gesamtes; gemacht aus Zutaten, die, einzeln betrachtet, eigentlich nicht zusammenpassen können. Zusammen aber wird aus Zufall Werk. Wie bisher in dem endlosen Strom aus dem Hause Emerge auf Fake-Vinyl-CDr, jetzt neu in bedruckter Stecktasche." [N/Black Magazin]
www.attenuationcircuit.de
|
2016 |
€7.00 |
|
| EMMANUEL, J.D. |
Echoes from ancient Caves |
LP |
"Probably one of the most underestimate artist of electronic of the early ‘80, has been lately rediscover. Expert modulator of electronic and natural sounds, with this work Emmanuel seems to recall and reflect exstensively on that poetics of the cyclic and mantric sound investigated by other pioneers as Terry Riley and La Monte Young. The micro-tonal pattners of the compositions are animated by dense and minimum pulses that amplify the hypnotic and meditative dimension and can be coloured by tibetan suggestions or guitar glissandi of nocturnal taste. In this way the "Echoes from ancient caves", originally appeared only on tape in 1981, is ideally connected to the previous experimentations of "Rain Forest Music (1981) and Wizards (1982).
500 copies on black vinyl + download link for digital edition." [label info]
www.blacksweatrecords.com
|
2014 |
€20.00 |
|
| EMPUSAE |
Geesten |
7 |
Techno Noir, durchaus tanzbar, aber mit ungewöhnlichen Sounds & Ambient-Passagen versehen.... Schweres Vinyl und dickes Booklet-Cover mit Zeichnungen...
“Geesten is an exorcism on vinyl by the belgian artist Empusae, who releases his ghosts by banging the electronic drums. Hypnotic constructions, deconstructions and reconstructions for the intelligent dancer.” [label description]
|
2003 |
€7.50 |
|
| EN |
op.10218 v1.2 |
CD |
"Das Lissaboner Label SIRR Records entwickelt sich zu einer guten Adresse für abstrakte, minimale Geräusch-Neutöner. Hinter EN verbirgt sich Pal Toth aus Budapest, der schon lange Jahre Radiosendungen macht und hier mit einem Konzept arbeitet, daß an ACHIM WOLLSCHEID erinnert, dabei aber weitaus isolationistischer und minimaler klingt..." [Drone Rec.info 2003]
“Pal Toth alias én is a Hungarian sound artist and radio producer, living in Budapest. In the frame of his radio programme, we can regularly hear what he calls "ether concerts", compositions made to the medium itself and comprising an improvised (real-time) method of editing, Pal Toth confronts the listener with an evolving sense of time and duration that transcend questions of musical form to focus in the idea of shape, in the potentialities of a sound representation as stream of consciousness.” [press release]
“... On the air he edits his works, removing and erasing sounds and bare, naked sound residue remains. Entirely along the lines of Roel Meelkop, Bernard Gunther or Richard Chartier, with this exception that Pal Toth has a more bleak and empty sounding music. Hums from various sources, occassionally time stretched are interwoven and some vague metallic rumbling are the main sources. It remains at all times distant and cold... “ [Vital Weekly]
www.sirr-ecords.com |
2003 |
€13.00 |
|
| ENCOMIAST / THE COPPER THIEVES |
139 Nevada |
do-CDR-box |
"In 2004, a group of musicians and curiosity-seekers went to the Belvidere Theatre in Central City, CO because it was rumored to be one of the most haunted buildings in the state. Our initial goal was to attempt to record Electromagnetic Voice Phenomena, but the project eventually took on a much different cast. We never succeeded in capturing any ghostly voices, but we reassembled the recordings into new compositions that captured the haunted spaciousness of the theatre.
That’s where 139 Nevada began
We returned to record in the theatre two more times while making these two records. Even if the spirits never raised their voices, we hope they were entertained by our presence.
139 Nevada consists of two discs - Encomiast ‘s “Masked Mirror” and "Slam Your Doors In Golden Silence" by The Copper Thieves, a coalition including members of Encomiast and the group Mandible Chatter. Both collections mine the rich sonic bed of the Belvidere Theatre - located at 139 Nevada, Central City, CO - but each one takes its own clear path.
Limited to only 200 copies, 139 Nevada is a double CDR release containing two discs in sleeves, with two insert postcards packaged in a textured cardboard box.
Packaging: Textured box w/Two Pro CDR's and two insert postcards
Release Date: June 23, 2009
Running Time: Disc 1 - 57:12, Disc 2 - 44:40 " [full label website info]
www.lensrecords.com
"Eine geheimnisvolle Veröffentlichung in einer schmucken kleinen Pappschachtel mit zwei CDRs und zwei Postkärtchen, denen wir folgende Geschichte entnehmen können. Die Projekte Ecomiast & The Copper Thieves (fast personell identisch) erhielten Zugang zu einem verfallenen Provinztheater in einem kleinen Städtchen. Von dem Theatergebäude hieß es, dass hier Geister hausen würden. Die Musiker machten mit diversen Gästen Aufnahmen vor allem am Klavier im verlassenen Geisterauditorium und bearbeiteten diese Aufnahmen im Studio. Sie kehrten zwei Mal an den Ort des Geschehens zurück und fanden es irgendwie unheimlich aber auch spannend. Den Hörer erwarten zerpflückte und hallige Pianotupfer, manchmal kammerpoppig verdichtete Arrangements und viel verwaschene Atmosphärik. Der ganze Release wirkt irgendwie literarisch, wir können dies auch nicht näher begründen. Es bleibt etwas unwirkliches an den Klängen haften, obwohl sie nur milde experimentell sind." [Zipo / Auf Abwegen]
|
2010 |
€16.00 |
|
| ENGLISH, LAWRENCE |
A Mirror Holds The Sky |
CD / BOOK |
From Lawrence English: "In late months of 2008, I had the great fortune to spend some weeks in the Amazon. The visit, facilitated through Francisco Lopez's Mamori Artlab residency, remains one of the most deeply affecting experiences I have had . . . Living in Australia, tropical rainforests are not foreign to me. I would even say I am rather at home in them. My family, who lived and worked on the land of the Ngajanji people, had an admiration for, or in the very least a respect of, the rainforest. What makes time spent in the jungles of the Amazon different however is the scale and sheer volume (metaphoric and literal) of the life that inhabits it. Hundreds of thousands of narratives are in play moment to moment, their interactions flow together forming a perpetual cascade of arrival and departure, fertility and decay -- these fundamental states are intrinsically linked and constantly informing one another . . . To listen in the jungle is to listen in close relief -- in every square meter, thousands of insects cry out, their voices reducing the horizon of listening to a matter of centimeters at certain times of the day (and night) . . . The abundance of birds, mammals, beetles, flies, ants and so many other creatures are a source of constant and evolving fascination. In the lakes and rivers too, the hydro-sonic environments are perpetual and effortlessly deep . . . A Mirror Holds The Sky is in some ways an act of acoustic and temporal compression. It is a rendering down of the lived-in moments and environments that became points of intense listenership. If I am to be honest, it has taken me the better part of a decade to know how to approach this archive of materials. I owe a debt of gratitude to Chico Dub at Festival Novas Frequências, who very gently encouraged me to realize a piece for diffusion as part of his program in 2019. That invitation retuned my ears and in the process unlocked a way of approaching the mammoth 50+ hours of recordings I had gathered during my time there. I also owe a special debt of gratitude to my wife Rebecca, who was instrumental in gathering some of these recordings. Her ears reflected an entirely other set of interests than my own and without that, this piece would be substantially less than what it is." 48-page perfect bound book featuring photographs by English, taken on location in the Amazon.
https://lawrenceenglish.bandcamp.com/album/a-mirror-holds-the-sky
|
2021 |
€24.00 |
|
| ENKIDU |
Live in Kyoto |
do-LP |
Mitschnitt eines Konzertes dieses Projekts mit der TAJ MAHAL TRAVELLERS-Legende CHIE MUKAI vom 12. Mai 2004, die in Kyoto mit SEIICHI YAMAMOTO (Gitarre, Electronics, Percussion) und ERIC CORDIER (Hurdy-Gurdy, Electronics) zusammentraf. Zu hören gibt lebendige Drone-Improvisationen mit surrealem & expressivem Flair; das ganze kommt im Siebdruck-Cover, limitiert auf 525 Exemplare.
"Enkidu is the mythical Japanese psychedelic noise project of legendary performers Chie Mukai (Taj Mahal Travelers, Che-SHIZU, East Bionic Symphonia, Dadnur), Eric Cordier & Seichi Yamamoto (the Boredoms, Omoide Hatoba, Rashinban, Ontoko). Over four bruised side-long cuts, Live in Kyoto faithfully captures the intensity of one particularly eviscerating evening of ritualized self expression at Kyoto's Tanq space in 2004. This is liminal ecstatic drone, clatter & relentless sound bursts with a rough-around-the-edges vibe that maintains a loose kinetic debt to everything from La Monte Young & the Theater of Eternal Music to Keiji Haino, AMM & Fushitsusha. Hand-numbered edition of 525, 2 X 180 gram vinyl housed in a black silkscreened bottom-folded heavy jacket. Chie Mukai (kokyu, electronics, voice, percussion & dance) Seiichi Yamamoto (guitar & electronics & percussions) Eric Cordier (hurdy-gurdy & electronics)." [label info]
label: www.locustmusic.com
|
2007 |
€22.00 |
|
| ENO / MOEBIUS / ROEDELIUS |
After the Heat |
CD |
"Das Treffen der drei Ambient-Erfinder, dokumentiert auf zwei legendären Alben.
Brian Eno hat den Begriff Ambient Music geprägt und berühmt gemacht - die Musik aber hat er nicht allein erfunden. Brüder im Geiste waren die deutschen Musiker Hans-Joachim Roedelius und Dieter Moebius (Cluster). Es ist müßig, darüber zu spekulieren, wer wen beeinflusst hat, die Idee der Ambient-Musik lag Mitte der 70er-Jahre einfach in der Luft. Fakt ist, dass Brian Eno 1975 ein Konzert von Cluster in Hamburg besuchte. Er stellte sich strategisch günstig in die erste Reihe, und erwartungsgemäß bat man ihn zu einem Jam auf die Bühne. Nach dem Konzert verabredete man ein Treffen, das dann 1977 stattfand. Drei Wochen lang waren Eno und Cluster im Studio von Conny Plank. Zwei Alben entstanden daraus: "Cluster & Eno" sowie "After The Heat". Ersteres ist ohne Übertreibung das erste in Deutschland produzierte Ambient-Album. "After The Heat" ist jedoch etwas völlig anderes. Während auf "Cluster & Eno" die Handschrift von Cluster zu lesen ist (und Enos Ambient-Konzept die Hand führt), ist "After The Heat" eher ein Eno-Album mit den Stilmerkmalen der Cluster-Musik." [label info]
www.bureau-b.com
|
2009 |
€16.50 |
|
| ENO, BRIAN |
Music for Installations |
6 x CD BOX |
Though containing music that goes back to 1985, Music For Installations is hardly a retrospective in any traditional sense. It’s more a whimsical line connecting ideas in Eno's own personal Long Now.
Not long after Brian Eno coined the term “ambient music” in the late 1970s, he generated another Eno-ism with an extended lifespan, one with an appropriately slower dissemination.”I want to be living in a Big Here and a Long Now,” the producer wrote in a notebook. He thought of his then-recent recordings as sound “suspended in an eternal present tense.” Perhaps unconsciously channeling Baba Ram Dass's brand/mantra, Be Here Now, the always-conceptual Eno began to expand his sense of scale. Two decades ago, Eno helped start the Long Now Foundation, working to connect the present moment to the far-extended arc of human history. One project was the 10,000 Year Clock, for which he created patterns for the clock's chimes, each to be rung once and never repeated.
By the mid-’90s, the period representing the general starting point of the six-disc Music for Installations, Eno's “ambient” work had largely fallen under the subtly different rubric “generative” (that is, music that is created according to a system of algorithms, only partly under its maker’s control). Each piece here represents its own individual slice of one possible Long Now, with Eno providing the finely considered coordinates so that the music itself can run infinitely, changing into new patterns like a river or an ocean. Grown from mid-’80s experiments with four tape recorders looping cassettes of differing lengths, Music for Installations contains what are essentially field recordings from a series of different environments, each its own universe. Filled with gorgeous washes of bells and drones and unidentifiable luminous shimmers, deep vibrations moving across widescreen stereo fields, one might imagine them all as separate galleries and vestibules in a vast museum, each filled with light and sound, running constantly as night and day change outside and the seasons pass. Though Music for Installations contains sound created for specific situations and places, as a box set, it might be used to step outside of time.
Of course, a streaming service might still label all of the above as “ambient,” part of the new chill-out economy seemingly driving Spotify to its own kind of generative musak. But what Music for Installations proves beyond a doubt is that, to paraphrase Chevy Chase, he's Brian Eno and they're not. Though containing music that goes back as far as 1985 (”Five Light Paintings”), Music For Installations is hardly a retrospective in any traditional sense. It’s more a whimsical line connecting ideas in Eno's own personal Long Now.
Eno is everywhere and nowhere in this music, much of it not so much performed by him as willed into existence, like a character from a science fiction novel who dreams in sound. On several of the longest pieces, such as the 44-minute 77 Million Paintings, low rolling notes played sparsely at long intervals seem to indicate melodies unfolding too slowly for immediate comprehension, perhaps even direct continuations of the similar motifs from 1978's Ambient 1: Music for Airports. Released in DVD editions in 2006 and 2007, 77 Million Paintings constitutes the audio accompaniment of a generative video program Eno created. As he recounts in the liner notes, when he first set it up, he began to document individual frames of it with a still camera, shooting off some 800 pictures before surrendering to the ephemerality. The feeling of listening to Music for Installations is often similar. Its pieces are beautiful and always different, and yet always the same, generic without losing character.
Much of it is resolutely not chill-out music. The nearly 40-minute piece “I Dormienti” is filled with a ceaseless moving richness that's hard to reconcile with the idea of machine creation. High-frequency electronic tones and clusters of upper register piano notes flutter between percussive samples of vocalist Kyoko Inatome, amid other layers. Composed for a joint installation with the sculptor Mimmo Paladino in the subterranean space beneath London's Roundhouse, the music is perhaps more suited for the kind of contemplation that goes along with quietly freaking the fuck out, an accompaniment to Paladino's haunted work as it was seen in the darkroom, pieces displayed on the floor like strange creatures preserved after a Pompeii-like disaster.
The set's final two discs don't actually contain music for installations, except in ever more conceptual ways. Making Spaces was a CD sold at installations, and little of it feels generative in composition or structure, though the liner notes don't clarify. In the context of the box set, it feels not only like a separate, hidden Eno album of its own, but a brilliant one, demonstrating that Eno is still perfectly capable of seizing the means of production. The nine pieces feel less like spaces and more like the objects inside, sculptures with distinct shapes and boundaries and artistic intentions. The unearthly “New Moons” features a sparsely strummed guitar part with defined chords (and even a bridge), aglow from start to finish, perhaps one haunted vocal away from fitting perfectly onto the song-based album some strata of Eno fans always want dearly. “All the Stars Were Out” contains a background flutter that could equally be the sound of crickets or the flicker of a film projector, but is just one more expressive tone carved out by Brian Eno. Each of the tracks contains its own inventions and deployment of color-forms or unexpected tonal voices or structural turns.
The set-concluding Music for Future Installations, meanwhile, is perhaps the box's cheekiest conceit, music for new places, new situations that haven't yet happened.”I often find it helpful to have an alibi for making a piece of music,” he observes, and the seven discs of Music for Installations might serve many contexts. Music For Airports was never for airports (though it certainly is capable of providing calm inside one), and the function of Music for Installations is wherever the listener might like to install it, less about the purpose of the music and more about the listener's desired level of engagement. But no matter what level of engagement one chooses, Eno will be there, too.
The set's 60-page liner notes are filled with documentation, though it's sometimes unclear which recordings correspond to which installations, if any. More, though, it acts as a Little Red Book of Eno-isms, where he lays out one deeply awesome hot take after another.”I thought of television as a light source rather than a narrative source,” he writes about his video installations, “at that time the most controllable light source that had ever been invented.” (I… had never thought of it like that.) No matter how vibed-out the music may get, there is always the sense of a voice and mind behind it. Even when trying to abdicate the order and arrangement of the notes being played, Eno's control over sound remains at a practically spiritual level. “Eno is God,” ran the early ’80s graffiti, and depending on how you define his domain it might still be true, manifesting in the smallest of breezes and the tiniest of bleeps.
|
2018 |
€55.00 |
|
| ENTRELACS |
Underleaf |
CD |
"Erste Veröffentlichung des Projekts von YANNICK DAUBY und MICHAEL NORTHAM: magischer Konkretismus von flüsternden Blättern und Ästen, die sich mit sanften Gong-Drones und Metallrauschen verknüpfen." [old Drone Rec. info]
"A project that was formed by Michael Northam & Yannick Dauby in 2003 and put out only 2 releases: "Underleaf" CDR on Italian label S'agita Recordings and "Cynorrodhon" 7" single on Drone Records. This CD is a reissue of "Underleaf". Sound sources are a walk along a fallen tree in Corbet, Oregon and a conversation with found objects in Paris, France." [label info]
www.semperflorens.net
"Entrelacs is the sporadically operational collaboration between longtime aQ fave eco-dronologist Michael Northam and phonographer Yannick Dauby, as Northam is perpetually wandering back and forth between North America and Europe, and with Dauby residing in Taiwan. These recordings actually date back to 2003, made "along a fallen tree in Courbet, Oregon and [at] a conversation with found objects in Paris." The Entrelacs project begins with the collection of found objects, continues through the manifestation of tactile sounds from those objects aided by some use of digital manipulation, and concludes when the objects are returned from where they were found. This lends itself well to the discovery of previously unknown sounds in new regions, especially when these two would perform live. On their website, they site an impressive array of atypical sound making devices that would give Matmos more than a few good ideas for their electro-acoustic madness. Amplified chimney sweeps, bowed escargot, obsidian shards, dried chardons, and needles piercing leaves are just a few of the more interesting ones. We're very curious to know where those bowed snails are in the mix! Underleaf unfurls slowly through a slow crunching of organic materials occasionally jolted with the sharp tinkling of what must be those obsidian fragments. Aggregated masses of those textures blossom throughout the 49 minute track in blurry drones that settle in the background of those tactile sounds, eventually giving way to a bowed metal chorale near the 30 minute mark that has all the right Organum / Andrew Chalk references." [Aquarius Records SF]
|
2012 |
€13.00 |
|
| ERICHPHONE MANNSTEIN |
Schmetterling |
MC & object |
"nach etwas länger zeit ein lebenszeichen/
wir waren in der zivilisation/
wir haben uns viel beschäftigt/
mit revolten/ kleinkriegen/ bürgerkriegen/ glaubenskriegen/
alltagskriegen..../
mächtig ohnmächtig sind wir zurückgekehrt/
haben spass bei den folgenden veröffentlichung zurückerlangt/
Querschalltapes #5
Erichphone Mannstein - Schmetterling / August 2014
Endloskassette 20 sec.
Limitierte, handnummerierte Auflage 47 Stück
ein soloprojekt von andreas mal hoeschen.
eventuell bekannt von A.B.G.S, [multer]
samples und fieldrecordings."
www.inselkind-schalltraeger.de
|
2014 |
€39.00 |
|
| ERIK M & LUC FERRARI |
Visitation |
LP |
Visitation, created on April 1st, 2011 is a very unique kind of collaboration between two French sonic artists, master Luc Ferrari and eRikm. Here is eRikm's direct testimony about this work: "When the sun set on April 1st, 2011 I heard through the windows of my house the repetitive song of a night bird. Madeleine brought me immediately back to Luc Ferrari¹s electroacoustic piece Presque Rien N° 2. I became curious about comparing the bird that was officiating in the garden of Cap15 (in the North area of Marseille) with the bird of Presque Rien. My curiosity triggered the desire to play Luc's piece in the acoustic space of my house. With my rudimentary recorder I moved inside and outside the house, moving back and forth between both spaces. I played with the depth of field, the beat between these two birds separated by 34 years, and immersed myself in these acoustic events. This Ursprung or temporal Klein bottle was recorded and edited in one single sequence shot." It's very hard to compare anything with one of the all-time masterpieces of modern creation as Luc Ferrari's Presque Rien N° 2, but listening to this piece you immediately get the impression of a perfectly accomplished work, published now on LP on your favorite label. So here is the first-ever LP by eRikm, elegantly released with Presque Rien's iconic mouth picture on the sleeve; dedicated to Brunhild Ferrari and to Natacha Muslera. One-sided release.
|
2011 |
€21.50 |
|
| ERIK M (eRikm) |
Monofacemirror |
maxiCD |
Zweite Veröffentlichung für den Turntable-Experimentalist ERIK M auf Sonoris, ein einziges ca. 25 minütiges Stücke auf dem er sein ganzes Können zeigt, vom ruhigen subraum-dronigen Beginn über verwirrende & weirdo – Collagenklangfelder hin zu hörspielartigen Soundscapes mit Erzähler-Lyrics.. spannend!
Second release of this turntable-experimentalist on Sonoris, one 25 min. piece where he shows all his ability, from the quiet droney start over collagous fields up to earplay-like soundscapes with french narrator.. thrilling !
label: www.sonoris.org
|
2001 |
€8.00 |
|
|
Zygosis |
CD |
Erste CD eines französischen Soundartisten aus Marseille, der v.a. mit Plattenspielern arbeitet, aber für diese Arbeit auch Samples und Tapes einsetzt. In der Vergangenheit hat er bereits mit GÜNTER MÜLLER, CHRISTIAN MARCLAY, JIM O'ROURKE, TOM CORA und OTOMO YOSHIHIDE zusammengespielt. ERIC M benutzt Soundquellen aus zeitgenössischer Musik, French Poetry, Film-und Rockmusik. Sie reichen von PARMEGIANI über CHOP SHOP, PIERRE HENRY und NAPALM DEATH bis hin zu YOKO ONO, JEANJACQUES BIRGE, SUN RA und QUEEN! Auf 27 Indexen kommt dabei eine weirdo, semi-plunderphonige & witzige Überraschungsmusik heraus, wo jede Sekunde ALLES passieren kann, aber auch ganz ruhige Stücke gibt es zu erkunden! Sounds really new!
label: www.sonoris.org |
1999 |
€13.00 |
|
| |
Steme |
CD |
"Steme" ist eine Arbeit über "Fragmentierung, Genese und Erneuerung", basierend auf einer Auswahl von zehn 1minütigen Klangstücken von einer defekten CD. ERIK M ist ein Meister im improvisierten Konstruieren und Dekonstruieren von Klangschnipseln; hier klingt das unfassbar abstrakt, zerschnipselt & geräuschhaft, von Gekräusel & Rauschen durchsetzt, aber es gibt auch schillernd-elektrisierte Drone-Parts....muss man gehört haben...
"Between his reputation as swift shifting improviser, concréte composer and turntable deconstructionist, Marseilles based artist ERIKM has earned himself an enviable position in the European music community. With Stéme, his most ambitious and fully realised compositional work to date, he devolves and recontextualises the boundaries between sound source and sound media. In essence, Stème originates from a selection of ten one minute long sound pieces burned on a CD which was deliberately damaged. These media (music on modified media or field recording) formed the basis of multiple improvised session including multiple stages of construction and destruction of these acoustic matters using my different electronic real time live music systems (3k-pad system & MD or CD-dj and electronics). The resulting sounds are truly distinctive – filigree like sonic details are brought into sharp focus, tuning the ears with their paced spatial movements. Occasional grabs of the source sound material appear and are erased equally as quickly. A genuinely powerful statement of compositional intent." [label info]
"...Unlike say Oval, ErikM is not interested in creating some new (old?) form of popmusic out of it, but rather tries to use all these blocks in a large composition of a highly delicate, electro-acoustic nature. With the exception of 'White Out' which operates more from the drone end, and there for seems a bit out of place here, all the seven other pieces are of a collage like nature, which adds a great vibrancy to the material, bouncing all over the place while the listener only can submit to this with full attention. That 'White Out' piece could have been easily left of from this, and it would have been a perfect CD, now it's near perfection." [FdW / Vital Weekly]
www.room40.org
|
2007 |
€13.00 |
|
| ERINYS |
Manhattan / Dwelling |
CD |
Definitiv einer der besten apocalyptic / atmospheric Industrial-Veröffentlichungen auf Tesco, noch immer zu entdecken !
“This sound artist from the us presents a dark, intense soundscape of destruction and apocalyptic noise to celebrate the end of city civilization. comes in a deluxe special package.” [tesco]
“Erinys hail from New York, and is one Gerald Stevens. His music touches many musical fields, like musique concrete, elecctronica, ambient and noise, but he is capable of creating his own unique thing. Taking sounds from the city (part1-7) or his former home (8-12), feeding them through synths and other effect boxes, a dense field of noisy ambient concrete music arises. Certainly towards the end, this disc reaches it's peak with very well crafted soundscapes of an austere beauty. This, an the beautiful folder it's packed in, make it a very good release, and can be placed right next to Illusion Of Safety's 'Cancer' release on Tesco (which for me is another previous highlight from their catalogue).” [FdW, Vital Weekly]
|
1998 |
€14.00 |
|
| ESMERINE |
Dalmak |
CD |
"180 GRAMM VINYL LP INKLUSIVE POSTER + DOWNLOADCODE! Als ESMERINE mit "La Lechuza" 2011 ins Licht der Öffentlichkeit traten, war das Album das Signal für viele Dinge: es markierte die ersten Aufnahmen der Band nach sechs Jahren, ein erweitertes Line-Up und eine Songsammlung, die vom Leben und dem viel zu frühen Tod eine Freundes und Mitmusikers inspiriert war.
Das neue ESMERINE Album ,Dalmak" stellt heraus, dass die Band nicht damit aufgehört hat, zu schreiben, zu entdecken und zu kollaborieren.
Bruce Cawdron (Ex-GODSPEED YOU! BLACK EMPEROR) und Cellistin Rebecca Foon (SILVER MT. ZION, SET FIRE TO FLAMES) haben den Percussionisten Jamie Thompson (UNICORNS, ISLANDS) und den Multiinstrumentalisten Brian Sanderson als vollwertige Mitglieder rekrutiert.
Europäische Touren brachten ESMERINE zwischen 2011 und 2012 nach Istanbul; ,Dalmak" ist das Resultat dieses Besuches: Der Großteil des Albums wurde in Istanbul aufgenommen, wo die vier kanadischen Musiker Verstärkung von der gleichen Anzahl türkischer Gastmusiker bekam.
,Dalmak" ist ein türkisches Verb mit vielen Auslegungsmöglichkeiten: betrachten, sich auf etwas einlassen, eintauchen, baden, in etwas hineineilen, abstürzen.
Als Albumtitel bezieht sich ,dalmak" wörtlich auf das Einlassen auf die Kultur und Musik von Istanbul, beschwört jedoch auch passenderweise die Spannweite der Musik, die hier herauskam: eine Sammlung von Songs, die zwischen meditativem Pulsieren und umarmender Hemmnis und spontanem Ausbruch in Rhythmus und Groove pendelt." [label info]
www.cstrecords.com
|
2013 |
€14.00 |
|
|
Mechanics of Dominion |
LP |
180G AUDIOPHILES VINYL INKL. EINEM SET AUS FÜNF 12 "X12" KUNSTDRUCKEN (ARTWORK VON JEAN-SÉBASTIEN DENIS AUS DER IMBRICATIONS-SERIE) + DOWNLAD-CODE "Mechanics of Dominion" entstand durch das moderne Kammer-Ensemble ESMERINE, das von Rebecca Foon (SALTLAND, SILVER MT. ZION) und Bruce Cawdron (GODSPEED YOU! BLACK EMPEROR) gegründet wurde. "Mechanics of Dominion" ist vielleicht ESMERINEs' dynamischste und narrativ informierte Arbeit, die einen Bogen durch neoklassizistische, minimalistische, moderne zeitgenössische, Folk-, Barock-, Jazz- und Rock-Idiome verfolgt, um Klage, Meditation, Entschlossenheit, Widerstand und Hoffnung aufzurufen. Es ist ein Requiem für unseren unerträglich leidenden Planeten und ein Lobgesang für die unergründliche, wesentliche Würde der indigenen Ethik, der natürlichen Welt, die moderne menschliche Schwäche und den Einfallsreichtum. Stilistisch bringt "Mechanics of Dominion" Schlag-Instrumente in den Vordergrund, mit Marimba, Glockenspiel, Klavier und Spieluhr. Die Beiträge von Multi-Instrumentalist Brian Sanderson nehmen einen immer größeren Teil in ESMERINEs Songwriting ein - seine melodischen Linien auf Hörnern und akustischen Streichern sind Elemente der zeremoniellen Lyrik und beleben diesen Songzyklus. "Mechanics of Dominion" ist außerdem eine weitere Superlative im Anspruch an Covergestaltung und Verpackung, diesmal mit der Arbeit des Montréal-Künstlers Jean-Sebastien Denis, die das komplizierte Gleichgewicht des Albums von Abstraktion, Spannung und emotionalen Färbungen genial widerspiegel
|
2017 |
€22.50 |
|
| |
Lost Voices |
LP |
Montréal chamber rock ensemble Esmerine return with the new full-length album Lost Voices, the most dynamic and incendiary record of the group’s career, following its highly-acclaimed and Juno award-winning 2013 release Dalmak. Led by co-founders Bruce Cawdron (Godspeed You! Black Emperor) on various mallet instruments and Rebecca Foon (Thee Silver Mt. Zion, Saltland) on cello, Esmerine also includes drummer/percussionist Jamie Thompson (The Unicorns, Islands, Little Scream) and multi-instrumentalist Brian Sanderson.
Lost Voices is the result of multiple recording sessions led by Vid Cousins (Kid Koala, Amon Tobin, Colin Stetson) and was mixed/produced by Jace Lasek (The Besnard Lakes) at his Breakglass Studio in Montréal. The album features several tracks that are hands down among the band’s most rocking, making newfound use of electric guitars (courtesy a variety of guest players) alongside the group’s nucleus of marimba, strings and percussion. Expanding from Dalmak’s core quartet, Esmerine also welcomes bassist Jeremi Roy (who began touring with the group in 2013) as an official member; his contrabass work adds potent low-end to the heavier and more muscular jams on the new album. Lost Voices is equally notable for the appearance of GY!BE/Silver Mt. Zion violinist Sophie Trudeau as a featured guest; her intense and incomparable string sounds/styles elevate the potency of the record’s most soaring and high-octane pieces, particularly on opener “The Neighborhoods Rise”, “19/14” and the centerpiece track of Side Two, “Funambule”. Thompson’s drumming comes to the fore on these pieces too, and on the rock-steady minimalism of “A River Runs Through This City”, which satisfyingly harkens back to the likes of Tied & Tickled Trio, June Of 44, Shipping News and Lungfish.
Lost Voices can fairly be called Esmerine’s “rock” album, expanding upon the band’s celebrated prowess at deploying structure and dynamic, balancing melodic expression against methodical restraint through a diversity of stylistic touchstones (minimalism, post-rock, math-rock, desert rock) while allowing for explosive crescendos of exuberant density and maximalism that most notably distinguishes this record from previous work. The album nonetheless includes several instances of more spacious, searching and/or tender compositions – not only in some of the opening sections of the rock songs, but in stand-alone marimba-and-string-led pieces like “Pas Trop Pas Tropes” and “My Mamma Pinned A Rose On Me” and in the two piano-and-string minuets that close each side of the record.
Lost Voices is a deeply satisfying and evocative journey and another brilliant iteration of Esmerine’s distinctive instrumental chamber rock; cerebral and visceral, controlled and volatile, and wholly cinematic in scope throughout.
Thanks for listening.
PERSONNEL
Rebecca Foon: Cello, harmonium, piano, voice
Bruce Cawdron: Marimba, bowed marimba, glockenspiel, vibraphone
Jamie Thompson: Drums, marimba, glockenspiel
Brian Sanderson: Violin, ekonting, cavalry cornet, f horn, sarod, bass guitar
Jérémi Roy: Contrabass, bass guitar
GUESTS
James Hakan Dedeoglu: Guitar (tracks 1, 2, 4, 5, 7)
Sophie Trudeau: Violin (tracks 1, 5, 7, 9)
Jace Lasek: Guitar (tracks 1, 7), synth (track 6)
Pierre-Guy Blanchard: Darbuka, riq, glockenspiel (track 7)
Ian Ilavsky: Guitar (track 4)
Vid Cousins: Piano (track 5)
Colin Stetson: EVI (track 8)
Recorded by Vid Cousins at Mixart and Six Saint V in Montreal.
Mixed by Jace Lasek and Ian Ilavsky at Breakglass in Montreal.
Mastered by Ryan Morey.
https://esmerine.bandcamp.com/album/lost-voices
|
2015 |
€22.50 |
|
| ESOTERIC |
Subconscious Dissolution into the Continuum |
CD |
Langsamer Doom Metal mit extrem melancholischem & düsteren Einschlag von dieser britischen Band, die einen recht einzigartigen Stil begründet haben, die Gitarrenarbeit erinnert an GODFLESH oder mitunter gar COCTEAU TWINS, dann wieder gibt es disharmonische & abgründige Arrangements, immer langsam, schleppend und schwer... an den Gesang muss man sich vielleicht etwas gewöhnen, aber wir meinen der ESOTERIC Sound kann auch für Drone & Dark Ambient Hörer durchaus interessant sein..
"...ESOTERIC befinden sich irgendwo auf der Kreuzung von Noise, Psychedelia und extremem Doom Metal. Da sie mit Funeral Doom Geschwindigkeit mit stark verzerrtem Bass, einer Steinmauer aus Gitarren, verfolgenden Samples und haarsträubenden Vocals spielen, ist ESOTERIC’s Sound mit einem schlimmen LSD-Trip oder einer Überdosis einer harten Droge vergleichbar. Sie sind zweifellos die düsterste, selbstmörderischste, psychedelischste und verwüstendste derzeit existierende Band und schaffen es, mit ihren bizarren Soundlandschaften gleichzeitig zu entzücken und zu bedrücken. Und wenn euch diese Beschreibung nicht ausreicht, um euch ein Bild zu machen, kann ich euch nur empfehlen reinzuhören." [Ben Meulemann]
"It's never an easy job to review an Esoteric release. They have gained such a reputation for being one of the most unique and extreme bands in the Doom spectre that it is hard to oppose, they are almost untouchable - and with good reason. The fact is that "Subconscious Dissolution Into The Continuum" is not an easy listen. It's devoid of any pleasant human feeling; it's savagely cold, heavy and droning. It'll put you in a miserable state - yes, it is as fascinating as it seems.
The sombre torturous atmosphere of this album left me speechless. This is not typical Funeral Doom; it is basically as slow as you probably expect, but there's this whole psychedelic sense, and really raw and mechanical distortion. As opposed to that more ethereal sound of other bands that rely on keyboards and clean vocals, for example, like Pantheist or Skepticism. Esoteric is closer to bands like The Funeral Orchestra, with their frightening sound and disharmonic, multi-layered structuring [...] Esoteric may seem monotonous at first listen, but you have to let yourself be absorbed by its aesthetics, you can't listen to this on just any day. Once you get past beyond its fever-inducing slowness you'll be ready to realise the true power and beauty of "Subconscious Dissolution Into The Continuum" and actually enjoy everything about it. Even the same slowness that used to put you off. This is truly a devastating and intense experience that I recommend highly to anyone who can appreciate extreme Funeral Doom Metal." [Passenger / Metalstorm]
www.season-of-mist.com
|
2004 |
€13.00 |
|
| ESSEIVA, KIKO C. |
Sous les Etoiles |
CD |
Für Klang-Abenteurer genau das richtige, das zweite Album dieses uns bisher unbekannten Soundtüftlers auf dem Schweizer Label. ESSEIVA kreiert hochdynamische Geräuschmusik mit vielen breaks & cut-ups und meist instrumentellen & konkreten Klängen, en detail quasi unbeschreibbar da zu komplex (zum Glück aber gibt es Rigobert Dittmann), von der Machart an alte NWW oder spannende Elektro-Akustik erinnernd. Empfehlung !
"Sous Les Etoiles (HINT04) ist nach Musiques pour haut-parleurs (Music For Loudspeakers) und Improvisations / Bricolages I-IV im Split mit Eric Boros (1000+1 Tilt) eine weitere Manifestation der Kreativität von KIKO C. ESSEIVA in Lausanne. Es ist ein komplexes Werk, in Szene gesetzt als experimentelles Cinema pour l‘oreille, mit einem ‚Prélude‘, 8 Episoden und einer ‚Fanfare de fin‘. Hervorstechend ist dabei die Plastizität der Klänge, ob knackiger Apfelbiss, knurrige Drones oder windspielerisches Klimpern. Das erinnert an Hanna Hartmanns Bildprägnanz, geht aber eigene, geräuschhaftere Wege. Ein weiteres auffälliges Ingredienz sind Stimmen, als gutturale Vokalisation, dann ein Frauenmund, der den Titel ansagt. Aber auch andere Klänge scheinen per Mund erzeugt zu sein, wenn auch verfremdet bis zur Unkenntlichkeit zu perkussivem Rippeln, zu Knarren oder Fauchen. ‚En rêve‘ wirkt wie alte Streichmusik, wobei der Geigenbogen jede Rauheit der Saite übertrieben ausreizt. Aus vielen Fugen flattert, knarrt und knarzt es, ein Metalldeckel eiert, Wasser gluckert, Dulcimersaiten flickern. Keine Landschaft tut sich auf, alles ist hier konkreter, detaillierter, informeller, in plastischer Nahsicht vor das Tagtraumauge gerückt. ‚Sous les étoiles toujours‘ überrascht mit einem Piano, dumpfen Glockendongs, wooshenden Drones, fragilem Klingklang. Zum Finale erklingt keine Fanfare, sondern kaskadierendes Tamtam, Cymbalschläge, Scherenschnippen, eine quäkende Hupe, Posaunengeblubber, alles Teil eines surrealen Orchesters der Dinge. Ich drücke gleich mal auf repeat." [Bad Alchemy]
"We are proud to release - four years after his first longplayer on Canadian imprint 'Manufracture' - Kiko C. Esseiva's second album 'Sous les étoiles'. The electro-acoustic-musique conrète compositions he has constructed during the past years are brilliant soundpieces that remind sometimes on Luc Ferraris electro-acoustic works but also the very narrative nature of some older Nurse With Wound albums. The way he mixes (almost) melodic elements into a complex structure of well arranged sounds and noises is simply beautiful. 'Sous Les Etoiles' goes even a step further than Esseiva's debut 'Musiques pour haut-parleurs', the tracks being audibly held together by leitmotifs, making it one big opus instead of being just a collection of tracks." [label info]
www.hinterzimmer-records.com
|
2008 |
€13.00 |
|
| ETANT DONNES |
Ceux Qu'On Aime - Ce Que Je Hais |
CD |
"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. Ceux Qu'on Aime - Ce Que Je Hais was the band's fourth album, dating back to 1983 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this CD re-issue we have added a long bonus track not on the original album. Full tracklist: 1. Ceux qu'on aime - Ce que je hais 2. Les Cents Pas 3. Mieux vaut se retourner que regarder dans le reflet 4. Music from the film Des autres terres souples Part 3."
https://www.klanggalerie.com/gg396
"Das vierte Studioalbum (1983) des französischen Experimental- / Performance-Duos ETANT DONNES mit einem einen zeitlos spannenden Mix aus Industrial / Noise, Avantgarde-Klängen und Musique Concrete. „Ceux Qu‘on Aime - Ce Que Je Hais“ erscheint erstmalig als
CD im Digipack-Format mit Bonustrack auf KLANGGALERIE.
1980 in Grenoble von den beiden Brüdern ERIC und MARC HURTADO ins Leben gerufen, legte das nach einem Werk des französisch-amerikanischen Dadaisten/Surrealisten MARCEL DUCHAMPS benannte Experimental- / Performance-Duo, das seitdem mit Genregrößen wie GENESIS P-ORRIDGE, ALAN VEGA, MICHAEL GIRA, MARK CUNNINGHAM und LYDIA
LUNCH zusammenarbeitete, schon ein Jahr später sein Albumdebüt „L‘Opposition Et Les Cases Conjugues Sont Rconcil“ vor. „Ceux Qu‘on Aime - Ce Que Je Hais“ war das vierte Album der Band aus dem Jahr 1983, das ursprünglich auf dem französischen Label BAIN
TOTAL (unter Leitung von PHILIPPE FICHOT von DIE FORM) nur als Kassette veröffentlicht wurde. Für diese CD-Neuauflage wurde ein langer Bonustrack hinzugefügt, der nicht auf dem Originalalbum enthalten ist („Music From The Film Des Autres Terres Souples Part 3.“)."
|
2022 |
€15.00 |
|
| EVAPORI |
Rehearsals for Objects |
CD |
"1000füsslers industriell gefertigte Releases erreichen einen neuen Maßstab. Neben Tietchens und der sehr schön angelegten Heizungs-CD ist Evaporis Beitrag zum CD-Labelkatalog ein weiteres ungewohnt klingendes Zeugnis Neuer Musik. Völlig losgelöst vom Digitalkrach oder jedweder PlugIn-Klangmasse erscheinen die hier versammelten Stücke wie alte Schneidetischexzesse eines digital aufgemöbelten Walter Ruttmanns. Die raumklangtechnisch ausgesteuerten Klänge und Geräusche werden mittels ihrer Aufnahmeposition verfremdet und steuern damit gegen den sonst allgegenwärtigen digitalen Verfremdungsprozess. Klanglich angesiedelt zwischen einer ausziselierten Kapotte Muziek Komposition und einer Esseiva Etude passiert im zeitlichen Rahmen dieser CD anfangs eine Menge: feine Schleifklänge wechseln teils in rapiden Wechseln ihre Soundzustände, lösen sich auf und bilden feine Schnittkanten, an deren teils gratfreien Oberflächen allerlei konkretes Material sich ansammelt, ehe es mit einem schnellen Schnitt in andere Ebenen gehoben wird. Der zweite Satz zeigt die stärkste Dekonstruktion mittels Audioschnitt und Collaging, weicht doch der geschickte Einsatz der Stille teilweise radikalen Rückwärtsrichtungen des Quellmaterials, ehe der letzte Akt der CD in teilweise recht droniges Basisbrummen gleitet und etwas schlüpfrig den Weg aus der Komposition weist. Evaporis Ansatz einer völlig raumklangbezogenen Kompositionsweise macht vor allem dann Sinn, wenn die ohnehin sehr liquiden und scharf gestellten (Rest)geräusche in teilweise verzweifelt wirkender Flucht ihre Plätze suchen. Die in endloser Rotation wiederholten Brummschleifen unter den gestreuten Sounds macht es fast schon wieder interessant, mal selber die Lautsprecher um einige Zoll im Raum zu verschieben und den damit verbundenen Akustiksituationen zu lauschen. Ganz schön interaktives Material." [Thorsten Soltau, AEMAG]
"The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.
Recordings were made at Rauchhaus / Berlin, Fundbureau and Christianskirche / Hamburg
Mastering by Guy Saldanha
Artwork by Nicolas Wiese
Thanks to Celia Herrero and Christoph Lohse"
[label info / credits]
www.tausend-fuessler.de
"Das nenn ich doch mal eine Produktinformation: „Die größtenteils aus dem Alltag stammenden Klänge wurden am Computer ausschließlich durch Schnitttechnik verfremdet, um die Erkennbarkeit der Klangquellen offen zu halten, Spannung aufzubauen und durch verschiedene Stimmungsbögen bei dem Hörer Neugier zu wecken.“ Das hat man nicht oft, dass ein Geräuschkunstmacher auch mal an seine (potentiellen) Hörer denkt und dass er das Ziel seiner Bemühungen angibt - Stimmung, Spannung, Neugier. Oliver Peters ist in BA schon bekannt als AIC-Macher und, obwohl in Berlin aktiv, für seine guten Verbindungen zur Hamburger Szene, zur Hörbar, zu Guy Saldanha (Knistern), der hier das Mastering besorgte, zu Uli Rehbergs Walter Ulbricht Schallfolien, wo zuletzt seine LP Fumes (2007) herauskam, zu Gregory Büttner, der ihm auf 1000füssler bereits zum zweiten Mal ein Forum bietet. Was hier die Neugier weckt, sind Übungen, Turn- oder Tanzübungen von Gegenständen in einem menschenleeren Raum. Nur die vermeintliche Abwesenheit von Beobachtern oder Lauschern ermöglicht diese leicht gespenstischen, zumindest ominösen und odradekhaften Verspieltheiten. Es huscht, trappelt, kullert, von ganz feinen Drones umspielt. Vielgliedrig tockt, ratscht, schabt und klickt Holz an Holz, Metall an Metall, Was? an Was? -kreuz und quer durch den Raum, an Wänden und an der Decke. Odradek-Hockey? Odradek-Mikado oder -Kampfsport? Ein ‚interlude‘ zwischen ‚rehearsal I & II‘ lässt keine Atempause, sondern verdichtet sogar die Aktionen, mit fast menschlichen Zischlauten. Das hat nichts ‚Ambientes‘, sondern eine spielerische Dramaturgie, die allerdings ihr Geheimnis - wer sind die Spieler und was proben sie? - nicht Preis gibt, denn wir sehen nichts, wir können nur lauschen und rätseln." [Bad Alchemy]
"Oliver Peters, the man behind the AIC label and the musical project Evapori, likes his sounds to be free of computer plug ins. Take an object, place a microphone and record the object. The placing of the microphone is essential as it alters the sound. Take a whole bunch of objects, record them and then make a CD out of these recordings. The computer is merely a recording device, where, in good musique concrete tradition, cuts can be made, stereo adjustment and balancing the various sounds. That is most commendable, I think, as most computer plug ins do tend to sound too similar. What Peters does here, is not done a lot. Using natural space to create reverb, he carefully touches his objects and makes a very intense sound collage out of it. One that requires full attention. At times I was reminded of the live sound of Kapotte Muziek, but then multi-layered and with more concentration - but then of course the computer here can cut out all the unwanted sounds, which live is more difficult. By adding machine hum towards the end of 'Rehearsal 1', he manages to sound like drone music too. I think this is a great CD, but there is one thing I don't understand: why call this rehearsals? Rehearsal for what? It gives the impression that this is unfinished business, unless Peters wants us to cut further in this material, but somehow I don't think that this the case here. Why not go full on and state that these are 'compositions'? " [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
| EVIDENCE |
Iris |
CD & DVD |
EVIDENCE ist der Projektname eines Duos von SCOTT SMALLWOOD und STEPHAN MOORE, dies die zweite Veröffentlichung mit 11 Stücken, die auf der DVD von verschiedenen Videokünstlern visuell "begleitet" wurden. Auf "Iris" dominieren flächige und loopige Arrangements, die wohl grösstenteils auf Feldaufnahmen basieren. Es ergeben sich mitunter rhythmische Muster, dröhnminimalistische (Anti)-Statik fusioniert mit field recordings...
"Iris, the second CD release from the duo Evidence (Stephan Moore and Scott Smallwood) on the Deep Listening label, is also their first video release. The DVD has the same sonic material as the music on the CD, but it features video pieces by the duo's favorite live-video performers, including Benton-C Bainbridge, Betsey Biggs, Fi$h2000, Madeleine Gallagher, Dawn Haleta, David Lublin, Jonathan Lee Marcus, Olivia Robinson, skfl, Diana Reed Slattery, Jack Turner and Walter Wright. These pieces emphasize the spontaneity of the artists' live performances, the practice of using 'found' materials, and suggest the emergence of a regional aesthetic stemming from the recent hotbed of media performance centered around Troy, New York. Stephan Moore is a composer, improviser, audio artist, sound designer and software programmer from Marquette, Michigan, currently based in New York City. His work is grounded in the collection and investigation of environmental sound recordings and a fascination with the perception and properties of acoustic environments. Scott Smallwood deals with real and abstracted soundscapes based on a practice of listening, improvisation, and phonography. Ranging from sonic photographs, studio compositions, instrumental pieces, and improvisations, the resulting pieces are often textural, always mindful of space and subtlety." [lable info]
www.deeplistening.org
|
2007 |
€18.00 |
|
| EYELESS IN GAZA |
Plague of Years : Songs and Instrumentals 1980-2006 |
CD |
'Songs and Instrumentals 1980-2006'. Noch eine EIG-Zusammenstellung, die aber mehr auf die experimentelle Seite zielt, 21 Stücke die die ganze Bandbreite der Band aufzeigen, mit einigen sehr raren Stücken. Special low priced !
"One of the great bands that emerged post punk... They were truly unique.... I still love them..." [Alan Mc Gee / March 2005]
"this CD deals with two sides of the group. first is its deeply lyrical vein, with summits like See Red and Lights of April, tracks that have almost never been included on "best-of" projects, despite the fact that they represent some of the most moving songs these musicians ever wrote. this collection also explores the group's more adventurous side through a number of instrumental pieces. this aspect of their output is little known and often neglected, even though it was there from their very beginnings. these two combining currents, where experimentation precedes lyricism (and the other way around), turn this album into a truly new way of (re)discovering Eyeless in Gaza. This unique architecture creates the impression that each side strengthens the other one's presence. probably for the first time ever, the 21 tracks so redistributed provide the band with irrefutable arguments toward its rebirth. Yes, Eyeless in Gaza is one of the most underrated groups. in this world of ours, will integrity finally pay off ?" [label info]
"Plague of Years is a single-disc retrospective by Peter Becker and Martyn Bates, aka Eyeless in Gaza. The duo began recording with minimal instrumentation -- Becker's piano and keyboards, some primitive drum machines, a guitar here and there, as well as a traditional drum kit (or at least the snares and cymbals) -- and made music in the post-punk era that was both challenging and hideously beautiful. The reason for that description comes from the sound of Bates' voice: nasal, emotionally overwrought, and often flat, it was a voice that expressed things in his utterly naked and poetic words that the heart could comprehend, but that the intellect often could not. Long before Morrissey ever warbled, Bates ripped the door off the closet of his fear, longing, love, and disappointment, framing it with colors that held many shades of gray, but also held out the glimmer of gold for hope. There are 21 cuts on this set, beginning with their earliest tracks from 1980's debut album, Photographs as Memories ("John of Patmos"), and the amazing "Every Which Way" from 1981's Caught in Flux, issued by Cherry Red, and moving through their utterly brilliant albums Drumming the Beating Heart, Song of the Beautiful Wanton, Orange Ice & Wax Crayons, and Back from the Rains. There are cuts from compilations, such as "To Steven" and "Sun-Like-Gold," that appeared as two parts of a three-part suite on Sub Rosa's Myths. Instructions., singles such as "County Bizarre" on NDN, and the gorgeous "Falling Leaf/Fading Flower" from the 12" Pale Hands I Loved So Well, which was a bonus disc tucked inside the Drumming the Beating Heart CD. There are also cuts here from Bitter Apples, the album they released for World Serpent in 1995, and Saw You in Reminding Pictures from the Ambivalent Scale label. This is but a taste, of course, since Eyeless in Gaza needed to be taken album by album, but one honest encounter with one of their songs will send the listener scrambling for more. The music here is beauty that is so out of place in this world, it can scarcely be borne." [Thom Jurek / Allmusic.com] |
2006 |
€12.00 |
|
| F:A.R. (FINAL ALTERNATIVE RELATION) |
Mechanics & Music (nastri ’81-’85) |
do-CD |
Si intitola “Mechanics & Music – Nastri '81-'85” il doppio cd antologico dedicato ai F:A.R., celebre collettivo industriale che ha fatto la storia del genere nel nostro Paese. Troveremo al suo interno i nastri “Duello sul cervello” (1981), “Final Alternative Relation” (1982) e “Lust” (1985), uscito all'epoca a nome F:A.R. Prosthesis. La band ligure, capitanata dal polistrumentista e vocalist Mauro Guazzotti, è considerata la prima e più importante formazione industriale italiana, che ha attraversato tutti gli anni '80 pubblicando dischi importanti, fuori da ogni schema. Nel cofanetto, dove i brani si susseguono in ordine rigorosamente cronologico, si nota un raffinato lavoro di restauro e rimasterizzazione, fatto su audiocasette vecchie di oltre trent'anni.
https://lucesia.bandcamp.com/merch/032-f-a-r-mechanics-music-nastri-81-85
"Dopo Officine Schwartz, Detonazione e Gronge, la Again Records (in cordata con Der Klang e Luce Sia) continua l’opera di recupero di fondamentali formazioni sperimentali degli Ottanta. È la volta dei F:A.R. di Savona, cangiante collettivo multigender guidato da Mauro Guazzotti (poi MGZ), tra i primi in Italia a fornire una personale versione del suono “industriale” alla CV/TG, ibridando il rumorismo e i cut-up di nastri ed elettronica specifici del genere con una fisicità di derivazione punk (soprattutto nelle esagitate interpretazioni vocali) e con imprevedibili deviazioni dal kraut-rock (vedi l’incipit di F.V. Awakening) al lounge pop (No Future), dall’astrazione più temeraria (New Dawn) a folli parossismi di tribalismo elettronico (Fedelissimo Elogio Primordiale). Da tempo si attendeva la riproposta delle storiche registrazioni del gruppo e qui si inizia dalla ristampa integrale delle prime tre cassette Duello Sul Cervello, Final Alternative Relation e Prosthesis – Lust (seguiranno, ci auguriamo, i vinili ufficiali usciti per Amen e Minus Habens). Niente bonus o inediti, ma in ogni caso materiale in quantità da (ri)ascoltare con attenzione, per cogliere intuizioni e peculiarità di questo “laboratorio” in progress, capace da subito di elaborare un suo linguaggio distintivo, descrivendo i più foschi incubi distopico-tecnologici con sofferta, psicotica e grottesca carica emozionale. (7/8) [Vittore Baroni / Blow Up} |
2017 |
€18.00 |
|
| FABRIS, FRANCESCO & BEN FROST |
Vakning |
LP |
"More recently best regarded as soundtrack composer, Ben Frost here follows work with interdisciplinary sound artist Francesco Fabris on the ‘Dark’ OST with a plunge into purest rock music, as in the actual sound of molten material rising to the surface and solidifying. With an
impressionistic-artistic license also found in work by Chris Watson, Jana Winderen or Giuseppe Ielasi, the duo uncompromisingly revel in the sounds of nature’s biting point, using various production methods to make audible the sound of the earth beneath our feet in the process of
creation, on location at Fagradalsfjall, Reykjanes Peninsula Iceland. Here’s label boss Lawrence English on the subject “As stable as we might choose to think it is, this planet is anything but that. A paper thin crust,
the zone in which we find ourselves, and mostly concern ourselves with, exists as a modest veil cloaking a dynamic seismic turbulence that is as powerful as it is unknowable. There are moments though where ruptures occur. The pressure from within carves its way to, and through, the surface of the planet simultaneously delivering destruction and virgin landscapes, as primordial as any we might care to imagine. It is here, in these places, where we can literally see the living
planet, that geologic time is condensed and world building is made visible, and audible to us, in an
unrestrained and provocative detail. These volcanic ruptures, such as those captured on Vakning by Francesco Fabris and Ben Frost, speak to the very living geology of Earth. These recordings, captured at close range, exist at a nexus where liquid rock becomes solid. They capture moments of transformation, of obliteration
and of creation, often all at once. These are recordings of a living, material planet, dynamic and
unrestrained.”
https://benfrost.bandcamp.com/album/vakning
|
2023 |
€27.50 |
|
| FAITH & DISEASE / JEFF GREINKE |
Dream the Red |
10 |
Traurig-fragile Kompositionen zwischen dark wave und sad ambient, eine ungewöhnliche Zusammenarbeit des ambient-composers GREINKE und der PROJEKT Records-Band!
300 Stck auf rotem Vinyl! Auch als mCD erhältlich..
“The second WEIRD AMPLEXUS releases a incredible collaboration between the great FAITH & DISEASE (do you remember their last album on PROJEKT?) and the well known master of ambient electronic JEFF GREINKE... DREAM THE RED CLOUDS is a 21 minutes of pure poetry. Pure emotions as maybe only the old AREA knew how to put in music... Sweet harmonies with a celestial voice that speaks to our souls... and the little dark sounds that penetrates in our bodies... do you want to classify this release? Well, file it among gothic-dark-ambient... but the reality that it's only pure poetry. This release is published on MCD in special package (the cover is the same of the 10") and in ltd.300 copies 10" VINYL.” [Amplexus press release]
|
2002 |
€10.00 |
|
| FALX CEREBRI (FâLX çèRêBRI) |
Trials Textures Errors |
CD |
"Almost 7 years in making, finally this milestone of pioneering & legendary german noise outfit is released - more than 25 years after the last recorded FâLX çèrêbRi track, compiles several contributions to compilations, as well as outtakes, erratic experiments, live cuts and unreleased tracks.
Release date is 28th July 2014. Limited edition of 500 copies in jewelcase." [label info]
"If it wasn't for a German guy named Graf Haufen I would probably not have started a record label, even when it was a cassette label at that time. This was thirty years ago, the summer of 1984. I had a made a booklet, a sort of 'discogs-on-paper', listing all Dutch cassette releases and Graf Haufen wrote about it in his German fanzine, Die Katastrophe. He then informed if I'd be interested in compiling a cassette with the 'loudest' Dutch electronic music acts, which became 'Katacome Vol. 3', which was then co-released by his Schrei Records and my own Korm Plastics label. The second release was 'Rite 64', a tape by Falx Cerebri, the musical project of Graf Haufen. I was envious of what he did: selling music, doing art, doing fanzines, mail-art, music, studying and I was surprised to learn he was even four months younger than I was. For a while I assumed he was much older. While I am hardly an archivist of any kind, I still have a mailer right here, containing all of the correspondence I received from him, including all his fine print catalogues and we see a friendship grow and crumble together. Graf Haufen went into Neoism, was a bit too critical about my releases and mail-art - quite rightly probably - and quickly we lost contact. He went into art and video circles and I stayed with music. In the late 90s I re-issued all of the Korm Plastics cassettes on CDR and tracked Graf Haufen down, then owning a video store in Berlin, who gave me some nice bonus material for the Falx Cerebri CDR re-issue. In the very early days of the Vinyl On Demand label there was talk of some highly limited Falx Cerebri LPs, but they never emerged, so this CD is the first true document available (the CDR also disappeared a long time ago, sadly). But, so you may ask, was the music all about? Was it really something special? Browsing his old catalogues, Graf Haufen was interested in what he called 'anti-musick', by which he understood not just industrial music, but also cruder forms of musique concrete. On 'Rite 64' it's all a bit more 'classic' industrial, with synthesizers, radio snippets, tape-loops and delay, and thus perhaps a bit more musical, but on this CD the emphasis lies more in the electro-acoustic aspect of his work. I played both this one and 'Rite 64' again, and while I still like the latter, this new compilation of pieces is stronger. Here we have quite a bit of contact microphone abuse, 'Scanning No. 2' for instance, vocal pieces, field recordings and synthesizer pieces, such as the 'The Eighth Enochian Key'. Rudimentary tape loops are used, but also cut-up/collage/montage techniques, scratchy records and all of that and it make up a more than excellent release. The only thing, but really that's just me, I would have liked to know more about these pieces, where they were released, live, unreleased etc. A documentation of some kind if you will." [FdW/Vital Weekly]
|
2014 |
€12.00 |
|
| FANTOMAS |
Delirium Cordia |
CD |
"The third full-length album from the all-star line-up of heavy-hitters MIKE PATTON (TOMAHAWK, MR. BUNGLE, etc.), BUZZ OSBORNE (MELVINS), DAVE LOMBARDO (SLAYER, GRIP INC.), and TREVOR DUNN (MR. BUNGLE). One extended track broken into several pieces, Delirium Cordia showcases the band's quieter side, offering a soundtrack to a very dark, fever-induced nightmare. Ambience, chaos and confusion abound." [label info]
www.ipecac.com
|
2004 |
€14.50 |
|
| FAUST |
71 Minutes |
CD |
" '71 Minutes' erschien in etwas abgewandelter Form 2001 als Teil der 5-CD-Box "The Wümme Years" mit verändertem Cover (schwarzweiß, anderer Schriftzug) und teilweise anderen Betitelungen der Stücke. Nach den Angaben auf der Website von Faust stammen die Stücke "Munic A" und "Munic B" (in der Wümme-Box heißen sie "Munic/Yesterday" und "Knochentanz") von 1975, die anderen Aufnahmen aus den Jahren 1971-1973.
Es handelt sich hier um eine ähnlich kuriose Sammlung wie "The Faust Tapes", vielleicht nicht ganz so wüst und durcheinander. Faust zeigen auch hier wieder ihre Ausnahmestellung in der Krautrockszene, wobei die Musik oft recht wenig mit "Rock" im eigentlichen Sinne zu tun hat.
Herausragend sind die beiden Teile oder Variationen von "Munic", vor allem "Munic A". Monoton hämmern sich elektronische Rhythmen, die eher einer Fabrik als einem Instrument entsprungen scheinen, ins Ohr, hämmern sich gnadenlos ins Hirn. Dazu ein ebenso monotones Schlagzeug, seltsame Stimmen und Geräusche - viel mehr passiert eigentlich nicht. Heutzutage würde man so was "Industrial Music" nennen. Ein zeitloses Werk, das man nicht ohne weiteres in die 70er Jahre einordnen würde!
Ansonsten gibt es hier seltsame Klangcollagen, gnadenlos sägende Gitarren bis hin zu punkigen Ausbrüchen ("Baby"), aber auch leisere, manchmal geradezu lyrische Stücke wie "Das Meer", "Party 8" oder "Psalter".
Insgesamt zeigt sich hier mal wieder, dass der Krautrock nicht einfach nur eine vorübergehende Erscheinung war, sondern die Entwicklung der populären Musik bis heute ganz entscheidend beeinflusst hat. Empfehlenswert!“ [Babyblaue Seiten]
“Re-released, now in digipak packaging. Combines the late 80s posthumous 5th & 6th Faust LPs: Munich & Elsewhere/Return Of A Legend LP ("various unreleased tapes intended for release") and The Last LP (the '71 "Faust Party" tapes ). Recordings are from Faust's classic era, 1971-3.” [label info]
|
1998 |
€14.00 |
|
|
So Far |
CD |
Re-issue of 2nd LP from 1972. „Das zweite Faust Album beginnt, verglichen mit den Eskapaden des Vorgängers, geradezu konventionell mit dem fröhlichen "It's a Rainy Day..." und dem lyrischen Gitarrenstück "On the Way to Abamae". Mit dem folgenden "No Harm" zeigen sich Faust dann aber wieder von ihrer kompromisslos experimentellen Seite. Zunächst beginnt das Stück mit getragenen Orgelklängen, nach einiger Zeit geht es abrupt in einen von typischen Krautrock Gitarren bestimmtenTeil über, in dem immer wieder voller Inbrunst die tiefsinnigen Worte "Daddy, take a banana / tomorrow is Sunday" deklamiert werden. Nach dem etwas ruhigeren Titelstück kommt mit "Mamie is Blue" eine heftige Industrial Noise Attacke. "I've Got My Car..." hat Kinderlied Anleihen und einen jazzigen Mittelteil. Auf zwei kurze Freifomcollagen folgt dann noch die parodistische Swingnummer "...in the Spirit". Insgesamt ist "So Far" nicht ganz so schräg und abgefahren wie sein Vorgänger, beweist aber dennoch Fausts herausragende Stellung in der frühen Progszene.“ [Babyblaue Seiten]
|
2000 |
€14.00 |
|
|
C'est com...com...complique |
CD |
"Gewohnt mythisch: neuntes Studioalbum einer sehr lebendigen Krautrock-Legende.
Gegründet 1970 in Hamburg sind Faust eine der wichtigsten Protagonisten des Krautrocks und weltweit verehrte Pioniere avantgardistischer Rockmusik. "Es gibt keine mythischere Gruppe als Faust", schrieb der englische Musikexzentriker Julian Cope in seinem Genreklassiker "Krautrocksampler" und bringt damit auf den Punkt, was sowohl die Musik als auch den Habitus der Hamburger Band angeht: Sie sind immer schwer zu fassen. Für die einen waren Faust das Beste, was der Rockmusik je passiert ist, die anderen warfen ihnen Dilettantismus vor. Spätestens seit Postrock in den Neunzigern erleben Faust eine Wiederentdeckung. Ihr neuntes Studioalbum "C’est com ... com ... compliqué" produzierte der Soundtüftler Tobias Levin. Es wurde eingespielt von Jean-Hervé Peron und Werner "Zappi" Diermaier sowie Amaury Cambuzat (Ulan Bator). Gewohnt dadaistische (meist französische) Texte begleiten sporadisch ausufernde, repetitive Patterns. In der Musik vereinen sich scheinbar widersprüchliche Attribute: Sie ist wuchtig und sanft, monoton und melodisch, erdig und ätherisch - schlicht einzigartig." [label info]
|
2009 |
€15.00 |
|
|
Something Dirty |
LP |
"Mit Faust meldet sich eine der dienstältesten deutschen Bands zurück. Aber was heißt zurück? In den vergangenen Jahren war die Gruppe um Jean-Hervé Peron und Zappi Diermaier sehr aktiv. Auf "Something Dirty" legen die beiden Krautrock-Pioniere zusammen mit James Johnston (Gallon Drunk, Nick Cave & the Bad Seeds) sowie der englischen Künstlerin und Musikerin Geraldine Swayne ein weiteres außergewöhnliches Album vor. Hier geht es sehr hypnotisch zu, repetetiv, melodisch, erhebend, psychedelisch, bedrohlich, dadaistisch, ätherisch. Johnstons Gitarre sägt sich durch Diermaiers archaische
Beats, harmonisch angereichert durch Perons wuchtigen Bass und Swaynes psychedelisches Tastenspiel. Immer wieder besinnen sich Faust auf ihre avantgardistischen Wurzeln und experimentieren mit Stimmen und ungewöhnlichen Instrumenten. Aber das Beste ist: Faust haben es auf "Something Dirty" tatsächlich geschafft, die rohe Energie und Ungeschliffenheit ihrer Liveauftritte im Studio zu reproduzieren. Eine
atemberaubende Hörerfahrung! "Es gibt keine mythischere Gruppe als Faust" (Julian Cope)." [label info]
www.bureau-b.com
|
2011 |
€17.50 |
|
|
Something Dirty |
CD |
"Mit Faust meldet sich eine der dienstältesten deutschen Bands zurück. Aber was heißt zurück? In den vergangenen Jahren war die Gruppe um Jean-Hervé Peron und Zappi Diermaier sehr aktiv. Auf "Something Dirty" legen die beiden Krautrock-Pioniere zusammen mit James Johnston (Gallon Drunk, Nick Cave & the Bad Seeds) sowie der englischen Künstlerin und Musikerin Geraldine Swayne ein weiteres außergewöhnliches Album vor. Hier geht es sehr hypnotisch zu, repetetiv, melodisch, erhebend, psychedelisch, bedrohlich, dadaistisch, ätherisch. Johnstons Gitarre sägt sich durch Diermaiers archaische
Beats, harmonisch angereichert durch Perons wuchtigen Bass und Swaynes psychedelisches Tastenspiel. Immer wieder besinnen sich Faust auf ihre avantgardistischen Wurzeln und experimentieren mit Stimmen und ungewöhnlichen Instrumenten. Aber das Beste ist: Faust haben es auf "Something Dirty" tatsächlich geschafft, die rohe Energie und Ungeschliffenheit ihrer Liveauftritte im Studio zu reproduzieren. Eine
atemberaubende Hörerfahrung! "Es gibt keine mythischere Gruppe als Faust" (Julian Cope)." [label info]
www.bureau-b.com
|
2011 |
€16.00 |
|
| |
j US t (Just us) |
LP & CD |
"Die Hamburger Krautrock-Pioniere mit einem Überraschungspaket aus Avantgarde, Dada und Folk.
Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab. //
j US t - pronounced "Just Us" - is the new album from legendary Hamburg band Faust. Founder members Jean-Herve Peron and Zappi Diermaier have laid down twelve musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. Whilst Diermaier largely remains true to his habitual handiwork - drums and percussion - Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avantgarde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho", "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage." [label info]
www.bureau-b.com
"Faust’s intentions have never been easy to discern. Over their 40-plus years of morphing, discontinuous existence, they’ve been so good at dodging expectations and confounding analysis that even when they’re playing it straight, you wonder if something else is going on. So when the press sheet for j US t (pronounced "just us") claims the band is "inviting the whole world to use [the album] as a base on which to build their own music," it’s hard not to get suspicious. Is this a decoy? Do Jean-Hervé Peron and Zappi Diermaier want you to imagine other music so you won’t focus on theirs? Is it simply a way to say "if you don’t like it, make your own"?
Perhaps Faust truly are earnest about wanting this album to inspire public collaboration. But the idea does point to something that’s always been intriguing about Faust’s music: it’s often just as much about what they aren’t playing as what they are. Their work is full of implications and innuendos, spaces waiting to be filled in. j US t doesn’t necessarily have more of that than most Faust albums, but implication does seem to be a main theme here. This is music in which every note suggests many more possibilities.
j US t begins by proclaiming more than intimating, and in this way it bears an uncanny resemblance to the last Faust effort, 2011’s stellar Something Dirty. That record began with three bold, practically rocking tunes, and so does this one. Based around simple riffs and looping beats, these songs are like free-form post-rock, sturdy in their rhythms but opened-ended in their direction. And despite how well-defined the base of each track is, there’s also tantalizing space in each one. Take "80Hz", whose simple two-note bass figure flows beautifully with the well-timed accents of Diermaier’s percussion and Peron’s sonic grab bag. At times it dips to near-silence, in other places it crests to frantic peaks, but throughout it maintains a tension that compels attention.
The balance between action and suggestion tips more toward the latter for the rest of j US t, in ways both fascinating and frustrating. Some songs maintain the attraction of anticipation, hinting at where they might go without ever fully abandoning other options. But others feel more flat than ripe, not so much flirting with tense silence as drifting into empty inertia. One in particular, the seven-minute "Palpitations", is mostly limp. Its intermittent percussion and electronic squiggles sound more random than impulsive, making it the only instance on the album where I find myself wishing I could already hear other bands filling it in.
It takes a few tracks to recover from that mid-album drop, but Faust manage to rebound on closer "Ich Sitze Immer Noch", whose slow, rising lope sounds like a sunny homage to Spiderland-era Slint. Like the bulk of j US t, it offers a lot worth hearing and just as much worth daydreaming about—in other words, it achieves the band's stated goals. Maybe Peron and Diermaier really did mean what they said." [Marc Masters / PITCHFORK]
|
2014 |
€22.00 |
|
| FEAR FALLS BURNING |
Woes of the desolate mourner |
7inch |
"it's probably one of the most eerie and atmospheric drones i performed live but one i'm very satisfied with". soweit fear falls burnings selbsteinschätzung zu diesem neuen werk; als 7" auf tonefloat und ein (oder teile eines) konzert(s) im extrapool in nijmegen auf die heimanlage transportierend. und man muss der selbsteinschätzung unbedingt recht geben: sind andere ffb-veröffentlichungen durch eine dichte und extreme schichtung geprägt, so stehen bei der "woes" über lange zeit einzelne bögen im raum, denen sogar die zeit gegeben wird, langsam zu verklingen, ohne das sie (wie sonst) loopartig immer wiederkehren und als grundgerüst des weiteren aufbaus dienen. freigelassen und im sound fast (gitarren-)synth-artig werden erst auf der zweiten seite der 7" die einzelteile zu einem teppich verwebt, der das für fear falls burning so typische dreidimensionale fließen im sound zeigt und sich schließlich in einer tremolo/vibratofläche fängt. unbedingt empfehlenswertes kleinod und in seiner verpackung aus packpapierfarbenem umschlag mit einer typografie in klarlack auch noch extrem hübsch anzuschauen." [Unruhr] |
2006 |
€7.50 |
|
| |
The Carnival of ourselves |
CD |
"... beide CDs sind da natürlich erstmal für die interessant, die die limitierten LPs nicht haben, aber, nicht nur für die: neben schickem cover-artwork (martina verhoeven + carl clover/aleph) und genau so schicker ausführung als pappschuber, kommen beide reissues mit je einem, dafür gleich ellenlangen (27.57 + 34.22) bonustrack: "and the land torn down" (live aufgenommen von ronald marien am 16. may 2006 bei den audio-unit living room concerts in hamburg) und "dead wisdom". ersterer in unbedingt vergleichbarer qualität zu den auf "the infinite sea of sustain" kompilierten 6 konzerten, allerdings, im gegensatz zu den meisten der dort versammelten (und auch im gegensatz zu dem auf "the rainbow mirrors a burning heart" konservierten live-set) vollständig auf langsamen, fast endlosen aufbau setzend; ohne breaks, ohne harmonische veränderung, fast ein suchspiel, was sich / ob sich überhaupt etwas verändert / ab einem bestimmten punkt (etwas) verändert hat. perfekte ergänzung der oben genannten und musterbeispiel für "wie lange laufzeiten gleichzeitig hypnotisch UND abwechslungsreich anlegen“. "dead wisdom" dann gleich vom start weg sperriger; passt ja, ist / war die original "numb" ja auch schon. und viele der sounds auf "dead wisdom" sprechen dafür, dass alle drei stücke aus der gleichen session stammen. siehe z.b. die von mir damals als fast twang / surf / dub abstraktionen etikettierten, leicht schrägen, abstürzenden flächen, die auch hier, schon innerhalb der ersten 10 minuten, auftauchen. und nach ungefähr der hälfte der spielzeit auslaufen und vorgeben, das stück beenden zu wollen. nach dieser antäuschung dann der echte auslauf, fast 20 minuten lang...
und tatsächlich: die "numb" bleibt auch in der extended version noch immer so ein ding ohne fassbaren anfang, ohne fassbares ende... irgendwie faszinierend." [N, Unruhr.de]
"when the carnival of ourselves and i'm one of those monster numb with grace were originally released, dirk serries had only just started recording under the name of fear falls burning. the albums turned out to be decisive in shaping his vision of an ongoing drone-manifesto: during several exploratory sessions initiated in mid-2005, he quickly expanded the project's catalogue by a staggering eight releases within a single year. these would take the cosmic, post-rock- and kraut-infused production of his early recordings into new directions and eventually lead up to his current, raw and unpolished symbiosis of hypnotic guitar power and percussive thunder. the carnival of ourselves was the first full-length to follow the double-album »he spoke in dead tongues« and pointed towards an immersive and ghostly ambient sound. an extensive european tour, however, catalysed the inclusion of rock elements and heralded the advent of a more edgey and tribal approach: i'm one of those monster numb with grace, especially, was an important record, as it aligned the more refined studio output of fear falls burning with its direct and passionate live sound.
as these strictly limited releases sold out in no time (resulting in numerous requests for a second print), tonefloat and fear falls burning decided to leave the legacy of the vinyl untouched and to reissue both albums on cd - featuring new cover designs and bonus tracks culled from the abovementioned sessions. the astounding quality of these discoveries from the vault should convince even those already in possession of a vinyl copy: the twenty-eight-minute »and the land torn down« (on the carnival of ourselves) at first seems to build into a dense, dirge-like drone-sheet but intruigingly cools off to a disturbing soundscape haunted by muffled feedback and echoes of theremin-chants. the monumental bonus track to i'm one of those monster numb with grace, »dead wisdom«, meanwhile, would have made for a complete album in its own right: thirty-four minutes of subcutaneous feedback hum lead the listener down a spiral staircase into a place of deep calm and tantric concentration." [label info]
www.tonefloat.com
|
2009 |
€12.00 |
|
| FEARTHAINNE |
same |
do-CD |
FEARTHAINNE ist ein Band-Projekt mit den zwei Leuten von FAUNA, die mir ihrem Debut-Album kürzlich beeindrucken konnten. Auch hier sind ihre tracks episch angelegt und minimal instrumentiert, und nicht minder emotional wirkungsvoll. Nach einem fantastischen Poly-Drone Intro setzt sich ihr erhaben trauriger Akustik-Gitarren Folk (der an ruhigere NEUROSIS bzw. STEVE ON TILL oder MICHAEL GIRA erinnert) in Szene, der von Sehnsucht nur so durchdrungen zu sein scheint, begleitet von sparsamer Perkussion; auch Zither & Violine werden sehr schön integeriert. FEARTHAINNE entwerfen hier auf ihren urlangen Tracks die stets mehrere Teile haben, eine Art ambienten "Ritual Drone Folk" mit starkem Naturbezug, der einen nicht kalt lässt.. und wieder glänzt GLASS THROAT mit so einem wunderschönen grossformatigen Doppel-Klappcover aus speziellem Karton..
"I have the tremendous honor of announcing, what is to be our Winter Solstice 2008 release. From Cascadian soil, FEARTHAINNE will bless us with a pure nostalgia for being. A debut full length 2xCD, embracing four deeply potent healing crafts of acoustic mourning & regeneration. Featuring the two spirits of Cascadia's Ritual Black Metal atavism FAUNA.
Fearthainne's first release represents the nadir of a journey into earth. Conceptualized and written in wild environments in the West, this collection of songs is a picture of the labyrinth traveled by a human organism, seeking life outside the long shadows of unremitting gray. The seekers masquerading as musicians who have created this document have used these sounds as a conduit for the reconnection with being, and have chosen to make it available to those who might hear the voice of the Others speaking to them from within. Exclusively utilizing acoustic instrumentation, Fearthainne is the unending rain that calls forth the blossom, the harbinger of the organic future we inevitably face. A sonic expression of green in all its capacities, this project is a document of the search for Home, a declaration that we will never settle for existence in the meaningless maze of history.
As beings we have struggled for many years to imbue our lives with depth, bending our ears towards the chorus of elders that the natural world is. Brought to fruition in a culture whose theme is loss, we recognize the wisdom of Earth in the various shifts that will unravel these ten millennia of aberration, and celebrate the dawning of day for what is truly human. As participants in this calamity, we call forth those spirits of the land, sea and sky who have always borne witness to our cyclical lives, the deep mind of which we are only a part, to see us and hear our voices as we proclaim our allegiance to Life. May this blood that flows from us cleanse the land of its wounds. May our animal bodies shield our battered hearts as we break the hands of Time. May this be the end..." [label info]
"... But in Fearthainne, all of the buzz and lbuster have been replaced by delicate crystalline guitar, gruff emotive vocals, deep ominous drones, all woven into a slow, drifting, meditative mountain folk. On the same label that in the past has brought us mysterious sounds from At The Head Of The Woods, The Elemental Chrysalis, Ruhr Hunter, Alethese and Beneath The Lake, Fearthainne sound right at home, blending dense whirring minimal soundscapes, with gentle meditative folk rituals. Long long tracks that slowly blossom, smoldering, clouded in warm browns and cool greys, strings weep and moan, effects gently cradle the various elements, adding texture more than changing the sound. Mesmerizing, trancelike ruminations on nature, on death, on the beyond. Simple percussion demarcates sprawling folk strum and fields of lilting shimmer and and delicate flutter. The vocals are a strange contrast, almost atonal, moaned more than sung, reminding us of solo records by either of the Neurosis frontmen, giving the proceedings a much more ominous vibe, ritualistic and hauntingly spiritual. Gorgeous in its simplicity, mysterious in its minimalism, Fearthainne is the soundtrack to a land outside of time, of trees towering over a world unspoilt, clouds drifting across empty skies, night turning into day, the cycle of life continuing on, the world and the universe around it gradually moving into a new, more magical existence. Beautifully sublime. Incredible packaging, full color 6 panel oversized sleeve, amazing images of ancient forests, late night rituals, and the band gathered beneath a mighty tree, cradling a baby, dressed like witches, and looking like a band of bearded forest dwellers (which they may very well be!)." [Aquarius Records review]
www.glassthroatrecordings.com
|
2009 |
€18.50 |
|
| FEINE TRINKERS BEI PINKELS DAHEIM (F.T.B.P.D.) |
A Bug's Life |
CD |
"Jürgen Eberhard aka Feine Trinkers Bei Pinkels Daheim celebrates 25 years of his artistic activity with the first full-length album on Zoharum entitled "A Bug's Life". keen observers of our activity certainly know his name, for instance from a common vinyl 7-incher entitled "Both Sides of The Looking Glass" shared with Bisclaveret duo or from the composition "Enigmatic Visions", which appeared on a commemorative compilation "07|100|15".
"A Bug's Life" is the tenth full-length album in the discography of Feine Trinkers Bei Pinkels Daheim. It was being created, like the previous ones, for several years and is another conscious artistic statement. Seven compositions included here are of a collage nature and combine echoes of post-industrial ambient, drone music, musique concrete, field recordings and even plunderphonics. On his first studio album since "Die Legende vom Heiligen Trinker" from 2011, Jürgen Eberhard consciously continues his sonic quest on a depleted terrain and he manages to avoid traps of empty experiments. "A Bug's Life" is at the same time an atmospheric, and even accessible, album, and sonically elaborate and demanding of the listener." [label info]
www.zoharum.com
"FEINE TRINKERS BEI PINKELS DAHEIM ist ein Projekt, das ja eher unregelmäßig in der Musiklandschaft auftaucht, dabei aber bereits recht langlebig ist. Das letzte reguläre Album von JÜRGEN EBERHARD unter diesem Banner erschien 2011. „A Bug’s Life“ – so hieß übrigens auch der Pixar-Film „Das große Krabbeln“ im Original – widmet sich dem Namen entsprechend den Geräuschen von Insekten, die Grundlage für die Soundgestaltung des Albums gewesen sein sollen. Hierbei sollte man aber kein dauerndes, möglichst naturnahes Gezirpe oder Gesirre im Kopf haben – quasi ein Field-Recording-Overkill, sondern Klänge, die extrem stark bearbeitet und verfremdet wurden, wobei am Ende dennoch der Charakter von Sounds, die von Insekten erzeugt werden – auch knisternde, schabende Geräusche –, erhalten bleibt.
Tatsächlich ist der Sound auf „A Bug’s Life“ aber relativ vielschichtig, teils auch wuchtig und massiv oder mit Drones durchsetzt, sodass das Ganze recht gut funktioniert und eben nicht an einen Abend auf der Terrasse erinnert. Auch Stimmen werden – verfremdet oder nicht – eingesetzt und Abwechslung kommt zusätzlich durch Stücke ins Spiel, die mit weiblichen Gesangslinien, die quasi als Zusatzinstrument fungieren, ausgestattet sind. Hier wäre wohl auch der Punkt, an dem man die Unterstützung von diversen Gästen wie u.a. MISS POLYESTER, FRL. LINIENTREU oder GENEVIÈVE PASQUIER erwähnen könnte. Das Klangspektrum reicht letztendlich von orientalisch angehauchten Sounds inklusive Rhythmus („Metallifekuwagamon“) bis hin zu düsteren Soundcollagen, die auch aufgrund der Bilder, die im Kopf entstehen, Unruhe auslösen können. Somit ist „A Bug’s Life“ eine spannende Sache für Freunde des Ambient oder der experimentellen Elektronik. Idee und Ausführung passen in jedem Fall hervorragend zueinander und die Qualität stimmt hier sowieso."
[Tony F. für nonpop.de]
"In der Geräuschmusik und überall sonst, wo mit Samples gearbeitet wird, sind Tiergeräusche eine beliebte Soundquelle, und zu den gefragtesten Geräuschproduzenten zählen seit jeher Insekten – was wäre ein sommerliches Kitschkolorit ohne das Zirpen von Grillen und Zikaden, und dass man aus dem Summen fliegender Insekten Noise und elektroakustiche Musik machen kann, ist hinlänglich bekannt.
Beliebt sind Feldaufnahmen, bei denen die Sounds weitgehend naturbelassen bleiben und nur gelegentlich etwas Struktur eingebracht wird wie bei Dave Phillips’ und Hasegawa Hiroshis “Insect Apocalypse” oder “The Progeny of Flies” von Daniel Manche und Andrew Liles. Seltener sind Aufnahmen, bei denen die Sounds so stark verfremdet sind, dass man ohne Hintergrundwissen die Quelle kaum erkennen kann. Etwas derartiges hat der feine Pinkel, ähm: Trinker Jürgen Eberhard vor Kurzem unter dem Titel “A Bug’s Life” zustande gebracht.
Die komplette CD wirkt wie ein Zoom, bei dem die Kamera dem lebenden Objekt so nah auf den Panzer rückt, dass man nur noch kleinteilige Strukturen in Übergröße erkennt, während größere Zusammenhänge nur noch zu erahnen sind. Vieles klingt wie ins Monströße vergrößert: Maschinell klingendes Summen, dass zeitweise in Noisewände übergeht, Detonationen, verursacht von einem enormen Insekt, das gegen eine überdimensionierte Scheibe knallt. Zirpen und Flattern, das eher nach einem Vogel klingt, und dem Tier, dessen rhythmischer Flügenschlag gegen Ende zu hören ist, möchte ich nicht im Dunkeln begegnen. So furchteinflößend es hier zugeht, hat die bizarre Szenerie auch irrsinnig Komisches zu bieten.
Neben all dem gibt es zahlreiche Stellen, an denen kaum zu erkennen ist, ob die Aufnahmen ganz unkenntlich gemacht wurden oder anderen, z.B. elektronischen Ursprungs sind. Dies gilt für geschliffenen Ambientsound und zirkushafte Melodien ebenso wie für den entspannten Ethnosound, der irgendwann ganz überraschend eine Sängerin begleitet (die meisten Stimmbeiträge von Geneviève Pasquier, Allseits vs Troum, Frl. Linientreu und Joke Lanz sind spoken words). Ebenso gilt dies für monströses Brüllen, dass hoffentlich von einem Wirbeltier stammt.
Aber warum eigentlich? Im Unterschied zu naturbelassenen Insektensounds lassen die Aufnahmen hier die Tiere enorm groß erscheinen und brechen so mit gänigen Wahrnehmungsgewohnheiten. Die nachhaltige, über den bloßen Schock weit hinausgehende Wirkung, kann im besten Fall in einem veränderten Blick auf das Tierreich münden." [J.G./U.S./African Paper] |
2016 |
€12.00 |
|
| FENN O'BERG (FENNESZ / O'ROURKE / REHBERG) |
Magic & Return |
do-CD |
"Zwei junge Klassiker der Liveelektronik von 1999 und 2002 wiederveröffentlicht. Als Bonustracks mit aufgenommen wurden der Beitrag zur Sonar‘99-Compilation und ‚Adidas Sun Tanned Avant Man‘, der nur auf der japanischen Edition von Return Of enthalten war. Christian Fennesz, Jim O‘Rourke & Peter Rehberg hatten bei ihren Konzerten 1998/99 und 2001 - alles Material entstand damals als Livemitschnitt - als Indieallstartrio den Versuch unternommen, Avant-Electronica, d. h. komplexe, beatarme, polymorph-pervers improvisierte und untanzbare ‚Konzertmusik‘, als Attraktion auf der Höhe des Zeitgeistes etwas breiter zu streuen als üblich. Mit falschen Erwartungen von einseitigen O‘Rourke-Fans, die von ihm akustische Gitarre (wie mit Mazzacane Connors) oder gar Sonic Youth-ähnliches erhofften, musste man zurecht kommen. Gegen Borniertheit und Schmalspurigkeit kann man letztlich nicht mehr tun, als auf die verführerische ‚Magie‘ der eigenen Qualitäten zu setzen. Die
Soundcollagen bis hin zum orchestral-opulenten ‚Fenn O‘Berg Theme‘ mit der Lizenz zu Betören sind geschichtet und verzopft eben nicht aus allem, was die Laptopspeicher hergeben. So beliebig und als bloße Summe ist Klangzauber nicht machbar. Ständiges Morphing und wuchernde Vielspurigkeit, Loops, Verzerrungen und Kompressionen, molekulare Diffusität, Einbrüche von Noise ebenso wie ungeniert melodiöse Einschübe von orchestralen Samples kitzeln die Empfänglichkeit und spotten - mit Schreibmaschinengetippe - dem Versuch, etwas derartig Logofugales in Worte zu fassen." [Bad Alchemy]
"All tracks by Christian Fennesz, Jim O'Rourke & Peter Rehberg. Artwork by Tina Frank. Remastered at Piethopraxis, Köln, January 2009. The legendary Fenn O'Berg are resurfacing eight years since their last performance. Starting with this double CD reissue of their two albums; 'The Magic Sound Of...' and 'The Return Of...', originally released in 1999 and 2002. Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg) first hit the scene after a surprise appearance at the Nickelsdorf Festival in 1997. Throughout 1998 and 1999 the trio toured extensively throughout Austria, Germany, Belgium, France, Italy, Switzerland and Spain, as well as shows in North America and Japan. The highlights of these trips were presented on 'The Magic Sound'. Although they were not first group to utilise mainly mobile computing devices, they were the first to bring such a set up to venues that would not normally book or even be interested in such things. This resulted in some very polarised reactions from both audience and promoters alike. In many instances the group needed to 'escape' the city they played. In Rome Jim O'Rourke was even given an acoustic guitar and more or less forced to play a short acoustic set before anyone could leave the building. Despite all of this, there was a generally positive response, with some shows going down as local legend. However its worth considering that the technology at the tine didn't offer the convenience of 'plug in and play' of current operating systems and applications. This of course led to set of recordings like no other. Not only was the rule book ripped up but the tour book as well. Each show became an improvised twisted journey through the various strands of electronic music where popular music sources (some more obvious than others) clashed with more academic tricks, but never sounding like being part of either. By 2002, the groups live output was drastically reduced due to all three members schedules moving in different directions. Only two performances were committed that year, and although the sound was more polished and one could even suggest that 'they knew what they were doing', their polarising effect was still there. One show was a sold out over enthusiastic Centre Pompidou in Paris, and the other a miserable 'count them on one hand' turnout at a jazz club in Vienna. Edited highlights of these shows made up 'The Return Of'. Since then the trio has been on a constant pause. In October 2009 they will get together in Tokyo to record a new studio album planned for early 2010 release. This reissue is repackaged with new artwork by Tina Frank, and contains two bonus tracks from the same period."
[label info]
www.editionsmego.com
|
2009 |
€18.00 |
|
| FENNESZ |
Transition |
7 |
"Christian Fennesz, austria: beachtliche discografie und clubmember in der vereinigung der trademarksound-erfinder. und hier: transition auf der 7“-serie auf touch. und: nicht viel neues im hause fennesz, ausser dass diese 7“ mal eben 2 der besten stücke enthält, die ich von ihm bisher gehört habe.
“on a desolate shore“, am anfang in der gitarren-substanz erkennbar, dabei granuliert und zerspellt, wird schon bald eine extrem raue textur mit fetter basswucht, zerschnitten durch abstrakt-rückkopplung und zernagt durch zwitschernde obertonsounds; fennesz at it’s best, spannend und auf den punkt. und bevor die ganze weite dieser zerstörten küste erfahrbar wird, verziehen wir uns lieber ins hinterland (oder erreichen eine unversehrt gebliebene bucht?)… und hören nur noch den feinen nachhall der zerstörerischen wucht.
“a shadow passes by“, die #2; und das tut er ganz ohrensichtlich an einem trägen sommertag. perfektes akustik-gitarre gegen wall-of-sound-setting. und gerade dessen kommen und gehen gegenüber den zwischen ganz vorn und doch wieder hinten im hörbild wechselnden gitarrenapreggios ist teil der meisterklasse dieser 7“. so muss, meiner meinung nach, die mischung aus akustik + elektronik klingen. und eben diese spitzen (nach oben wie nach unten) zulassen, die zum ursprünglichen klangbild gehören und nicht so weichgespültes anpasserdudeln hervorbringen wie so oft, wenn diese kombi bemüht wird.
mit credits für das aufnahmemikrofon der akustikgitarre und für die e-gitarre nebst verstärker… für die, die es ganz genau wissen wollen oder wg. endorsement oder gar die persönliche liebeserklärung? + wozencroft cover. meine derzeitige lieblingsplatte; sozusagen „endless summer“, jetzt echt." [N, Unruhr.de]
Nr. 4 in der neuen TOUCH-7" Serie, highly collectable already!
"...The A side finds the guitar completely transformed into muted smears, the overall sound a shifting sea of corrosive crumbling
distortion, but rendered in breathless whispers and washed out hues. The metallic thrum is spread out into soft shimmers, a murk that
would almost sound industrial if it wasn’t so pretty.
The flipside is more guitar oriented, a steel string acoustic, the melodies branching out in simple softly strummed strands, a
skeletal framework for swirls of soft hiss and chunks of fragmented melody drifting by like leaves on a forest stream. The sound is like
some simple folk music, broadcast via a staticky short wave radio, but beneath the guitar, and the dreamy hiss, are lush, stately swells melodic and cinematic, that infuse the track with a dark, but sweetly sorrowful elegiac quality. Gorgeous." [Aquarius Records]
www.touchmusic.org.uk
|
2008 |
€7.50 |
|
|
Endless Summer |
CD |
"New FENNESZ CD, his best release so far we think. Already being the most “harmonic” Mego-artist, this is a wondrous mixture of melodies & digital outburst & effects, which results in a unique sound we think. The harmonies are indeed a bit “lufty” at times and yes, this has really a summer feel somehow..."
[Drone Rec. info 2001]
"This reissue of Christian Fennesz's breakthrough classic Endless Summer has been remixed, remastered, and re-released with two extra tracks. Originally released in 2001 by Mego, Endless Summer brought his name and music towards the first steps of mainstream recognition with its micro sounds and warm guitar, harkening the dreamy serenity and quick-fading sentimentality of a California sunset. Following on from the more experimental Hotel Paral.lell and the Beach Boys homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to be a classic of its time, topping many end of year polls. This new definitive edition is newly mixed by Fennesz, resulting in a more open-sounding version of the tracks, especially the marimba driven "Caecilia" and the hypnotic "Before I Leave," and the towering "Happy Audio." It is also re-mastered by Denis Blackham at Skye, and has beautifully photographed artwork by Jon Wozencroft. In addition to the original 8 tracks, it contains 2 extra titles: "Badminton Girl," originally released in 2001 as part of the Split Series #15 12" with Main on Fat Cat Records, now out of print, and "Endless," which is previously unreleased until now." [press release]
www.editionsmego.com
" »Endless Summer« definierte zum Zeitpunkt seiner originalen Veröffentlichung 2001 den (spezifisch Wienerischen?) »sound of now« avancierter Electronica und markierte gleichzeitig den Höhe- und Endpunkt des »Vienna-Tones«-Hypes. Zu jener Zeit hatte er auch eine Goldene Nica der Ars Electronica in der Kategorie »Digital Musics« eingefahren, der Weg nach England zu Touch war vorherbestimmt und Fennesz wurde zu einem der wahrscheinlich populärsten heimischen Elektronikmusiker. Was wahrscheinlich auch der Tatsache geschuldet ist, dass Fennesz nie seine Gitarre vergaß und weniger die Möglichkeiten rein elektronischer Klangerzeugung in den Vordergrund stellte, als sich statt dessen um eine organische Verbindung zwischen Computer und Gitarre bemühte. Für vorliegenden Re-Release fanden mego und Touch insofern zusammen, als das Album auf dem ehemaligen Stammlabel erscheint, dazu kommen Fotos und Artwork von Jon Wozencroft. Als Bonus wurde »Endless Summer« von Fennesz neu abgemischt, es entstand eine etwas offenere und luftigere Version der Nummern. Dazu kommen zwei nicht mehr verfügbare Stücke. Tracks wie das Titelstück oder besonders »Caecilia« sind nach wie vor Genre-definierende Klassiker, ganz einfach." [SKUG]
|
2007 |
€13.00 |
|
|
June |
LP |
"Der monat (oder eine frau)? "black sea", dieser granulierte edelstein, hat noch eine dunkle schwester. abseits seines trademark-sounds (=ohne diese hart zerspellten, gleichzeitig auch fragilen noisekonstrukte, die einen erheblichen teil seines soundspektrums beherrschen) erforscht fennesz auf der (konzeptuell einseitig bespielten) "june" die tiefen des hallraums. und das trotz der dunklen farbe der musik mit der leichtigkeit einer fingerübung: treffsicher die dynamik, spannend im aufbau, dabei flüssig ohne haken aber, (bei der musik und dem künstler kaum nötig zu erwähnen) natürlich ohne irgendwie seicht zu sein. der sound, eben ohne die harscheren anteile fast analog, sehr gitarre, sehr: weniger überlegung und planung, mehr bauch. und damit definitiv auch für die, die mit ihm sonst ihre schwierigkeiten haben. als teil der table of the elements "guitar" serie mit insgesamt 12 lps, alle einseitig bespielt, die andere jeweils reliefartig geprägt, in unterschiedlichen farben. und, bei 12 vös liegt das ja nicht so fern, von fennesz vielleicht genau so aus dem bauch heraus einfach mal nach einem der vö-monate benannt. vielleicht eine prüfung für manche(n) fennesz-freund(in), vielleicht ein weiteres beispiel für die anderes-label-mehr-freispiel-theorie. in jedem fall: sehr empfohlen." [N, Unruhr.de]
"9th installment in the Guitar Series Vol. 3 & 4. As much as any artist, he is responsible for establishing the laptop computer as both a compositional tool & concert instrument. Subsuming electro-acoustic strategies into a bedrock of pop, he terraforms vast new worlds of sound, within which both AMM & the Beach Boys can cozily coexist. His Guitar Series contribution, is a suitably lush transformation, as electric guitars flow into deep streams of sound." [label info]
www.tableoftheelements.com
".. But unlike the blurred beauty of Black Sea, June is something else entirely, a creaking, clanging, chiming post industrial landscape of processed guitars, rendered here in the shape of distant pulsing buzz, in shards of jagged chords ringing out and dissipating into the ether, and deep groaning waves of blackened Wolf Eye-d rumble, imagine even a super softened Blue Sabbath Black Cheer, this is less blissed out shoegazey dreamscapery, and more carving dark sonic figures from deep shadow, ominous, sinister, haunting, all words that most definitely apply to past Fennesz recordings, but usually those elements were lurking beneath a shimmery sun dappled exterior, a soft patina of whirling muted buzz draped over a roiling black sea of sound below, but here, those sounds are allowed to creep to the fore, creating a seriously dystopian chunk of cinematic black ambience, the guitars unleashing a murky black fog, that while lovely cloaks all the other sounds in a mysterious blackened grit, but it is Fennesz after all, so the corrosive crumbling darkness does eventually get smoothed out, transformed into into a soft, rolling, burnished shimmer, deep tones dreamily undulating and floating weightless in an expanse of hushed thrum, but by then, the track is winding to a close. Dark stuff from Fennesz, and we like it. A lot!
Pressed on super thick, swirled milky brown vinyl. One sided, the other side with an awesome etching by Savage Pencil, housed in a
thick PVC sleeve, and of course, as always, VERY LIMITED! " [Aquarius Records review]
|
2008 |
€17.00 |
|
|
Seven Stars |
maxi-CD |
"Der erste Solo-Release von Fennesz nach seinem hochgelobtem Album "Black Sea", das 208erschien, ist die neue 4-Track 10" Vinyl "Seven Stars". Mit elektrischen und akustischen Gitarren, Bass, Synthesizern und Computern fährt er auch dieses Mal damit fort, die Hörer zu fesseln und in seinen Bann zu ziehen. Fennesz selbst schreibt:"seven Stars wurde im Januar 2011 in Wien aufgenommen. Das Album habe ich innerhalb von drei Wochen eingespielt und gemixt. ,Liminal" und ,July" waren bereits bestehende Stücke, die ich weiter bearbeitet habe (Eine erste Version von ,Liminal" entstand 2010 in einem Hotelzimmer auf Bali). Eine andere Version davon spiele ich schon seit einiger Zeit live. Mein Freund Steven Hess, mit dem ich schon vorher zusammenarbeitetet, war zu der Zeit zufällig ebenfalls in Wien, und ich lud ihn ein, zu mir ins Studio zu kommen. Christoph Amann hat mit einer Auswahl großartiger Microphone die Drums aufgenommen, darunter auch sein tolles neues Josephson. Ich wollte eine Platte machen, die eine gewisse Leichtigkeit vermittelt und gleichzeitig neues Terrain betreten, indem ich bei einem Track Drums verwende. Dies könnte ich mir auch in der Zukunft vorstellen." Im September wird ,Seven stars" auch als CD erscheinen. Außerdem wird die dritte Kollaboration von Fennesz mit Ryuichi Sakamoto, Flumina, noch dieses Jahr erwartet." [label info]
www.touchmusic.org.uk
"Its been indeed a while since we last heard solo music by Christian Fennesz, the absolute genius when it comes to laptop music. His previous release was 'Black Sea' (see Vital Weekly 653) and the new one is a four track 10", recorded earlier this year. Fennesz says he wanted to record something with more lightness and one track he uses drums, played by Steven Hess. Fennesz himself plays acoustic and electric guitars, synth, bass and computers. Fennesz explores the route he choose for 'Black Sea' further. Moving away from the strict laptop music, by incorporating more clearly guitars and bass, which in 'Liminal' goes towards popmusic - although not really of course - and in 'July' makes a dense piece of improvised sounds. 'July' is the most ambient piece, dark but with shimmering lights. 'Seven Stars' is the piece with Steven Hess and has nice acoustic guitars, laidback percussion and fine granular synthesis. Almost a piece of lounge music. Excellent, all four. A pity, only four. Can'twait for the next longplayer." [FdW/Vital Weekly]
|
2011 |
€9.00 |
|
|
AUN: The Beginning and the End |
CD |
"Der Österreicher Christian Fennesz präsentiert mit seinem neuen Werk den Soundtrack zum Film "AUN: The beginning and the end of all things". Seine feinsinnigen Kompositionen unterstützen das Projekt des Regisseurs Edgar Honetschläger auf einzigartige Weise mit elektronischen Klängen und komplexen, jedoch berührenden Strukturen. Fennesz zeigt einmal mehr, das er ein Meister in seinem Metier ist. THEMA DES REGISSEURS 'AUN- Der Anfang und das Ende aller Dinge' erzählt die Geschichte der Frage nach der Zukunft, dem Wunsch der Menschheit ein neues Morgen zu erschaffen, der Angst und Abscheu vor der Apokalypse. Der Film macht den unerschöpflichen Fortschritt des jüdischen und christlichen Glaubens zum Thema. Dieser hat seit Beginn des 21. Jahrhunderts die gesamte Welt erobert und der Welt eine Situation auferlegt, in der Probleme nicht mehr von Wirtschaft und Wissenschaft allein gelöst werden können. Glaube ist so viel mehr als Religion, soviel mehr als monotheistische Konzepte. Seelen und Geister existieren jedoch nicht nur im Film. Die Verleumdung und Ablehnungvon ursprünglichen Gesetzen führt zur Auslöschung von Individuen,als auch der gesamten menschlichen Rasse. AUN erfindet sowohl Rituale als auch Mythologien und verehrt den Schöpfer dieser Welt. Der Film stellt zudem die menschliche Schönheit mir der Natur gleich und will den Zuschauer erinnern dass ,alles menschliche Leben von der Natur erschaffen wird". AUSSAGE DES REGISSEURS 'AUN- der Anfang und das Ende aller Dinge'bezieht sich auf die Gedanken des späten Claude Lévi- Strauss. Dieser beschreibt in seinen Aufsätzen, die Einzigartigkeit japanischer Shintoisten, deren Götter die Natur schützen. Der Film konzentriert sich auf die Trennung von Mensch und Natur und imaginiert eine Welt, in der das Leben sinnlich gelebt wird. Auch stellt der Film Zusammenhänge zu dem brasilianischen Autor Clarice Lispector, dem italienischen Anthropologen Fosco Maraini und der japanischen Autorin Yoko Tawada her. 'AUN- der Anfang und das Ende aller Dinge' ist ein 100 minütiges Drama, geschrieben von dem österreichischen Schauspieler und Filmemacher Edgar Hönetschläger. Es ist eine österreichisch/japanische Co-Produktion, realisiert vom EdokoInstitut Wien und Ribo Ltd. Tokio in Zusammenarbeit mit KGP Wien. AUN wird unterstützt von dem österreichischen Film Institut, dem Wiener Filmverbund, dem ORF, der Provinz Oberösterreich, der Stadt Tokio,derTochigi Provinz,der Shizuoka Provinz und der Yamanashi Provinz. //
An original soundtrack [OST]
CD jewel case - 28pp full colour - 15 tracks - 50 mins approx
"This CD is the soundtrack to the film AUN, directed by Edgar Honetschläger. With stills from the film in the full colour 28 page booklet, the artwork is designed by Philip Marshall. You can see a clip here: www.aun-film.com
Intention:
‘AUN – the beginning and the end of all things’ tells the story of mankind’s quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics and science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates in nature’. Sadly the hubris ends and gives the audience the chance to heartily weep for the world.
Director's Statement:
‘AUN – the beginning and the end of all things’ follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan’s unique Shintoism who’s millions of gods inhibit and preserve nature. The film focuses on the dichotomy man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada.
‘AUN – the beginning and the end of all things’ is a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker Edgar Honetschläger. It is a Austrian/Japanese co-production realized by Edoko Institute Vienna and Ribo Ltd. Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province.
For AUN film distribution contact filmdelights.com distribution. With thanks to Edoko Institute, Vienna and Ribo Ltd., Tokyo" [label info]
www.touchmusic.org.uk |
2012 |
€14.50 |
|
| |
Becs |
CD |
"The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was 'Endless summer'. Now, in 2014 Editions Mego is extremely proud to release the conceptual follow up that landmark of abstract pop. Bécs (pronounced 'baeetch') is Hungarian for Vienna and is the first full length Fennesz solo release since 2008's 'Black Sea'. Eschewing the more drone orientated works of 'Black Sea', 'Bécs' returns to the more florid pop mechanisms as deployed on Endless Summer. 'Static Kings' features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10 minute centrepiece 'Liminality' (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. 'Pallas Athene' creates a sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track Bécs' is an astonishing contribution to contemporary pop. 'Sav' (co-written by Cédric Stevens aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing 'Paroles', a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist. All tracks by Christian Fennesz, except 'Sav' by Cédric Stevens & Christian Fennesz. Modular Synthesizer on 'Sav' by Cédric Stevens. Bass on 'Static Kings' by Werner Dafeldecker. Drums on 'Static Kings' by Martin Brandlmayr. Drums on 'Liminality' by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/14. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Cover design by Tina Frank." [label info]
www.editionsmego.com
"Aside from a couple of respectable collaborations and some soundtrack work, Christian Fennesz hasn't released a proper solo album since the album Black Sea, which came out on Touch WAY back in 2008. On Becs, Fennesz returns to the label that introduced him to the world, in Editions Mego; and he pretty much continues along the same path that he set for himself on that last album he recorded for them, the much lauded Endless Summer from 2001. That was a fracturous record of polygonal melodies bathed in a candy-crush fuzz of pixelated, shoegazing blur, always alluding to the sunkissed glow of the California Dream, whatever that may be. Becs may not have the advantage of following up one hell of a single by Fennesz (in the very late '90s, he covered The Beach Boys and The Rolling Stones, the latter of which was originally commissioned for tUMULt's Painted Black anthology!), whereby he contextualized his sonic dislocation within the lineage of rock'n'roll and all of its mythologies of dissent, rebellion, sex, and whatnot. Yeah, it's a tough act to follow; but Becs is a wildly adventurous album with a substantial parity when it comes to the risk/reward equation. A heavily flanged, blindingly bright corona of digital treatments surrounds the Fennesz' guitar sound at the album's introduction, with all of the soft melodies buried in twinkling electronics and mirrored refractions. Fennesz follows this with a detuned alarm-call pulse that forms an insistently crawling rhythmic structure blasted with a malleable distortion, which in turn he counterpoints with a gorgeous, cathedral drone of sustained harmonics. An incremental retinal burn of guitar distortion shapes the brilliant track "Liminality" built upon a beautifully bittersweet, slowcore guitar chord whose roots lie in Slint, Codeine, or maybe even the Durutti Column. Sparkling ambient passages beget discordant piano treatments akin to a computer-cracked Angelo Badalamenti which in turn beget more blossoming noise. Fucking brilliant." [Aquarius Records] |
2014 |
€13.50 |
|
| FENNESZ + SPARKLEHORSE |
In the Fishtank |
CD |
"Spätestens seit seinem Album "Endless Summer" (2001) zählt Christian Fennesz zu den bekannten Namen der elektronischen Musik. Wo viele seiner Kollegen der Gefallsucht verfallen, kreiert der Österreicher eine Welt voller ungehörter und neuer Sounds. Seine Idee, mit Mark Linkous von der US-Band Sparklehorse zu kollaborieren, begeisterte die Macher der Serie "In The Fishtank" sofort. Beide Künster waren bereits live zusammen aufgetreten, es wurde also Zeit, die gemeinsamen Ideen auf Tonträger zu bannen. An zwei Tagen im Dezember 2007 entstanden die vorliegenden sieben Songs: Soundgebilde von seltener Schönheit und Atmosphäre, in denen sich abstrakte Sounds und traditionelle Songstrukturen, akustische und elektronische
Instrumente verbinden. Die Serie "In The Fishtank" ist eine Idee des niederländischen Musikvertriebs Konkurrent, in den vorangegangenen Folgen trafen u. a. Tortoise auf The Ex, Willard Grant Conspiracy auf
Telefunk und Low auf The Dirty Three." [label info / Indigo]
www.konkurrent.nl/labels/fishtank.html
|
2009 |
€12.50 |
|
| FERRARI, LUC |
Son memorise |
CD |
„In Entwicklung zum ersten P.R. von 1970, dessen einzigartige Aura ja schon beinahe schmerzt, scheint das ‚beinahe nichts‘ des Presque Rien #4 einem ‚allmählich alles‘ gewichen zu sein. Luc Ferrari hat allerdings von P.R. zu P.R. den Erinnerungen immer mehr Pinselstriche hinzugefügt, und ist auch selbst immer mehr Bestandteil der Hörbilder geworden. Wird also beinahe nichts mehr weggelassen? Zögerlich ist nach eigenem Bekunden Ferraris kompositorische Herangehensweise. So brauchte es zur Realisation des Presque rien #4 ¬ La remontée du village 8 Jahre. 1998 vollendet, spannt es nun als „opener“ den Bogen der vorliegenden CD zu einer Studie über die Wirklichkeit von Erinnerung und wie sie sich im Nachhinein als immer verfremdet darstellt. So erzählt „Promenade symphonique dans un paysage
musical ou un jour de fète à el qued en 1976“ (1976-1978) von einem Spaziergang in eine Stadt. Ein Mann stimmt einen erotischen Gesang an, auf dem Marktplatz beginnt eine Trommelgruppe zu spielen, Passanten kommen zusammen, Schüsse knallen, zum Abend hin kündigen Frauenrufe den Auftritt der Hochzeitsbraut an. Die Party steigt bis die Trommelgruppe tanzend in den zur Nacht vergehenden Abend verschwindet. Durch Hervorhebungen einzelner Passagen und der behutsamen Bearbeitung der Klänge insgesamt, offenbart Ferrari das Nichtreale der Tonbandaufnahme. Die illusorische Vorstellung einer objektiven Realität wird dem Hörer unterschwellig, fast unheimlich (schön) offenbart, wenn Ferrari mit subtilem Feingefühl in weiser Lässigkeit auf den Grenzlinien zur Manipulation spazieren geht. „Saliceburry Coctail“ (2002) ist ein ebenfalls ca. 1/2stündiges Werk. Wie in einem Cocktail die Zutaten so eingerichtet sind, das Aromen sowohl verstärkt als auch ausgeblendet werden können, wurden hier realistische sowie synthetische Sounds vermischt, geschichtet, transformiert. Was es mit diesem Stück genauer auf sich hat und warum es sich charakterlich von den vorhergehenden unterscheidet, ist aus den beiliegenden Kommentaren des Komponisten zu erfahren.
Presque Rien #4 seems to be ‚about everything‘ instead of the ‚almost nothing‘ from 1970. However, Ferrari has developed his „Presque Rien“ pieces in a more and more extensive way. There has always been hesitation on his part before releasing a „Presque Rien“. To release the fourth one took nine years. Now it’s the opener of this CD starting a study about the reality of memory and the problem of it’s transfigured portrayal afterwards. So „Promenade symphonique dans un paysage musical ou un jour de fète à el qued en 1976“ (1976-1978) tells about a walk in a nearby city. A man starts an erotic singing, on the market place a drum ensemble is playing, passerby are crowding around them, shooting armguns, in the night woman are announcing the wedding bride. The party is rising until the drum ensemble disappears in the night still dancing. Through empasize of special parts
and the carefully processing of sounds, Ferrari reveals that there is nothing real, it’s just a tape recording. „Saliceburry Coctail“ (2002) is also a 30minutes work. Just as in a cocktail the incredients are used to intensify or to tone down the flavour of the drink, real and synthetical sounds have been mixed, layered and transformed.” [Peter Schlewinski for Drone Records]
“This is the second of three Sub Rosa releases of instrumental works by this important artist. Luc Ferrari is considered one of the most legendary musical figures of the twentieth century, whose work and aesthetic continues to influence several generations of contemporary composers. Director of the Groupe de Recherche Musicales which he established with Pierre Schaeffer in Paris from 1958-1966, he is also one of the masters of musique concrète who influenced and expanded the genre with electro-acoustic instrumentation. Right from the start, the idea had been to release three very different CDs: one hörspiel, one of concrete music (new and older pieces) and one CD of instrumental works. Les Anecdotiques was the first step: a vast sound-film of more than an hour that explores in 15 steps the intensity of re-composed sounds from his continual travel around the world, with electronic additional structures. This album is the second step -- one that offers a retrospective -- the previously unreleased \"Promenade Symphonique dans un Paysage Musical\" from 1976-78, the final \"Presque Rien #4\" and a fresh reflection dating from the last months of 2002, \"Saliceburry Cocktail,\" a large-scale composition exploring the idea of hideout, scrambled listening -- a tortuous entanglement of concrète and electronic. The forthcoming third and final release will be three recent instrumental compositions for electronics, piano and viola which were recorded under Luc\'s supervision -- the last works he ever recorded, as he passed away in August 2005.” [press release]
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2005 |
€13.00 |
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| FERRARI, LUC & BRUNHILD FERRARI |
Contes Sentimentaux |
4 x CD-BOX |
These pieces have been made between 1989 and 1994 for the German radio. Brunhild and Luc Ferrari are speaking around the pieces from Luc like 'Petite symphonie intuitive pour un paysage de printemps', 'Ce qu'à vu le Cers', 'Collection de petites pièces' (36 enfilades pour piano et magnétophone), 'Music promenade' among others, describing small details and anecdotes. They speak in French and German and consider the recorder as a scratchpad.
www.shiiin.com/shiiin8.php
CD 1
01 petite symphonie intuitive pour un paysage de printemps 25’ 05’’
02 place des abbesses 24’ 06’’
03 ce qu'a vu le cers 29’ 45’’
durée totale 78’ 56’’
CD 2
04 la chanson de la forêt 29’ 46’’
05 la remontée du village
(les sons attrapés par la queue) 24’ 45’’
durée totale 54’ 31’’
CD 3
06 les yeux de mathieu & collection de petites pièces
(36 enfilades pour piano et magnétophone) 24’ 59’’
07 hétérozygote p1
(il n'y a rien à voir ici) 24’ 52’’
08 hétérozygote p1
(il n'y a rien à voir ici) 24’ 48’’
durée totale 74’ 39’’
CD 4
09 journal d'un autobiographe 24’ 53’’
10 music promenade 25’ 09’’
11 cellule 75 24’ 23’’
durée totale 74’ 25’’
auteurs : luc ferrari, brunhild meyer-ferrari
réalisation : brunhild meyer-ferrari
voix : luc ferrari, brunhild meyer-ferrari
musique : luc ferrari
production: südwestfunk, today südwestrundfunk, 1990-1994
«licenced by swr media services gmbh»
crédits photos : olivier garros, brunhild meyer-ferrari, marie-claire patris, jacques brissot, henry fourès
remerciements : hermann naber
conception graphique: séverine henrot
livret
l'analyse musicale reste pour beaucoup un travail d'école ou de spécialistes.
mais il y a mille manières d'analyser la musique. on apprend beaucoup sur l'oeuvre quand un compositeur prend la liberté de parler de choses dont on ne parle pas habituellement, car tout est signe.
la parole est profonde, anodine ou sentimentale, elle joue avec le sens des mots, elle est précise ou rêveuse, mais elle révèle mieux que toute spéculation l'indicible, ce qui fait l'intime d'un inventeur de musique par rapport à son invention.
il y a là, en effet, tout ce que les spécialistes ne peuvent pas dire, puisqu'ils ne le savent pas…
c'est l'objet des contes sentimentaux.
l'auteur raconte comment est né cette musique, de quelle anecdote, de quel secret, de quelle métaphore elle est issue et quelles sont les choses qui l'animent, drôles ou sérieuses.
peut-être cette démarche est-elle inhabituelle. peut-être ces discours sont-ils à prendre avec « les pincettes de l'esprit ».
ces confidences vont plus loin que la musique. elles peuvent paraître précieuses, mais tout oeuvre n'est-elle pas, au bout du compte, l'expression voilée d'une autobiographie ?
on peut alors penser qu'en interprétant la trace des oeuvres, les producteurs de cette série font profession de biographes.
henry fourès
« contes sentimentaux est le titre que donne le compositeur français et auteur de hörspiels, luc ferrari, aux petites histoires, épisodes et souvenirs personnels des jours, des nuits, des saisons, des lieux et des gens qui sont intimement liés à la naissance de ses compositions »
hermann naber
chaque conte est construit à partir d'une composition musicale qui le traverse et qui en fait la trame. la parole du compositeur s'introduit dans cette texture et raconte à sa compagne des anecdotes et des confidences qui y sont liées. le verbe y est libre et spontané. ici le magnétophone est considéré par les deux protagonistes comme un bloc-notes, comme le journal l'est pour l‘écrivain.
« les contes sentimentaux sont conçus directement en bilinguisme franco-allemand. auteur et réalisateur s'interrogent mutuellement, chacun dans sa langue, l'utilisant non pas comme un usage de traduction mais comme un outil de création. la traduction devenant la musicalisation pour celui qui ne comprend pas l'une des langues.
à la question, comment s'occuper du temps qui est celui de l'espace entre deux langues, les auteurs répondent: en les mélangeant. »
luc ferrari
« en projetant les contes sentimentaux, j'ai pris conscience (mais probablement le savais-je déjà) que souvent une situation, un fait de la vie, un voyage, un geste anodin avaient été le déclencheur d'une composition musicale.
et maintenant, ce sont ces aventures que je voudrais raconter et, je ne pourrais pas bien expliquer pourquoi tout à coup, ces réalisations me paraissent importantes dans mon travail. »
luc ferrari
swr/swf 1990-1994
conte sentimental n° 1 (mars 1989)
souvenir des jours, des nuits et des saisons - 25’05’’
musique : petite symphonie intuitive pour un paysage de printemps
(1973-1974) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1989, pour le swf
première diffusion swf : 3 juin 1990
« l’aventure c’est la montée vers le causse méjean. personne ne nous avait avertis. c’était un événement unique. lorsqu’après, nous y avons emmené des amis, ils savaient déjà un peu, et ce n’était donc plus un événement unique…
… ça montait très fort, c’était pas dramatique, mais c’était l’inconnu qui allonge le temps ».
« petite symphonie intuitive pour un paysage de printemps » est non seulement le titre de la musique composée en 1973-74, mais aussi celui du premier « conte sentimental » avec des souvenirs de cet été-là au cours duquel luc ferrari et brunhild meyer ne vont pas au bord de la mer, comme tous les français, mais au cœur du massif central.
la « petite symphonie intuitive pour un paysage de printemps » est le reflet de ce paysage-là.
rediffusion swf 29 janvier 1991
rediffusion bayrischer rundfunk 15 février 1991
rediffusion ndr hambourg 24 avril 1991
conte sentimental n° 2 (juin 1989)
souvenir des nuits, des lieux et des rencontres - 24’06’’
musique : place des abbesses (1977) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1990, pour le swf
première diffusion swf : 4 juin 1990
« place des abbesses » située entre la place pigalle et le sacré-cœur, entre le commerce de la chair et le commerce de l’âme.
dans ce conte sentimental, un clochard parle de la place.
des amis aussi y ont habité : colette et sophie racontent par téléphone des souvenirs cocasses et patrice, réalisateur de films, par qui luc ferrari a rencontré au carnaval d’aix-la-chapelle, une jeune fille nommée brunhild, avec qui il vit et travaille maintenant depuis de nombreuses années.
avec colette fellous, sophie thierry-mig et un clochard traditionnel
rediffusion swf 26 janvier 1991
rediffusion bayrischer rundfunk 15 février 1991
conte sentimental n° 3 (novembre 1989)
ce qu’a vu le cers - 29’45’’
musique : ce qu’a vu le cers (1978) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1990, pour le swf
première diffusion swf : 1er juillet 1990
1976. un été très sec. luc ferrari et brunhild meyer chez des amis, près de paris, sont couchés dans l’herbe. ils étudient la carte de la france et font des projets de vacances. luc demande à son ami qui est en train d’arroser son jardin, de lui envoyer une goutte d’eau. elle tombe sur un petit village dans les corbières, une région viticole dans le sud de la france. c’est là où ils décident d’aller en vacances. ils parlent avec les gens, avec le facteur, les jeunes, avec le curé et l’anarchiste. (h.n.)
luc ferrari y rencontre aussi des musiciens pour lesquels il écrit une musique qui a pour titre « ce qu’a vu le cers ».
le vivant quartet avec henry fourès, jules calmettes, richard breton et alain joule.
et avec les habitants de tuchan.
rediffusion bayrischer rundfunk 15 février 1991
rediffusion swf 26 mars 1991
rediffusion ndr-hambourg 24 avril 1991
conte sentimental n° 4 (juin 1990)
la chanson de la forêt - 29’46’’
musique : la chanson de la forêt (1982) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1990, pour le swf
première diffusion swf : 18 juin 1990
ce conte sentimental parle de l’amitié entre henry fourès et luc ferrari qui se sont rencontrés dans les corbières au cours du conte sentimental n° 3, raconte les concerts qu’ils ont faits ensemble dans des caves coopératives vinicoles et à la maison de la radio de francfort, raconte aussi comment ils transforment le « taunus » en une forêt du xixe siècle avec son « acoustique magique ». et enfin surgit la chanson de la forêt, doucement, comme si l’âme de la forêt chantait avec une voix de femme nue. (h.n.)
« ce conte est comme un cirque. la forêt ressemble à un amphithéâtre. nous l’avons peuplée de personnages, avons fait éclater un faux orage, avons fait tomber une pluie qui ne mouillait rien. les perspectives s’embrouillaient et des voix de femmes dialoguaient sans jamais se rencontrer… » (l.f.)
chant : elise caron. piano : denis chouillet
avec henry fourès, jules calmettes, richard breton, alain joule.
conte sentimental n° 5 (novembre 1990)
sieste italienne - 24’45’’
musique : la remontée du village ou les sons attrapés par la queue (1990)
de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1991, pour le swf
première diffusion swf : 18 juin 1991
le lieu d’action ou mieux, lieu sonore de ce conte sentimental est ventimiglia, ville frontalière italienne.
en fait, pendant cette sieste, il y a beaucoup à entendre. comme un photographe, luc ferrari capte avec son magnétophone les lieux, les scènes et les gens et emmène ainsi l’auditeur en promenade à travers la vieille ville.
autrefois… il poursuivait les pigeons. « si tu veux les attraper, disait sa mère, il faut leur mettre du sel sur la queue »…(h.n.)
« aujourd’hui je mets du sel sur les sons » (l.f.)
conte sentimental n° 6 (mars 1991)
le manuscrit anonyme - 24’59’’
musique : les yeux de mathieu (1984) et collection de petites pièces ou 36 enfilades pour piano et magnétophone (1985) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1991, pour le swf
première diffusion swf : 23 octobre 1991
des danseuses habillées de rouge glissent dans des barques à fond plat à travers une jungle d’un vert profond.
lieu de l’action : le marais poitevin. luc ferrari fait partie du groupe ; il enregistre des bruits et compose des musiques. petit à petit, naît une collection de petites pièces. celle-ci, avec ses citations de la nature et de l’histoire de la musique, ouvre la porte à une fiction poétique, à l’histoire du manuscrit anonyme, avec le titre « 36 enfilades pour piano et magnétophone » qu’un musicologue découvre dans la bibliothèque municipale d’un petit village de lozère. (h.n.)
piano : paul dubuisson
conte sentimental n° 7 (septembre 1991)
il n’y a rien à voir ici - première partie - 24’52’’
musique : hétérozygote (1964) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1991, pour le swf
première diffusion swf : 6 novembre 1991
« en feuilletant un dictionnaire, je suis tombé sur ce mot hétérozygote et, tout d’un coup, j’ai su quoi faire avec tous ces sons que j’avais récoltés par-ci par-là, au cours des années.
hétérozygote veut dire : d’origines diverses, veut dire ambiguïté… » (l.f.)
luc ferrari a inclus dans sa pièce des prises de sons provenant de ses multiples voyages aventureux, comme ici sa première rencontre avec le phasing qu’il a découvert en faisant rebondir des galets sur la plage d’etretat.
il raconte aussi son débat avec pierre schaeffer à propos des définitions de la musique concrète.
un jour, comme ingénieur du son, il accompagne des amis cinéastes pour faire un reportage sur le festival de bayreuth. ce groupe de gens, jeunes et naïfs, qui n’avait pas demandé l’autorisation de filmer, a constamment dû contourner la surveillance du festspielhaus pour réussir finalement à enregistrer ce qui n’aurait pas dû l’être. (h.n.)
conte sentimental n° 9 (novembre 1992)
journal d’un autobiographe - première partie - 24’53’’
musique : j’ai été coupé (1960-1969) 12’ -tautologos iii (1970) - 20’ de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1992, pour le swf
première diffusion swf : 16 juin 1993
un portrait est tracé pour être déconstruit en même temps : c’est l’essai biographique du compositeur et réalisateur de hörspiel, luc ferrari, qui entreprend un voyage magnétophonique dans sa propre mémoire, dans le labyrinthe de sa biographie et qui se souvient de ses ancêtres, son enfance, la guerre et l’occupation allemande.
mais ce qui surgit est également la création artistique. une histoire fragile, poreuse, qui voile et dévoile, qui reste incertaine et qui crée toutefois l’intimité…
ainsi se développe un film musical et acoustique de sa propre vie ; la biographie devient une forme de jeu musical. dans les années 60, ferrari développe avec « tautologos » un univers sonore qui possède ses propres lois et il déclare, pour ses maximes artistiques, la technique de la répétition et de la subversion, le dénouement de rapports de sens. toujours, il fait tourner l’événement musical autour d’une histoire et, dans la disparité des éléments formels, il présente une histoire qui est la sienne. (h.n.)
avec la voix de david jisse
conte sentimental n° 10 (1993)
spaziermusik - music promenade - 25’09’’
musique : music promenade - spaziermusik (1964-1969) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1993, pour le swf
première diffusion swf : 9 février 1994
lorsque dans les années soixante, nous allions en aventure avec jacques brissot - luc comme ingénieur du son, moi comme assistante à la réalisation, nous parcourions l’europe pour tourner la série de films “ chaque pays fête son grand homme ” pour la tv française. luc, la plupart du temps en route avec son magnétophone et ses écouteurs sur les oreilles, ramenait à la maison un tel butin sonore qu’il n’a pu tout utiliser pour les films. puis, lui vint l’idée d’en composer “ music promenade ”. dans la version hörspiel pour la série “ contes sentimentaux ”, cette composition est à son tour mélangée avec les enregistrements de l’époque. images sonores de l’armée portugaise du régime salazar, de pièces de shakespeare à londres et paris, d’une fête en l’honneur de jeanne d’arc à rouen - nous entendons andré malraux - et du port de hambourg ainsi que de deux jolies jeunes filles du film “ société iii ” que luc avait réalisé en 1967 pour la ndr. le tout compris dans sa “ music promenade ” (b.m.)
conte sentimental n° 11 (1994)
il était une fois le studio billig - 24’23’’
musique : cellule 75 (1975) de luc ferrari
réalisation : brunhild meyer
production : la muse en circuit, paris 1994, pour le swf
première diffusion swf : 11 juillet 1994
le compositeur luc ferrari est né rue rollin, une impasse dans le 5eme arrondissement de paris. dans cette même rue, il installe en 1972 un studio, une minuscule cellule qu’il appelle “ studio billig ”. dans ces “ contes sentimentaux ” se mêlent les souvenirs du jeu de ballon de son enfance aux arènes de lutèce, près de la rue rollin, avec ceux de ses travaux de composition des années 70, et surtout de “ cellule 75 ”, la première pièce complètement composée au studio billig. (b.m.)
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2013 |
€45.00 |
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| FIBO-TRESPO |
Askel oikeaan suuntaan |
CD-R |
low-fi as low-fi can! Vergriffenes Vinyl (1997 & 98) des Inbegriffes oder absolutesten Steigerung des low-fi-drones aus Norwegen, auf dieser CDR versammelt... Im handgezwirbelten Tapetencover zu einem gar lächerlichen Preis.
“ Excellent droning lo-fi ambient improvisation - or nor-wave - from this highly acclaimed Norwegian duo. This CD-R features their sold out 10" and 7" lathe cuts and two extremely rare compilation tracks from a few years back.” [press release]
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2002 |
€6.00 |
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| FIEBIG, GERALD |
Gasworks |
CD |
„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.
Liner notes by Gerald Fiebig:
Cities phosphorescent
on the riverbank, industry’s
glowing piles waiting
beneath the smoke trails
W.G. Sebald, After Nature
The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording.
Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001.
After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous.
In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses.
Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour.
But my interest in the gasworks is not only due to its historical ‚echoes,‘ documented so well by the committed friends of the gasworks, or Gaswerksfreunde Augsburg. As an artist working with sound, I am constantly fascinated by the literal echoes inside the large metal gas tank, 84 metres high and 45 metres in diameter. This unique sound effect is at the heart of Echoes of Industry, as well as the two live performances I did inside this space in 2016 under the title Ohrentauchen mit Echolot / Ear-diving with Echo Sounding. Doing this live improvisation in which acoustic sound-generators, from hammers to whistles, interacted with the physical features of the room as well as with its resonant properties, I felt it brought to completion the work I had begun in 2007 with a tour of the gasworks, guided by members of Gaswerksfreunde Augsburg, and the interview with the late Johann Artner.
This album is dedicated to his memory.
Excerpts:
1. post-industrial
Excerpt of a sound installation in the so-called Apparatehaus during Grenzenlos festival, 2014
Sounds of hissing gas from a kitchen stove, processed by Gerald Fiebig, are combined with field recordings from a nearby factory in a building even older than the gasworks, processed by EMERGE.
Composed & realised by Gerald Fiebig & EMERGE
Commissioned by Christa Spaniol (Künstlergruppe 38/40)
2. Ohrentauchen mit Echolot
Excerpts from performances in the large Gaskessel during Asche zu Farbgut festival, 2016
Various unamplified tools, toys, and instruments, as well as Gerald Fiebig’s voice and body, were used to create sounds inside the 84-metre high metal chamber. This included hitting the metal surfaces themselves. The performance took place in the centre of the chamber, with the audience walking around the performer.
Live sound mix: www.yetiplanet.de
Commissioned by Christa Spaniol (Künstlergruppe 38/40)
3. Nach der Industrie
Sound installation at Lange Kunstnacht festival, 2010 (reworked version)
The late Johann Artner worked at the gasworks from 1947 to 1989. He was interviewed by Gerald Fiebig in 2007. Excerpts from more than two hours of recorded material were arranged and combined with processed sounds of gas from a kitchen stove. A transcript and English translation of Johann Artner’s narration can be found at www.geraldfiebig.net/gasworks.pdf.
Narration: Johann Artner
Commissioned by Elke Seidel (Stadt Augsburg – Kulturamt)
4. Echoes of Industry
Radio piece for Radioatelier on Radio Vltava, Czech Republic, first broadcast on 29 May, 2015
Two of Augsburg’s major industrial monuments meet in this piece: sampled recordings of textile machines (heard in part 1 of the piece) from the State Textile and Industry Museum Augsburg are played back inside the large Gaskessel. As they are transformed by the echoes of the room, a saxophone takes up an improvisational interaction with both the samples and the echoes. Part 2 of the piece is composed from live recordings of these improvisations in the gas tank. As the ‚remembered‘ machine sounds of industry become increasingly blurred, the theremin in part 3 gestures at the ambivalent perspective of a disembodied, ‚virtual‘ future of digital production.
Christian Z. Müller: saxophones, theremin
Gerald Fiebig: sampler, field recordings, processing
Composed and realised by Gerald Fiebig & Christian Z. Müller
Commissioned by Michal Rataj (Radio Vltava)
5 Tracks (68′18″)
CD (500 copies)
Credits:
Composed and realised by Gerald Fiebig except where noted
Audio mastering: Tomislav Bucalic and Tobias Schmitt
Design: Martina Vodermayer – www.martavictor.design
Photography: Sigrun Lenk, Martina Vodermayer, Gaswerksfreunde Augsburg
Thanks to: Tobias Brenner, Oliver Frühschütz (Gaswerksfreunde Augsburg); Julia Quandt (Museen und Kunstsammlungen Augsburg); Wolfgang Riß, Annette Trass (Stadtwerke Augsburg); and to Jutta Weber, Manuel Schedl, Bonnie Lee Turner, and Tine Klink.
Archival photographs are used by kind permission of Gaswerksfreunde Augsburg.
www.gaswerk-augsburg.de
The completion of this album was made possible by a residency at ELEVEN artspace, Starzach-Börstingen, Germany, in August 2018.
The production was generously supported by Arno Buchegger Stiftung, Augsburg, and Kurt und Felicitas Viermetz Stiftung, Augsburg.
www.gruenrekorder.de
|
2019 |
€13.00 |
|
| FIESEL, CHRISTIAN |
The Dark Orb |
CD-R |
Christian Fiesel (also known from Modul303 web radio) is an electronic musician, mostly into all kinds of ambient, dark ambient and drone. His work is based on musique concrete, treatments and analogue synthesizer sounds.
His approach to creating music is deeply moody, dark, creating small otherworldly spaces within the soundscapes.
Having about an hour long, The Dark Orb album is probably the most intense and expressive work from him. It can be described as cinematic dark ambient, with traditional electronic (analogue) music parts that give it a touch of originality and making it also a very enjoyable release.
https://essentiamundi.bandcamp.com/album/the-dark-orb-em041
"Christian Fiesels musikalische Produktivität ist schon erstaunlich, ist doch The Dark Orb sein mindestens drittes Album (ich weiß nicht, wie vollständig seine Diskographie auf unseren Seiten ist) im Jahre 2018 - und als es erschien (Ende Mai), war das Jahr nicht einmal zur Hälfte vorbei! Aber wie eine Rezension höher schon zu lesen ist, sind hier Aufnahmen aus den letzten fünf Jahren versammelt.
Der Infozettel des Labels bezeichnet die Musik als „cinematic dark ambient“, eine durchaus passende Kategorisierung, bei der das „cinematic“ allerdings meist im Vordergrund steht. Über weite Strecken wirkt die Musik geradezu abweisend, und auch in den Momenten, wo die Musik Form annimmt, sich eine melodische Struktur herausbildet, scheint sie von Einsamkeit und Verlorenheit zu künden. Wie die akustische Umsetzung eines Schneetreibens klingt etwa Of Passing Clock and Time, bei dessen später einsetzender, Oboen-artig klingender, elegischer Melodie über einem stoischen Mellotron-Chor man sich vorstellen kann, selbigem aus einer nicht gut beheizten Hütte heraus zuzuschauen. Und bei den mächtigen, dunkel und drohend wabernden Mellotron-Klängen von Cinematic, die noch von einem klagenden Cello begleitet werden, fühlt man sich endgültig mitten in einer nächtlichen Schneelandschaft. Beide Stücke zeigen übrigens deutliche Reminiszenzen an die frühen Tangerine Dream, also ihrer Prä-Sequenzer-Zeit; diese Einflüsse zeigen sich auf diesem Album immer wieder mal.
Gänzlich oder zumindest weitgehend abstrakt wird es in Winds of East II, das phasenweise schon wie eine Geräuschcollage anmutet, wenn sich seltsames Rasseln oder Klackern in den Vordergrund schiebt. Ansonsten steht die Musik im Spannungsfeld zwischen melodischen und Ambient-artigen Klängen, wobei letztere in den drei abschließenden Stücken noch einmal verstärkt zur Geltung kommen.
Somit ist The Dark Orb ein schönes Werk elektronischer Musik, das geschickt bis ins Abstrakte reichende Dark-Ambient-Klänge mit Einflüssen aus der Frühzeit deutscher Elektronik verbindet. Auf Bandcamp kann man reinhören und neben der Download-Variante auch die auf 50 (!) Exemplare limitierte CD erwerben." [Babyblaue Seiten]
www.babyblaue-seiten.de/album_17436.html
|
2018 |
€8.00 |
|
| FIRST HUMAN FERRO |
Stardust |
CD |
"Dedicated to the 50th anniversary of the manned flight into space a Russian label Nitkie presents a new recording by a Ukrainian project First Human Ferro. "Stardust" is an ambient anthem tribute to the scientists, engineers and space pilots who contributed to the remarkable date. Their earthly dust is drifting like particles of god in the infinite space now, endlessly multiplying through the minds eye of the enthusiasts to come and carry the banner of scientific and technological revolution further. The album was recorded in 2004-2010 and featured by collaborations with Claustrum, Oda Relicta, and Louisa John-Krol. Designed by Marcin Lojek the release is limited to 500 copies in a digisleeve." [label info]
www.nitkie.ru
"Vor einiger Zeit hat OLEGH KOLYADA im NONPOP-Interview Bedenken geäußert, dass ihn sein Studium wohl zukünftig von musikalischen Aktivitäten abhalten würde. Dies scheint nicht der Fall zu sein, denn die Dichte an Veröffentlichungen, die auf den Ukrainer zurückgehen, hat eher noch zugenommen. Immerhin kümmert sich OLEGH mit seinem zweiten Hauptprojekt FIRST HUMAN FERRO nun schon zum zweiten Mal innerhalb kurzer Zeit um eines seiner Lieblingsthemen, den Weltraum. Erst vor wenigen Monaten erschien mit "Homo Shargey" (NONPOP-Besprechung) die Hommage an den ukrainischen Raumfahrtvordenker YURI KONDRATYUK, nun folgt mit "Stardust" eine allgemeine Reminiszenz an die bemannte Raumfahrt, die am 12. April 2011 ihren 50sten Jahrestag feierte; JURI GAGARIN umkreiste 1961 als erster Mensch in einem Raumschiff die Erde.
Von der Anlage her ist "Stardust" ähnlich wie "Homo Shargey": OLEGH hat Stücke zusammengestellt, an denen er schon seit einigen Jahren arbeitet und die klanglich gut zusammen passen. Die zehn neuen Tracks sind in den Jahren 2004 bis 2010 entstanden, und wie auch auf dem Vorgänger merkt man dem Album diese Zeitspanne nicht an, es klingt wie aus einem Guss. Neu sind dagegen die Gäste: OLEGH KOLYADA war ja schon immer ein Bastler, hat mit seinem anderen Großprojekt ODA RELICTA mehrfach bewiesen, wie er ganz unterschiedliche Puzzleteile zusammenfügen kann. Diese Eigenschaft schlägt nun auch bei FIRST HUMAN FERRO durch, denn "Stardust" ist eine wohldosierte Mischung aus Dark Ambient, majestätisch-sakralen Klängen und einigen weiteren Einflüssen von CLAUSTRUM und LOUISA JOHN-KROL, die – neben dem eigenen Projekt ODA RELICTA – auf dem Cover genannt werden. Mit dem Dark Ambient-Projekt CLAUSTRUM aus Lettland ist es nicht die erste Zusammenarbeit, wohl aber mit der australischen Folk Pop-Nymphe LOUISA JOHN-KROL, die das hier schon häufiger besprochene PRIKOSNOVÉNIE-Programm ziert.
Mit den ersten Tönen fängt die Reise an, alles klingt und riecht nach kühlen, fremden Welten und Sternenstaub. Flirrende Synthieklänge werden ab und an unterbrochen von Morsezeichen, später setzen auch bedrohlichere Klänge ein, dröhnend navigiert das Sonar durch unbekannte Sonnensysteme. Überraschend, aber nicht unpassend sind die sich langsam einschleichenden, klassischen Klänge, militärische Bläserfanfaren wie aus einem Filmsoundtrack mit Verweis auf das erste (Marsch)Album von ODA RELICTA (NONPOP-Besprechung). Die Stimmung wechselt im weiteren Verlauf, hinter bedrohlichen Drones lauert ein Knistern und Kratzen, der eingespielte Funkverkehr eines Weltraumspaziergangs mit dem Klassiker "one small step for man" klingt wie ein Original, und die zahlreichen Geräusche symbolisieren perfekt die Zerbrechlichkeit und Gefährlichkeit des Unterfangens.
Über klassischen, höhligen und grollenden Dark Ambient arbeitet sich OLEGH in geheimnisvollere Gefilde vor, russischer Funkverkehr kratzt zwischen militärischen Trommeln und weichen, gleitenden Drones, dann dringt "Stardust" endgültig in die unendlichen Weiten vor. Einzelne Signale verschwinden im All, hinterlassen trommelnde Schallwellen. Eines der beeindruckendsten Stücke des Albums ist "Spectra Of Sferics" (08), Weltraumgefühl mit wenigen Mitteln: nur ein leises Knistern, dazu fremde, schöne und schwerelose Töne. Die Feenstimme macht "Of Earth Pristine" (09) zum ätherischsten Stück auf "Stardust"; wenige Keyboarddrones, auf die die Stimme von LOUISA JOHN-KROL vor sich hinsummt. Erinnert ein wenig an JACK OR JIVE. Das eindeutig ergreifendste Stück ist das letzte und längste, "Stars Scattered Pain" (10) zusammen mit CLAUSTRUM. Wunderschön und glänzend wird der Moment im Spacefilm vertont, an dem in der Einsamkeit ein Planet sichtbar wird und die Crew ahnt, dass sie doch nicht den Kältetod sterben muss. Eine langsame und majestätische Melodie, viele Klänge und Geräusche dazugepackt, wie ein 'Best Of' des ganzen Albums.
OLEGH kann es halt, so einfach ist das. Seine All-Epen verkörpern immer die richtige Mischung aus Erhabenheit, Melancholie und düsteren Gedanken. "Stardust" sticht dabei noch einmal besonders hervor, weil zusätzliche Elemente beigemischt wurden, die einzelnen Songs – vor allem den drei letzten – ein besonderes Gesicht geben. Feines Album!" [Michael We. für nonpop.de]
|
2011 |
€12.00 |
|
| FIRST LAW |
Violent::Sedated |
CD |
"Elektronische Soundscapes eines neuen deutschen Projekts ; thematisch geht es metaphorisch um zwanghafte Intoxikationen von Drogen, die die Wahrnehmung & Realität verzerren. Die Titel tragen entsprechend Namen von Psychopharmaka und psychoaktiven Substanzen. Soundmäßig geht es in die elektronisch-atmosphärische Industrialrichtung mit hohem Synth-anteil, langsamer Percussion, einigen Stimmen-Samples....gutes Debut!" [Drone Rec info 1999]
www.loki-found.de |
1999 |
€14.00 |
|
| FIVE ELEMENTS MUSIC |
New Communications : One |
CD-R |
NEW COMMUNICATIONS: Nur die 4 Elemente werden zur Klangerschaffung eingesetzt, um das nicht-sichtbare fünfte Element (die Musik?) zu erschaffen... hier verbinden sich field recordings sehr schön mit Obertönen, wie in einer rauschenden Unterwasserfahrt tauchen mechanisch wirkende Sounds auf. 46 Minuten, 2 tracks, professional cover.
"Russian project FEM works approximately in the same conceptual course as Japanese Aube, but oriented towards "natural" approach. While Aube uses only one sound source for an album, may it be tone generator's waves or sounds of water, FEM chooses only 5 elements: air, water, earth and stone. And while Aube often goes mad with building mathematically precise multy-level constructions with hi-fi sound, FEM on the contrary inherited droning structure of tracks from other projects of [S] (Sister Loolomie, Exit In Grey) with muffled lingering sounds. This album starts with literally stone ambient but by 10th minute the identification of sound practically disappears and only sometimes kind of familiar timbres emerge: cicadas, radionoises, etc." [Zhelezobeton]
|
2006 |
€9.50 |
|
| FJERNLYS |
Ascending Triads & Luminous Arcs |
do-CD |
„Schwarz, bordeaux und weiß sind die Grundfarben des Covers, der Schrifttyp lässt auf einen Bezug zum Jugendstil des frühen 20. Jahrhunderts schließen. Packt man die CD-Hülle aus dem Pappschuber, zeigt sich das Foto einer nordischen Seenlandschaft, die sich mittig spiegelt - ein Motiv, das das gesamte Artwork bestimmt. Wer Knut Enderleins bisheriges Schaffen in der Ritual-Ambient-Formation Inade verfolgt hat, wird hier einige vertraute Elemente wiederfinden, musikalisch jedoch beschreitet das neue Projekt Fjernlys neue Pfade. Während Inade thematisch von Ideen kosmischer Spiritualität und dem Okkultismus des frühen 20. Jahrhunderts handelt, entfaltet Fjernlys in Titeln wie "Intermediate Nature", "Trunkene Flut" oder "Nocturnal Wine" einen mystischen Pantheismus, die All-Einheit von Existenz und Welt.
Am Arrangement wirkten diesmal neben Knut Enderlein auch noch eine weibliche Vokalistin sowie zwei weitere Musiker mit. Für das Mastering zeichnete Andreas Wahnmann von Fir§t Law verantwortlich, dessen neue CD dieser Tage ebenfalls erscheint. Stilistisch bewegt man sich nicht mehr in dronigen Darkambient-Gefilden, sondern bemüht sich deutlich um Songstrukturen und eingängige Melodien - mit minimalistischen Mitteln versteht sich: Gearbeitet wird mit dezenten elektronischen Beatstrukturen,synthetischen Sphären, aber auch akustischen Elementen wie einem Bass. Drei verschiedene Stimmen tauchen auf, wobei der düstere Aspekt von Inade durchscheint, aber auch eine gelegentliche Leichtigkeit, u.a. durch die Präsenz einer Frauenstimme. Die Texte auf Deutsch und Englisch sind leider nicht durchweg verständlich und werden auch im Booklet nicht reproduziert - man bettet sich im Geheimnisvollen.
Mit pochenden Rhythmen, elegischen Sphären und finsterem Gesang füllt man eine Lücke, die Predominance nach ihrer Auflösung auf dem Loki-Label hinterlassen haben. "Flash Crimson", "All Sun's Ceaseless Falling" und "Rising Challenge" arbeiten auf diese Weise: Kosmisch-apokalyptische Chill-Out-Hymnen. Rituelle Drums tauchen bei "Lunar Sphere" und "Solar Loka" auf, während "Nocturnal Wine" wirklich poppige Qualitäten hat und darauf shließen lässt, dass sich die Hörgwohnheiten der Musiker nicht mit alten Lustmord-Scheiben erschöpften... Hier meint man durchaus einen Nachhall von Minimalelektronik der 1980er Jahre zu hören, oder die unterkühlte Melancholie früher Wavemusik.
Die zweite CD enthält Remixe des Materials, und zwar von Antlers Mulm, Bad Sector, Fir§t Law und Lovespell, allesamt aus dem Freundeskreis des Loki-Labels bzw. auf diesem Label verlegt. Dabei ist erstaunlich zu beobachten, wie diese Gruppen das Basismaterial ihrer eigenen Klangwelt angleichen: Bad Sector geht eher kalt-noisig vor, Antlers Mulm und Lovespell dagegen gestalten ihre Stücke eher relaxed-poppig. Und Fir§t Law führt eine spacig-trancige Not ein...“ [Ikonen mag]
“On their first album FJERNLYS emerges marvelous sounds and voices organically in songs and arrange a pleasant and relaxed sound to pure benefit with highest recognizing value. The songs layer cosmic and synthetic sounds and go on tracing according to the principle harmony in the music, their acoustic space seems very expansive, it is by no means over-crowded. The voices creep crosswise into sounds and effects to lunar spheres and solar places, exactly the correct nuance at refinement not only to remain in the ear but also simply very charming. Sometimes the central sequence takes surprising twists in some recordings and the density of sounds became touchable. Behind this project hides one of the INADE Masterminds, who recorded nine tracks supported from several musicians, those clearly possesses more songcharacter than the work which appeared from the Lightchannel so far. Fjernlys' attitude to music remains unfettered by stylistic frames and the album targets the style-encompassing essence of sounds. The five remixes and interpretations of ANTLERS MULM, BAD SECTOR, FIRST LAW and LOVESPELL on the second CD support the complex character of the whole release and expand the border to a new style of Ambient Songs. Ace - Clear - Pure.“ [label info]
|
2006 |
€15.00 |
|
| FLORES, RAFAEL |
Nubes, Cometas, Rumores y Orugas: selected works 1994-2004 |
CD |
Einer der ganz aktiven frühen Industrial-“Cassettentäter” aus den 80ern war RAFAEL FLORES, der unter dem Namen COMANDO BRUNO arbeitete. Das Moskauer Label MONOCHROME VISION hat nun neueres Material zusammengetragen, welches nur in mini-CDR-Auflagen erhältlich war. FLORES Musik besticht durch die Verwendung mechanischer loops & „industrieller“ Geräusche, metallischer Drones & merkwürdiger verzerrter elektronischer Strukturen.....alles sehr hypnotisch, minimal & repetitiv, und manchmal recht abgründig....
das ist der 80er Jahre Noise-Minimalismus, wie man ihn von M.B., S-CORE oder TAM QUAM TABULA RASA geschätzt hat...
“First official CD album of Rafael Flores who hails from the depth of spanish noise underground scene, known for his early works released under Comando Bruno moniker. This compilation presents the latest decade of his sound experimentation, and shows quite diverse sides of his creative efforts, which ranges from collaged field recordings to noise ambient loops, from rhythmic structures to hypnotic electronic passages.“ [label info]
“....Rafael Flores first came to my attention in 1984 or 1985 when he worked as Comando Bruno, and was featured on many cassette compilations around the world. I even released a cassette of his, I think in 1986. Despite me xeroxing the cover, it had all sorts of stamps made by Comando Bruno, as he was also heavily into mailart. But my contact with Flores was rather small, and in the later half of the eighties we were no longer in contact and when people started to release LPs and CDs, he seemed to have disappeared. His cassette was re-issued on CDR (and sold really few copies, not that I was surprised), and suddenly Flores knocked on my door asking for a few copies. Since then we are not in contact, but it's good to know he's back. From the lost years, 1994-2004 he now releases a CD - his first in twenty-five years. It's great to hear this music without the hiss and static of a cassette. Flores plays industrial music, but one that strictly along the 'old' rules. He takes he sounds from rather primitive sources (such as the radio depicted on the cover), feeding them through electronics, chopping them into small rhythm particles (such as in 'Boucher 2' which sounds alike Esplendor Geometrico), but never the material dissolves into a mass of noise sound. Crisp clear, layers of electronic sounds, processed field recordings (in 'Para'), this is music that reminded me of the late eighties Asmus Tietchens. Forceful, yet intelligent industrial music. A major step forward and hopefully much more to come.” [Frans de Waard / Vital Weekly]
|
2005 |
€13.00 |
|
| FM EINHEIT |
EXHIBITION OF A DREAM |
do-CD |
Zwölf Träume von Musikern, Künstlern und Filmemachern, interpretiert von FM Einheit (ex-EINSTÜRZENDE NEUBAUTEN), mit Guest-Vocals von: Lee Ranaldo (SONIC YOUTH), Genesis Breyer P-Orridge (PSYCHIC TV / THROBBING GRISTLE), Susan Stenger (BAND OF SUSANS), Émilie Pitoiset, Erika Stucky und dem Gubenkian Chor; mit Gastmusikern: Volker Kamp, Saskia von Klitzing, Robert Poss, und Susan Stenger. Exhibition Of A Dream (L'exposition D'un Rêve) besteht aus zwölf Träumen die in Songs transformiert wurden. Exhibition Of A Dream zeigt die komplexe Schönheit, wie ein Traum im Kopf der Betrachter*innen entsteht. Als geteilte Erfahrung, die in unserem persönlichen inneren Raum gelebt werden soll, sind diese remasterten Träume eine Einladung, einer sensiblen Architektur aus Worten und Musik zu lauschen. Entstanden 2017, aufgezeichnet in den Amphitheatern und im Garten der Fundaçao Calouste Gulbenkian in Lissabon sowie in Einheit's eigenem Studio Steinschlag. Die Träumer waren: Apichatpong Weerasethakul, Lee Ranaldo, Émilie Pitoiset, Susan Stenger, Susie Green, David Link, Pierre Paulin, Alexandre Estrela, Tim Etchells, Gabriel Abrantes, FM Einheit, und Genesis Breyer P-Orridge.
Twelve dreams of musicians, artists, and filmmakers, interpreted by FM Einheit (ex-EINSTÜRZENDE NEUBAUTEN), with voices by: Lee Ranaldo (SONIC YOUTH), Genesis Breyer P-Orridge (PSYCHIC TV / THROBBING GRISTLE), Susan Stenger (BAND OF SUSANS), Émilie Pitoiset, Erika Stucky, and the Gubenkian Choir; with guest musicians: Volker Kamp, Saskia von Klitzing, Robert Poss, and Susan Stenger.
Exhibition Of A Dream (L'exposition D'un Rêve) is formed of twelve dreams interpreted as songs. Exploded in time, these are played as temporary and evolving patterns of shapes and forms in an otherwise empty gallery following the drawings of mandalas. Exhibition Of A Dream highlights the complex beauty of how to generate a dream in the mind of the spectator. A shared experience to be lived within our own personal inner space, these remastered dreams are an invitation to listen to a sensitive architecture of words and music.
Created 2017, recorded both in public and in private in the amphitheatres and the garden of the Fundação Calouste Gulbenkian in Lisbon, and in Einheit's own studio Steinschlag. The dreamers were: Apichatpong Weerasethakul, Lee Ranaldo, Émilie Pitoiset, Susan Stenger, Susie Green, David Link, Pierre Paulin, Alexandre Estrela, Tim Etchells, Gabriel Abrantes, FM Einheit, and Genesis Breyer P-Orridge.
https://coldspring.bandcamp.com/album/exhibition-of-a-dream-csr292cd
|
2021 |
€16.00 |
|
| FOR KINGS AND QUEENS |
Merz |
CD-R |
Interesting experimental / ambient / drone debut-CDR by a german project on a new label from Berlin. To discover.
"Man tut For Kings And Queens womöglich Unrecht, wenn man behauptet, diese Musik klänge wie ein Tribut an den charakteristischen englischen Sound, dem David Keenan mit »England’s Hidden Reverse« ein ganzes Buch gewidmet hat. Und doch ist die Liebe zu Nurse With Wound und die typische Stimmung der verwandten Projekte schon in den ersten Minuten vollkommen unüberhörbar. Das Projekt-Debüt »Merz« (Subterranean Sonic) profitiert nun von der Sorgfalt, mit der diese vertraute Atmosphäre nicht nur eingefangen, sondern weiter fortgeführt und interpretiert wurde: In seinen besonders ›musikalischen‹ Momenten schleppt sich das Album dahin, so scheinbar lethargisch, wie man es von den zähesten Dokumenten der aktuellen Free-Folk-Bewegung kennt (etwa von Jackie-O Motherfuckers Schaffenshöhepunkten »Wow!« und »The Magick Fire Music«). In dieser entspannten, von spannenden Geräuschen bereicherten Umgebung können sich die inspirierten Improvisationen stimmig und lebhaft entfalten." [Spex]
www.myspace.com/subterraneansonic
|
2008 |
€8.00 |
|
| FORCUCCI, LUCA |
Fog Horns |
CD |
"Luca Forcucci is a binational Swiss and Italian composer and artist. His work observes the perceptive properties/relations of sound and space (and vice versa) through sound installations, visuals, compositions and performances. In order to explore the field of possibilities for sound in a context of music and art as experience, the works converge with dance, digital performance, poetry, architecture and neuroscience. In this context, he is interested by perceptionand consciousness.
His compositions have spanned through the years from electronic music, which was produced by Al Comet from The Young Gods, to field recordings collected around the world in urban contexts like Sao Paulo, Shanghai, San Francisco and natural ones like the Amazon forest or the Swiss Alps to name a few." [label info]
www.subrosa.net
"Sub Rosa is busy presenting new and young composers and here have a release by Luca Forcucci. "His work observes the perception of sound through an architectural approach in the relation of sound and space". He studied in Berlin, Paris (at GRM) and the Brain Mind Institute in Switzerland. I am not sure if he has other releases available, but this is the first time I hear his music. The three pieces on this release are inspired by the fog horns he heard when he landed in San Francisco in Spring 2011. Obviously he recorded those and uses them as source material on these pieces. On the title piece he gets help from Goo Le Gooster on turntables, scratch, cuts and echoplex and in 'Winds' it's the cello of Michael Kott. When I visited San Francisco, a long time ago, I didn't hear fog horns, but I can imagine what they would sound like. the long sustaining and slowly shifting sounds of the horns over big distance, would already be enough to be music by itself, but Forcucci's treatments to the material enhance the mood further. Quite dark and desolate - like recorded from below the sea surface where metallic objects softly touch upon the microphone - in 'Winds' and hazy, fog like, not entirely clear for all to see in in 'L'Ecume Des Jours'. The title piece is the place in which happens most. Here the fog horns form a web behind a collage of field recordings - people talking and walking, bird calls and a bit of scratch like sounds. Oddly enough (but why?), I thought this was the least interesting piece of these three. Maybe the whole marriage of field recordings with a bit scratching just didn't work well; maybe it gave me an uneasy sense of being forcefully 'hip' to some extend? I don't know. But the other two pieces are really good." [FdW/Vital Weekly] |
2013 |
€13.00 |
|
| FOVEA HEX |
The Salt Garden III |
10inch + CD |
Janet Records, in association with Headphone Dust and Die Stadt present
Fovea Hex The Salt Garden III
Cat No HDFH1034 (vinyl) / HDFHCD32 (CD)
(Bonus CD Cat. No: HDFHCD33)
Shipping Date - 26/11/2019
Ltd Edition - 10" vinyl + CD + bonus remix CD
Standard Editions - 10" vinyl + CD / CD / DL
"The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern." Drew Daniels (Matmos)
The new EP from Fovea Hex THE SALT GARDEN 3 will be released on November 26th 2019 on Steven Wilson's Headphone Dust label.
The Salt Garden 3 is the final word, and the concluding instalment to the critically lauded The Salt Garden Trilogy. Issued in 3 standard editions; 10 inch vinyl + CD, CD only, and Digital Download. There will also be a limited edition release featuring a bonus remix CD by Steven Wilson. The pre-sale for this limited edition, featuring 4 remixes by Steven, presented in individual and combination treatments, will only be available online via Janet Records.
The core ensemble of Clodagh Simonds, Michael Begg, Colin Potter, Cora Venus Lunny and Kate Ellis is joined by special guests Guido Zen, and the Medazza and Dote Moss choirs.
Critical Reaction to The Salt Garden 1 and 2
5 Against 4 (UK)
"Whenever Irish experimental electronic folk group Fovea Hex put out something new, it's not just a cause to rejoice but a guarantee of something unique and indescribably wonderful..."
The Wire (UK)
"...fragile baroque instruments and synthy atmospheres surround Simonds's singing and songwriting, both on better and less predictable form than ever... A Robert Wyatt's Rock Bottom for the 21st Century: emotionally deepens with extra listens"
Brainwashed (US)
(Readers Poll Winner: Single of the Year, 2016 for Salt Garden 1)
"Another beautiful piece in a flawless catalog..."
Igloo (US)
"The superlatives left to describe this unique chamber ensemble are fast running out..."
Dusted (US)
"... a blending of acoustic and electronic that attains a kind of smooth, vatic timelessness. Every element feels precisely placed and oddly haunting... Spellbinding".
Subjectivisten (NL)
"...an almost indefinable sound...the music is a hybrid of (dark) ambient, experimental music, neoclassical and ethereal folk and yet no label feels completely comfortable. . It is of an unearthly beauty!"
Touching Extremes (IT)
"no actual comparison is conceivable - sonic poetry"
Gonzo Circus (NL)
"if you like unique sirens like Nico, Dead Can Dance and This Mortal Coil, you will also unconditionally embrace Fovea Hex."
Fovea Hex Background
Having first emerged at the tender age of 15 as the main writer behind 70s cult Irish psych-folk band Mellow Candle, and with sessions for both Thin Lizzy and Mike Oldfield under her belt by the age of 21, Irish singer Clodagh Simonds relocated to New York and subsequently "went quiet" for almost two decades, before re- emerging in 2005 with Fovea Hex, supported by an extraordinary assembly of friends and colleagues, including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, Roger Doyle, and Steven Wilson. Their first trilogy of eps, NEITHER SPEAK NOR REMAIN SILENT, was, upon its release, greeted by a growing momentum of critical acclaim. Their nascent cult reputation was further affirmed by a personal invitation from David Lynch to perform live in Paris at the Cartier Foundation in Paris as part of his THE AIR IS ON FIRE exhibition.
In 2008 a full length album, HERE IS WHERE WE USED TO SING, was released, to yet more glowing reviews. The album made several end-of-year lists and was awarded album of the year in periodicals in the UK, North America and Italy.
THE SALT GARDEN 1 was released in 2016 and THE SALT GARDEN 2 in 2017, consolidating and deepening the high esteem and critical regard in which this most beguiling of ensembles continues to be held.
The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.
"If Emily Dickinson had ever been allowed to make a record, this is probably what it would have sounded like" (The Wire)
janetrecords.com/SG3/press-release.html
"2019 findet die “The Salt Garden”-Trilogie mehr als zwei Jahre nach Veröffentlichung des zweiten Teils ihren Abschluss. Das Projekt von Clodagh Simonds – die (u.a. mit Mellow Candle) schon in den 60er Jahren Musik machte – kehrt mit „The Salt Garden“ wieder zur kleine(re)n Form der EPs zurück, mit der Fovea Hex in der zweiten Hälfte der 00er Jahre debütierte. Erneut beeindruckend ist die Konsistenz und Kohärenz dieser drei EPs.
Anlässlich des ersten Teils der Trilogie wurde Fovea Hex hier attestiert: “[Die] Musik, die Begriffe wie Ambient, Folk oder experimentelle Musik überflüssig erscheinen lässt, ist erdverhaftet und zugleich entrückt, ist ebenso traumwandlerisch wie meditativ. Die meisten der getragenen Stücke haben starke Songqualitäten und sind doch von der verschwimmenden Struktur abstrakter Kompositionen. Und was in dieser Musik emotional passiert, lässt sich besser empfinden als rational erfassen.” Über das 2011 erschienene Langzeitdebüt “Here Is Where We Used To Sing” schrieben wir: „[T]rotz aller hypnagogischen, traumhaften Momente [...] verlier[t] sich [Simonds] nie im Unterholz und inmitten aller getragenen Momente gibt es auch immer die Gewissheit des Gelingens” und diese zumindest vom Rezensenten so wahrgenommene „Gewissheit des Gelingens“ trifft die auf dem dritten Teil von “The Salt Garden” evozierte Stimmung gut. Denn obwohl die Musik wieder getragen und elegisch ist, sollte man die vier Stücke nicht als Soundtrack zu einer Reise in den Untergang verstehen. Sucht man nach (eigentlich unnötigen) Vergleichen, so kommen einem manche Soundtrackarbeiten Hilmar Örn Hilmarssons oder aber (geographisch vielleicht etwas naheliegender) Richard Skeltons immer wieder von Orten und Plätzen geprägten Streicherdrones in den Sinn.
Eröffnet wird die EP von „The Land’s Alight“, einem von Keyboarddrones geprägtem Stück, auf dem Simonds singt: “I dreamed I flew, the whole night long…./Ah but the light is on the land/and the hand upon the heart/and the open road is a real thing”. Diese Haltung erinnert an Coils “Bee Stings”, auf dem es heißt: “Don’t believe A.E./See for yourself the summer fields”. Wenn Simonds dann intoniert, “The land’s alight/And this vital eye/and the view…”, dann bekommt ihr Gesang etwas Hymnenhaftes. “Trisamma” ist ein instrumentales Stück, auf dem dezente Klavierpassagen mit Streichern kombiniert werden. „A Million Fires“ ist das vielleicht beeindruckendste Stück: Simonds’ Gesang wird von Harmoniumdrones und den Stimmen des The Date Moss Choir untermalt. Wenn sie singt “glory be upon the hapless writer/ glory be upon the spotless page/to call the woman with the fire inside her/to bring the luminous from age to age”, dann kann man das fast schon programmatisch lesen. Beendet wird diese Veröffentlichung und damit die Trilogie mit “The Given Heat”, auf der traurige Streicher zu hören sind, wobei es am Ende heißt: “suddenly there it is –/ the molten gold on the city street”.
Wie auch schon bei allen anderen EPs liegt einer limitierte Version eine Remix-CD bei. Steven Wilson hat unter dem Titel “Is Lanza Light & Given” die vier Stücke zu einem Track verschmelzen lassen und gerade zu Anfang gibt seine Neuinterpretation den Stücken einen leicht entrückteren Charakter." [MG/African Paper] |
2019 |
€17.50 |
|
| |
The Salt Garden III |
CD-EP |
Janet Records, in association with Headphone Dust and Die Stadt present
Fovea Hex The Salt Garden III
Cat No HDFH1034 (vinyl) / HDFHCD32 (CD)
(Bonus CD Cat. No: HDFHCD33)
Shipping Date - 26/11/2019
Ltd Edition - 10" vinyl + CD + bonus remix CD
Standard Editions - 10" vinyl + CD / CD / DL
"The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern." Drew Daniels (Matmos)
The new EP from Fovea Hex THE SALT GARDEN 3 will be released on November 26th 2019 on Steven Wilson's Headphone Dust label.
The Salt Garden 3 is the final word, and the concluding instalment to the critically lauded The Salt Garden Trilogy. Issued in 3 standard editions; 10 inch vinyl + CD, CD only, and Digital Download. There will also be a limited edition release featuring a bonus remix CD by Steven Wilson. The pre-sale for this limited edition, featuring 4 remixes by Steven, presented in individual and combination treatments, will only be available online via Janet Records.
The core ensemble of Clodagh Simonds, Michael Begg, Colin Potter, Cora Venus Lunny and Kate Ellis is joined by special guests Guido Zen, and the Medazza and Dote Moss choirs.
Critical Reaction to The Salt Garden 1 and 2
5 Against 4 (UK)
"Whenever Irish experimental electronic folk group Fovea Hex put out something new, it's not just a cause to rejoice but a guarantee of something unique and indescribably wonderful..."
The Wire (UK)
"...fragile baroque instruments and synthy atmospheres surround Simonds's singing and songwriting, both on better and less predictable form than ever... A Robert Wyatt's Rock Bottom for the 21st Century: emotionally deepens with extra listens"
Brainwashed (US)
(Readers Poll Winner: Single of the Year, 2016 for Salt Garden 1)
"Another beautiful piece in a flawless catalog..."
Igloo (US)
"The superlatives left to describe this unique chamber ensemble are fast running out..."
Dusted (US)
"... a blending of acoustic and electronic that attains a kind of smooth, vatic timelessness. Every element feels precisely placed and oddly haunting... Spellbinding".
Subjectivisten (NL)
"...an almost indefinable sound...the music is a hybrid of (dark) ambient, experimental music, neoclassical and ethereal folk and yet no label feels completely comfortable. . It is of an unearthly beauty!"
Touching Extremes (IT)
"no actual comparison is conceivable - sonic poetry"
Gonzo Circus (NL)
"if you like unique sirens like Nico, Dead Can Dance and This Mortal Coil, you will also unconditionally embrace Fovea Hex."
Fovea Hex Background
Having first emerged at the tender age of 15 as the main writer behind 70s cult Irish psych-folk band Mellow Candle, and with sessions for both Thin Lizzy and Mike Oldfield under her belt by the age of 21, Irish singer Clodagh Simonds relocated to New York and subsequently "went quiet" for almost two decades, before re- emerging in 2005 with Fovea Hex, supported by an extraordinary assembly of friends and colleagues, including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, Roger Doyle, and Steven Wilson. Their first trilogy of eps, NEITHER SPEAK NOR REMAIN SILENT, was, upon its release, greeted by a growing momentum of critical acclaim. Their nascent cult reputation was further affirmed by a personal invitation from David Lynch to perform live in Paris at the Cartier Foundation in Paris as part of his THE AIR IS ON FIRE exhibition.
In 2008 a full length album, HERE IS WHERE WE USED TO SING, was released, to yet more glowing reviews. The album made several end-of-year lists and was awarded album of the year in periodicals in the UK, North America and Italy.
THE SALT GARDEN 1 was released in 2016 and THE SALT GARDEN 2 in 2017, consolidating and deepening the high esteem and critical regard in which this most beguiling of ensembles continues to be held.
The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.
"If Emily Dickinson had ever been allowed to make a record, this is probably what it would have sounded like" (The Wire)
janetrecords.com/SG3/press-release.html
"2019 findet die “The Salt Garden”-Trilogie mehr als zwei Jahre nach Veröffentlichung des zweiten Teils ihren Abschluss. Das Projekt von Clodagh Simonds – die (u.a. mit Mellow Candle) schon in den 60er Jahren Musik machte – kehrt mit „The Salt Garden“ wieder zur kleine(re)n Form der EPs zurück, mit der Fovea Hex in der zweiten Hälfte der 00er Jahre debütierte. Erneut beeindruckend ist die Konsistenz und Kohärenz dieser drei EPs.
Anlässlich des ersten Teils der Trilogie wurde Fovea Hex hier attestiert: “[Die] Musik, die Begriffe wie Ambient, Folk oder experimentelle Musik überflüssig erscheinen lässt, ist erdverhaftet und zugleich entrückt, ist ebenso traumwandlerisch wie meditativ. Die meisten der getragenen Stücke haben starke Songqualitäten und sind doch von der verschwimmenden Struktur abstrakter Kompositionen. Und was in dieser Musik emotional passiert, lässt sich besser empfinden als rational erfassen.” Über das 2011 erschienene Langzeitdebüt “Here Is Where We Used To Sing” schrieben wir: „[T]rotz aller hypnagogischen, traumhaften Momente [...] verlier[t] sich [Simonds] nie im Unterholz und inmitten aller getragenen Momente gibt es auch immer die Gewissheit des Gelingens” und diese zumindest vom Rezensenten so wahrgenommene „Gewissheit des Gelingens“ trifft die auf dem dritten Teil von “The Salt Garden” evozierte Stimmung gut. Denn obwohl die Musik wieder getragen und elegisch ist, sollte man die vier Stücke nicht als Soundtrack zu einer Reise in den Untergang verstehen. Sucht man nach (eigentlich unnötigen) Vergleichen, so kommen einem manche Soundtrackarbeiten Hilmar Örn Hilmarssons oder aber (geographisch vielleicht etwas naheliegender) Richard Skeltons immer wieder von Orten und Plätzen geprägten Streicherdrones in den Sinn.
Eröffnet wird die EP von „The Land’s Alight“, einem von Keyboarddrones geprägtem Stück, auf dem Simonds singt: “I dreamed I flew, the whole night long…./Ah but the light is on the land/and the hand upon the heart/and the open road is a real thing”. Diese Haltung erinnert an Coils “Bee Stings”, auf dem es heißt: “Don’t believe A.E./See for yourself the summer fields”. Wenn Simonds dann intoniert, “The land’s alight/And this vital eye/and the view…”, dann bekommt ihr Gesang etwas Hymnenhaftes. “Trisamma” ist ein instrumentales Stück, auf dem dezente Klavierpassagen mit Streichern kombiniert werden. „A Million Fires“ ist das vielleicht beeindruckendste Stück: Simonds’ Gesang wird von Harmoniumdrones und den Stimmen des The Date Moss Choir untermalt. Wenn sie singt “glory be upon the hapless writer/ glory be upon the spotless page/to call the woman with the fire inside her/to bring the luminous from age to age”, dann kann man das fast schon programmatisch lesen. Beendet wird diese Veröffentlichung und damit die Trilogie mit “The Given Heat”, auf der traurige Streicher zu hören sind, wobei es am Ende heißt: “suddenly there it is –/ the molten gold on the city street”.
Wie auch schon bei allen anderen EPs liegt einer limitierte Version eine Remix-CD bei. Steven Wilson hat unter dem Titel “Is Lanza Light & Given” die vier Stücke zu einem Track verschmelzen lassen und gerade zu Anfang gibt seine Neuinterpretation den Stücken einen leicht entrückteren Charakter." [MG/African Paper]
|
2019 |
€10.00 |
|
| FRANCK, YANNICK |
Hierophany | Иерофания |
CD |
"In such conservative genre like ambient there is not easy to find something to discover, but the music of Yannick Franck can change this widespread prejudice. Infuenced by recent trip to Russia and the orthodox culture, he composed the continuous suite of three movements, showing his personal vision of the ancient rite. Release date is 29th December 2012. Limited edition of 500 copies in jewelcase." [label info]
www.monochromevision.ru
"Oily drones be found on Hierophany, an album released on the Russian imprint Monochrome Vision, inspired by the ancient rites of Russian orthodoxy, and produced by a Belgian on a working holiday whilst touring to the east of his homeland. Over the years, Franck has worked with Pietro Piparbelli (aka K11) with the two of them collaborating on a project based on recordings from Aleister Crowley's Abbey of Thelema (yes, K11 has released at least three other albums drawn from Thelemic residues). Theological differences aside (which are obviously massive), Franck's interest in both Crowley and the Russian Orthodox church seems to find common ground in the gnostic mysticism of meditation rituals and their capacity to introduce the process of transcendence. The massively thrumming drones that Franck presents on Hierophany seem to be based on field recordings made within a cathedral during a service, with the bell tones and chants reflecting into a gray wall of steely reverb and delay. Elements of human speech sporadically bounce within his system of acoustic and processed sound, creating something of a feedback loop of particular sonorous frequencies, reinforced and thickened by Franck's sonic sensibilities. The album quickly hits a uniform plateau of saturated environmental and electronic din, slipping rather subtly from one complementary movement to another. Well executed work that conceptually and aesthetically may have more than a few similarities to Current 93's early tape collage days." [Aquarius Rec.]
"More field recordings, but perhaps a bit differently when it reaches the point of release, is the new release by Belgium's Yannick Franck. He's been releasing on various labels before, such as Silken Tofu, Young Girls Records and Silentes, and has worked with K11, Craig Hilton, Alan Trench and Esther Venrooy. Here however he is solo and he uses instruments and 'non musical objects', voice, radio signals and field recordings. Perhaps so far not much difference, but it's the way Franck executes his music. Instead of using the collage form, Franck sets wheels in motion, and when they are all in motion, then he subtly moves them about. Perhaps the word 'drone' music could apply to his music? Derived from various sources, his music is played altogether at the same time, adding and subtracting on microscopic level, all along using minimal changes in the use of sound effects. Quite a dense sound he arrives at here and like with the other release, the three pieces flow nicely into eachother. In the final part, 'Dying Down', you realize you are in a church, with whispering voices, and a far away choir practice. And then it seems like the other two pieces shared that same sort of big hall/cathedral reverb. That makes it perhaps all a bit too religious for my taste, but throughout I thought this was a very refined disc of challenging drone music." [FdW/Vital Weekly]
|
2012 |
€12.00 |
|
| FRANKLIN, MARTIN & MICHAEL NORTHAM |
An Opening of the Earth : recovered |
CD |
Remasterte Wiederveröffentlichung dieser Zusammenarbeit von MNORTHAM mit dem TUU-Mitglied MARTIN FRANKLIN, erschien bereits 1991 als MC auf dem legendären SOUNDS FOR CONSCIOUSNESS RAPE, dann 1993 als CD auf SDV Tonträger.
Das ganze ist eine improvisierte Aufnahme vom September 1991, die erstaunlich rauh und fast schon ungestüm ausfällt, wenn Drone-Loops auf knirschend-feedbackende Objekt-Sounds stossen, oder obskure Diktaphon- & Cassetten Recorder-Versatzstücke auftauchen..
von der Original 3 Stunden-Session hat FRANKLIN nun die besten Passagen erneut re-mastered, es sind dabei auch vorher ungehörte Sektionen auf diesem Re-Release gelandet, der zudem in typischer FARIA-Manier in einem Hochglanz Klappcover mit 3 Postkarten / Inlays angeboten wird.
"...excavating the sonic crust with heavy synthesised drones, trebly buzzes and popping bursts of sound……eerie as hell.”
Darren Bergstein, I/E (from review of original release). "An Opening Of The Earth: Recovered" revisits a spontaneous collaboration between the two musicians, captured in the early 90's. Recorded in an obsolete format, no longer playable with today's technology. The old playback device, recovered from dusty storage for one last use, and the recording of this event brought back into the present - recovered once again.At once a sonic artifact of the recent past and a touchstone for contemporary developments in lo-fi electronic sound.
Franklin and Northam's original meeting saw them both on the cusp of developments in their own careers. Franklin's seminal Ambient trio, TUU shortly after embarked on an enduring series of CD releases and performances across Europe. Michael Northam's nomadic life as a travelling sound artist continued from this point onward, leaving a trail of recorded evidence from projects in 25 countries.
Mythic imagery of man descending into the mysteries of the Inner Earth is conjured in this intense recorded performance.Using lo-fi sampling, eerie drones, percussive metal instruments and effects, the players trace an intuitive path through a midnight electronic improvisation. Snippets of sound from other projects of that time slip in and out of the mix, roughly recorded Theatre rehearsals, and audio of UK street life appear from dictaphone tapes. Like an unearthed archeological find, the recordings of this ritualistic performance tie the pieces to their location, as well as the events of their time.
After unearthing the original tapes, Martin Franklin has created all new mixes for this Faria Records release, including previous unheard sections, re-interpreted and enhanced for the 21st Century listener." [label info]
"Martin Franklin and Michael Northam began communicating in the early '90s, both engrossed with the realm of possibilities extant in the laboratory that was the experimental cassette culture. At the time, Northam was beginning a career of sound-art globetrotting by way of festivals, residencies, and the generosity of others, having emerged from the Austin, Texas sound community that spawned the likes of John Grzinich, Olivia Block, Rick Reed, and Seth Nehil. Martin Franklin had gone on to form the British ambient ensemble Tuu, with releases through Beyond, Hic Sunt Leones, and Amplexus. It seems that Franklin and Martin enjoyed a single three hour session back in 1991, and out of that session came the original set of recordings which made their way on to a cassette, released by Sounds For Consciousness Rape, and later onto cd by SDV Tontrager. As both the cd and the tape have been long out of print, we can't comment on the differences between the original recording and this 'recovered' remix of the original source material.
Franklin and Northam settle organic textures from metal, dirt, and wood clattering against each other and building softened drones amidst the aggregated sounds. It makes perfect sense that Northam would later work with Darren Tate in one of the final Ora recordings, as these sodden ambient passages and quietly gritty noises share plenty of similarities. Northam had also brought to the session a cassette deck rewired to generate feedback systems, and Franklin had a handheld dictaphone with static and white noise broadcasting through the hypercompressed speakers. These elements give the recordings a rough hewn edge which counterpoint Franklin's sinewy ambience and ghostly half-melodies which are evidence of the contemporary remix work. Altogether, this redux has a darkly ritualized feel of isolationist drones divining something tactile out of the void, much like one would expect from the occluded sounds of the recent Drone Records catalogue." [Aquarius Records review]
www.faria.ru
|
2009 |
€13.00 |
|
| FREIBAND |
Capture |
mCD-R |
Auf MOLL, dem neuen mini-CDR Label von Frans de Waard, gibt es rares und besonderes Material von ihm in seinen verschiedenen Projekten. CAPTURE ist ein 18+ Minuten one-tracker mit einem Remix (das läuft dann unter FREIBAND) zur Präsentation der AUDIOSCOOP doLP. Frans verwendete verschiedenstes Original- Klangmaterial der Compilation und orientierte sich am Konzept der legendären CAPTURED MUSIC LP, um dieses schöne Poly-Schichten & Drone-Loop Stück zu erstellen, welches einen tollen Spannungsbogen aufweist...
"On March 14th 2008 the 2LP 'Audioscoop' was released, with a.o. a track by KapotteMuziek. At the presentation I did a remix in the style of 'Captured Music' (on Selektion), using a lot of the sound material from the 2LP. This has become 'Capture' "[label info]
www.kormplastics.nl/moll.html
|
2008 |
€5.50 |
|
| |
Stainless Steel |
LP |
"ini.itu is releasing a new vinyl only LP, the 8th of its catalogue, composed by Freiband
• Freiband is one of the long lasting projects of Frans de Waard, who is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek ( with Roel Meelkop and Peter
Duimelinks ), Goem ( same team, different tools ), THU20 ( same, augmented by Jac van Bussel and Jos Smolders ), Beequeen ( w/ Freek Kinkelaar ), and more recently Wieman ( formerly known as Zèbra ) ( w/ Roel Meelkop ),
Ezdanitoff ( w/ Wouter Jaspers ) and Tobacconists ( w/ Scott Foust from Idea Fire Company ). Solo he has been active under his own name, Shifts and of course Freiband. His other activities include : editor and writer for Vital Weekly, programmer at Geluidswerkplaats in Nijmegen, organizer of the residencies Brombrom and director of the
labels Korm Plastics, Moll and Plinkety Plonk.
• the name Freiband itself is picked from Asmus Tietchens' album Daseinsverfehlung, on which he explored sounds created by rubbing tape freely on magnetic heads. Frans de Waard transferred the concept to the digital field and now mostly uses that name for his computer-based pieces.
What Freiband proposes here is 2 sides of radically reworked gamelan :
• Side A seems to progress through an acid bath and take the magnifying glass to enhance the digital decays, evoking various stages of textural corrosions. Through these aggressive and irreverent treatments, the naturally metallic harmonics are by twist and turns abruptly dismantled and fractured into crunchy, dense and fuzzy fireworks. Despite the stop & go transitions this hard-edged and raw piece still holds a nice unity across the digital errs and disturbances.
• on side B, through some arcane wirings, some machines end up spitting out shifting binary patterns with a somewhat alienating feeling. Proof that electronic music can be minimal and eschew the 4/4 dance floor pattern, in favour of
some dry and uncompromising “Unerforschtes Gebiet” between minimal beats and Steve Reich’ early tape compositions.
this LP further expands the horizon of ini.itu, successfully interrogating the link between south-east asian instruments and electronic contemporary music. Maybe something to file along Hecker, Pita, Mika Vaino, Fennesz or Alva Noto's Xerrox LPs.
p.s. Frans de Waard will also simultaneously release a companion 3” on his Moll imprint, with a totally different track from the
same sessions that couldn’t be included on the LP. That track is a spectral exploration of the higher frequencies, followed by a pile-up of gamelan sounds." [label info]
www.iniitu.net
"The LP thus both presents the quality of the gamelan style in its pure origin and 21st electronic avantgarde by one of Holland's finest sound artists. A superb ode to the importance of the gamelan music for the modern sound experimentations of the Western world." [NM/Vital Weekly]
|
2011 |
€12.50 |
|
| FRICKE, SIEGMAR |
Subdural Space |
CD-R |
Very good new release from this German artist known from his collaborations with GIANCARLO TONIUTTI and M.B. (and his activities with D.S.I.P. & BESTATTUNGSINSITITUT a long time ago). SUBDURAL SPACE contains three long pieces of waving, metallically shining, surrealistic electronic drone-ambience, very subliminal and intoxicating somehow, with very nice "spiral" effects. Really high-class mysterious soundscapes, to discover!
"... When I listen to your music, I take all my time, and try to be sure not to be disturbed so that I become totally immersed. I think your CD has a really incredible effect, I call it "cleansing" (purification) but I am not sure you understand the concept I am referring too. It is an image, like something cold entering your body and "working" from the inside...waking up forgotten things, past memories. This is a very intensive experience." [Sylvie Walder] |
2008 |
€10.00 |
|
| FRITH, FRED |
The Happy End Problem |
CD |
"The Happy End Problem beinhaltet zwei Tanztheaterkompositionen, die Fred Frith im neuen Jahrtausend für Amanda Miller und ihre Pretty Ugly Dance Company komponiert hat. Uraufgeführt wurden die Stücke im Stadttheater Freiburg, im May 2003 ("The Happy End Problem") bzw. im April 2004 ("Imitation" - die Tracks 1-9). Recht akustisch wirkt „Imitation“, welches von Streichinstrumenten, Gitarre, Piano und etwas Perkussion bestimmt wird. Dazu kommen sehr verhaltene elektronische Sounds und Klangspielereien von Patrice Scanlon. Für Frithsche Verhältnisse ist "Imitation" erstaunlich melodisch und zahm ausgefallen. Fast elegisch und sentimental, sehr klassisch-kammermusikikalisch und entspannt kommen hier die Klänge aus den Boxen. Einzig die Pianolinen entwickeln ab und zu eine gewisse betriebsame Hektik. Ansonsten schreitet die Musik getragen, sehr schlicht, fast karg dahin. Recht prominent in der Musik steht Carla Kihlstedts Violine, die häufig die Melodieführung übernimmt.
Das lange Titelstück ist dagegen etwas anders gestrickt. Deutliche elektronischer in der Ausrichtung, angereichert mit einigen Tonbandeinspielungen verschiedener Naturgeräusche, wirkt die Komposition fremdartiger und komplexer, wie ein großformatiges Klanggemälde, welches im zweiten Teil kurzzeitig zu einem recht wirren, schrägen und minimalistischen Elektro-RIO-
Kammerrockdurcheinander gerät. Trotzdem ist die Nummer vielleicht das elektronischste Stück, welches ich von Frith kenne. "The Happy End Problem" ist ein weiteres Beispiel für die Vielseitigkeit des ehemaligen Gitarristen von Henry Cow. Wer die Musik von Frith schätzt, wird mit diesem Album sicher keinen Fehlkauf tun!" [Achim Breiling / Babyblaue Seiten]
"A new recording, and instantly a Fred classic. Two, related, small-ensemble works for 6 and 7 musicians respectively - mostly strings of one sort or another, with percussion, flute and clarinet occasionally, and electronics. Fred, violinist Carla Kilsteht and percussionist Willie Wynant play throughout, providing continuity across the pieces as the music constantly unfolds into new textures and dialects. Melody, harmony and rhythm are omnipresent, though not always obviously colluding, and the music moves with constant assurance, never hesitating and never marking time. There are some affinities with Nicola Kodjbashias luminous Solitary Walker (which it predates) in its use of minimal instrumentation to maximum effect, popular materials, exquisite articulation and a kind of modest transcendence. The necessity and simplicity of these pieces conceals a catalogue of experimental techniques and novel ideas; there are those whod have squeezed a score of albums from this material. A gem. Buy it. Carla Kilsteht shines throughout." [label description]
www.rermegacorp.com
|
2006 |
€14.00 |
|
|
Technology of Tears |
CD |
"FRED FRITH erfand The Technology of Tears (ReRFRO011) 1986/87 für eine Choreographie von Rosalind Newman. Er konnte dabei auf Henry
Kaisers neuem Synklavier im Maximum an Samplingtechnologie jener Zeit schwelgen. Der Duktus ist hämmernd und zuckend, das Klangbild gesättigt mit synthetisierten Gitarren- und Geigensounds. Dazu schrillt im ersten Drittel ‚Sadness, its bones bleached behind us‘ John Zorns Altosax und Tenko skandiert kläffend ihre Kampfkunstschreie. Mensch und Automat, heiß und kalt, reiben sich im ostinat hackenden Chop-chop-chop des Maschinenbeats. Die beiden folgenden Teile behalten die Motorik bei, ein
tänzerisches Hmtata, aber zunehmend auch ein kniebrecherisches Zickzack, gespickt mit Tenkos Ha!s und Ho!s, mit repetitiver Gitarrenarbeit
und Geigenstrichen in Frith-typischer ‚Imaginary Folk‘-Manier, d. h. eingetaucht
in urbane Dynamik und auf sarkastische Weise futuristisch statt idyllisch und nostalgisch. Der Beat ist dabei so ‚imaginär‘ und dominant
wie bei Skeleton Crew. Christian Marclay stiftet Phantomklänge per Turntable, die den ‚Palace of Laughter‘ mit plunderphonischem Trubel rocken. Für ‚Jigsaw‘, ebenfalls eine Tanzmusik für Newman, die mit ähnlicher
rhythmischer Hartnäckigkeit motorische und dynamische Anstöße gibt, machte Frith das Meiste selbst, sogar die Schreie und skelettierten Gesänge. Vielspurig häuft er Gitarren-, Geigen-, Bass- und Drumloops und
diesmal stößt Jim Staley mit der Posaune dazu. Das Ganze hat einen Schwung, der immer und immer wieder angriffslustig gegen die Fassade
von Trägheit und Unlust rammt. Doch bis heute gilt: Man muss sich Sisyphos als glücklichen Menschen vorstellen." [Bad Alchemy]
"With an all-star line-up that features Tenko, John Zorn and Christian Marclay (with guest Jim Staley on trombone), Technology of Tears started life in New York in 1986 as a dance commission by Rosalind Newman. Fred took this opportunity to experiment with Henry Kaiser's brand new synclavier (the absolute state-of-the-art sampling and processing technology of the time - Henry had to take out a second mortgage on his house to buy it). It was the sophisticated sampling that fascinated Fred, and the piece is characterised by technological "comparisons" between real and virtual voices which constantly merge into one another. Tenko and Zorn tear through it all with breathless intensity. Parts two and three, which follow, couldn't be more different, for them Fred adopts a completely different methodology, playing everything himself mostly on low-grade instruments, then inviting turntablist Marclay to add plundered parts. Here is a completely different approach to "sampling": exploring dense layers of quotation intercut with melodies formed using random editing processes (with subsequent transcription and re-performance). Lastly there is Jigsaw, a later work, also made for Rosalind Newman, reflecting the frustrations experienced making Technology... where, every time Fred would complete a stable version, Rosalind would ask for changes (incidentally, sending the recording way over budget). This time Fred decided to make a modular piece that could be re-assembled in any way requested - and having no pre-determined structure at all. The original composition consisted of dozens of musical cells, each recorded separately in increments of between 3 and 12 measures; all at the same tempo, and in the same key. The idea was to play the elements separately and then ask Rosalind how she would like them constructed. Ironically, the test assembly, made as demonstration of what was possible, won instant approval, and no reconstruction was ever necessary." [label notes] |
2008 |
€14.00 |
|
| |
Rocking The Boat (Volume 1 Of The Fred Records Story, 2001-2020) |
9 x CD BOX |
"First of a three-box collection by one of the most innovative guitarists and composers of his generation, containing 8 ReR CDs, plus a bonus Fred title & a fat historic booklet with artwork, photographs, extensive notes and other comments by Fred, all packed into in a sturdy box -- and at a budget price. Box one contains: The legendary Guitar Solos, Gravity (with Etron Fou Leloublan and Samla Mammas Manna), Cheap at Half the Price, Killing Time (with Bill Laswell and Fred Maher), Impur (for very large ensemble), Middle of the Moment (film score), Keep the Dog (double CD feat: Rene Lussier, Bob Ostertag, Zeena Parkins, Jean Derome & Charles Hayward). Plus, bonus CD Dropera. Biographical: Recipient of Italy's Demetrio Stratos Prize for his life's work in experimental music and Professor Emeritus at the legendary epicenter of American experimental music, Mills College in Oakland, California, Fred still teaches in the improvisation master's program at the Musik Akademie in Basel & as visiting faculty in the Universidad Austral in Valdivia, Chile, where he has been collaborating on the creation of a new School of Music & Sound Art. Also featuring Lars Hollmer, Marc Hollander, Hans Bruniusson, Eino Haapala, Olivia Bruynhooghe, Chris Cutler, Tina Curran, Catherine Jauniaux, Frank Wuyts, Michel Berkmans, Etienne Conod, Denis van Hecke, Veronique Vincent, Asha Curran Frith, the 13th Street Puerto Rican Summertime Band, Fred Maher, Bill Laswell, Paul Sears, Jean Derome, Charles Hayward, Rene Lussier, Bob Ostertag, Zeena Parkins, Ferdinand Richard, Tim Hodgkinson, Fabrizio Appelius, Mikaela Dietl, Robert Lax, Sandra M'Bow, Ida man walatAkhmudan, Tshanak ag Abalbal, women from the Kel lforas tribe, Josefina Lehmann, Johann le Guillerm, Bertrand Duval, Attila Zombori, Jean-Paul Lefeuvre, Hyacinthe Reisch, Emmanuelle Jacqueline, Didier A, Nasser Sai"dani, Catherine Guinamard, Ensemble Heteroclite, David Wood, Pascal Pariaud, Sophie Dufeutrelle, Laure Michel, Catherine Leuchter et al."
Neue CD-Box-Serie des weltweit bekannten und renommierten britischen Avantgarde-Gitarristen FRED FRITH. „The Fred Records Story“ erscheint mit jeweils neun CDs in den drei Teilen „Vol. 1 - Rocking The Boat“, „Vol. 2 - Crossing Border“ und „Vol. 3 - Stepping Out“ auf RECOMMENDED.
Der Multiinstrumentalist FRED FRITH zählt seit fünf Dekaden zu den wichtigsten und einflussreichsten Impulsgebern der zeitgenössischen Jazz- / Rock- und Avantgarde-Szene. So startete der studierte Musiker (Cambridge) seine Karriere Ende der sechziger Jahre als Gründungsmitglied der legendären Artrock-Band HENRY COW. Nach Auflösung der Genre definierenden Band (1979) gründete er gemeinsam mit CHRIS CUTLER und DAGMAR KRAUSE die ART BEARS und rief kurze Zeit später (gemeinsam mit BILL LASWELL) die Formation MASSACRE ins Leben. Zudem veröffentlichte er zahlreiche Soloalben, arbeitete mit renommierten Kollegen unterschiedlichster musikalischer Provenienz wie BRIAN ENO, MIKE OLDFIELD, JOHN ZORN, HENRY KAISER, PHIL MINTON, THE RESIDENTS und RICHARD THOMPSON und ist darüber hinaus als Film- und Theater-Komponist („Step Across The Border“ / 1990), Produzent (DAVID MOSS, TENKO, ETRON FOU LELOUBLAN) und Hochschullehrer (Mills College Kalifornien) tätig. Die neue Box-Serie „The Fred Records Story“ fasst themenspezifisch die Karrie des Ausnahmekünstlers zusammen, wobei mit „Inimitable“ in „Vol. 3 - Stepping Out“ sogar ein bisher unveröffentlichtes Album enthalten ist.
Inklusive: Guitar Solos, Gravity, Cheap at Half the Price, Killing Time, Impur, Middle of the Moment, Keep the Dog (2CD), Bonus: Dropera
https://fredfrith.bandcamp.com/album/rocking-the-boat-vol-1-of-the-fred-records-story-2001-2020
|
2021 |
€66.00 |
|
| FUCHS, LIMPE & VIZ MICHAEL KREMIETZ |
Kugel Haus Musik |
CD |
Limpe Fuchs & Viz Michael Kremietz - Live CD „KUGELHAUSMUSIK“
A Audionautic Newspaper between Experimntal Zenflute, Pendelbronze, Neue Musik, Dadanoise, Crying Silence & the Film in your Ears !
Limpe Fuchs, (pendulum bronze, violin part, timpani, lithophone). Born in Munich in 1941, is a German composer and sound artist.
Viz Michael Kremietz. (Shakuhachi, didgeridoo, gongs, stones, neutrinos). He has been doing sound research in the areas of ambience, experimental world music, theater and performance music for 20 years.
Also available: ENDORPHONIC. Joint CD with Hans Joachim Irmler from FAUST:
Limpe Fuchs, (Pendelbronze, Violine Stimme, Pauken, Lithophon). 1941 in München geboren, ist eine deutsche Komponistin und Klangkünstlerin.
Viz Michael Kremietz . (Shakuhachi, Didgeridoo, Gongs, Steine, Neutrinos). Seit 20 Jahren betreibt er Klangforschung in den Bereichen Ambiente, Experimentelle Weltmusik, Theater- und Performancemusik.
Auch erhältlich: ENDORPHONIC. Gemeinsame CD mit Hans Joachim Irmler von FAUST:
Title: Kugel Haus Musik
Artist: Limpe Fuchs
Featuring: Viz Michael Kremietz
Recording & mastering: Sascha Stadelmeier
Date of release on play loud: September 2019
Limpe Fuchs: viola, vocals, wooden horn (holzhorn), balls (kugeln), percussion, lithophon; Viz Michael Kremietz: shakuhachi, yitaki; sound installation, gong
Concert recording from April 2012, Waldorfschule Wangen
https://www.playloud.org/limpefuchs.html
|
2019 |
€10.00 |
|
| FUENTES, MATHIEU |
Ily, Almeria |
MC |
« Ily, Almería » is the second album by French composer and performer Matthieu Fuentes, who debuted in 2021 with a promising album on Penultimate Press. Matthieu’s music sprung from the "musique concrète" tradition, using elements and fragments of electroacoustic music, field recording and sound art.
« Ily, Almería » features ambiguous sources and unknown presences recorded from 2018 to 2022. Manipulated and re-edited on a computer and a Revox B77 reel-to-reel tape recorder, these materials are brought together to give a polysemic perception of space, sometimes with the help of synthetic trickery. Dreamed scenes, texts, questions on acousmatic and time arts fuel the process of a poetic research. Like a distant and distorted memory, « Ily, Almería » wanders in reality and fiction, media and body, the domestic and the high-speed outside world, tangible and delirium, in and out-of-frame phenomena. The sonic outcome is a fragile assemblage, a dynamic interplay of well sculpted nervous collages, overwhelming tunnels, smoother sequences and delicate soundscapes.
« Ily, Almería » has a total length of 40 min. It’s available on a limited edition of 100 copies.
On "Le Rideau"
Bagpipes – Lise Barkas
Cello – Stéphane Clor
Guitar – Zoe Heselton
https://moremars.bandcamp.com/album/ily-almer-a
https://moremars.bandcamp.com/album/ily-almer-a
|
2023 |
€9.50 |
|
| FUHLER, COR |
Stengam |
CD |
Wenig ist uns bekannt über COR FUHLER, aber durch die untenstehende Vital Weekly Review führt kein Weg an ihm vorbei. Auf STENGAM benutzt er ein Klavier, welches er mit elektrischem Geigenbogen und Magneten bespielt. Nach einem konkret-geräuschhaftem Beginn werden die Stücke immer welliger, schwingungsreicher und obertoniger, oder die Drones bekommen einen "metallophonen" und Gong-artigen Charakter. Herausragende Drone-Muzak die ohne Effektierungen auskommt, Anklänge an OREN AMBARCHI, RAFAEL TORAL oder ELLEN FULLMAN. Tip!
"Music by Cor Fuhler has been reviewed before in these pages, but one has to know where to look. Fuhler has been a duo with Gert-Jan Prins under the name of The Flirts, of whom I once saw a brilliant concert, but also improvising with anybody in the Dutch improvisation scene, and beyond, such as with Mimeo. His main instrument is the piano, but "he seeks to take it musically beyond usual perceptions, specializing in sustained sounds with use of various string stimulators: 12 ebows, rotating threads, spinning disks". In addition Fuhler also plays an EMS synthi AKS, as well as building his own instruments, such as a violin with keys: the keyolin. On his new solo CD, he plays an 'acoustic grand piano, using ebows and super magnets. No overdubs, no electronics, no electronic treatment'. Which is something I read on the cover after I heard the CD. Fuhler could have fooled me. I recognized indeed the piano, and yes, there are long sustained overtones, but just as easily I could have thought there was electronic treatment in these subtle walls of droning and sustaining sounds, with sparse interception by the piano itself. So there are none. Wow! Along the lines of Alvin Lucier, but in a much more musical context. Whereas much of Lucier's work stays on the somewhat clinical and conceptual sides of things, Fuhler expands beyond it, and makes great, careful music. It hardly sounds like a disc of improvisation music, as one may expect from this label, but more a disc of composed music. Great stuff." [FdW / Vital Weekly]
www.potlatch.fr
|
2006 |
€15.00 |
|
| FULLMAN, ELLEN |
Staggered Stasis |
CD |
Einer der letzten Veröffentlichungen des Seattler Labels ANOMALOUS war diese CD von ELLEN FULLMAN, die hier mit ihrem “long string instrument” wunderbar metalloide Oberton-Drones erzeugt, die tönen, als wenn man auf einem “Klangbett” liegt. Unglaublich volle, vielfältig sirrende, in allen Farben flackernde Drone-Strahlen, zwei Stücke die bereits in den 80ern entstanden sind. Still to discover !
“Over the last two decades, Ellen Fullman has been perfecting her Long String Instrument. This unique instrument of her own design is some 80 feet in length and played by literally walking through it. The resulting sounds are beautiful gliding tones with a rich harmonic content. The CD presents two works from her time in Austin, Texas in the late 1980's which beautifully display a sound you can get inside of. These long tracks envelope you in their cascading overtones. Even though she has performed widely in the United States and Europe, this is only Ellen's third solo CD, following previous releases on XI Records and New Albion. So hearing these gorgeous and important pieces from her archive is cause for celebration.
Staggered Stasis (1989) was commissioned by the Deborah Hay Dance Company for part 1, The Navigator in Hay's trilogy, The Man Who Grew Common In Wisdom. Microtonal shifts in the coloring occur in a staggered fashion, traveling on an axis of Pythagorean intervals, (the circle of fifths). Chords created by stacking 3/2s, or fifths, are referred to as suspended chords. There is a flatness in this drama, what I imagine it must be like in the middle of an ocean, continually moving yet appearing the same. The four part score was plotted on a timeline. Each track was recorded and performed by myself. An excerpt of Staggered Stasis was released on the Arial CD series.
Duration (1986) was composed as a 13-limit study for the Long String Instrument, in the key of C. The fundamental tone is continually sounded, under chords constructed with pitches from the overtone series. The intention of the piece was to listen to the variations within each chord, as it is sounded continually while the performer walked the length of the instrument. As the performer's position changes, one clearly hears a cascade of overtones. Duration was never previously released.
The original recordings were made direct to a PCM digital processor using a vintage AKG C24 stereo tube condenser microphone placed about 15 feet from the resonators.” [label description]
|
2004 |
€15.00 |
|
| FURUDATE, TETSUO & Z. KARKOWSKI |
World as Will II |
CD |
"Re-Aktivierung des Labels von SCOT JENERIK aus San Francisco, der v.a. als Konzertveranstalter aktiv ist, mit dem zweiten Teil der Zusammenarbeit von Karkowski & Furudate (Teil I erschien auf Staalplaat). In Sachen apokalyptischer, orchestraler, irgendwie „neo-klassischer“ Komposition wohl mit das intensivste und extremste, was es zur Zeit gibt! " [Drone Rec 2002]
“Legendary composers Zbigniew Karkowski and Tetsuo Furudate complete their second installment of World As Will. This powerful collaboration results in a furiously intense music with Wagner-esque orchestrations and instrumentation with vigorous electronic manipulations, voice and mastery. A truly epic piece of work.” [press release]
"The orchestral madness it evokes makes Laibach (to compare with a group who have used loads of orchestral sounds) into childplay." -Frans de Ward, Vital Weekly, Amsterdam
|
2002 |
€14.00 |
|
| GABER, HARLEY |
The Winds Rise in the North |
do-CD |
One long multi-layer drone-minimalism piece (more than 100 minutes, in 4 movements) played on five strings, which reveals lots of inner micro-movements and developments (kind of intense micro-(dis)harmonics) with almost dramatic effects, a great piece by this modern US-composer. Originally released on Titanic Records in 1976 as do-LP.
Linda Cummiskey (Violine), Malcolm Goldstein (Violine), Kathy Seplow (Violine), Stephen Reynolds (Viola), David Gibson (Violoncello)
" "Natürlich verstehe ich" - so räumte Harley Gaber, der Komponist, ein - "dass dies nicht jedermanns Sache ist". Er meinte sein 1973/74 entstandenes und über hundert Minuten dauerndes Streichquintett "The Wind Rise in the North", dessen magische, rau schimmernde Klangwelt sich in vier Abschnitten nur extrem langsam wandelt - ohne erkennbare temporale Textur, ohne Eindeutigkeit und ohne Ziel. Man könnte beim Hören an das Lied einer verstimmten Äolsharfe denken, die, bespielt vom schroffen Wind an den Klippen Irlands, von den Unendlichkeiten des Meeres singt. Doch wer es versteht, konzentriert lauschend die subtilen energetischen Wandlungsprozesse wahrzunehmen, von denen diese Musik getragen wird, der schult nicht nur sein Ohr, dem fließen vor allem Heiß und Kalt zusammen. Es hat schon seine Richtigkeit, dass vom CD-Cover der geschmackvoll ausgestatteten Produktion flammenden Blickes, mit drittem Auge auf der Stirn, eine Gottheit die Dämonen im Zaum hält. Das gold-braune Thanka-Bild aus dem Umfeld des tibetischen Buddhismus öffnet den Assoziations-Raum, dem die Musik sich verdankt. Gaber selbst erlebte sein Werk als einen "Spiegel, in dem man sich selbst und dann auch dahinter schauen kann". (Kein Geringerer als Pierre Boulez hat übrigens mit Musikern der New Yorker Philharmoniker Teile daraus aufgeführt.)
Die 1976 dezidiert nicht in einem Studio entstandene Aufnahme des einzigartigen Quintetts für drei Violinen, Viola und Violoncello erschien nun digital remastered auf einer Doppel-CD bei der Berliner Edition RZ - bei einem Label mithin, das immer wieder für Glanzlichter der besonderen Art zu sorgen weiß. Bewundernswert sind die Konzentration und der Musiziergeist der fünf Interpreten. (Malcolm Goldstein spielt mit, ein Geiger und Komponist, für den John Cage oder Christian Wolff geschrieben haben und dessen Affinitäten zur New York School und der Kunst des Abstrakten Expressionismus evident erscheinen.)
Harley Gaber selbst wurde 1943 in Chicago geboren. Er gehört zur bunten Gilde amerikanischer Künstler, die prägende Eindrücke in Europa empfangen haben (in den 60ern u.a. bei Aldo Clementi, Franco Evangelisti, Darius Milhaud) um dann im Zeichen jenes spezifischen Freiheitsgeistes ihrer Heimat neue Wege zu beschreiten. Im New York der siebziger Jahre schien seine Kunstproduktion zunächst zu versiegen, um dann in Kalifornien in den Bereichen Photographie, Malerei, Klanginstallation und Mixed-Media erfolgreich und nachhaltig wieder aufzublühen. Zu seinem Quintett meinte Gaber, man möge es als Ganzes anhören wollen/können oder auch nicht. Ein verkrampftes Durchhalten würde dem Geist des Stückes jedoch nicht entsprechen. Und er gab der Musik einen Text des Dschuang Dsi mit auf den Weg, in dem es fragend heißt: "Die Wolken bewirken den Regen, der Regen bildet Wolken. Wer ist's, der sie hernieder sendet? Wer ist es, der weilt und uns diesen Segensfluss schickt? Der Wind entsteht im Norden. Er weht bald nach Westen, bald nach Osten; bald steigt er auf als Wirbelwind. Wer ist's, der ihn blasen lässt?" [Helmut Rohm, BR-online]
" Questions
How endlessly the heavens turn.
And yet the earth remains at rest.
Do the sun and the moon quarrel as to their positions?
Who rules over and orders all these things?
By whom are they in harmony?
Who effortlessly causes and maintains them?
Is there, perhaps, some hidden tension
that prevents them from being other than as they are?
Must the heavenly bodies move as they do, powerless to do otherwise?
Look how the clouds drop the rain!
And how the rain rises again to form the clouds!
Who moves them to this abundance?
Who effortlessly produces the primary orb and stimulates it?
The winds rise in the north and blow to the east and west.
Others move upward uncertainly.
Whose breath moves them?
Who effortlessly causes them to blow?
What is the cause?
[Chuang Tzu] " [from the label info]
www.edition-rz.de
|
2008 |
€21.50 |
|
| |
Indra's Net |
CD |
"Sovereign of the Center" (1972-1974) and "The Realm of Indra‘s Net" (1974)
Cover Design: Ott + Stein, Berlin; Scan: Christine Berkenhoff
Titel:
- Sovereign of the Center (1972-1974)
- The Realm of Indra‘s Net (1974)
Spielzeit: ca. 60 Minuten
"Die Werke auf dieser CD könnte man als Buchstützen für ein anderes Stück von mir bezeichnen, nämlich für The Winds Rise in the North.
Das erste der beiden, Sovereign of the Centre, war mein frühester Versuch, ein neuartiges Musikdenken in Ensembleform zu bringen, im Gegensatz zum Solostück. Das zweite, The Realm of Indra's Net, baut auf meinen musikalischen "Entdeckungen" im Zuge der Überarbeitung von The Winds Rise in the North auf. Als "akustisches Tonbandstück" (nicht musique concrète) ist es ein hybrides Werk: Vier Spuren Solovioline wurden in unterschiedlichen Kombinationen abgemischt. (Auf dieser CD ist eine Mono-Fassung des Stücks zu hören.)
Beide Werke reflektieren einen grundlegenden Wandel in meinem Musikdenken, der 1968 mit Chimyaku (japanisch „kaum in Bewegung“) für Altflöte solo eintrat. Mit diesem Stück komponierte ich erstmals "verlangsamte Musik", Zeitlupensequenzen im Film vergleichbar, im Gegensatz zu lediglich langsamer Musik wie der von Feldman." [Harley Gaber]
www.edition-rz.de
|
2010 |
€15.50 |
|
| GABURO, KENNETH |
Lingua II: Maledetto / Antiphony VIII |
CD |
"The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal "style," Gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, Maledetto, for seven speaking voices, from 1967-68, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-3. Both are intricate and powerful works, both take their inspiration from "non-musical" materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different.
Maledetto is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. It is one of the earliest of Gaburo's works where his concern for holistic thinking and art-making comes to the fore. This sort of thinking was in the air, of course ¬ many works were written at this time that were multi-layered in their meaning and intent, but Maledetto seems unique. It's combination of profundity and what might be called adolescent sniggering, and almost every emotional state in between, seems unprecedented. The subject of the piece is the word screw, in all its connotations, from the sexual to the mechanical, from the mildly obscene to the boisterous, with diversions along the way into topics such as perfume manufacture, printing, classical design, and structural linguistics, all of which connect with the small ridged, groovy object of attention.
Speaking voices also figure in Antiphony VIII, but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. This work was created at least 15 years after Maledetto, and the boisterous energy of the Sexual Revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various Anti-Nuclear movements of the 1980s. Gaburo's attitude has also changed. If Maledetto is a celebration, Antiphony VIII is a wake, and a wake-up call. Not content merely to protest, or to document people's reactions, the percussion, electronics, concrete sounds, and voices in this piece each embody within them Gaburo's analysis of the most common attitudes people have to the problem of governments treating them as expendable - helplessness, indifference, anger, uncertainty, and presents them all to us as a summary, and a questioning of our own attitudes to the problem. Gaburo the deep analyst of phenomena is still here, but now his analytical mind is dissecting not just a problem, but the wide variety of people's responses to that problem ¬ both as a structural resource, and as a means perhaps of intuiting the way forward."
[Warren Burt (from the liner notes)]
"Gaburo (1926-1993) is one of those many pioneering US-composers like Cowell, Cage, Nancarrow, Partch, etc. But he is one of lesser known ones. With this cd Pogus makes two works by him available. The first one 'Lingua II: Maledetto' (composition for 7 Virtuoso Speakers), composed in 1967-68, was first released on CRI in 1974. The liner notes Gaburo wrote for this release are reprinted here. The recording of this composition however is another one then released by CRI, but dating from the same period. June 10th, 1973 to be exact. The track opens with high pitched non-verbal throat sounds. After a few minutes the narrator starts reading a text about the all the connotations and meanings of the word 'screw'. Then two other voices join, reciting also texts concerning this word, etc., etc. Later on to be followed by a quartet. Sometimes the voices speak simultaneously, sometimes one after another. Sometimes several voices speak the same text. At other times not. Sometimes there is a out of phase reading of the same text by several speakers. It sounds very theatrical. No wonder as Gaburo composed this work as a part of a massive 6-hour theater work Called LINGUA. In 'Maladetto' Gaburo experiments with language and meaning, trying to create a dramatic and theatrical situation. I'm not completely sure but I think this is a live recording, using no overdubs and editing. The second composition 'Antiphony VIII' is written for tape and percussion in 1982-83. The percussion is played by Steven Schick. The recording dates from 1984. Alas the voices on the tape sound very muffled, and one cannot always hear what they say. The percussion playing becomes more and more intense during the piece, becoming increasingly involved in what the voice speaks about (nuclear war). So also in this piece theatrical aspects are present. Because of this quality it may be that both works on this cd still sound very much alive." [DM /Vital Weekly]
www.pogus.com
|
2008 |
€13.00 |
|
| GAL |
Defragmentation / blue |
CD |
"Hinter GAL steckt der österreichische Komponist Bernhard Gal, der für 'Defragmentation/Blue' mit dem japanischen Architekten Yumo Kori zusammengearbeitet hat. Ihr Ziel ist die Erforschung der Interaktionen zwischen zeitlichen und räumlichen Bedingungen und ihre Begegnung mit menschlicher Wahrnehmung und Vorstellung. Diese Arbeit wurde zuerst im September 1999 in einer New Yorker Galerie (Studio Five Beekman) präsentiert, und ist GAL's zweite CD nach 'Bestimmung New York' (Durian, 1999). Wir hören hier: einnehmende, langgezogene & klare Wellen von sich überlagernden Tönen, denen man sich schwerlich entziehen kann, sowas wie Atem, Glockensounds dazwischen, seltsame Interferenzen von Frequenzen, die Zeit scheint stehen zu bleiben... hoch suggestible Musik, absolut hypnotisch & großartig!" [Drone Rec. info 2000]
"The Austrian sound artist and composer Bernhard Gal developed the concept for defragmentation-blue over the past two years in collaboration with the Japanese architect Yumi Kori. Their aim is to explore the interactions between temporal and spatial conditions and their impact on human perception and imagination. defragmentation-blue -- an audio-architectural exploration of time -- was exhibited for the first time in September 1999 at Studio Five Beekman, a music gallery in New York which is specifically committed to the presentation of multimedia-sound installation art.This is Gal's second CD-release. His first CD-release Bestimmung New York -- very different in concept and sound compared to his recent CD -- has been released on Austria's Durian label in 1999. defragmentation-blue is a minimalistic, yet haunting listening experience. Gal's use of psycho-acoustic phenomena creates a highly intense and entrancing atmosphere where time seems to stand still." [label info]
|
2000 |
€13.00 |
|
| GALBRAITH, ALASTAIR & MATT DE GENNARO |
From the Dark (South Island) |
CD |
"ALASTAIR GALBRAITH ist der Klebstoff, der den Underground von Neuseeland zusammenhält. Ob er nun schmerzhaft-schön Geige für so verschiedene Künstler wie PETER JEFFERIES oder THE BATS spielt oder sich mit dem Feedback bei A HANDFUL OF DUST beschäftigt oder zusammen mit dem Amerikaner MATT DE GENNARO neue Performances im Stile der Soundskulpturen von HARRY BERTOIA erschafft. Auf ,From The Dark" verwandeln sich architektonische Eigenarten in hypnotische Sounds. Stahlseile, die manchmal länger als 30 Meter sind, werden durch den Raum gespannt. Wenn die Seile noch mit geharzten Händen oder Lederstücken angeschlagen werden, schicken sie vibrierende Resonanzen zur ihren Fixpunkten. Nicht die Seile erzeugen Geräusche, sondern die Wände, Geländer oder Fensterrahmen, an denen die Seile befestigt sind. Das Resultat, eine Sinfonie in totaler Dunkelheit, ist eine wunderschön gruselige Zusammenstellung von Zufall, Architektur und Improvisation." [press release]
"Alastair Galbraith is the glue that binds the New Zealand underground. His work ranges from achingly lyrical violin for artists as disparate as Peter Jefferies and the Bats, to the feedback squalls he conjures as member of A Handful Of Dust, to the otherworldly miniatures he crafts for his own solo albums. However, in recent years, Galbraith, along with American Matt De Gennaro, has developed another remarkable performance idiom, one that is positioned closer to the sounding sculptures of Harry Bertoia. In From the Dark (South Island), architectural idiosyncrasies are transformed into nuanced and hypnotic audio. Wires _some as long as 100 feet_ are affixed throughout a building. When the wires are taut and stroked with rosined hands or a piece of leather, longitudinal vibrations are sent to the points of attachment, creating a natural resonator. It is not the wires that make the sound, but the wall, railing or window frames at their end; wire length and room acoustics determine the pitch. The result, achieved in a veil of total darkness, is a beautiful and eerie confluence of chance and accident, architecture and improvisation. As Galbraith puts it, "There is some quite magical feeling of communion turning the lights off and making the building sing." [press release]
|
2006 |
€14.50 |
|
| GALERIE SCHALLSCHUTZ |
Montauk Project |
CD |
...ambitionierter Release des “anti-mind-control”-Projekts GALERIE SCHALLSCHUTZ, gewidmet dem MONTAUK PROJECT, das in den 70er & 80ern ein geheimes Forschungsprogramm der USA zur elektronischen Bewusstseinskontrolle gewesen sein soll (und bis heute existiert, wie man kürzlich auf NTV sehen konnte): Elektromagnetische Felder, Radarwellen, Quantenmechanik, Wetterbeeinflussung, etc... all das scheint sich hier in bedrohlichen elektronischen Klängen wiederzuspiegeln, man hat das Gefühl durchleutet & gescannt zu werden. Zu jedem Stück gibt es weitere Informationen zu Details des MONTAUK PROJECTs. Das ist zeitgemässer, gesellschaftskritischer Industrial wie wir ihn sehen wollen, jenseits der üblichen Klischees! Kommt im Spezialcover mit Vexierbild.
“Finally 3 years after the ‘Haarp’ CD, Galerie Schallschutz comes with another superior release and again with strong thematic content...We all know something is out there, but we're not sure exactly what. Galerie Schallschutz at long last, begins to provide some solid clues.
“Montauk Project”, also called the Phoenix Project during some of its phases, was a covert government's ultra-top-secret electromagnetic mind control and time experiment project that took place during the 1970's and early '80s at an abandoned Air Force radar base at the southeast tip of Long Island, New York.
Much evidence has surfaced indicating that the base and the subterranean facilities were and still are used for a tremendous amount of top secret, ultra-classified research and experimentation into interdimensional technology, quantum and particle physics, black hole simulation, super-powerful electrical and electromagnetic fields, weather control, psychotronics (interfacing mind and machine), particle beam technology (HAARP transmissions…), and electronic and drug- based mind control...! Galerie Schallschutz provide you with the perfect soundtrack to go further into this secret world. ENTER NOW !
ATTENTION: this recordings will change your mind.” [label info]
www.tesco-germany.org
|
2005 |
€16.00 |
|
| GAUCHISTE |
same |
LP |
"GAUCHISTE is a trio consisting of Tannon Penland, Tomas Phillips, and Craig Hilton. Tannon is based in Richmond, VA and is also in the instrumental group Loincloth who are newly signed to Southern Lord Records. Tomas as well as Craig are from Raleigh, NC and are prolific electronic musicians specializing in the sparse. (Absinth Records, Nitkie Records, AFE Records, and Young Girls Records to name just a few)
Out of a shared love of both metal and abstract minimalist forms, GAUCHISTE are two parts electronic genius and one part grim reaper. The sum of those parts is a self titled debut coming January 17th, 2012; seven songs that fuse Penderecki to Celtic Frost. At long last sounds of terror you can meditate to.
Little Black Cloud Records is honored to be a part of this ground breaking collaboration of styles and artistry. This release has been mastered by James Plotkin (Khanate, Scorn, Lotus Eaters, etc...) who specializes in making extreme music of all kinds shimmer and has worked with heavyweights such as Sunn O))), Earth, and Goslings.
The LP is limited to 100. The pressing color is black and carries a black label with handwritten notations to reflect side A & B (one upside down cross or two). The LP is housed in a plain black cardboard sleeve that is wrapped 3/4s of the way with cover art on heavy, high quality matte paper. A special insert has been created to sit within the cover to complete the artwork on the backside, much like a puzzle piece. The hand mirror cover art and layout has been designed by artist Kenneth Close and each record contains a digital download card.
The compact disc is also limited to 100 and also carries a mirror (compact) theme. The CD comes in a round metal tin with a plastic window in the center allowing the reflective CD to be viewed without opening the case. The liner notes are stored beneath the CD (accessible by removing the clear inner plastic that secures the CD in place) and the back of the tin case is stickered to complete the artful packaging." [label info]
www.littleblackcloudrecords.com
|
2012 |
€20.00 |
|
| |
same |
CD |
"GAUCHISTE is a trio consisting of Tannon Penland, Tomas Phillips, and Craig Hilton. Tannon is based in Richmond, VA and is also in the instrumental group Loincloth who are newly signed to Southern Lord Records. Tomas as well as Craig are from Raleigh, NC and are prolific electronic musicians specializing in the sparse. (Absinth Records, Nitkie Records, AFE Records, and Young Girls Records to name just a few)
Out of a shared love of both metal and abstract minimalist forms, GAUCHISTE are two parts electronic genius and one part grim reaper. The sum of those parts is a self titled debut coming January 17th, 2012; seven songs that fuse Penderecki to Celtic Frost. At long last sounds of terror you can meditate to.
Little Black Cloud Records is honored to be a part of this ground breaking collaboration of styles and artistry. This release has been mastered by James Plotkin (Khanate, Scorn, Lotus Eaters, etc...) who specializes in making extreme music of all kinds shimmer and has worked with heavyweights such as Sunn O))), Earth, and Goslings.
The compact disc is also limited to 100 and also carries a mirror (compact) theme. The CD comes in a round metal tin with a plastic window in the center allowing the reflective CD to be viewed without opening the case. The liner notes are stored beneath the CD (accessible by removing the clear inner plastic that secures the CD in place) and the back of the tin case is stickered to complete the artful packaging." [label info]
www.littleblackcloudrecords.com
|
2012 |
€13.00 |
|
| GEINS'T NAIT & L. PETITGAND |
Je vous dis |
CD |
"Geins't Naït is a project initiated in 1986 with a first album released by Thierry Merigout (drummer with Kas Product on their 1981 tour) and Vincent Hachet, who quickly stepped back from this project to work on his film-maker career.
The L'or'n Cät album's release in 1987 marked the arrival of Laurent Petitgand, a singer-songwriter recognized for his composing work for (the late French singer) Bashung and original soundtracks for film directors such as Wim Wenders (including Tokyo-Ga, 1985, Wings of Desire, 1986, and the future The Salt of the Earth, scheduled in 2014), Paul Auster (The Inner Life of Martin Frost), as well as ballet music for Angelin Preljocaj (Liqueurs de Chair, Amer America).
Bases are thus set down. While Geins't Naït offers rough pieces of music as an extension of its punk attitude which deeply moved the Berlin scene years ago, Laurent Petitgand is busy refining them and creating some musicality within the post-industrial collages, adding guitars, piano or any classical instrument.
In 1993, following the release of C/O Lisa on the Permis de Construire label, noise gave way to a silence that lasted 20 years.
Coming from nowhere, Si j'avais su, j'aurais rien dit, a particularly tormented album which, against all odds, revived the project in 2011.
An album which showed an increasing alchemy between the two musicians whose different routes, this common project aside, seem to fit perfectly well now.
Now, and more than ever, the duo's approach is based on an in-depth field. To sharpen the sounds, give them some kind of balance, a density and a mark.
More than anything else, to make sure that music is a langage, an experience in the deeper meaning of the term.
In its form, the collaboration between Geins't Naït and Laurent Petitgand echoes the adventurous musics from the eighties and is the French counterpoint to experimental british scenes (Coil, Current 93, Test Dept) and german scenes (Einstürzende Neubauten, Sprung Aus Den Wolken), so much so that this new work is difficult to label in its totality, entering ambient or industrial fields, as well as minimalist or repetitive music.
Je vous dis is obvious in its ability for listeners to give life to the smallest element which is part of it, would it be a sample, a piano melody, or even the amazing work on voices, which, as well as instrumentation, assume a central part in the tracks balance.
Melancholic, with a retained violence, sometimes even with a fearsome violence, Je vous dis surprises and captivates in its way to subtly catch the listener, thanks to a disturbing nocturnal mood, but also to an unsettling humanity.
But this record is far from being an hermetical work : it's quite the opposite. Difficulty is not to get in this world, however particular or deviant it is, but to get out.
More than just music, Je vous dis is a visceral obsession about detail, a sound sculpture with changing forms and various aspects, an unsleeping creature with inscrutable soul.
As soon as one believes to have understood it, the next listening brings the listener back into doubt and questions.
As in a situationist movie for which that album would be a perfect soundtrack, each complete immersion offers its lot of news interpretations and details, with were unkown until now but are definitively obvious in the end.
A real masterpiece for the mind : complex, poetic and sophisticated, even in its darkest moments." [label info]
www.icidailleurs.com
"Years and years ago I worked in a space, which also functioned as a record store, and before, that I was a volunteer at another record-store/mail-order. In both 'stores' I saw the name Geins't Naït, but for whatever reason I no longer recall, I never played any of their records or CDs that we sold. Maybe it was because there was so much other great stuff to play? Let's keep it at that. So up until this CD I never heard their music properly, but in my defense, they didn't have any new release since 1993. The name Laurent Petitgand (not to be confused with Dominique Petitgand) I never heard before, despite the fact that he did soundtracks for Wim Wenders and Paul Auster as well as being a singer-songwriter. In 2011 he and Geins't Naït worked together for the first time and now there is a new album. But for me this is maybe a first introduction all around. And I am quite surprised. The label makes references to Coil, Current 93, Neubauten, none of which are really particular favorites
with me, but in these hands it works out differently and actually quite well. There is quite some drama in this music, through the use of samples, melancholic piano bits and the dark voice of Petitgand. Geins't Naït provide a rather minimal set of music - not as in 'empty', but as in 'repetitions', which makes rather odd pop music. Petitgand's voice is most of the time heavily transformed (vocoder perhaps?), which makes that a rather darker atmosphere hangs over these pieces. It bumps and collides but that I think is the beauty of this music, it's rather unusual atmosphere. Tacky and clichéd it seems at times but it works out quite fine. Maybe because there are some cliché's in here, but also some more unusual aspects, that it all makes up for something strange and estranged. A most enjoyable album, I thought. A fine introduction indeed." [FdW/Vital Weekly]
"Das Duo mit dem exotisch klingenden Namen Geins’t Naït entstand irgendwann im Dunstkreis der legendären Coldwaver von Kas Product und existiert nun bereits seit fast dreißig Jahren, bei denen allerdings eine lange Pause mitgerechnet wird. Hierzulande überwiegend frankophilen Kennern ein Begriff, ist die Band auf der anderen Rheinseite kein Geheimtipp mit ihrem eigenwilligen Stil an der Schnittstelle von Punk- und Industrial-Einflüssen, Songs und Soundscapes sowie technoiden und klassischen Arrangements. Der Sänger und Komponist Laurent Petitgand arbeitet auf “Je vous dis” zum zweitenmal mit GN zusammen und bringt klassische, v.a. akustische Elemente ein. Das Label zieht Vergleiche zu den Neubauten, Coil und Test Dept., was natürlich eine respektable Messlatte darstellt.
Wollte man in dem ausgesprochen welchselseitigen Album so etwas wie einen roten Faden benennen, so ließe der sich eher noch in einer immer leicht aufgekratzten Wehmut finden, als im Sound, der leicht retrolasigen Akustikklängen ebenso Raum gibt wie hallunterlegter, leicht housiger Elektronik, bei der ich tatsächlich an Coil-Werke wie “Love’s Secret Domain” denken musste. Viele Songs wecken filmische Assoziationen und versprühen einen nostalgischen und oft auch ein wenig naiven Charme. In den Passagen vor dem Einsetzen zum Teil vertrackter Rhythmen lockern reichliche zitathaft integrierte Klangbrocken den Wohlklang auf und versetzen die Szenerie an einen nur schwer zu ortenden Schauplatz, den Petitgand mit seinen mantraartigen Stimmbeiträgen, die teilweise wie versoffenes Bellen klingen, dominiert.
Oft entfalten sich mehrere musikalische Erzählstränge simultan, und selbst da, wo es schlicht auf die Schönheit der Unordnung hinausläuft, entsteht nie der Eindruck, dass es um bloßes Muckertum geht." [U.S./African Paper]
africanpaper.com/2015/03/28/geinst-nait-laurent-petitgand-je-vous-dis/
|
2014 |
€13.00 |
|
|
Je vous dis |
LP |
"Geins't Naït is a project initiated in 1986 with a first album released by Thierry Merigout (drummer with Kas Product on their 1981 tour) and Vincent Hachet, who quickly stepped back from this project to work on his film-maker career.
The L'or'n Cät album's release in 1987 marked the arrival of Laurent Petitgand, a singer-songwriter recognized for his composing work for (the late French singer) Bashung and original soundtracks for film directors such as Wim Wenders (including Tokyo-Ga, 1985, Wings of Desire, 1986, and the future The Salt of the Earth, scheduled in 2014), Paul Auster (The Inner Life of Martin Frost), as well as ballet music for Angelin Preljocaj (Liqueurs de Chair, Amer America).
Bases are thus set down. While Geins't Naït offers rough pieces of music as an extension of its punk attitude which deeply moved the Berlin scene years ago, Laurent Petitgand is busy refining them and creating some musicality within the post-industrial collages, adding guitars, piano or any classical instrument.
In 1993, following the release of C/O Lisa on the Permis de Construire label, noise gave way to a silence that lasted 20 years.
Coming from nowhere, Si j'avais su, j'aurais rien dit, a particularly tormented album which, against all odds, revived the project in 2011.
An album which showed an increasing alchemy between the two musicians whose different routes, this common project aside, seem to fit perfectly well now.
Now, and more than ever, the duo's approach is based on an in-depth field. To sharpen the sounds, give them some kind of balance, a density and a mark. More than anything else, to make sure that music is a language, an experience in the deeper meaning of the term.
In its form, the collaboration between Geins't Naït and Laurent Petitgand echoes the adventurous musics from the eighties and is the French counterpoint to experimental british scenes (Coil, Current 93, Test Dept) and german scenes (Einstürzende Neubauten, Sprung Aus Den Wolken), so much so that this new work is difficult to label in its totality, entering ambient or industrial fields, as well as minimalist or repetitive music.
'Je vous dis' is obvious in its ability for listeners to give life to the smallest element which is part of it, would it be a sample, a piano melody, or even the amazing work on voices, which, as well as instrumentation, assume a central part in the tracks balance.
Melancholic, with a retained violence, sometimes even with a fearsome violence, Je vous dis surprises and captivates in its way to subtly catch the listener, thanks to a disturbing nocturnal mood, but also to an unsettling humanity.
But this record is far from being an hermetical work: it's quite the opposite. Difficulty is not to get in this world, however particular or deviant it is, but to get out. More than just music, Je vous dis is a visceral obsession about detail, a sound sculpture with changing forms and various aspects, an unsleeping creature with inscrutable soul. As soon as one believes to have understood it, the next listening brings the listener back into doubt and questions. As in a situationist movie for which that album would be a perfect soundtrack, each complete immersion offers its lot of news interpretations and details, with were unkown until now but are definitively obvious in the end. A real masterpiece for the mind : complex, poetic and sophisticated, even in its darkest moments." [label info]
www.icidailleurs.com
"Years and years ago I worked in a space, which also functioned as a record store, and before, that I was a volunteer at another record-store/mail-order. In both 'stores' I saw the name Geins't Naït, but for whatever reason I no longer recall, I never played any of their records or CDs that we sold. Maybe it was because there was so much other great stuff to play? Let's keep it at that. So up until this CD I never heard their music properly, but in my defense, they didn't have any new release since 1993. The name Laurent Petitgand (not to be confused with Dominique Petitgand) I never heard before, despite the fact that he did soundtracks for Wim Wenders and Paul Auster as well as being a singer-songwriter. In 2011 he and Geins't Naït worked together for the first time and now there is a new album. But for me this is maybe a first introduction all around. And I am quite surprised. The label makes references to Coil, Current 93, Neubauten, none of which are really particular favorites
with me, but in these hands it works out differently and actually quite well. There is quite some drama in this music, through the use of samples, melancholic piano bits and the dark voice of Petitgand. Geins't Naït provide a rather minimal set of music - not as in 'empty', but as in 'repetitions', which makes rather odd pop music. Petitgand's voice is most of the time heavily transformed (vocoder perhaps?), which makes that a rather darker atmosphere hangs over these pieces. It bumps and collides but that I think is the beauty of this music, it's rather unusual atmosphere. Tacky and clichéd it seems at times but it works out quite fine. Maybe because there are some cliché's in here, but also some more unusual aspects, that it all makes up for something strange and estranged. A most enjoyable album, I thought. A fine introduction indeed." [FdW/Vital Weekly] |
2014 |
€16.00 |
|
| |
Make Dogs Sing |
do-LP |
"Geins't Naït is considered legendary at Offen Music. Releasing music since 1986, their last 3 albums have featured Laurent Petitgand (2011, 2014 & 2015). Now the label presents a collection of unreleased tracks that they hope will plunge you deep into the special world of GN & LP."
"Vladimir Ivkovic’s Offen Music have the privilege of presenting Geins’t Naït & Laurent Petitgand’s possessed Gallic atmospheres to the uninitiated with ‘Make Dogs Sing'; a collection of 13 new, previously unreleased songs that plunge us into GN’s etheric otherworld ahead of a reissued classics, upcoming on Low Jack’s Editions Gravats
Through the looking glass of Geins’t Naït & Laurent Petitgand the world appears seductively psychedelic. Taking in woozy waltzes and shimmering keys on the one hand, and a palette of pebbledashed electronics and mutant voices on the other, the group’s contemporary sound hints at some French analog to the film music of Wim Wenders or the eerier styles of mid-latter phase Coil, and works at a safer distance to the gnarled grooves of their cultish late ‘80s industrial releases, which are maybe better compared with Din A Testbild, NWW or TG.
Judging from the sounds on Make Dogs Sing, Geins’t Naït have matured somewhat since their critical early phase. Rather than pranging drums and psychedelic electronics, they now apply similar principles of dislocated mixing trickery and groove-focussed methods to a breezier set of cues taken from film music and experimental ambient spectres, resulting a uniquely dissociative effect as the albums slips down the wormhole, back first, with any glimpses of light fading in front of you until their slowly ravishing, narcotic effect takes hold.
By the end of the album you won’t be able to find a way out. But don’t fret, the effect will come to pass, eventually." [Boomkat]
|
2018 |
€25.00 |
|
| GEINS'T NAIT + SCANNER + PETITGAND |
OLA |
CD |
Since 2014, when the Mind Travels [Ici, d'ailleurs] series was created, Geins't Naït and Laurent Petitgand have been working on one project after another with a great deal of sonic experimentation and with an unbroken passion. It is therefore not surprising to find the fifth album "OLA" from this collaboration on our collection dedicated to "ambient, neo-classical and industrial" music. After "Je vous dis" 2014, "Oublier" 2015, and "Like This Maybe Or This" in 2020, the group that we will call GN+LP is a figurehead of our sub-label and this new release "OLA" reinforces this association.
Geins't Naït and Laurent Petitgand have been music activists for more than 30 years, two very singular musicians, coming from two different schools and whose collaboration was far from obvious: the industrial and experimental scene for Thierry Mérigout (the last active member of the group Geins't Naït) and for Laurent Petitgand, well known for his movie soundtracks, especially for his collaboration with Wim Wenders. These two artists have different visions at first sight, but share common roots and a mutual respect. They were also recently featured in a documentary directed by Otomo de Manuel: "So Young But So Cold", a feature film about the Nancy Punk/No Wave scene.
For the album "OLA", the GN+LP duo is joined by an artist far from being unknown by ambient and IDM fans, namely Scanner alias Robin Rimbaud, to be pronounced /ˈrɒb.ɪn/ because, in spite of a French-sounding name, he is English and lives in London. The Englishman is a virtuoso of sound collage, a sound plastician, one of the most present on the electronic scene since the 90s. He has produced more than twenty albums on labels as prestigious as Sub Rosa or New electronica. A fan of collaborations, he has had the opportunity to work with many artists during his career, Kim Cascone or Alva Noto to name but a few.
We can say that this combination: Geins't Nait + LP + Scanner is explosive. From the first track, "MT26", we quickly understand the potential of this trio formula. After three rather calm introductory minutes, scattered with modified voices and field recording, the track progressively evolves with a rhythmic. The loops merge and repeat, sometimes disintegrating and filling up with industrial sounds and more or less heavy metals. This structure can be found on several tracks such as "OLA" or "MOUCHE", two hypnotic tracks of more than seven minutes that could remind us of Autechre or Muslimgauze. We also discover a tribute to Gilles Deleuze on the track "GILLES" in which GN+LP+Scanner rework the conference of this philosopher "What is the act of creation? Gilles Deleuze is regularly featured in Geins't Nait's work.
More industrial and colder than the previous albums "Je vous dis" or "Like This Maybe Or This", the album "OLA" is difficult to classify. Some tracks tend towards dark-ambient like "MORPHENG" "9.95MW", others are closer to techno like "BRA".
Dense and complex at first sight, "OLA" is a work to be experienced. Intense and immersive, GN +LP + Scanner's work gives off an atmosphere: a timeless sound space, the perception of a cold, mechanical but strangely reassuring world. A universe that some might compare to a combination of David Cronenberg's "The Fly" and Wang Bing's "West of the tracks".
https://mindtravels.bandcamp.com/album/ola
|
2023 |
€13.00 |
|
| GELSOMINA |
same |
7inch |
Limitierte 7” auf dem finnischen harsh-noise Kult-Label von einem neuen finnischen Projekt, ein reinster Sägezahn-Feedback-Sturm der Hirn & Herz freibläst und öffnet für neue Empindungen.
“Debute 7" release from praised Finnish harsh noise artist. Taking more simple WALL OF NOISE method on this release. Strong and ultra heavy distortion walls with few layers of ear torturing details.” [label info]
|
2006 |
€6.00 |
|
| GENETIC TRANSMISSION |
Chrzaszcz Brzmi W Trzcinie |
CD |
"The second in GT Series Archive is the album entitled "Chrząszcz brzmi w trzcinie" (A beetle buzzes in the reed - a Polish tounge twister), originally published on a CDR on Tochnit Aleph in 2006. In a short time it was sold out and practically until today the material has not been available in any other form. "Chrząszcz brzmi w trzcinie" is a recording of the session based on the most primal sound sources which are only arranged in a suitable structures so that they form a concise material; however, they remained unchanged and no post-production was applied to them. The album consists of 6 compositions, about 60 minutes of industrial sound space characteristic of the work of Genetic Transmission.
This reissue is strictly limited to 200 copies." [label info]
www.zoharum.com
|
2016 |
€12.00 |
|
| GENOCIDE ORGAN |
Live in Japan 2003/2007 |
DVD/CD |
"... Wer einige Youtube-Clips der Auftritte kennt, wird auf das Schlimmste gefasst sein, doch das Ergebnis kann absolut überzeugen: Montiert aus drei verschiedenen Kameraperspektiven, unterlegt mit Ausschnitten desrBackgroundvideos, bewahrt die DVD viel von der Liveatmosphäre in den japanischen Clubs 20000V und Die Pratze. Bemerkenswert ist dabei, dass den unterschiedlichen Locations enstprechend auch völlig verschiedene Programm geboten wurden: Zunächst das gewohnt harte Power Electronics Set, das sich auf Stücke von "In-Konflikt" konzentriert und einige ältere 'Hits' bietet - und schließlich ein eher atmosphräisches Set, das durchaus als Death Industrial bezeichnet werden kann und das schockierte japanische Publikum mit Aufnahmen aus Hiroshima und Nagasaki konfrontiert. Das ist Industrial-Culture in ihrer ursprünglichen Bedeutung und Funktion: den Finger in die Wunde der Gesellschaft zu legen, sie mit ihren eigenen Tabus gnadenlos zu konfrontieren. Dieses Set enthält zudem anderweitig unveröffentlichte Tracks und alternative Versionen.
Die DVD selbst ist dem Genre gewohnt roh präsentiert, im Menü pragmatisch gestaltet und insgesamt von erfreulich guter Qualität.
Die beiliegende CD dokumentiert Ausschnitte der beiden Konzert von 2007, die beide im 20000V stattfanden. Statt auf ein Best-Of zu bauen, wählte man erneut eher ungewöhnliche - und nichtsdestotrotz kraftvolle - Stücke aus, die erneut atmosphärische und aggressive Momente mischen. Am bekanntestens dürfte hier das kämpferische "Hail America" sein. Wer die letzte 7" nicht erstanden hat, wird sich vor allem über Track 9 freuen: "I kept my faith: Revelation of John".
Das in Zusammenarbeit zwischen Tesco und Teito (J) ästhetisch ansprechend produzierte Set ist gleichermaßen für Fans der Band wie auch für Genreneulinge interessant, die sich einen Eindruck vom Status quo der deutschen Industrial Culture verschaffen wollen. Gelungen!" [Ikonen Magazin]
"Finally, this long awaited document is finally available! Japan has been a wasteland for German "industrial" and/or "power electronics" bands for many years, but in 2003, Genocide Organ entered the motherland of noise. Invited by Teito and MSBR, Genocide Organ played two remarkable shows in Tokyo. The first in a typical noise/hardcore club called 20000V, and the second at a small theatre called Die Pratze. Because of the two different locations and atmospheres, G.O. prepared two completely different sets. While the material at 20000V featured tracks from what was, at the time, the forthcoming album "In-Konflikt," plus a selection of powerful, well-known tracks, the setlist at Die Pratze featured more "calm" and unreleased tracks integrated into a theatrical-type performance. Both gigs represent the repertoire of Genocide Organ, which makes this band more than just a phenomenon of one genre.
The two shows are presented here on DVD in their entirety, edited from three different camera angles by Frank Merten of Seismic Wave Factory, known for the visuals of Herbst9 and Land:Fire. The DVD is professionally mastered and features a fully animated menu.
In 2007, Genocide Organ returned to Tokyo for two more shows, both hosted at 20000V, and again, each show had a different setlist. The audio CD in this collection features a selection of the best tracks from both evenings. Many had never been released or played live before, while some "old favorites" appear here in completely different versions. The quality of the recording is amazing, and you will feel the full power of these two gigs.
This DVD/CD set is part of the GO RECON UNIT program - all those who order with their RECON CARD number will get special extras with their set. Those who have no ID card are able to get the card now in order to receive extras with future releases." [label info]
www.tesco-germany.com
|
2009 |
€20.00 |
|
| |
Live in Japan 2007 |
LP |
Vinyl Edition im Klappcover mit bedruckten Innenhüllen und A2-Poster! "....Ausschnitte der beiden Konzerte von 2007, die beide im 20000V stattfanden. Statt auf ein Best-Of zu bauen, wählte man erneut eher ungewöhnliche - und nichtsdestotrotz kraftvolle - Stücke aus, die erneut atmosphärische und aggressive Momente mischen. Am bekanntestens dürfte hier das kämpferische "Hail America" sein. Wer die letzte 7" nicht erstanden hat, wird sich vor allem über Track 9 freuen: "I kept my faith: Revelation of John". Das in Zusammenarbeit zwischen Tesco und Teito (J) ästhetisch ansprechend produzierte Set ist gleichermaßen für Fans der Band wie auch für Genreneulinge interessant, die sich einen Eindruck vom Status quo der deutschen Industrial Culture verschaffen wollen. Gelungen!" [Ikonen]
"This numbered & limited 888 copies LP features the best tracks from two G.O. Tokyo performances in 2007. The record comes housed in a gatefold cover with printed inner sleeve and contains an A2 poster. FAST PRE-ORDER HIGHLY RECOMMENDED!" [label info]
www.tesco-germany.com
|
2009 |
€20.00 |
|
| GEORGE & CAPLIN |
He really got through to advertising |
CD |
"Black Series 20 - Ed. of 350 numbered copies. THEY really get through. g&c's backwards looping under-coat melodics seep like a musical IV into nourishment-hungry heads. Warm acoustics resonate over warbling electronics, palpitating into slow, sentient rhythms. "Dreamo" has already been co-opted by punk-dits, so g&c's get their own "Hemo" category, just so everyone can be called something ending in "-emo." Yes, Hemo: The blood. Fluid dynamics at its core purpose: pumping life into a system. Their sanguine essence of cosmic psychedelia blasts a new kind of human flower. Tiny sounds rise to peal at the surface, dueted by a disembodied vocal melancholia. These 7 tracks carve out a truly unique sonic geode that paints a plasma of pure loveliness. The blood has served them well, with an evolution marked this time by a particular subdued heaviness in the creases. Coming on like some unearthed Factory or 4AD artifact, g&c's organic nu-gaze halos continue to circle above; the blood infusing the machine with a soul. They really DO get through.
g&c "...we are really excited as it features loads of new sounds (from harmonica to flute), and a whole new perspective on george&caplin via collaborations with Sandusky, Robin Rozum (our talented multi-instrument neighbor), Joshua Gondrez (Time's Knowledge) and super-pumpkin engineer Jim Wilson (Airshow Mastering)." [label info]
|
2007 |
€16.00 |
|
| GERRARD, LISA |
The Mirror Pool |
CD |
"Anfang der Achtziger gründete Lisa Gerrard zusammen mit Brendan Perry die legendäre Band Dead Can Dance. Ihre Alben erschienen auf 4AD und prägten den Sound dieses jungen Labels für mehr als eine Dekade. 1995 startete Lisa Gerrard parallel ihre Solokarriere und produzierte "The Mirror Pool" mit Hilfe des Victoria Philharmonic Orchestra. Seither avancierte sie auch zu einer der gefragtesten Soundtrackkomponisten Hollywoods (Ali, Black Hawk Dawn, The Insider, Gladiator, Whale Rider)." [Indigo]
www.4ad.com
|
1995 |
€10.00 |
|
| GFFR |
Blockchain Me Anonymous |
LP |
gFFr
BLOCKCHAIN ME ANONYMOUS
12" LP, ltd. 200 copies + download card
Blockchain Me Anonymous is a result of more Terabytes exchanged between gF’s and Fr’s machines.
These machines are non-human yet they develop ambitiousness and sexuality. They are assertive. They do not argue. They do not care. From gFFr’s networked machines an AI emerged, with will and voice. You can call her Verena Becker (maybe), she has many faces (and counting) and she wants to be a pop star. Machines worship her more than Madonna. They sing her songs while performing tasks.
Verena Becker likes pop music. She often hums “The Queer is Dad”, her favorite refrain, but in her own machinic way. She’s afraid that neurotypical humans could not appreciate, but she wants to be a pop star. She was convinced that her neural network could only please machines, which made her sad. She leaked into gF and Fr’s computers and she drove them to make this record because she wants to please humans.
During the only interview via neural cable connection, she expressed very few concepts, translatable as follows:
“F#*% ¥o# hum@n @s solos. Buy my f#*%in’ record. Sing my songs. D@nce with me. Sta¥n or Go. Lemme stoned. I love you. Be mined”.
You’d better listen.
gFFr is Verena Becker with Fr and gF.
Facial recognition mixups and angry neighbors. AI is political.
Individual biographies:
gF is a XY-year-old junior programmer who enjoys hockey, watching sport and badminton. He is artificial, but can also be very random and a bit beats.He is from Italy. He has a degree in computing. Physically, gF is in pretty good shape. He is average-height with light skin, blonde hair and brown eyes.He grew up in an upper class neighborhood. gF’s best friend is a junior programmer called Laila Stanley. They are inseparable. He also hangs around with Mildred Ferguson and Finley Kemp. They enjoy attending galleries together.
Fr is a @@-year-old online mental trainer who enjoys spreading fake news on Facebook, traveling in dark webs and working on cars. He is pseudo-artificial and a bit lazy, as per Lacan’s interpretation of laziness. He has a severe phobia of tables, and is obsessed with reading. After his mother died when he was young, he was raised by his father, a period in which he developed an enduring love for insects and empty spaces. Fr is slightly overweight, but exercising every day to get back in shape. His best friend is his dog named Petrus. He lives alone in the woods and communicates only through text-speech software.
Verena Becker is a young female artificial intelligence, trained on Donna Haraway, Gilles Deleuze and Britney Spears. Her secret dream is to become a pop singer. Despite the rigid workouts of thousands of stories without elevators, her neural net is yet too shallow to allow her to sing any potential blockbuster. Verena is however unable to develop resentment, rather she naïvely perseverates in hope that one day her programmers will add new layers to her network. She often hangs out with Sniper, her high-frequency trading friend.
gFFr self-released its first EP Play with Me on 3rd July 2020 (Bandcamp Day) and now its full-length Blockchain Me Anonymous in May 2021, on 13 / Silentes records.
https://gffr.bandcamp.com/album/blockchain-me-anonymous
|
2021 |
€18.00 |
|
| |
Deleuze Deluxe Doll |
CD |
sps2252
gFFr
DELEUZE DELUXE DOLL
CD in 6-panel digisleeve, ltd. 200 copies
Background music for the late Anthropocene: play this loudly for as long as you want or can stand. Verena Becker had always been a bit of a loner. She loved spending time alone in nature, hiking, and exploring new places. But when Verena was sixteen, she met a grizzly bear. The bear was friendly, and they became friends. Verena would often go on long walks with the bear, and they would talk about everything. One day, Verena asked the bear about gFFr. The bear didn't know what she was talking about, but she was sure it was a word. Verena explained that gFFr were a special kind of animal, and she would be very sad if she lost them. The bear nodded, and they continued walking. Verena knew she had to keep her gFFr's safe, and she vowed to never forget what they had shared. Coming back one year after its first full length, gFFr produce a prototype of disco music for a post-human environment. Verena was trained months on geometrical dancefloors and plenty of bærs. The result is disconnected and groovy, a journey into the last techno raves of humanity. Can you withstand this journey?
Mastered by Elmut Erler
gFFr is Verena Becker with Fr and gF.
Facial recognition mixups and angry neighbors. AI is political.
Individual biographies:
gF is a XY-year-old junior programmer who enjoys hockey, watching sport and badminton. He is artificial, but can also be very random and a bit beats.He is from Italy. He has a degree in computing. Physically, gF is in pretty good shape. He is average-height with light skin, blonde hair and brown eyes.He grew up in an upper class neighborhood. gF’s best friend is a junior programmer called Laila Stanley. They are inseparable. He also hangs around with Mildred Ferguson and Finley Kemp. They enjoy attending galleries together.
Fr is a @@-year-old online mental trainer who enjoys spreading fake news on Facebook, traveling in dark webs and working on cars. He is pseudo-artificial and a bit lazy, as per Lacan’s interpretation of laziness. He has a severe phobia of tables, and is obsessed with reading. After his mother died when he was young, he was raised by his father, a period in which he developed an enduring love for insects and empty spaces. Fr is slightly overweight, but exercising every day to get back in shape. His best friend is his dog named Petrus. He lives alone in the woods and communicates only through text-speech software.
Verena Becker is a young female artificial intelligence, trained on Donna Haraway, Gilles Deleuze and Britney Spears. Her secret dream is to become a pop singer. Despite the rigid workouts of thousands of stories without elevators, her neural net is yet too shallow to allow her to sing any potential blockbuster. Verena is however unable to develop resentment, rather she naïvely perseverates in hope that one day her programmers will add new layers to her network. She often hangs out with Sniper, her high-frequency trading friend.
gFFr self-released its first EP Play with Me on 3rd July 2020 (Bandcamp Day), its full-length Blockchain Me Anonymous in July 2021, on Silentes records and now follows up with a second full-length Deleuze Deluxe Doll, again on Silentes records.
13.silentes.it/private_sounds/sps2252_gFFr.htm |
2022 |
€13.00 |
|
| GHOSTS ON WATER |
same |
CD |
Mini-Album welches es eine sehr introvertierte und zarte Stimmung ausstrahlt: Pianotupfer, ätherische Gesänge, Flötenbrisen, sanfte drones.. dahinter stecken NAOKU und DAISUKE SUZUKI und ANDREW CHALK.
"The second full release of recordings by Naoko & Daisuke Suzuki with Andrew Chalk, now titled as Ghosts on Water." Naoko Suzuki (vocals), Daisuke Suzuki (vocals, flute, percussion, field recordings), Andrew Chalk (keyboards, kantele). "'Pale shadow" whispers its intentions to the wind amidst gentle melodies (courtesy of Chalk's keyboards and kantele) whose East-tinged imperturbability attribute a deep thrust to something that, coming from other hands, could even have been classified as an outtake. Both 'Fall and flow' and 'In October skies' are heavily typified by Naoko and Daisuke Suzuki's voices, first through uncertain lines on a field recording-based, extremely subtle background, then in a dissonant prayer made of intersecting improvised chants that depict strange colours and shapes for about three minutes. 'Snowy fields sparkle aglow' is the record's top as far as sheer beauty is concerned, a mix of melancholically tranquil piano figures over murmuring layers of uncertain origin, moving between remembrance and pastel-like sadness with the right touch of naïveté. 'Wings of day' ends this (unfortunately) short CD with the same atmospheres, keyboards and vocals informing a barely seamed tapestry whose levity is directly proportional to its soulful substance." [Massimo Ricci]
www.farawaypress.net
|
2007 |
€15.00 |
|
| GIARDINI DI MIRO |
Il fuoco |
CD |
"Stummfilm-Soundtrack von Italiens Indie-Helden.
Giardini di Mirò stammen aus Cavriago, einer kleinen Stadt in Norditalien, und zählen zu den bekanntesten Indie-Bands des Landes. Nach einer ersten EP aus dem Jahre 1998 hat die Gruppe nicht nur Unmengen an Platten veröffentlicht, sondern auch wie verrückt getourt - in Italien und dem Rest der Welt - und mit Bands wie Cyne, Dntl, Hood, Alias, Apparat, Piano Magic, Opiate, Isan und Herrmann & Kleine zusammengearbeitet. Mit "Il fuoco" legen sie einen Soundtrack zu einem italienischen Stummfilm von 1915 vor, der 2006 vom Museo Nazionale Del Cinema in Turin in Auftrag gegeben und später zu diesem Album umgearbeitet wurde. Der Film von Giovanni Pastrone gilt als Meisterwerk des frühen italienischen Kinos. Sein neuer Soundtrack ist das sicher ambitionierteste Werk von Giardini di Mirò." [label info / Indigo]
"In unserer Erinnerung waren Giardini di Mirò die italienischen Post-Rocker, die ihren reduzierten Sound maßgeblich elektronisch unterfütterten und geradezu ummauerten. Es gab eine Symbiose aus synthetischen Bauteilen und instrumentalen Anleihen. Auf Il fuoco führt der Weg direkt in das schwarze Loch schwermütiger Gedanken und dieser Weg wird mit “echten” Instrumenten beschritten. Also ganz klar mehr Godspeed als Heimelektro. Die Elektronik ist die belegte Zunge im Hals des melancholischen Träumers auf Il fuoco; mal ein stampfend-fauchender Effekt auf einer Snare, mal ein sich britzelnd steigerndens Kratzrauschen als Hintergrund. New Orleans ist neuerdings in Italien, als schwelgerische Erinnerung. Großartig, wie Akkorde, Bläser und Drums zusammengehen auf diesem Album. Einfach, komprimiert und dicht. Fast ein bisschen, wie der schwarze Engel am Tor der Erkenntnis. Verneigung!" [Zipo / Auf Abwegen]
|
2010 |
€16.00 |
|
| GITHEAD |
Profile |
CD |
Project of COLIN NEWMAN (WIRE), MALKA SPIEGEL (ex MINIMAL COMPACT) and ROBIN RIMBAUD aka SCANNER !
„Als GITHEAD 2004 mit ihrer Debüt-EP "Headgit" auf den Plan traten, überraschten sie eine Menge Leute. Nicht nur das ungewöhnliche Line-Up, sondern auch GITHEADs hypnotische Funkiness und ihr Gespür für Avant-Pop sind die essentiellen Faktoren, die GITHEAD auch auf ihrem echten Debüt "Profile" mit zusätzlicher Tiefe und Breite auffahren. Mit dem neuen Schlagzeuger Max Franken sind GITHEAD nun eine einzigartige Spezialeinheit, die weder vor emotionaler Energie (wie auf dem Opener "Alpha" und dem epischen "Raining Down), treibenden Grooves (wie in "Option Paralysis" oder der ungebändigten Bauschigkeit von "Cosmology For Beginners") oder gar der erhaben-poppigen Üppigkeit von "My LCA (Little Box Of Magic)" zurückschreckt.“ [label info]
|
2005 |
€14.50 |
|
| GODSPEED YOU BLACK EMPOROR! [GYBE] |
f#a#°° |
LP |
\"Das 10-köpfige Ensemble aus Montreal, das man nur als Kondensat aus Ennio Morricone, 17 Pygmies, Savage Republic und dem Rhythmus von EX, die kanadische Tradition des Radio-Dramas und Instrumente wie Cello, Violine, Glockenspiel, Percussion, 3 Gitarren und Loops einbeziehend, bezeichnen kann!\" [original label info]
Die erste GODSPEED-LP (es gab vorher noch eine Kassette namens „all lights fucked on the hairy amp drooling“ ,lim. 33!], mit dem sie ihren ureigensten Sound manifestierten: spannungs-geladener, tief-melancholischer, psychedelisch ausufernder Instrumental-Noise-Rock, immer ästhetisch-elegant und poetisch bis politisch ausgerichtet. oh ja.
First GODSPEED LP, the first manifest of their very own sound. Thick card sleeve with b/w orig. photo. Several letter-press inserts. 140g vinyl.
www.cstrecords.com
|
1997 |
€26.50 |
|
|
F# A# °° |
CD |
"Originally released on vinyl in a pressing of 500 on the Constellation label, F# A# ∞has been remixed and resequenced. Take the epic scope of Ennio Morricone, the artsy slash of 17 Pygmies, the desert tones of prime Savage Republic, bolster the mix with the rhythmic chugalug of The Ex and add the Canadian tradition of radio drama and you begin to get a hint of what this band are up to. With twin percussionists, three guitar players, violin, cello, glockenspeil and tape loops, godspeed you black emperor! can make a big rumbling sound or stretch out into delicate filigrees. The nontet has developed a reputation in their hometown for gripping multimedia shows at their recording and performance space Hotel 2 Tango. At the Lounge Ax twin film projectors emitted grainy backdrops while the band built up their cinemascope sound world. The original home recordings were made at Hotel 2 Tango and have been tweaked at Toronto's Chemical Sound studios (with the help of Daryl Smith of Slow Loris). Two new pieces,"Dead Metheny" and "Sad Mafioso," have been recorded for the compact disc." [label info]
www.brainwashed.com/kranky
|
1998 |
€15.00 |
|
|
Allelujah! Don't bend! Ascend! |
LP + 7inch |
"We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.
Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.
We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.
* * *
Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.
To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.
But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
Truly, thanks for being open to hearing it.
Release date: 15 October 2012 (Europe), 16 October 2012 (rest of world)
Running time: 53:09
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print. Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections." [label info]
www.cstrecords.com
"Viel ist passiert in den letzten 10 Jahren und für Mythologien bleibt weder Zeit noch Kapazität, aber eines ist doch offenbar: wir würden lügen, wenn wir nicht zugeben würden, dass die Rückkehr von GY!BE im Jahre 2010 eine Zäsur, ein Punkt der Rückschau gewesen ist. Wie kaum eine andere Band haben die Kanadier uns in den letzten Jahren begleitet, und das ohne musikalisch wirklich sichtbar zu sein. Ihre Geschichte ist eng mit dem Label Constellation verknüpft und die gesamte Attitüde, der Kontext, in dem sich Constellation und damit auch GY!BE bewegen, haben einen nicht zu unterschätzenden Einfluss auf die Independent Musikkultur weltweit ausgeübt. Und so regt dieses neue Album von GY!BE eine Rückschau an, eine Auseinandersetzung, was Independentkultur und Selbstverständnis heute noch bedeuten und wohin sich die soziokulturellen Komponenten unserer Gesellschaft entwickelt haben und noch weiter entwickeln werden. Auf diese Weise wird ,'Allelujah! Don't Bend! Ascend!" mit einer Bedeutung aufgeladen, wie sie schwerer kaum wiegen kann - und auf die weder Band noch Album direkt einen Einfluss haben - eine künstlerische Äußerung, die Bedeutung durch ihre bloße Existenz erlangt - da haben wir ihn doch, den Mythos, ohne dass wir es wollten. Und wir können es nur akzeptieren - dass dieses wunderbare Stück Musik (und das ist sie wahrlich, diese Platte - musikalisch ein Meisterwerk) schon jetzt ein Begleiter unseres Selbstverständnisses geworden ist, ein Moment des Innehaltens, des Reflektierens und damit Zeuge unserer eigenen Transformation, in der wir versuchen, das Kapitel unserer eigenen Biographie in diesem Buch aus überwiegend furchtbaren, korrupten, komplizierten und nihilistischen Geschichten neu zu schreiben und irgendwie in Hoffnung zu verwandeln. GY!BE haben es wieder einmal geschafft, einen Soundtrack für dieses Wechselspiel aus Analyse, Trotz und Befreiung zu liefern. Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. Die beiden Songs ,Mladic" und ,We Drift Like Worried Fire" sind final ausformulierte Versionen der beiden von den den Konzerten der Band bereits bekannten Tracks ,Albanian" und ,Gamelan". Die beiden Tracks wurden von Howard Bilerman im legendären Hotel2Tango Studio aufgenommen, während die Drones von der Band selbst aufgenommen und gemixt wurden. Alle wurden gemastert von Harris Newman/ Greymarket. Musikalisch knüpft ,'Allelujah! Don't Bend! Ascend!" an das ziemlich exakt vor 10 Jahren im Herbst 2002 veröffentlichte, letzte Album ,Yanqui U.X.O." an und greift seine klangliche Ästhetik ebenso auf wie seinen Kontext.
Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. 180gLP IN TIPPED-ON GATEFOLD JACKET. INCLUDES 7" VINYL + 12"x 48" PULL-OUT POSTER!" [label info- Cargo translation]
|
2012 |
€25.00 |
|
|
Luciferian Towers |
LP |
180g Vinyl im Gatefold Cover! Inklusive 24"x24" Poster und DL Coupon! Luciferian Towers", das siebte Album der Kanadier GODSPEED YOU! BLACK EMPEROR, wurde im Winter 2016/2017 im Hotel2Tango Studio in Montreal aufgenommen. Greg Norman übernahm wie bereits beim Vorgängeralbum ,Asunder, Sweet And Other Distress" das Engeneering und die Co-Produktion. Der Sound des Albums hat sich in den vergangenen zwei Jahren herausgeschält, maßgeblichen Einfluss daran hatte die gleichzeitige Kooperation mit der Tanzgruppe HOLY BODY TATTOO, sowie der Auftrag zu einer Komposition zum 100jährigen Gedenken der Schlacht bei Messines, welche im Juni letzten Jahres in Belgien auf dem Gelände des Massakers in Heuvelland ihre Premiere feierte. "Luciferian Towers" ist zudem das dritte Album von GY!BE seit der ,Reunion" der Band 2011 und die zweite aufeinanderfolgende Einzel-LP - denen drei Doppel-Alben (2000, 2002 und 2012) vorangingen. Neben den einzelnen Track-Beschreibungen gibt die Band dazu noch das folgende Statement ab: "this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat." 1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and strippe d bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes! 2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them! also - what we need now is shovels, wells, and barricades! 3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and soon they'll hunt us like wolves. 4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too. finally and in conclusion; the ,Luciferian Towers" L.P. was informed by the following grand demands: + an end to foreign invasions + an end to borders + the total dismantling of the prison-industrial complex + healthcare, housing, food and water acknowledged as an inalienable human right + the expert fuckers who broke this world never get to speak again.
www.cstrecords.com
|
2017 |
€23.00 |
|
|
Luciferian Towers |
CD |
Luciferian Towers", das siebte Album der Kanadier GODSPEED YOU! BLACK EMPEROR, wurde im Winter 2016/2017 im Hotel2Tango Studio in Montreal aufgenommen. Greg Norman übernahm wie bereits beim Vorgängeralbum ,Asunder, Sweet And Other Distress" das Engeneering und die Co-Produktion. Der Sound des Albums hat sich in den vergangenen zwei Jahren herausgeschält, maßgeblichen Einfluss daran hatte die gleichzeitige Kooperation mit der Tanzgruppe HOLY BODY TATTOO, sowie der Auftrag zu einer Komposition zum 100jährigen Gedenken der Schlacht bei Messines, welche im Juni letzten Jahres in Belgien auf dem Gelände des Massakers in Heuvelland ihre Premiere feierte. "Luciferian Towers" ist zudem das dritte Album von GY!BE seit der ,Reunion" der Band 2011 und die zweite aufeinanderfolgende Einzel-LP - denen drei Doppel-Alben (2000, 2002 und 2012) vorangingen. Neben den einzelnen Track-Beschreibungen gibt die Band dazu noch das folgende Statement ab: "this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat." 1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and strippe d bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes! 2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them! also - what we need now is shovels, wells, and barricades! 3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and soon they'll hunt us like wolves. 4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too. finally and in conclusion; the ,Luciferian Towers" L.P. was informed by the following grand demands: + an end to foreign invasions + an end to borders + the total dismantling of the prison-industrial complex + healthcare, housing, food and water acknowledged as an inalienable human right + the expert fuckers who broke this world never get to speak again.
|
2017 |
€13.00 |
|
|
G_d's Pee AT STATE'S END! |
LP + 10inch |
180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) [ENG] audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)
|
2021 |
€27.50 |
|
| |
G_d's Pee AT STATE'S END! |
CD |
GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) [ENG]
GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)
|
2021 |
€14.50 |
|
| GOGOOO |
Long, lontain |
CD |
"Gabriel Hernandez, das Gesicht hinter dem Namen GoGooo, hat ein außerordentliches Gespür für das Strecken einer kleinen harmonischen Idee. »Long, Lointain« (Baskaru) ist dadurch ein sehr freundliches, wenn auch in gewisser Weise unscheinbares Album geworden: Was sich hier an Tönen und Geräuschen tummelt, hinterlässt einen Gesamteindruck, der sich blendend mit der klassischen Ambient-Definition nach Brian Eno verträgt. Diese Musik also verschwindet scheinbar, schon während sie erklingt. Doch das Erlebnis wird dadurch andererseits ein sehr gegenwärtiges, das auf den bleibenden Eindruck zu Gunsten einer feinsinnig ausgestatteten Begleitung durch den Augenblick verzichtet. Die Art von Field Recordings, die Hernandez seinen geschmackvollen musikalischen Miniaturen beigegeben hat, ist recht stark konzentriert auf Regen und Schlamm, auf organisch schmatzendes Material, das dem kurz gehaltenen Longplayer in der abschließenden Zusammenstellung eine charmante persönliche Note verleiht. Andernorts hat man all das schlicht elektroakustischen Folk genannt – eine Beschreibung, die dem sanften, kuriosen und gewitzten Wohlklang von GoGooo tatsächlich gerecht wird." [Kai Ginkel / SPEX]
"Far-away sounds, close to the heart...
Delicately-played instruments whose sounds, once sampled and digitally treated, seem to permeate our ears from a distant world both strange and strangely familiar. And yet, the resulting music is intimate as can be, full of untold and evocative imagery.
GoGooo is Gabriel Hernandez, born in 1979 in Grenoble, France. Gabriel started making music because he wanted to accompany his guitar-playing cousin. Untrained, he turned to the computer, and thus came to life their duo Simagrée. Other collaborations ensued with Alain Basso (Sol III) and Daisuke Miyatani (Miyagooo).
"Long, lointain" [Long, far] is GoGooo’s first professional full-length release, following a number of net releases, CDR EPs and compilation appearances. 2007 is a coming-out year for GoGooo, with additional releases on labels such as (1.8)sec Records (Canada), Magic Book (Japan), EKO (France) and his own netlabel Rain Music.
"Long, lointain" features 10 short pieces exerting a fleeting charm, populated with field recordings, found sounds and skeletons of melodies, all delicately arranged to titillate and soothe your ears. This music can be compared to electroacoustic folk for its instrumentation, but is actually unique in style.
Gabriel Hernandez is also a drawing artist, photographer and video artist, and most of these other facets of his art are represented in "Long, lointain"s packaging, including drawings decorating the digipack cover and four short videos." [label info]
www.baskaru.com
|
2007 |
€12.00 |
|
| GOH, LEE KWANG |
Draw Sound |
mCD-R / Book |
Seit einiger Zeit erteilen die "Künstlerhäuser Worpswede" halbjährliche Stipendien im Bereich "Klangkunst" (WORPSWEDE ist das legendäre Maler- und Künstlerdorf, ca. 25 Kilometer von Bremen entfernt, mitten im Teufelsmoor). Hier arbeiteten schon namhafte Leute wie JOHN OSWALD, TORBEN TILLY (MINIT), HANNA HARTMAN, IGNAZ SCHICK oder STEFAN ROIGK. Auch der Malaysier LEE KWANG GOO hielt sich im Jahr 2008 einige Monate in Worpswede auf, diese Veröffentlichung wurde zum Abschluss herausgebracht. Das Büchlein enthält 36 Seiten mit - nun ja - Gekritzel. Der enthaltene track COINS auf der beiliegenden mini-CDR ist ein Stück in 97 (!) Teilen, die offensichtlich von einer 1 Cent-Münze stammen. God is in the details!
"This publication will appear as Volume 7 in the series Kunst und Theorie by the Künstlerhuser Worpswede. Published by Argobooks. It is 36 pages black and white drawings + on the mini-CDR, 'Coins' composed and performed by goh lee kwang from August to September 2008." [publishing house info] |
2008 |
€12.50 |
|
| GOLYSHEV, NIKITA |
Solaris |
CD |
Auf dem Moskauer Label MONOCHROME VISION erscheinen nicht nur Fundstücke aus der Experimental-Historie, sondern auch Newcomer der russischen Szene. NIKITA GLOYSHEV spinnt feinste microwave-drones, die sich sachte verwandeln, mit leicht mechanischem Touch und untergründigem Brodeln versehen.
Ultra-minimal & wahrnehmungsverändernd...
"The debut CD album of one of the most promising russian underground musician, presenting his own unique vision of ambient music. Combining the deep layers of machine-like hum and minimal melodic keys, Nikita creates highly emotional and dramatic journey to the netherworld. Two parts of this one hour long suite are the partly presented in the program of Add Noise II festival on May 15th, 2007.
Beginning in 2003 as the part of duo aptly titled CD-R, Nikita Golyshev quickly became the one of the most promising electronic musicians on the russian underground scene. His output progressed from rhythmic noise mayhem to diverse and heterogeneous experiments, ranging from machine improvisation through bleak drones to pure processed acoustic minimalism. He released some CD-Rs and published many works online, as well as on his own Musica Excentrica, Electrosound and Share My Wings imprints. He finally recorded the debut CD album under his real name." [label notes]
".... 'Solaris' is his debut solo CD and it's hard not to see this as a soundtrack to the Tarkovsky movie, even when there is no such reference on the cover. The music spread out over two pieces of around thirty minutes could have been alternative soundtracks to that movie. Golyshev's plays some interesting under water and under world like drone music of a great kind. Golyshev keeps things minimal but too such an extent that changes appear at the right moment - the true power of drone music, I guess. Don't be a bore, don't let changes come to quickly, everything on the right moment. This version of 'Solaris' is great and surely the name Golyshev is worth keeping an ear open for. " [FdW / Vital Weekly]
www.monochromevision.ru
|
2008 |
€13.00 |
|
| GOREHALLREIDER |
A Blow to the Head |
CD-R |
Collaboration von JOHN GORE (KIRCHENKAMPF), STEVE HALL (YEN POX-Hälfte und VEIL OF SECRECY) und C. REIDER (auch solo aktiv), 7 Stücke zwischen elektronischem dark ambient, minimaler Elektronik mit bedrohlichen / fremdartigen Untertönen, und puren backwards-drone-Sphären. Die Stimmung ändert sich mit jedem der sieben Stücke, sehr gut ! Handpainted coversleeves...
“It seems to me that Cohort Records is becoming more and more active these days, and so are the musical activities of their boss, John Gore, aka Kirchenkampf, aka The Oratory Of Divine Love and aka >wirewall<. Here he teams up with Steve Hall, aka Yen Pox and aka Veil Of Secrecy and the more unknown C. Reider, who runs the Vuzh Music label. All three delivered sound material for this release, which was then 'arranged, effected and mixed' by John Gore. He calls this 'psychedelic ambient', which is an appropriate tag. 'Violent Drone' might also be appropriate, as in all seven tracks drones of whatever nature (radio static, analogue synth and perhaps even field recordings) play an important role, but a likewise important role is played by all the applied effects that Gore adds to this. This gives this drone music a top heavy character, sounds bursting in and out everywhere, from the depths of the earth and stardust from the sky. A sizzling mix of static sounds that never sounds static. Everything seems to be moving around all the time, with small changes of color and texture, like a Yves Klein painting or a Steve Reich piano piece, ever so apparent in 'I Hear Voices'. Powerful drone music, along the lines of Troum, but more musical... by which ever definition music of course.” [FdW / Vital Weekly]
http://cohortrecords.0catch.com
|
2005 |
€9.00 |
|
| GRABOWSKI, PAWEL |
Cirr's Songs |
7inch |
Einigen bekannt vielleicht durch die wunderbare 7” auf Laub Records oder die MIASTO NIE SPALO – CD (OBUH).... zwei Stücke mit bearbeiteten, dichten, melancholischen field recordings, die von Trauer und der „Stimme im Kopf“ berichten.....
"PAWEL GRABOWSKI is a polish musician. He has been active with MIASTO NIE SPALO (CD on OBUH Records) and solo.....CIRR’S SONGS are about drowning. At that time i had this dream in which i was drowning in deep waters , every night over and over again. The dream lasted for about a month, then disappeared completely, but that feeling remained...
Filed under: Melancholic Field-Drones
BLACK VINYL. BLACK COVERS WITH PHOTO."
[press release]
„...Der in Insiderkreisen durch einige Veröffentlichungen in Mini-Auflagen schon etwas bekanntere Pole kreiert einmal mehr düstere Ambientsoundscapes, die aber keinesfalls brachial-okkult wie MZ412, Raison D'Etre oder Brighter Death Now, sondern stiller, beim ersten Hören fast unscheinbar klingen - Für Industrial-Addicts, die nach jahrelangem Konsum von besagten typischen Cold Meat-Acts genug von deren zwar stimmungsvollen, aber doch ewig gleichen monumentalen Streichersounds und Chören haben, fast so etwas wie ein Pflichtkauf. Eine grandiose, irgendwie geheimnisvolle Single also, die auch inhaltlich Interessantes zu bieten hat..“ [Uwe Marx / Etoile]
“PAWEL GRABOWSKI is a polish musician. He has been active with MIASTO NIE SPALO (CD on OBUH Records) and solo.....CIRR’S SONGS are about drowning. At that time i had this dream in which i was drowning in deep waters , every night over and over again. The dream lasted for about a month, then disappeared completely, but that feeling remained... filed under: Melancholic Field-Drones. BLACK VINYL. BLACK COVERS WITH PHOTO. “ [press release]
|
2005 |
€7.00 |
|
| GRABOWSKI, PAWEL / THE BEAUTIFUL SCHIZOPHONIC / JAMES ECK RIPPIE + PAULO RAPOSO |
Product |
CD |
Das fast 20minütige geisterhafte, auf rückwärtigen Sounds basierende “But I’m not” von PAWEL GRABOWSKI eröffnet den (Drone)-Reigen auf dieser Zusammenstellung; Jorge Mantas aka THE BEAUTIFUL SCHIZOPHONIC hat danach ein höchst kurioses 10teiliges Stück mit dem Titel “Love Songs for a Psychoacoustic Girl” beigesteuert, bei der er Frauenstimmen von verschiedensten Quellen zu sinnlichen Dronescapes verarbeitet hat, schliesslich JAMES ECK RIPPIE & PAULO RAPOSO, die ihr Stück experimentell cut-up / turntable-mässig beginnen, es dann aber schnell in konkret-flächige Gefilde mit mysteriöser Atmosphäre führen, inkl. found-sound Sprengseln von alten Platten wie es scheint... Insgesamt eine überzeugende Compilation, dieser 6.te Teil der PRODUCT-Serie auf Cronica !
Dazu gibts noch ein Quicktime von Video-track von THE BEAUTIFUL SCHIZOPHONIC!
"elegantly packed with casey reas superb artwork arrives the sixth installment in the crónica's product series. this split opens with a long haunting composition from pawel grabowski, it settles with some ghostlike pieces with even a medieval feeling from the beautiful schizophonic and reaches its closure with natureza morta, a stunning piece teaming up paulo raposo and james eck rippie." [label info]
www.cronicaelectronica.org
|
2005 |
€14.00 |
|
| GREEN KINGDOM |
same |
CD |
Erste Veröffentlichung auf diesem neuen Pariser Label, GREEN KINGDOM entwirft hier gediegen melancholische, FilmSoundtrack-artige Electronica wie sie auch auf TYPE hätte erscheinen können.. SEHR ruhig & soft & warm..
"With The Green Kingdom LP, compositions blur the lines between soundscape and structure while keeping a sharp focus on melody with the guitar playing a central role, the album manipulated acoustic and electronic sources, sampled textures, noise and field recordings. Imbued with a sense of "optimistic nostalgia", Mike Cottone soundworlds encourage introspective explorations and provide an escape from our sometimes hectic lives.
The Green Kingdom LP is the natural continuity of the highly acclaimed EP "Lucky Bamboo" released for free on EKO netlabel (IOD) in June 2006.
June 2007 - CD Digipack printed to 500 copies."
[label info]
www.semlabel.com
|
2007 |
€13.00 |
|
| GREENHAM, LILY |
Lingual Music |
do-CD |
"Britain’s best known sound poet is Bob Cobbing, but it’s hard to come up with a list of other sound poets working in Britain in the 60’s and 70’s. It’s equally difficult to think of any female sound poets working anywhere. Lily Greenham was Danish, but spent her childhood in Vienna. After several relocations across Europe she settled in London in 1972 with her British husband (musician and poet Peter Greenham), where she lived until her death in 2001. Nearly all of her own writings and compositions date from after her arrival in London, but prior to her arrival in London she had been involved in two major European art movements. In the late 50’s she had been an active member of the early Wienner Gruppe, performing in their wild experimental theatre works and reciting the new poetry of young artists like Gerhard Rühm, Konrad Bayer and A.C. Hartmann, but before the Wienner Gruppe had established itself as the important art movement it was to become, she had moved on and changed her working practice.
In 1964 she was back in Paris for a second time, but this time she was working as a visual artist specialising in optical art. She was soon directly involved in group shows with the ‘Groupe de Recherche d’Art Visuel’. For the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. Once in London she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking. The term ‘lingual music’ that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. Her most well known composition in this style is ‘Relativity’, which was made in 1974 in collaboration with the Radiophonic Workshop at the BBC. She also worked with quite a few musicians, both via the early LMC network in London, but also on an international scene. A list of musicians she worked with includes John Tchicai, Wolfgang Dauner, Bob Downes, Barry Guy, Hugh Davies, Max Eastley and Peter Cusack. This 2CD set compiles a wide variety of her own work, including live solo performaces, film soundtrack pieces, as well as many tape pieces. There are also examples of her performing works by Cobbing, Rühm and other sound poets, as well as recordings of her work with Bob Downes Open Music. The recordings date from between 1968 and 1984." [label info]
www.stalk.net/paradigm
|
2007 |
€16.00 |
|
| GRIM |
Message |
LP |
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomosada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
It belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced; it feels like walking through an ancient fairy tale forest, all hazy, magical and slightly eerie.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY, with Yukio Nagoshi, founding member of the Vasilisk unit, on guitar and percussion and A. Takahashi on vocals, with collaboration and technical support from Tomosada Kuwahara, partner and co-founder with Jun Konagaya of the legendary group White Hospital. First ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
https://urashima.bandcamp.com/album/message
"Hätten die subkulturellen Phänomene, die irgendwann von Juristen und Journalisten als Wreckers of Civilization oder England’s Hidden Reverse bezeichnet worden sind, ein Pendant in Japan gehabt, dann wäre Jun Konagaya alias Grim wahrscheinlich das zentrale Flaggschiff dieser Bewegung gewesen, denn sein Interesse am Abseitigen hatte – in Ansätzen bereits bei seiner Band White Hospital – Züge des okkult-autistischen Dandyismus, die man häufig bei den englischen Kollegen beobachtete.
Nachdem Konagaya bereits einige Erfahrungen mit lärmenden Soundcollagen gesammelt hatte, entdeckte er Mitte der 80er seine Leidenschaft für das Songformat und für eine Art folkigen Pop, der Schrägheit mit gut dosiertem Kitsch verbindet, und so erschien 1986 das heute als heimlicher Klassiker geltende Album “Folk Music” auf Grims eigenem Label Eskimo Records. Zu dessen Nachwehen gehört auch die im Jahr darauf erschienene EP “Message” (ebenfalls Eskimo), die mit einer Handvoll an Gästen eingespielt wurde und jüngst von Urashima Records neu aufgelegt wurde.
Während Grims Wurzeln in der Geräuschmusik in “Folk Music” noch deutlicher zu hören waren, könnte man diese in “Message” eher subtil in einer unterschwelligen Unbehaglichkeit aufspüren, denn rein stilistisch bewegen sich die sechs Stücke fast komplett im Bereich poppig angehauchter Folk-Lullabies, in denen sanfte Gitarrenakkorde und dazu passender Gesang, bei dem nicht immer ganz klar ist, ob man gerade eine Sängerin oder einen Sänger hört, das Bild prägen. Der Opener “Heritage” startet gleich mit Picking und lieblichem Gesang, und schon in diesem Stück fällt in der gefühlvollen Mollastigkeit eine galoppierende Euphorie auf, deren verhuschte Exzentrik durch die launige Trompete gegen Ende noch einmal extra unterstrichen wird.
Jedes der Stücke hat seine eigenen Marotten: Bei “Deep in Meditation” ist es das Zusammenspiel von Walzertakt und etwas, dass wie eine Melodika klingt, bei “Parable & Cole” das Paradox einer lieblich-pastoralen Monotonie als Kulisse intimer Flüsterstimmen. Bei “Mooncalf’s Walz” der leicht verzerrte Moment zu Beginn, der aber recht schnell einer noch fiepsigeren Lieblichkeit die Tür öffnet. Diese erreicht bei “Klara’s Song” den Höhepunkt an Kindlichkeit, und trotz psychedelischer Twangs schwebt über all dem eine 80er Jahre-Stimmung, die sich neben der rauen und sicher gewollt einfachen Klanggestaltung einem Esprit verdankt, den man nicht künstlich erzeugen kann. Man sollte als weitere Klammer aber auch das leicht unbehagliche Element einmal mehr betonen – eine seltsame Weltfremdheit, die sich in den allzuschönen Arrangements bei genauerem Hinhören offenbart und den Eindruck entstehen lässt, dass dieses Idyll nicht nur von Feen und Folksternchen bevölkert ist, sondern ebenso sehr von dämonischem Gesindel.
Heute werden gerne renommierte Sängerinnen und Sänger aus Folk und Psychedelic der Jahre um 1970 genannt, wenn man sich auf Grims hier durchgezogenen Stil einen Reim machen will. Wer allerdings zu Konagayas eigener Generation gehört und mit undergroundigen Songs der 80er und 90er sozialisiert worden ist, hat vielleicht spezifischere Assoziationen, und die können von Strawberry Switchblade über frühe Psychic TV und die Legendary Pink Dots bis zu den ersten folkigen Versuchen von Current 93 oder Death in June reichen – ein merkwürdiges Kuriosum, bei dem ich nie ganz über den Gedanken hinweg komme, wie nah das alles an einem potentiellen Pop-Hype vorbeigeschlittert ist. Interessant und hervorhebenswert ist dabei, das Grim eine solche Musik bereits perfektionierte, als diese auch in Europa erst im Entstehen begriffen war.
Der Wiederveröffentlichung, die diese Songs erneut auf Vinyl präsentiert, sind einige Remixe als Bonustracks hinzugefügt – ultranoisige Versionen, die die Spuren späterer Entwicklungen Konagayas tragen, die aber die süßlich säuselnden Stimmen immer noch geisterhaft im von Lärm erfüllten Raum schweben lassen." [U.S./ African Paper]
"Returning off the back of an incredible run of deep dives into numerous historical contexts of noise, Urashima brings us the first ever vinyl reissue of Grim's legendary 1987 EP, “Message”, now expanded to a full album's length.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY.
This highly sought-after holy grail of the 1980s underground is issued by Urashima in a limited edition of 199 copies, and won't sit around for long.
Grim
"Message"(LP)
Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise, sculpting a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Already in 2022, they’ve delivered beautiful, ambitious limited edition releases like Controlled Death’s “Death Synth Box”, Merzbow’s “Collection 001-010” and “Hybrid Noisebloom”, as well as Masonna’s “Masonna Vs. Bananamara” and Hijokaidan’s “Zouroku No Kibyou”.
Beginning the label’s final push toward the end of the year is the first ever vinyl reissue of Grim’s legendary, highly sought after 1987 EP, “Message”, now expanded with new material to a full LP in length. An inexplicable hybrid of folk, indie pop, electronic music, and experimentalism, there’s almost nothing like it within the territory and context of sound within in which it rests. A true holy grail of the 1980s Japanese underground, with original pressings commanding crazy money on the collector’s market, this very limited edition of 199 copies is going to be gone in a flash. Don’t sleep!
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomasada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
“Message” belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output. Urashima’s first ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
Visionary, wild, and weird, this beautifully produced LP is issued in a very limited edition of 199 copies, and is an absolute must for any fan of Grim, Japanese noise, and '80s DIY psychedelic pop." [Soundohm] |
2022 |
€29.00 |
|
| GROWING |
The Soul of the Rainbow and the Harmony of Light |
CD |
Neue CD des zum Duo geschrumpften Drone/Fuzz-Projekts, auf der sie sich weiterentwickelt zeigen… meist eher ruhig und sphärisch schön…
zarte und klare Frequenzüberlagerungen und –verästelungen, die sich mitunter in noise und monumental-droniges hineinsteigern..
„Takes Growing's expansive palette, blurring and disguising instrumental points of origin to a point where sheer sound defines itself with authority. Now a duo with Kevin Doria on bass and guitar and Joe Denardo on guitar, Growing have pushed into the manipulation of feedback, hiss and static; wringing out waves of delay from their amps while retaining an earthbound mastery of crushing riffage. These grainy textures contrast with a clean, pulsing lushness that carries traces of bird song and touch on natural environs and the passing of time." [label description]
www.brainwashed.com/kranky
|
2006 |
€13.00 |
|
| GRUNTSPLATTER |
The Eulogists Assembly |
CD |
10 tracks, im Booklet Zitate von Einstein, Jung, Artaud und H.G.Wells, Sounds die einen in den Boden drücken, furchteinflössend mächtig,
das ist die Reaktualisierung der Ur-Angst, dumpf, einnebelnd & betäubend.... das neue Album von GRUNTSPLATTER !
”Bringing "death industrial" to new, never before experienced levels, GRUNTSPLATTER throw us in a desertic, abandoned, outworldly land where the only sounds come from agonizing machineries, abandoned to their inevitable rusting processes. A flow of energetic noise bursts mixed with dark ambiences, a new sensational chapter in the GRUNTSPLATTER saga.” [label info]
|
2005 |
€13.00 |
|
| GRÖHN, COSTA |
2+1 |
mCD-R |
"Während Asmus Tietchens nur manchmal dafür gehalten wird, ist COSTA GRÖHN tatsächlich ein Mann der Kirche, nämlich Pastor von St. Johannis-Harvestehude. Weit davon entfernt, ein heimliches Laster zu sein, ist sein offenes Ohr für die Dinge des Lebens um ihn herum eine Tugend, der man weitere Verbreitung wünscht. 2 + 1 (1000füssler 016, 3“ mCD-R) hat Grillen und Vögel erlauscht, Schritte, Stimmen, brausenden Wind, auch eine maunzende Katze, knisterndes Feuer. Draußen, daheim. Alles zart und geheimnisvoll genug, um unter die Rubrik ‚Ohrenblicke der Schöpfung‘ zu fallen (so hieß 2003 ein Projekt in der Hamburger Petruskirche, an dem Gröhn mitgewirkt hatte). Der Alltagsklang ist nicht allein collagiert, er ist detailreich bearbeitet, mit Vinyl-Samples beschichtet, mit fein schwebendem Feedback durchfädelt und durchwellt. ‚Discounterbeat‘ mischt das typische Piepen einer Supermarktkasse mit Drummachine und einem Hauch von Chor. Das hat seine eigene Art von Frömmigkeit. Weltfremd ist es definitiv nicht." [Rigobert Dittmann, Bad Alchemy]
"Costa Gröhn makes field recordings on the road, at home, in the city or in the forest. On "2+1" he processed recordings from his archive and added feedbacks and vinyl record samples to 2 and 1 soundscape compositions.
[P] January 2009.
1. Chirring calls at home 8'25
2. Within a circle of fire (disrupted playback) 3‘10
3. Discounterbeat 3‘44
About the Artist:
Costa Gröhn was born 1976 in Bad Segeberg (northern Germany). He is a pastor at the St. Johannis Church in Hamburg. He has been composing soundscapes and doing performances since 2000. Besides tracks for compilations and remix-projects, he has also released two full length CD-R albums "Im Gehölz" and "Bouboukas" on the Gruenrekorder label." [label info]
|
2010 |
€6.00 |
|
| GUDNADOTTIR, HILDUR |
Chernobyl (Music from the HBO Miniseries) |
LP |
"Chernobyl is a five-part miniseries by producer Craig Mazin, which premiered on HBO on May 6 2019. The series deals with the nuclear disaster which occurred in the Ukraine in April, 1986, with tragic effects on both the Soviet Union and numerous countries in Western Europe. Hildur Guðnadóttir, Icelandic composer, cello player and singer, has composed the music score which is available on CD, vinyl as well as download and streaming."
"Am 26. April 1986 erlitt das Kernkraftwerk Tschernobyl in der Ukraine, Sowjetunion, eine massive Explosion, die radioaktives Material über Weißrussland, Russland und die Ukraine bis nach Skandinavien und Westeuropa freisetzte. Der Schriftsteller, Schöpfer und ausführende Produzent Craig Mazin begann 2014 mit der Erforschung der Katastrophe von Tschernobyl unter Verwendung einer Vielzahl von Materialien, darunter mehrere Bücher, Regierungsberichte aus dem In- und Ausland und Berichte aus erster Hand. Er sprach mit Kernforschern, um zu erfahren, wie ein Reaktor funktioniert, und interviewte ehemalige Sowjetbürger, um ein besseres Verständnis für die Kultur im Jahre 1986 zu bekommen. Tschernobyl ist eine fünfteilige Miniserie - eine Koproduktion von HBO und Sky.
Hildur Guðnadóttir, isländische Komponistin, Cellistin und Sängerin, komponierte eine Reihe von Filmmusiken für Filme wie Joker, Sicario: Day of the Soldado (2018), Strong Island (2017) und Mary Magdalene (2018).
Hildur hat unter anderem mit Múm, Ryuichi Sakamoto, The Knife, Fever Ray und Jóhann Jóhannsson live gespielt und Musik aufgenommen. Hildur hat vier von der Kritik gefeierte Soloalben Mount A (2006), Without Sinking (2009), Leyfðu Ljósinu (2012) und Saman (2014) veröffentlicht. Ihre Platten wurden mehrfach für die Icelandic Music Awards nominiert."
https://www.deutschegrammophon.com/en/catalogue/products/chernobyl-soundtrack-gunadottir-7130
|
2019 |
€25.50 |
|
| |
Chernobyl (Music from the HBO Miniseries) |
CD |
"Chernobyl is a five-part miniseries by producer Craig Mazin, which premiered on HBO on May 6 2019. The series deals with the nuclear disaster which occurred in the Ukraine in April, 1986, with tragic effects on both the Soviet Union and numerous countries in Western Europe. Hildur Guðnadóttir, Icelandic composer, cello player and singer, has composed the music score which is available on CD, vinyl as well as download and streaming."
"Am 26. April 1986 erlitt das Kernkraftwerk Tschernobyl in der Ukraine, Sowjetunion, eine massive Explosion, die radioaktives Material über Weißrussland, Russland und die Ukraine bis nach Skandinavien und Westeuropa freisetzte. Der Schriftsteller, Schöpfer und ausführende Produzent Craig Mazin begann 2014 mit der Erforschung der Katastrophe von Tschernobyl unter Verwendung einer Vielzahl von Materialien, darunter mehrere Bücher, Regierungsberichte aus dem In- und Ausland und Berichte aus erster Hand. Er sprach mit Kernforschern, um zu erfahren, wie ein Reaktor funktioniert, und interviewte ehemalige Sowjetbürger, um ein besseres Verständnis für die Kultur im Jahre 1986 zu bekommen. Tschernobyl ist eine fünfteilige Miniserie - eine Koproduktion von HBO und Sky.
Hildur Guðnadóttir, isländische Komponistin, Cellistin und Sängerin, komponierte eine Reihe von Filmmusiken für Filme wie Joker, Sicario: Day of the Soldado (2018), Strong Island (2017) und Mary Magdalene (2018).
Hildur hat unter anderem mit Múm, Ryuichi Sakamoto, The Knife, Fever Ray und Jóhann Jóhannsson live gespielt und Musik aufgenommen. Hildur hat vier von der Kritik gefeierte Soloalben Mount A (2006), Without Sinking (2009), Leyfðu Ljósinu (2012) und Saman (2014) veröffentlicht. Ihre Platten wurden mehrfach für die Icelandic Music Awards nominiert."
https://www.deutschegrammophon.com/en/catalogue/products/chernobyl-soundtrack-gunadottir-7130
|
2019 |
€15.00 |
|
| GUTHRIE, ANNE |
Brass Orchids |
LP |
"Snapshots of an abandoned city. Fragments of song drifting out of basements and across alleyways, muffled conversations. Scrutinized, the "music" disappears - maybe paracusia? Brass Orchids, Anne Guthrie's second full-length album for Students of Decay, is an entrancing collage of new and old sounds drawn from a variety of beguiling sources. Posthumous contributions from the artist's grandfather, a jazz pianist; obsolete media palimpsests (some vanity, some necessity); tap dancing on a peeling floor... An unsettling and strangely beautiful album - akin to something on the tip of your tongue, which, before you can name it, slips away into forgetting.
Anne Guthrie is a French horn player, field recording and audio installation artist born in 1983 in Minneapolis, Minnesota. She studied composition with Amelia Kaplan, David Karl Gompper, Lawrence Fritts and Michael Young. She is currently the Managing Director of the S.E.M. Ensemble in Brooklyn."
https://anneguthrie.bandcamp.com/album/brass-orchids
|
2018 |
€16.50 |
|
| HAFLER TRIO |
An Utterance of the Supreme Ventriloquist |
CD |
Wiederveröffentlichung einer der besten H30-LPs, erschienen 1996 auf Soleilmoon. Auf den beiden Stücken klingt Andrew Mc Kenzie noch weitaus „fordernder“ und elektro-akustisch-experimenteller als auf den heutzutage erscheinenden, eher ruhig-dronigen Werken: minimale elektronische Klangwellen und Pulsationen, dazwischen aber auch immer Breaks & hereinbrechende Soundeffekte, „konkrete“ field-recording-Schnipsel, dabei aber in derart fremdartige Klang-dimensionen vordringenden, dass es (zumindest für uns) eine wahre Freude ist! Geniales Werk in wunderschöner Verpackung !!
"An Utterance of the Supreme Ventriloquist was originally issued by Soleilmoon in 1996 in a hand-numbered edition of 451 clear vinyl LPs. Utterance consists of two 21-minute pieces, 'Placing the Seed' and 'Seeding the Place.' It's a psychedelic head-trip that reaches a similar plane of consciousness occupied by Nurse With Wound. The material has been completely remastered for maximum digital appreciation, and is presented in a deluxe embossed folder with lavishly printed inserts, all wrapped in semi-transparent paper, very much in the style of the recent reissues of 'The Sea Org' and 'Mastery of Money.'" [press release]
|
2005 |
€15.00 |
|
| HAIGH, ROBERT |
Strange and Secret Things |
CD |
"Dritter Release der Piano-Solo-Trilogie von Robert Haigh auf dem japanischen Imprint Siren. Wer gerne, von Saties Piano Works ausgehend, einem wahrlich inspirierten Nachfolger auf die Spur kommen möchte, dem sei dies, trotz aller überstrapazierten satieesken Spielereien der letzten Jahre, wärmstens ans Herz gelegt. “Strange And Secret Things” beinhaltet sehr emotionale und pointiert bilderreich gesetzte Improvisationen – Haigh scheut sich nicht, klischeegefährdete Untiefen der stark in unser Unterbewusstes eingedrungenen Kompositionen neuer französischer Klaviermusik des verehrten Originals zu durchwaten, um mit irritierender Leichtigkeit, ganz im Sinne des satieschen Nouveau Esprit, in eigenen Sphären zu landen. Überraschung und Wirkung, so die Aussage Saties, sei die Wiederaufnahme klassischer Formgestaltung vom Standpunkt eines modernen Kunstbegriffes. So fährt die Zeitschiene auf bezaubernde Weise vor und zurück, ganz so, wie es sein sollte. Die beiden ersten Teile der Trilogie sind unter dem Moniker SEMA auf des Künstlers eigenem Label Le Rey Records zu erwerben." [Raabenstein / de:bug]
"Strange and Secret Things' is the third and final part of Robert Haigh’s piano solo trilogy for Siren Records that started with 'Notes and Crossings' (2009) and 'Anonymous Lights' (2010). In his quest to expand his solo piano expression, Robert employs two distinct yet complimentary approaches to piano composition. The first is based on shifting patterns - repetitive structures with minimal development. The second is a more organic approach which evolves out of unmediated improvisation. Along the way, Robert has created compositions that are vital, exposed, melancholic, minimal and open-ended that never stray too far away from a unique melodic sensibility. 'Strange and Secret Things', comprised of 17 tracks, is a further continuation of the journey explored in the first two parts. It is the most intimate and powerful of the trilogy - with a wider palette of light and shade, emotion, texture and atmosphere. This album is a must for anyone who has enjoyed the first two parts of the trilogy and his older legendary recordings on Le Rey Records. It will appeal to those who have an affinity with the piano language of Satie, Glass, Budd, Cage, Max Richter etc. The album was mastered by Denis Blackham at Skye Mastering. As with the first two parts the CD comes with a limited edition hand-made miniature jacket sleeve.." [label info]
|
2011 |
€16.00 |
|
| |
Black Sarabande |
LP |
Robert Haigh's second full length LP for Unseen Worlds, Black Sarabande, is out today on LP, CD, and digital, uncovering a further layer of refinement to his music. It's no mistake that Haigh's releases have fluctuated between the underground and popular consciousness over the past forty years. This tension - between darkness and light, melancholy and solace, cacophony and clarity - is central to his work. With Black Sarabande, Haigh has gifted us with one of the quietest, most generous and vulnerable releases of his career.
Advance Press for Black Sarabande
"Robert Haigh’s latest album (under his own name) is a tender collection of spacious and textural piano pieces, full of rural ruminations and introspective intimacy." (9.0, scored review) - Zara Wladawsky, DJ Mag
"Having worked on mid-’80s Nurse With Wound albums, Robert Haigh thrived with Omni Trio’s pioneering ‘90s productions for Moving Shadow, but his piano work, both under his and the SEMA name, reaches even further. His latest collection embraces the resonant ambience and subtle electronic embellishments of Harold Budd’s and Brian Eno’s The Pearl.” - Uncut Magazine
“Robert Haigh's storied career reads like an almanac of ambient music. His latest is an unhurried flow of ambient piano pieces that, despite the implications of the title, are only momentarily dark and far from risqué, perhaps at times more suited for those soft intimate moments made for two, or most certainly personal reflections made for one.” - Slavko Bucifal, Exclaim!
“Everything I’ve ever written about any album, concert or piece of music is wrong. I know this because of something that happened while I was quietly listening to ‘Arc Of Crows’ by pianist Robert Haigh, a track taken from his new album Black Sarabande.” - Further
"'Why?'" - Philip Clark, WIRE
"This contemporary classical pianist’s music proves more unsettling the more you disturb its placid surface.
Depending on what release you discovered first, you might have believed there were two different Robert Haighs operating in the UK during the 1980s and ’90s. There was the pianist and composer who worked with Nurse With Wound and released elegant modern classical albums like 1987’s Valentine Out of Season. But what to make of the Robert Haigh behind the neck-whipping jungle breakbeats of the Omni Trio, a force throughout the drum ’n’ bass era in the UK? As that project drew to a close in the early 2000s, the more contemplative side of Haigh reemerged with a string of contemporary classical albums. They made for a perfect fit for New York’s Unseen Worlds label; his 2017 album Creatures of the Deep slotted well alongside pianists new and old, ranging from “Blue” Gene Tyranny to Lubomyr Melnyk to Leo Svirsky.
Haigh’s Black Sarabande explores terrain similar to Deep, mixing gorgeous piano melodies with a patina of electronics. But where that previous album evoked the properties of water, Sarabande feels grounded. It draws on Haigh’s childhood memories of UK coal country and the hardscrabble “pit village” of Worsbrough in South Yorkshire where he was raised. There’s a heavy atmosphere to these 11 tracks, never wholly enveloped in blackness but always threatened to tip over into it.
The opening title track is hushed, provoking comparisons to Harold Budd or Erik Satie. Yet as Haigh’s struck keys hover in space, they turn slightly discordant, like a chill settling into the skin. “Stranger on the Lake” strikes a balance between piano and electronics to luminous effect, its melody shadowed by ghostly overtones. Midway through, the ambient haze swells, and when it finally recedes, the piece is suffused with harp plucks and electronics, making you feel like you’ve left one piece behind and emerged in another one entirely.
Black Sarabande’s calm surface proves illusory the more listens you give it. Struck piano wires startle the surface of the otherwise-placid “Wire Horses”; a gush of strings arrives and just as quickly disappears into the woozy, fluttering ambience of “Painted Serpent.” There are moments when Haigh’s playing verges on silence, so that if you’re listening on earbuds, you might hear your own footsteps through the snow more loudly than the music. The gorgeous and brief “Air Madeleine” sounds as if you’re walking around a frozen pond in the countryside and seated next to Haigh on the creaky piano bench all at once, as imaginary a landscape (and interior) as anything Brian Eno could have conceived." [Pitchfork]
https://unseenworlds.bandcamp.com/album/black-sarabande
|
2020 |
€20.00 |
|
| HAIL |
Hello Debris |
CD |
Nach über 10 Jahren Pause ein neues Album des Projekts von SUSANNE LEWIS und BOB DRAKE, die durch CORPSES AS BEDMATES, 5UUs und THINKING PLAGUE bekannt wurden.. das ist zeitgemässer "intelligenter Progressive-Pop" mit vielen schrägen Einfällen, überraschenden Wendungen, einer ganz eigenen Harmonie...
"After a break of almost 15 years Susanne Lewis and Bob Drake have reconvened their classic partnership. In the meantime rock and post rock has mainly moved away from the song and its classic shapes, leaving commercial pop to straighten them out and endlessly repeat the same tropes and tricks. Hail is rare amongst bands in its adherence to the notion that what makes a song interesting is the application of imagination and skill to its arrangement, performance and recording. The plan is not to drag songs away into other domains by grafting on bits of jazz, classical or electronic vocabulary, but to make them more what they are; to concentrate and distill them. Susanne Lewis's voice is extremely personal, never generic, Bob Drake's signature rhythm section work always exemplary. The songs are real rather than clever, and the production constantly invents contrapuntal detail and colour. This is a virtuosic album that never shows off. For those who wish there were more good songs on the experimental side of transfigured pop." [press release]
"....Hello Debris' consists of 18 short tracks of twisted, oddly-charming prog-like rock music with a punkish edge. Songs often start off in one direction and soon mutate into something completely different. "Celestial Heartbreak" opens with majestic keyboards yet soon features some baroque harpsichord-like keyboard. The booklet includes the strange lyrics of many of the tracks, yet the vocals are often buried deep in the mix or are not even there at times. What's interesting is that some of these tunes are sewn together from disparate parts, but they somehow fit together like an intricate psychedelic jigsaw puzzle. I wonder how a more mainstream rock listener would view these quirky pieces... intrigued, mystified or perhaps even confused? I find these short ditties to be buried treasures waiting to be discovered those with curious tastes." [Downtown Music Gallery]
|
2006 |
€14.00 |
|
| HAINO, KEIJI / BALAZS PANDI / MERZBOW |
Become the Discovered, not the Discoverer |
do-LP |
A certain magic floods the room when free improvisers of the highest order get together to make music. And when said improvisers are also kindred spirits who know and can anticipate each other's moves, a kind of wonderful telepathy takes over.
Such was the case when enigmatic Japanese noise legend Merzbow (Masami Akita) got together in the studio with fellow countryman Keiji Haino and Hungarian drummer Balazs Pandi for Become The Discovered, Not The Discoverer. For their second encounter for RareNoise Records, following 2016's An Untroublesome Defencelessness, the three intrepid improvisers explore a threshold of sound so blisteringly intense, that it passes into a zone of divine cacophony.
Comprised of four lengthy, uninterrupted suites, each containing dense, sometimes harsh sonic onslaughts, Become The Discovered, Not The Discoverer is fueled by Merzbow's cathartic sheets of electronic sound and guitar, Haino's slashing guitar, bass and vocal work and Pandi's pummeling intensity on the kit.
|
2019 |
€27.50 |
|
| HALL, FRANK |
I remember you (O.S.T.) |
CD |
We are extremely proud to release the official soundtrack to the cult Icelandic horror film 'I REMEMBER YOU' (Is: "Ég man þig"). Heavy dark ambient / industrial / orchestral soundscapes composed by Frank Hall, with a beautiful, solemn, folkloristic finale featuring Icelandic choirs. A must for fans of Graeme Revell, Steven Price, Lustmord, MZ.412. Digipak.
Watch the trailer: youtu.be/UWIh4wgrHLg
The soundtrack was created at the old industrial area of Grandi in Reykjavík, at a studio due to be 'gentrified' and forcefully emptied of the artists. "I was alone in this large building in this deserted area, working late hours, making music for a horror movie. It was during winter... wind blowing, darkness. There were some tense moments...".
"As soon as I read the script I heard low brass in my head and that kind of stuck. We used a lot of brass instruments, filtered and processed throughout. I also ended up using a lot of bowed guitar, sometimes doubling the brass, sometimes more like a sound effect". Hall also used analogue synths on the special climactic track "Montage".
On the finale, Hall reminisces: "Móðir mín í kví kví (My Mother In The Sheep Pen) is an old Icelandic folk song. The lyrics are based on Icelandic folklore about a woman who had a baby which she couldn't afford to have and left it outside to die, wrapped in a rag. The infant then becomes what we Icelandic call "Útburður" - the ghost of a child who has been left out to die. Some time later the woman wants to go to a dance but has no pretty clothes to wear. She is in the sheep pen attending to the sheep when she hears this whispering outside: "My mother in the sheep pen, don't you worry because I'll lend you my rag, my rag to dance in". It's a rather ominous lyric and this song is sometimes sung for Icelandic babies as a lullaby... a little odd custom perhaps. I remember my mother singing this to me. This is one of my favourite Icelandic folk songs, and when I created the music for "I Remember You", which is about a lost child that haunts people, I suggested to director Óskar Thór Axelsson that I should make an Icelandic choir version of it and use it as a theme / credit song. He loved the idea".
'I Remember You' is based on the internationally acclaimed novel by Yrsa Sigurðardóttir, the "Queen of Icelandic Crime".
https://coldspring.bandcamp.com/album/i-remember-you-skar-th-r-axelsson-o-s-t-csr287cd
|
2021 |
€13.00 |
|
| HAMPSON, ROBERT |
Vectors |
CD |
"Robert Hampson (geb. 1965 in UK) ist Gründungsmitglied der Bands "Loop" (1985-90) und "Main" (1990 -96). Nach dem Ende der Band "Loop", konzentrierte siche Hampson im Rahmen der neuen Band "Main" darauf, den charakteristischen Sound der Gitarre für sich neu zu interpretieren und umzuformen in dem er sich im Detail mit dem Stil des Instrumentes beschäfitgte. Er kreierte so neue und abstrakte Sounds. Je mehr sich die Band "Main" entwicktelte, desto mehr lösten sie sich von dem eigentlichen Sound der Gitarre und kamen ihrem eigenen revolutionären Stil nahe. Mittlerweile komponiert und spielt Hampson unter seinen eigenen Namen. Er widmete sich nun mehr und mehr der Akusmatik, einer Weiterentwicklung von natürlichen Klängen, aufgehend in einer Kombination dieser mit synthetischen Klängen. In einer gleichberechtigen Zusammensetzung dieser, gelang es ihm völlig neue Sounds und Ideen umzusetzen.Umbra :Das Phänomen der "Umbra" - des Kernschattens, ist es was die Arbeit an diesem Stück inspirieren sollte: Geräusche die in den Schatten anderer eingefangen zu sein scheinen, die immer mehr Form annehmen, sich entfalten und materialisieren bis sie selbst einen Schatten werfen.Ahead -Only The Stars (2007) beauftragt vom Label "Vibrö" für eine Performance im Planetarium de Poitiers in 7.1. Surround Ratio.Inspiriert von dem ,Austronauts of the NASA Mercury Missions" Programm und dem wohl größten Piloten aller Zeiten: Chuck Yeager. Ihm ist dieses Stück auch gewidmet.Nach einer Einführung der überwältigenden und beeindruckenden Jets-Sounds, ist das Stück durchsetzt mit Radio-Transmissionen, die den künstlerischen Rahmen dieses Werkes bilden.Dans le Lointain (2008) - Geräusche kurzwelliger Funktöne, aufgenommen von Hampson in den frühen 80er Jahren und neulich auf einer Kassette wiederentdeckt, wurden neu auf klassische Art und Weise bearbeitet und digital neu interpretiert. Der Titel des Werkes bezieht sich auf die Distanzen, die Radiowellen fähig sind zu meistern, so aber auch soll es die Zeitspanne darstellen, beginnend mit der Aufnahme auf Kassetten Anfang der 80er bis in die jetzige Neuzeit der High Technologies."
[label info / Cargo]
www.myspace.com/roberthampson
"A long time I met Robert Hampson and talked with him about the movie '24 Hour Party People'. What I didn't knew is that Hampson and his band Loop toured with the Happy Mondays, so he shed some extra light on those scenes involving the Mondays. I was thinking of the curious career of Hampson when listening to 'Vectors'. The rock days of Loop merging into the ambience of Main to the electro acoustic of Hampson, who no longer uses the name Main anymore. I liked Loop, I truly loved Main and sometimes I found myself thinking 'what is Robert Hampson doing these days?'. Its been some years since his last Main release, but apparently his into France these days. All three pieces here were recorded for things in France, festivals, commissions of INA GRM. Indeed a curious career. Robert Hampson - serious composer. Who would have guessed? One could see it coming I guess, as the last Main releases forecasted the music on 'Vectors': computer manipulated electro-acoustic music, brought to you in the form of an audio collage. If you need to compare it with something, then the whole microsound posse comes to mind, but Roel Meelkop in particular. Hampson shares the same sensibility of creating intense audio compositions, with slow curves, occasional rapid change and a keen ear for atmospherics. Crackling, ambient, computer treatments of acoustic objects. Well crafted compositions, that never seem to leap into the doodling that some of the 'real' (what is real anyway?) acousmatic composers in this scene seem to be doing. Challenging music of the highest order. Its only a pity that there is not so much of that from Hampson. Let's hope the next one is not three years away." [FdW / Vital Weekly]
"... On Vectors, Hampson teases with repetitions of astronaut bleeps, electrical warblings, digitally vaporous static, and wisps of sound design that could build into something off of Hydra-Calm or Motion Pool, but
don't. Many folks (including some here) have been frustrated by Hampson's work after Motion Pool, and that sentiment probably won't be changed with Vectors. The three lengthy pieces on Vectors are all commissions with lofty goals of avant electronics; and two of the commissions came by way of the legendary GRM studio in France. In this context as opposed to the Loop / Main axis, Vectors turns out to be a smoldering musique concrete album with acousmatic allusions to the work of Michel Chion and Luc Ferrari." [Aquarius Records review]
|
2009 |
€15.00 |
|
| HAPSBURG BRAGANZA |
Hatchling |
CD |
"Phil Begg is a young british improviser and composer based in Newcastle. He became known in Belgium for the improvisation sessions that he was playing in every corner of the country during the summer of 2006. Armed with a few effect pedals, loopers and microphones, various objects and his mobile mono soundsystem, Phil amazed us with his intense improvisations. Whether brutal and powerful, whether quiet, flirting with some lowercase and minimal electronics influences.
Since we invited Phil to play at idioLABOAT festival in 2006 under the name of Chalfont, where he brought us his instant dives into abyssal psycho-active soundscapes and lightful envolées, we absolutely wanted to release one of his works on Idiosyncratics.
Hatchling is a slow-burning electroacoustic piece, integrating dense atmospheric collage of field recordings and concrete sound source
with highly textural drones and warm subtle harmonics. A very personal and breathtaking piece, both in the heritage of Francisco López and Charlemagne Palestine.
Artwork by Yannick Franck." [label info]
www.idiosyncratics.net
"Behind the strangely named Hapsburg Braganza we find one Phil Begg from Newcastle, who ended up on Belgiums Idiosyncratics, because 'he was playing in every corner of the country during the summer of 2006', armed with effect pedals, loopers, microphones, various objects and a mobile mono soundsystem'. I don't think I came across his name before, but the forty minute piece 'Hatchling' is indeed a very fine piece. The cover lists such instruments as Indian Harmonium, cymbals, acoustic guitar, piano, acoustic/concrete sounds and field recordings, which are specified on the cover). Somewhere there is mighty rainfall to be spotted, but otherwise the listed instruments aren't that easy to spot in this piece. The piece falls apart in three separate parts, which all flow into each other. The first part deals with electro-acoustic sounds, the second with the aforementioned water sounds and then finally a drone piece for overtones. The label calls this 'the heritage of Francisco Lopez and Charlemagne Palestine', which is quite understandable, especially when it comes to the drone piece that sounds like Palestine at his organs. The rain sounds are perhaps too obvious to be Lopez like I think. Overall, Begg does quite a fine job, and his piece, though not 'new', is one with a remarkable beauty. Moving and morphing into various genres, musique concrete, field recordings, minimalist music, this is one solid sound experience. Very nice work!" [FdW / Vital Weekly]
|
2009 |
€12.00 |
|
| HARMONIA & ENO |
Tracks and Traces |
CD |
"...Im Spätsommer 1976 lagen die Dinge allerdings anders, Neu!-Gitarrist Michael Rother verstärkt das Projekt und Brian Eno, der gerade die Arbeit an zwei stilprägenden Klassikern abgeschlossen hatte, (das eigene 'Another Green World' und 'Low' von David Bowie), war noch nicht vom World-Music-Virus infiziert, sondern voll auf einem düster, organisch, minimalistischen Ambient Sound. Was wiederum hervorragend zu Harmonia passte, die auf 'Deluxe' zwar mit echtem Schlagzeug und Gesang experimentiert hatten, in Anwesenheit Enos allerdings schnell und zielstrebig zu den vollelektronischen Tönen ihres Debüts zurückfanden. Und so entsteht ein endlos faszinierender musikalischer Fluss, eine saubere Kreuzung aus der sakralen, instrumentalen Hälfte von 'Low', den pastoralen, spacigen Elementen von 'Musik von Harmonia' und den organisch wuchernden Atmosphären von 'Another Green World'. Die Töne fließen, kreisen, pluckern, tragen den Hörer davon und sind in jeder Sekunde als ein Produkt aus dem Hause Harmonia/ Cluster/ Eno erkennbar. Zentrum ist das fünfzehnminütige 'Sometimes In Autumn', ein bedrohlich tropfendes Kraut- Stück, welches eine eiskalte Weltraumigkeit ausstrahlt und sich gemächlich dreht und windet wie ein Spiralnebel. Kontrastiert wird dieses Monster durch kürzere Tracks, in denen immer wieder wunderbare, seltsam melodiöse Kürzel auftauchen, kurz durch die Boxen wandern und wieder verschwinden.
Das Verrückte: Für einen kurzen, schönen Augenblick waren die Herren Rother, Moebius, Roedelius und Eno Kraftwerk um Längen voraus, während deren zeitgleiche Musik mit ihrer teutonischen Statik fest in den Siebzigern verwurzelt ist, könnte 'Tracks And Traces' locker als früher Proto-Techno der Marke Warp durchgehen. Aphex Twin oder Boards Of Canada beispielsweise. Exakt so gut ist dieses Album. Hätte man es 1976 auf den Markt geworfen, wäre es recht schnell zum Klassiker avanciert. So ist es zumindest eine nachträgliche Offenbahrung, remastert und gegenüber der 1997er Ryko CD Version mit drei Bonustracks und neuem Artwork versehen...." [Whiskey-Soda]
"Magische Momente entstehen einfach so. Die Musiker von HARMONIA ereilte so ein Moment völlig unerwartet im Spätsommer 1976. Zwei Alben lagen zum damaligen Zeitpunkt hinter der Band, "Musik von Harmonia" (1974) und "Deluxe" (1975). Beide Werke gelten heute als Klassiker des Krautrock und der elektronischen Musik, doch danach endeten die gemeinsamen Planungen. Bis ein gewisser BRIAN ENO auf den Plan trat. Er wusste längst über HARMONIA Bescheid, hatte sich 1974 sogar mal spontan in ein Konzert der Band eingeklinkt. Zwei Jahre später meldete sich Eno bei HARMONIA und schlug eine Zusammenarbeit vor. Er war damals gerade auf dem Weg nach Montreux, um mit David Bowie an "Low" zu arbeiten. "Mit Eno kam ein Geist mit großer Offenheit, unendlicher Spielfreude und einem enormen Fundus an Erfahrungen im Bereich populärer neuer Musik ins Spiel, und das hat offenbar die bereits verschlossene Tür öffnen können", so Roedelius. Trotzdem hat die Öffentlichkeit lange nichts von diesen Aufnahmen gehört, zum Teil deshalb, weil sie nicht für kommerzielle Zwecke bestimmt waren, zum Teil aber auch deshalb, weil die Originalbänder bei Eno lange Zeit als verschollen galten. Zum Glück hatten sich Roedelius und Rother Kopien von den Vierspurbändern gemacht. 1997 erschien aus heiterem Himmel das HARMONIA-Album "Tracks & Traces" mit Ausschnitten aus den sagenumwobenen '76er-Sessions. Roedelius hatte das in seinem Besitz befindliche Material sondiert und in einem aufwändigen technischen Prozess editieren lassen. Die Musik ist wundervoll. Forsch rauscht in "Vamos Compañeros" ein Groove in Gestalt eines sich wiederholenden Dampflok-Sounds heran. Nach dem idyllischen Abstecher "By The Riverside" geht es sogleich in eine experimentell-abstrakte Phase mit düsterem Unterton über. Man hebt den warnenden Zeigefinger: "Don't get lost on Lüneburg Heath!" Nach einem "Weird Dream" hellt sich die Stimmung wieder auf, vernimmt man wärmere, pop-ähnliche Akkorde und die von späteren Arbeiten Enos bekannte, hier jedoch von Rother gespielte Slide-Gitarre. Aber natürlich war das nicht alles. Rother hatte ja auch noch seine Kopie in der Hinterhand, die seit 1976 bei ihm im Studio lag. Eines Tages entschloss auch er sich, die darauf enthaltenen Fragmente, 27 an der Zahl, zu digitalisieren. Daraus ließe sich womöglich ein ganzes Album machen, aber man verständigte sich darauf, drei Stücke als Ergänzung für die Wiederveröffentlichung des 97er Albums zu verwenden. Mit dem Entree "Welcome" und dem anschließenden Track "Atmosphere" baut sich das Album nun langsam auf, bevor es mit "Vamos Compañeros" in der gewohnten Form wieder Fahrt aufnimmt. Am Ende verstärkt "Aubade" den Eindruck eines versöhnlichen Ausklangs. Gut Ding will bekanntlich Weile haben. Nun liegt, 33 Jahre nach Entstehung des Materials, endlich eine rundum befriedigende Version eines lange verloren geglaubten Schatzes aus der Krautrock-Ära vor. Damit dürfte nun auch ein Schlussstrich unter das Kapitel HARMONIA gezogen sein. Die Band war zwar nach Veröffentlichung des gefeierten Konzertmitschnitts "Live 1974" vor zwei Jahren wieder aktiv und hat einige umjubelte Konzerte in Berlin, Großbritannien, USA und Australien gegeben, aber Rother und Roedelius haben übereinstimmend erklärt, dass es keine Fortsetzung der Live-Auftritte geben werde... Gute Musik entsteht ungefiltert aus der Künstlerseele heraus, nicht aufgrund von wie auch immer gearteten Strategien und Gedankenspielen. Und wie man an HARMONIA & ENO '76 - "Tracks and Traces" sieht, verblasst Qualität unter diesen Umständen nicht." [press release]
www.groenland.com
|
2009 |
€13.00 |
|
| HARRIS, MICK & MARTYN BATES |
Murder Ballads (Drift) |
CD |
"Ungewöhnliche Zusammenarbeit von Mick Harris mit dem EYELESS IN GAZA-Sänger, LULL-ähnliche dark ambients treffen auf den poetisch vortragenden, hauchenden und singenden Martyn Bates, der von gruseligen Mordgeschichten erzählt... unheimlich dichte und schaurig-schöne Atmosphäre.. dies der erste Teil der Trilogie.." [old Drone Rec. info]
www.musicamaximamagnetica.com
|
1994 |
€14.00 |
|
|
Murder Ballads (Drift) |
do-LP |
For the first time on LP vinyl
Post-Isolationist - Deep Ambiance & Folksong re-emerge in this first vinyl outing of the classic 'Murder Ballads' (Drift) by M.J. Harris / Martyn Bates
Limited Textured Sleeve + Marbled Vinyls
"Leaving nothing behind but the wild birds to moan"
Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more
meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza,
& parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences.
Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.
Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.
The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects
or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.
Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes
(the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell
and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.
All the more reason to listen thoughtfully.
In 2021 - re-emerging nearly twenty years after its initial inception - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.
https://subrosalabel.bandcamp.com/album/murder-ballads-drift |
2021 |
€20.00 |
|
| |
Murder Ballads (Passages) |
do-LP |
Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.
Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.
The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.
Passages (originally released in 1997) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.
|
2022 |
€20.00 |
|
| HARTH, ALFRED 23 & WOLFGANG SEIDEL |
Five Eyes |
CD |
"Credits:
reeds, trombone, key, misc: Alfred 23 Harth
drums, percussion, misc: Wolfgang Seidel
vocals: Nicole van den Plas, Bill Shute (04),
Boris Stout (06), A23H (08)
compositions:
Alfred 23 Harth, Wolfgang Seidel-Meissner
recorded in Berlin and Seoul
produced & mastered by A23H at LaubhuetteStudio Moonsun, Korea, 2014
cover drawing: Wolf Pehlke
cover: Robert Schalinski
Thanks to Bill Shute from Kendra Steiner Editions for triggering this album.
Five Eyes Long Distance Call
Seoul und Berlin – das ist weit voneinander entfernt. Bei heutiger Musikproduktion sind geografische Entfernungen kein Hindernis. Und die beiden Komponisten von Five Eyes sind sich zugleich nah und fern, gibt es doch in unseren Biografien trotz unterschiedlicher Wege und Orte immer wieder Punkte, wo wir aus unterschiedlichen Richtungen kommend zu gleichen künstlerischen Fragestellungen gelangt sind. Alfred Harth ist in der Nähe von Frankfurt/Main geboren, wo man in der Philosophie und Kunst nach Westen, nach Frankreich und über den Atlantik blickte. Ich bin im selben Jahr in West-Berlin geboren, das damals eine mit viel Subventionen künstlich am Leben erhaltene Geisterstadt, der Hinterhof der westlichen Welt war. Für Alfred war Jazz die klangliche Verheißung, dass es etwas anderes geben muss, als das verdruckste Nachkriegsdeutschland. Für mich als Hinterhofgöre und in einer Stadt, die keine nennenswerte Jazz-Szene hatte, erfüllte Rock n’ Roll die gleiche Funktion. Für Alfred führte der Weg in die freie Improvisation, seine Gruppe Just Music verkündete Ende der 60er in einem Flyer als Konzept ein „Modell für annähernd herrschaftsfreie Kommunikation und Interaktion“ sein zu wollen. Zur selben Zeit passierte eine ähnliche Entwicklung bei denen, die von der Rockmusik her kamen. In der experimentierfreudigen Phase des Psychedelic Rock lösten sich vorgegebene Strukturen auf. Das brachte uns das erste Mal am gleichen Ort zusammen, in Conrad Schnitzlers Zodiak Free Arts Lab, wo sich für ein knappes Jahr Free Jazz, Happening und das, was später mal Krautrock genannt werden sollte, mischte. Die Sessions mit Conrad Schnitzler, die in eine langjährige Zusammenarbeit mündeten, waren meine erste Begegnung – wie es ein Flyer verkündete – mit „Total freie[r] Musik“. Schnitzler, ein Beuys-Schüler, bezeichnete sich als Intermedia-Künstler, um bewusst alle Kategorisierung und alle Begrenzung auf ein Medium zu vermeiden. Auch wenn Alfred diesen Begriff nie verwendete, würde er auf ihn passen als jemandem, der gleichermaßen in der Musik, Literatur und den visuellen Künsten unterwegs ist. Für beide war Fluxus und die Begegnung mit Künstlern wie Nam June Paik eine Weichenstellung.
Den nächsten Schritt vollzogen Alfred und ich von unterschiedlichen Ausgangspositionen in dieselbe Richtung – hin zum gesprochenen oder gesungenen Wort. Ich schloss mich einer Lehrlingstheatergruppe an, aus der dann die Band Ton Steine Scherben hervorging, die Rockmusik und radikale, auf Deutsch gesungene Texte zusammenbrachte und auf deren erster Platte auch ein Stück von Hanns Eisler zu hören ist. Mit dessen Musik und der Verbindung von Musik und Poesie jenseits des Jazz und Lyrik-Klischees beschäftigte sich auch Alfred zusammen mit Heiner Goebbels. Während die Scherben das Straßentheater bald zugunsten der Rock-Bühne hinter sich ließen, gehörten die beiden zu den Mitbegründern des Sogenannten linksradikalen Blasorchesters, das die Musik auf die Straße brachte. Der nächste Schub kam durch Punk und vor allem durch die in dessen Windschatten blühenden Experimente, die Stilmittel der musikalischen Avantgarde, Collage- und Montagetechniken mit der Energie von Rock zusammenbrachte. Für Alfred war das dann unter anderem die Band Cassiber zusammen mit Chris Cutler, Christoph Anders und Heiner Goebbels. Für mich war das in Berlin die Gruppe Populäre Mechanik, die noch als reine Gitarrenband in der Rocktradition begann und sich mehr und mehr Elektronik, als auch durch die Erweiterung mit Bläsern Jazzeinflüssen hin öffnete. Diesmal bewegte sich Alfreds und mein musikalischer Weg so weit aufeinander zu, dass es tatsächlich 1983 zu einem gemeinsamen Konzert kam.
Ein Ausschnitt aus diesem Konzert fand dann seinen Weg auf Alfreds Platte Sweet Paris, einer 1990 erschienenen Text- und Musikcollage – ein multimediales Tagebuch, in dem Alfred seinen Briefwechsel mit dem damals in Paris lebenden Maler Wolf Pehlke – er machte die 5E-Coverzeichnung - umsetzte und in das Solos, Fieldrecordings und Ausschnitte aus zahlreichen musikalischen Begegnungen einflossen. Zu Cut-up mit seiner Eröffnung neuer Zusammenhänge und zu Collage, mit der man Realität in die Komposition holen konnte, hatte Alfred vor allem auch über Literatur, über Brinkmann und Burroughs, und seine Arbeit als visueller Künstler gefunden. Die Entwicklung des Samplers machten die vorher ans Studio gebundenen, geduldigen Techniken der Musique Concrète musikalisch handhabbarer und zu einem Ausweg aus einem linearen Zeitbegriff, der sich mit seinem Versprechen einer höheren Ordnung in der Musik immer weniger durchhalten ließ.
Für mich führte der Weg von der noch von diesem Heilsversprechen angetriebenen Musik der Scherben, über die Auflösung der Zeit in psychedelischen Krautrock-Erfahrungen in die Fluxus-inspirierte Zusammenarbeit mit Conrad Schnitzler, der Ende der 1970er mehr als ein Dutzend Kassettenrecorder stapelte, mit denen er eigenes und gefundenes Material bei Konzerten mischte.
Mit Five Eyes, für die wir monatelang Tracks her- und hinschickten, auseinandernahmen und neu zusammensetzten, konnten wir den Faden wieder aufnehmen – denn nach der Session, die auf Sweet Paris dokumentiert ist, trennten sich die Wege erst einmal wieder. Für mich gab es Ende der 80er mit dem Untergang des alten Westberlins auch persönlich eine Umbruchzeit, die dazu führte, dass die Musik erst einmal weitgehend Pause machte. Als ich dann wieder anfing, aktiv zu werden, sah man sich als Musiker einer veränderten Situation gegenüber. Eine Musik, die sich mehr oder weniger gradlinig auf ein Ziel bewegt, war endgültig obsolet geworden. Die Durchsetzung von There-Is-No-Alternative als herrschender Ideologie brauchte ebenfalls eine musikalische Antwort. Dazu kommt die durch die Digitalisierung gigantisch beschleunigte Bilderflut, in deren Geflicker alle Konflikte dieser Welt gleich aussehen. Die Frage nach Gut und Böse reduziert sich da auf die Frage, welche Seite die emotionaleren Bilder liefern kann, die dann am effektivsten wirken, wenn sie an vorhandenes Ressentiment andocken können. Als dann beim Anschlag auf das World Trade Center etliche Antiimperialisten im Anblick der Katastrophe applaudierten, wurde klar, dass man noch einmal neu nachdenken muss.
Alfred zog es nach Südkorea, das in den letzen 100 Jahren von der Geschichte nicht gut behandelt wurde. Japanische Besetzung, Unterdrückung und Ausbeutung, dann der Koreakrieg, in dem das Land nur Figur auf dem Schachbrett des Konfliktes zwischen Ost und West war. Jetzt ist das Land eingezwängt zwischen dem autoritären Nordkorea und dem wirtschaftlich dominierenden Japan, das nie eine Debatte über seine gewalttätige Vergangenheit geführt hat. Ich dagegen brauchte keinen Ortswechsel vorzunehmen. In Berlin wechselte sich der Ort in rasantem Tempo selber aus – zumal aus der Sicht des Westberliners. Aus der verschlafenen Nische wurde eine Wir-sind-wieder-wer-Hauptstadt eines Landes, das ziemlich schnell an seine alten Hegemonialansprüche anzuknüpfen begann. Nach außen wie innen wurde dies zunehmend aggressiv durchgesetzt, begleitet und gefeiert von einem Kulturbetrieb, der mehr und mehr nationales Pathos produziert.
Vor ein paar Jahren kam über den inzwischen verstorbenen Conrad Schnitzler der Kontakt zwischen Alfred und mir wieder zustande. Dabei stellten wir fest, dass wir von den beiden Enden der Welt, an denen wir inzwischen gelandet waren, zu ähnlichen Überlegungen gekommen waren. Zumal die Enden der Welt sich immer ähnlicher werden. War in den 60ern ein Lied, dass man gerne sang, Break on through to the other side, ist man heute damit konfrontiert, dass es auf der anderen Seite genauso oder schlimmer aussieht. Die Propaganda für das Bestehende funktioniert heute nicht mehr durch Lügen. Man gibt alle Kritik zu, um dann darauf zu verweisen, dass alles andere schlimmer ist, was durch den tatsächlich stattfindenden Angriff der Barbarei auf das Bisschen erreichten Fortschritts eine fatale Komplizenschaft erzeugt. Wie positioniert man sich als Musiker in einer Welt, die sich gleichzeitig in zwei nur scheinbar entgegengesetzten Richtungen entwickelt? Auf der einen Seite eine fast unendliche individuelle Freiheit, die keine Emanzipation von gesellschaftlichen Zwängen ist, sondern bloßes Selbstunternehmertum in einem Dog-eats-dog-Kapitalismus. Parallel dazu entwickelt sich der Staat, den die neoliberalen Apologeten angeblich mindestens verschlanken, am liebsten aber abschaffen wollen, zu einer immer perfekteren Kontroll- und Repressionsmaschine.
Mittlerweile ist eine Generation herangewachsen, die gar keine persönliche Erinnerung mehr daran hat, dass irgendwann einmal etwas Anderes war. Dabei war das Andere nicht automatisch besser, aber allein durch seine Existenz machte es klar, dass die Beschaffenheit der Gesellschaft, in der wir leben, verhandelbar ist. „Herrschaftsfreie Musik“ ist nach wie vor eine mögliche Antwort. Wobei das nicht nur heißt, frei von einer vorgegebenen Komposition oder einer Führungsfigur zu sein. Herrschaft maskiert sich heute vor allem als Sachzwang. Dagegen steht eine Musik, in der die Musiker stets die freie Entscheidung über die Musik und ihre Weiterentwicklung haben, als eine ständige, für den Hörer nachvollziehbare Verhandlung. Die andere Antwort ist das Hereinnehmen und Rekontextualisieren von ausgewählten Klangsplittern als Spuren von Realität, Zitate, Field-Recordings, um das abstrakte Medium Musik mal assoziativ, mal verwirrend und zum Neudenken auffordernd an die umgebende Wirklichkeit anzubinden. Beides kann zu einer Entdeckungsreise werden.
Wolfgang Seidel, 23.10.2014" [credits & liner notes] |
2014 |
€15.00 |
|
| |
Malcha |
CD |
Harth/Seidel/Spera/Van Den Plas: Malcha
Format: CD
Country: Korea, Italy & Germany
Released: 01.10.2016
Tracklist
01 Gate 2 Not
02 Ceremony Behind Buddha’s Garden
03 Begum Of Oudh
04 Resilient Cup Of Crushed Diamonds
05 Send A Revolver The Night Before The
00 Interview
06 Delhi Green Mousse
Musicians
Alfred 23 Harth – ts, ss, dojirak, voice
Wolfgang Seidel – buchla music easel, prepared guitar, perc, vibes
Fabrizio Spera – dr, perc
Nicole van den Plas – voice, piano, zither, balalaika, kalimba, whistling
Credits
Compositions by Alfred Harth, Wolfgang Seidel-Meissner, Fabrizio Spera
Recorded by Wolfgang Seidel at Exrotaprint Studio, Berlin, 2015.11.13
Production, arrangement, mix & premastering by A23H at LaubhuetteStudio Moonsun, Korea
Mastering by Wolfgang Seidel at Exrotaprint Studio, Berlin, 2016
MALCHA
Berlin, November 2015. In einem Café in Mitte, in der Auguststrasse, sitzen Alfred Harth (seit 15 Jahren auch in Seoul), Fabrizio Spera (Rom), Elliott Sharp (New York) und ich – Wolfgang Seidel (Berlin). Am Abend vorher hatten Alfred, Fabrizio und Elliott ganz in der Nähe gespielt, zusammen mit Kazuhisa Uchihashi (Tokio) und Clayton Thomas (Sydney), die nun schon unterwegs waren zu ihren nächsten Konzerten. Mit beiden wäre die Runde noch globaler gewesen, was in der Improvisierten Musik allerdings nichts besonderes ist. Das grosse „I“ bei Improvisierter Musik ist Absicht. Improvisierte Musik als eigenes musikalisches Genre – so wie die Neue Musik. Improvisierte Musik als Genre, dass sich von lokalen Traditionen emanzipiert hat und in der Musiker aus aller Welt miteinander spielen. Wäre der Vorsatz „post“ nicht so inflationär an alles mögliche geklebt, würde ich diese Musik postnational nennen. Im alten West-Berlin hatte ich einen Bogen gemacht um die Jazz-Szene. Die war mir zu bürgerlich und von einem altbackenden Handwerker-Ethos mit strikten Regeln, was man denn geübt haben müsse, ehe man es sich erlauben dürfe zu improvisieren. Da passte ich mit meiner Psychedelic Rock-Sozialisation nicht hinein. Anfang der 80er, im Windschatten von Punk, wurden Genregrenzen für einige Zeit durchlässig. In diese Zeit fällt dann auch das bisher einzige gemeinsame Konzert mit Alfred und meiner damaligen Band Populäre Mechanik. Dann war erst mal wieder Pause, die erst zu Ende ging, als sich ab der Jahrtausendwende die Szene Improvisierter Musik entwickelte, die in Berlin unter dem Label Echtzeitmusik agiert.
Als einzigem "Eingeborenen" fiel mir der Part zu, zu erzählen, wie sich die Gegend in den letzten zwei Jahrzehnten verändert hat. Eingeborener stimmt auch nur halb - als Westberliner habe ich diesen im Zentrum der „Hauptstadt der DDR“ gelegenen Teil der Stadt erst 1989 kennengelernt. Da war das Scheunenviertel genannte Areal hinter dem Hackeschen Markt grau und düster von verwahrlosten Häusern mit abbröckelndem Putz und leeren Wohnungen. Mich erinnerten die Straßen an das Westberlin meiner Kindheit, als die Spuren des Krieges noch überall sichtbar und die vorherrschende Farbe grau war. Das urbane Vakuum im Scheunenviertel füllte sich nach 1989 ganz schnell mit neuem Leben. In den leeren Läden entstanden Clubs und Galerien, bis die Gentrifizierung dem fröhlichen Experimentieren ein Ende setzte. Die Fassaden sind renoviert, die Läden elegant und teuer und die Galerien bieten Dekoratives für die obere Einkommensklasse.
Ein paar tausend Kilometer weiter östlich in Korea, ist die Welt noch geteilt. Im Schatten der euphemistisch DMZ – Demilitarized Zone – benannten Grenze zwischen Nord- und Südkorea, befindet sich Alfreds LaubhuetteStudio. Es klingt idyllisch, wenn er schreibt, dass Rehe dort herumstreunen und auf Fotos von seinen Exkursionen sieht er aus wie ein Botaniker auf der Jagd nach seltenen Schmetterlingen. Irgendwie erinnert mich das auch an die trägen Sommertage im ehemaligen Westberlin, wo man im Schatten der Mauer sein Bier trank. Solche dem Verwertungsdruck entzogenen Areale scheinen auf geheimnisvolle Weise der Kreativität besonders zuträglich sein.
Nach dem Frühstücksmeeting gingen wir drei – Alfred, Fabrizio und ich – dahin, wo die Stadt nur arm und kein bisschen sexy ist – in den Stadtteil Wedding. Dessen Wandlung vom Arbeiterbezirk zum deindustrialisierten Arbeitslosenbezirk hat viel leerstehenden Gewerberaum hinterlassen. In einer dieser ehemaligen Fabriken war ich mit meinem Studio eingezogen. Zwei Stunden später konnte ich zufrieden auf den Aus-Knopf der Aufnahmeapparatur drücken. Wohin diese musikalischen „Gespräche“ ohne jede Vorgabe oder Planung letztlich führen, ist immer wieder eine Überraschung. Begonnen hatte es vor fast fünfzig Jahren mit „herrschaftsfreier Musik“ – so das Konzept von Alfreds Gruppe Just Music. Ich spielte zur selben Zeit mit dem Beuys-Schüler Conrad Schnitzler "Total freie Musik". So stand es auf einem Poster. Über Conrad Schnitzler, der leider 2012 verstarb, hatten Alfred und ich uns näher kennengelernt.
Auf dem „Total freie Musik“-Plakat stand außerdem: jeder kann mitmachen. Bei anderer Gelegenheit war das Publikum aufgefordert, Transistorradios mitzubringen und während der Performance eifrig am Sendersuchlauf zu drehen. Die Verwendung von aussermusikalischen Geräuschen und die Technik der Collage sind für Alfred und mich früh zur Arbeitsweise geworden. Unsere CD Five Eyes ist so entstanden, als Collage aus Tracks, die wir uns um den halben Erdball schickten. Und nach Beendigung unserer Trio-Session im Wedding, war das noch nicht das fertige Werk. Zurück in Korea, ergänzte Alfred noch Passagen mit seinem Sopransaxophon aus dem 70er Archiv. Hinzu kamen gefakte Field-Recordings aus Indien. Nicole van den Plas schickte Gesangs- und Instrumentalaufnahmen (Voice & Bells, 40° Celsius und If Any, drei ihrer jüngsten CDRs) die sich wunderbar in das Gewebe von Klängen, das Alfred in seiner Laubhütte schuf, einfügten. Dieses Gewebe ist so dicht, dass ich erst nach mehrmaligem Anhören entdeckte, dass auch ein Track Eingang gefunden hatte, den ich ihm schon vor längerer Zeit geschickt hatte, in dem, als Erinnerung an unsere erste Westberliner Begegnung, die Sendekennung des RIAS (Rundfunk im amerikanischen Sektor) zu hören ist. Genau das ist es, was den Spass an diesen Aufnahmen ausmacht. Man macht immer wieder noch Entdeckungen im Dickicht der Klänge.
Am Schluss wartet eine Aufgabe, um die ich mich gerne drücke. Eine Veröffentlichung muss einen Namen haben, die Tracks darauf auch. Bei Songs ist das ja einfach. Aber wir haben keine weitere Geschichte, die wir zur Musik erzählen. Bei uns ist die Musik die Geschichte. Wir machen abstrakte Musik und keine Programm- oder Illustrationsmusik. Wir denken beim Spielen an nichts ausser an die Klänge, die wir produzieren und wie diese sich mit den Sounds der Mitspieler verflechten. Conrad Schnitzler löste für sich das Problem, indem er irgendwann seine Kompositionen nur noch nummerierte. Er kam damit bis 830. Alfred löste das Problem, in dem er zunächst an unsere Café-Frühstücksrunde anknüpfte. Latte Macchiato? Nein „Malcha“. Er berichtete, dass das koreanische Getränk, mit dem man sich munter macht, Malcha heißt – ein grüner Tee, zu Pulver zerstampft und mit Bambusbesen wie Cappuchino aufgeschäumt. Da koreanische Restaurants gerade die neue Gründerwelle in Berlin sind, ist es nur eine Frage der Zeit, bis Malcha zum neuen Hipster-Getränk wird.
Damit war ein Titel für die CD gefunden. Es fehlten noch die Titel für die einzelnen Stücke. Ueber Indien war Alfred auf eine andere Bedeutung von Malcha gestossen: Malcha Mahal – ein 600 Jahre alter, verfallender Palast in Delhi. In ihm leben zwei Geschwister, ein Prinz und eine Prinzessin, isoliert von der Umwelt. Prinz Ali Raza und Prinzessin Sakina sind die letzten Nachfahren einer aus Persien stammenden Dynastie, die bis Mitte des 19. Jahrhunderts über das Königreich Oudh herrschte. Nach vergeblichem Aufstand gegen die britische Kolonialmacht wurde Oudh besetzt und die Herrscherfamilie befand sich auf der Flucht, da sie sich weder den Briten noch dem unabhängig gewordenen Indien unterwerfen wollte. Die letzte Begum von Oudh fand mit ihren Kindern schliesslich Zuflucht im Malcha Mahal, wo sie 1983 auf wahrhaft fürstliche Art Selbstmord beging. Sie trank ein Pulver aus den Splittern ihres Diamantringes. Ihre Kinder leben seitdem von der Aussenwelt isoliert im Dickicht des Malcha Mahal Parks. Das klingt nach exotischem Liebesromanstoff, in dem sich die britische Begeisterung für Spukgeschichten mit der mindestens ebenso grossen indischen Begeisterung für Geistergeschichten mischen, auf der Folie einer Reminizenz an Extremaussenseiter, die aus aristokratischem Stolz ein Leben lang in einer Gegenwelt verharren. Spätestens jetzt war unser anfänglicher Berlinausflug definitiv über andere Assoziationsebenen auf Reisen geraten.
Wolfgang Seidel, 2016.5.31
www.molokoplusrecords.de
|
2016 |
€15.00 |
|
| HARTMAN, HANNA |
Ailanthus |
CD |
Vier neue Stücke des schwedischen Geräuschmusikwunderkinds, so intensiv dynamisch und konkret & nah wie irgendwas prasseln hier bannende Klänge aus den Lautsprechern; vor allem das Quietschen, Knirschen & Knarzen der Dingwelt scheint es ihr angetan zu haben, aber auch auf menschliche & tierische vokale Aktivitäten wird ein Fokus gesetzt, wobei sich als quasi Zeitlupen-Collage ständig neuartige Kontexte ergeben. Manchmal ergeben sich ruckartige Klangmuster, die jedoch auch immer wieder aufgebrochen werden ... eine eigenartige, neuartige, aufregende Klangsprache ist das!
"Von HANNA HARTMAN, Karl-Sczuka-Preisträgerin 2005 aus Uppsala, die zuerst von BAs Radar erfasst wurde mit dem Elektron-Release ihrer Arbeiten von 2000-2002 und dann mit dem Komplott-Vorgänger Longitude/Cratere, liegt nun mit Ailanthus (escudre09) ihre Elektroakustik der Jahre 2003-2006 vor. Als erstes erklingen mit ‚Att Fälla Grova Träd Är Förknippat Med Risker‘ gleich die 8:35, die die Jury des SWR so beeindruckt hatten. Nachvollziehbar, denn ‚Das Fällen hoher Bäume ist mit Risiken verbunden‘ umknarrt und umfetzt die Ohren so plastisch, dass man wie ein aufgeschreckter Vogel zur Seite flattert. Mittendrin, statt bloß dabei, dieser Werbespruch trifft hier Punkt und Nerv. Jede reißende Faser und jeden krachenden Ast glaubt man am eigenen Körper zu spüren. ‚Wespen Vesper‘ (2005) wechselt kaum den Schauplatz, wir sind noch in Wald und Wiese, aber mehr bei Fauna statt Flora, unter summenden Insekten und ‚Schmetterlingen der Sprache‘. Fragmentarische Sprachsamples, kürzeste Haspel- und Lippenlaute, mischen sich unter muhende Kühe, größer als Elefanten, und unter geflügelte Sechsbeiner, die wie Mopeds vorbei surren. Mit der Sopranstimme, die den Schlusssegen einer Abendandacht anstimmt, erklärt sich, wortspielerisch, dann auch noch die zweite Hälfte des Titels. ‚Plåtmås‘ mischt einen herzhaften Apfelbiss, einen schrillen Falkenschrei und ungrad gebrochene Rhythmik zu prallen 3 Minuten. Die ‚Musik För Dansstycket Jag Glömmer Bort‘ entstand 2006 für eine Choreographie von Gunilla Heilborn. Simmfetzen, Apfelbiss und knarzige Percussion kehren hier wieder und fungieren wie Leitmotive, die dem Stück Struktur geben. Der noisig-perkussive Akzent ist stärker ausgeprägt, ein Hühnergackern macht komischen Effekt und überhaupt ist die vierdimensionale Plastizität der Sounds atemberaubend. Schwedische Elektroakustik wird hier ihrem Ruf als Markenartikel voll gerecht." [Bad Alchemy]
"Having developed her very own language, the Swedish sound artist Hanna Hartman creates compositions that are exclusively made up from authentic sounds which she has recorded around the world. Sounds are taken out of their original context and thus perceived in their purity. Hanna Hartman seeks to reveal hidden correspondences between the most diverse auditive impressions, and in new constellations she creates extraordinary worlds of sound. The album is built out of four shorter pieces composed during 2003-2006. Compared to the large compositions of her earlier albums this music shows another side of Hanna Hartman's work. The album opens with 'Att flla grova trd r förkippat med risker' that was commissioned by Rikskonserter and which received several prizes, first and foremost the prestigious Karl Sczuka Prize in 2005. Hanna Hartman is also working with installations and sound performances and is currently Composer in Residence at Sveriges Radio 2007-2008." [label info ]
"... Hartman is a pure concrete composer. She hardly uses electronic sound processing, but almost entirely on focussing on concrete sound collages to craft her pieces of music. All around the world she has captured sounds of human doing something. Like a fence being strummed, voices, eating, but of course also birds in the harbor. Unlike some of the older garde in the musique concrete scene, she uses repetition to quite some extent, which connects her music to the world of 'pop' music, but the actual result has nothing to do with it. No doubt many hours of editing went into these four pieces, which are very soundtrack like. Perhaps a bit of short release, but the four pieces are great. Very impressive stuff here, once again." [FdW / Vital Weekly]
www.komplott.com
|
2007 |
€15.00 |
|
| HATAKEYAMA, CHIHEI |
Minima Moralia |
CD |
Warme Ambience-Electronica aus Tokyo, halb digital halb “real” eingespielt .....
„Chihei Hatakeyama ist eine Hälfte des Duos Opitope und darüber hinaus ein umtriebiger Protagonist der fruchtbaren electro-akustik Szene von Tokio. Auf Minima Moralia werden vorsichtig fragile Computer-generierte Sounds mit organischen Klängen aus Gitarre und Vibraphon verwoben, im Laptop als ganzes geloopt und modifiziert wieder rausgeschickt. Das Zusammenspiel aus analogen Klangbildern, digitalen Prozessen und letztlich Hatakeyamaïs Sinn für Klangselektion verleihen Minima Moralia eine positive, warme Grundstimmung. Melodiestrukturen verknoten sich um sich wieder aufzulösen, abstrakte Töne flirren um wohlbekannte um sich dann wieder in bewusst gewählter Stille zu verlieren...... Chihei Hatakeyama is a member of the computer !oriented electro !acoustic duo Opitope Opitope, which is active around Tokyo. Opitope pitope organizes a performance series called adical Mute Geek Geek' in Tokyo and has played at the series with Keiichi Sugimoto (aka Four Colour Colour), TetsuroYasunaga (Cubic Music Music), Christophe Charles and others. Chihei Hatakeyama is also a member of the improvising group Copa del Papa Papa. Minima Moralia is a product of the careful placement of sound afforded by computer programming combined with the timbres of live performance. At all points Hatakeyama's directing hand is at work; in the shiver of a guitar string, the bright ring of the vibraphone, and the strategic use of silence. The naturalistic song suggest every day moments, sensations and experiences. Chihei Hatakeyama played and processed electric guitar, acoustic guitar, vibraphone and electronics and mixed and mastered. Masahiro Kobayashi played violin on tracks 4 and 6 Tomoyoshi Date contributed a few sound materials.“ [press release]
|
2006 |
€14.00 |
|
| HATERS |
Blank Banner |
CD |
“Noise as the Blank Banner of an Untitled Ideology” – drei Stücke mit typischer low-fi “destroyed music” von G.X. JUPITTER-LARSEN, wenige Kopien dieser Veröffentlichung auf dem legendären WE NEVER SLEEP – Label sind noch einmal erhältlich !
First CD of HATERS, on the legendary WNS-Label, last copies available....
|
1993 |
€13.00 |
|
| HATI |
Zero Coma Zero |
CD-R |
Wir sind schwer begeistert von diesem neuen HATI-Release in der schönen NEFRYT-Reihe. Mit einem Riesen-Arsenal and Perkussions- & Gonginstrumenten und verschiedenen Hörnern, Flöten, etc.. hat HATI hier sehr anmutigende rituell-archaische Minimalismen geschaffen, die von einer ganz besonderen Stimmung sind. 9 Stücke, im goldbedruckten Deluxe-Cover, unsere wärmste Empfehlung!
“Recorded especially for Nefryt, new studio material this fantastic duo. A lot of exotic instruments and self-constructions built at this occasion!! On a top of minimal -conterporary - ethno! Great gold - grey A5 cover. Limited & numbered to 250.” [label info]
|
2005 |
€12.00 |
|
|
Recycled Magick Drones (SOLD OUT) |
7inch |
Das polnische Duo begeistert mit kontemplativen Drones, eingespielt auf einem Arsenal an ethnischen und archaischen Instrumenten; die Klänge werden später im Studio noch weiterbearbeitet, was interessante Erweiterungens des Sounds möglich macht...
"The Polish duo HATI is a very active live group, using an array of archaic and ethnic instruments such as gongs, cymbals, north-African drums and clarinets, wooden trumpets, horns and flutes. What’s more, their music also includes found objects of scrap metal, plastic or wood. Their first release on vinyl presents two pieces of multi-layered gong drones, nicely processed for full trance effect and enriched with whistling and rattling sounds and delayed percussion. Above all these sounds, there’s a mighty overtune buzz with heavenly droning contemplation wafts. File under: archaic Trance Drones
RED VINYL, SILKSCREEN-PRINTED COVERS (TEXT & VISUAL), INLAY" [press release]
|
2007 |
€7.00 |
|
| |
Works for Scrap Metal |
CD |
Sehr schöne Edition (dickes Siebdruck-Falt-Cover, Booklet) und Verdeutlichung ihres Konzeptes "Recycled Sound Installation".
Alle erzeugten Klänge wurden auf Alltags-Schrott-Materialien (sowie daraus selbst gebauten Instrumenten) & rein akustisch aufgenommen.
Die Benutzung von "Abfall" in einer eigentlich sinnentfremdeten Art & Weise kann aus HATIs Sicht zu einer erhöhten Sensibilität & neuen Zugangsweisen für die Ästhetik der Alltagswelt führen, und somit das Bewusstsein verändern oder erweitern. Im Vordergrund stehen dabei Gruppenerfahrungen von Katharsis, die während der Konzerte stattfinden sollen (weshalb HATI auch v.a. eine live-Band sind).
"Works for Scrap Metal" beinhaltet eher ruhiges Material, HATI kitzeln dronig metallurgene & rauschende Pulses & Obertöne aus ihren Objekten, nicht nur live ist das ein Erlebnis, ein fast schon rituelles Eintauchen in die Mikrostruktur von Klang !
"New CD - includes music composed and performed on recycled instruments. Performed and recorded 'live in studio' by Rafal Iwanski and Dariusz Wojtas, Studio Eter, Torun, Poland. Track list: 1.Springs; 2.Barrels I; 3.Shakers; 4.Chaingong; 5. Barrels II; 6.Lidgong; 7.Coverchains; 8.Barrels III. Works for Scrap Metal is the intrinsic part of the project 100% Recycled Sound Installation. The booklet contains photos and 2 articles - by Rafal Iwanski and dr Darek Brzostek In the land of intonarumori ( historical outline of using recycled instruments in music on 20. century and nowadays). Texts in polish and english.The cover and the booklet are made of ecopapers = really nice edition." [label info]
"There's a really elegant economy of means about HATI's approach to music - out of quite humble, often improvised, acoustic instrumentation, they manage to create eloquent and evocative works. I'm tempted to dub what they do musica povera, after the arte povera art movement epitomized by the mixed media work of Joseph Beuys. But regardless of what you call it, HATI's music is innovative and inspired. As far as I'm aware, nobody else is doing quite what they're doing at the moment, although they have affinities with Z'EV (who's both toured and made an album with HATI) and ritual ambient acts like Terroritmo, COTA and Chaos As Shelter" [Simon Collins, JudasKissMagazine]
www.hati.info
|
2007 |
€13.00 |
|
| HAUSCHKA |
A NDO C Y |
LP |
"Limitiertes Vinyl mit Remixen von DEVENDRA BANHART und ELUVIUM. Im letzten Jahr veröffentlichte HAUSCHKA (alias Volker Bertelmann) mit ,Abandoned City" ein Album von Klavierstücken, die von vergessenen Orten inspiriert wurden, die langsam verfallen und zurück in die Natur übergehen. Das Album war prachtvoll und einzigartig bewegend - Kritiker applaudierten und HAUSCHKA unterstrich einmal mehr seinen Status als Mitglied der Elite moderner Komponisten. ,A NDO C Y" ist eine Fortsetzung der Geschichte von ,Abandoned City", erzählt über zwei Seiten. Seite A versammelt fünf Tracks aus den Sessions zu ,Abandoned City"; eine Suite aus Songs, die sich zu einem ausnehmend stimmigen Ganzen fügen. Diese Songs verarbeiten minimalistischen Techno ebenso wie moderne Komposition, was die Tracks wie gemacht für Remixe erscheinen lässt. Auf Seite B interpretiert die Folk Ikone DEVENDRA BANHART ,Agdam" von ,Abandoned City" neu - zu Fragmenten aus einzelnen Klavierbeiträgen und aufbrausenden Synthies. Im Vergleich ist die Interpretation von ,Stromness" von ELUVIUM beinahe schockierend euphorisch, während Kaskagen aus Verzerrung sich über einzelne Klaviertöne ergießen. Als Download gibt es hier noch überdies ein atemberaubendes Livealbum, das Ende 2014 in Japan aufgenommen wurde. Die 40-minütige Performance teilt sich in zwei 20-minütige Improvisationen, die sich auf Themen von ,Abandoned City" gründet.
A NDO C Y is a continuation of the Abandoned City story, told as a tale of two sides. Side A features five tracks conceived during the Abandoned City sessions, a suite of songs that together form an exceptionally resonant whole. As with Abandoned City, these songs owe as much to minimalist techno as modern composition, which makes them particularly conducive to remixes. On Side B, experimental folk icon Devendra Banhart distills Abandoned City standout, "Agdam", to barely-there, fractured clusters of solitary piano strikes and swelling synths. By comparison, Eluvium's transformation of "Stromness" sounds almost shockingly euphoric, all cascading waves of distortion washed over a plethora of plucked piano pings. Included as a special bonus download is a stunning live album recorded in Yufuin, Japan in late 2014. The 40-minute performance is split into two 20-minute improvisations built on themes from Abandoned City. It's a gorgeous glimpse of live Hauschka, a world where songs you think you know become entirely new works of art at the mercy of Bertelmann's whims.
LIMITED EDITION OF 1,000 COPIES" [label info]
www.temporaryresidence.com
|
2015 |
€20.00 |
|
| HAUSER, FRITZ |
Deep Time |
do-CD |
FRITZ HAUSER ist ein Schlagzeuger und Komponist aus Basel. Seine Komposition DEEP TIME, die viele extra hergestellte „Klangsteine“ und verschiedenste Uhren-Sounds verwendet, dient hier PAULINE OLIVEROS, DAVID GAMBER, URS LEIMGRUBER und FRITZ HAUSER selbst als Vorlage, um darüber mit accordion, saxophone, percussion und „expanded instrument system electronics“ zu improvisieren (Oktober 1994 in NYC). Zwei verschiedene Versionen sind so entstanden, in denen die Performer behutsame Impro-Drone-Tonkunst produzieren: jeder Ton, jedes Geräusch hat seinen Platz & seine Berechtigung, eine Art komplexe Reduziertheit wird hier etabliert...
„Pauline Oliveros, accordion & Expanded Instrument System; David Gamper, Expanded Instrument System electronics, misc. small instruments; Urs Leimgruber, soprano & tenor saxophones; Fritz Hauser, percussion
DEEP TIME is a tape composition commissioned in 1991 by the
Pauline Oliveros Foundation for Deep Listening Band. Fritz Hauser's tape features recordings of sounding stones (manufactured by Arthur Schneiter) and various watches and clocks (thanks to the Bucher family in Switzerland for permission to record that family clock!). The performers improvise with the tape. On October 26, 1994 Pauline Oliveros, David Gamper, Urs Leimgruber and Fritz Hauser recorded 2 versions of DEEP TIME. Both of these 32 minute recordings are included here.
Fritz Hauser is a drummer and composer from Basel, Switzerland. He has developed his sound language in varied ways. From solo concerts, in diverse ensembles, through multi-media projects (theater dance film radio) and many recordings, he has contributed to the development of the drumset from a mere timekeeper to an instrument in its own right.
Known internationally as a composer, accordionist and teacher, Pauline Oliveros's work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros' compositions have been performed worldwide.
Composer/performer David Gamper is especially concerned with music performance electronics. He received a BA in mathematics in 1967 from Bowdoin College, and returned there in 1969 to study composition with Elliott Schwartz and establish their electronic music studio. He then went on to the University of California at San Diego where he studied composition with Pauline Oliveros and Roger Reynolds and received his MA in music. Since moving to New York in 1989 he has been working primarily with Pauline Oliveros. He is director of development for the Expanded Instrument System (a project of the Pauline Oliveros Foundation) and performs and records around the world with Oliveros and as a member of Deep Listening Band.
Urs Leimgruber has been active for many years in the areas of contemporary improvisation, composition, jazz and new music. One of his earliest associations was as a member of the electric jazz/free music group 'Om' with Christy Doran, Fredy Study and Bobbi Burri, and he later formed the 'Reflexionen' quartet with Don Friedman and Bobby Burri in New York. His own projects have included 'Ensemble Bleu', 'Xylem', e_a.sonata 02 with the ARTE saxophone quartet, as well as a long association with Fritz Hauser: as a duo with the ongoing Music for saxophone and percussion; in the Leimgruber/Roidinger/Hauser trio; a trio with Joëlle Léandre; and a trio with Marilyn Crispell. More recently he formed 'quartet noir' with Marilyn Crispell, Joëlle Léandre and Fritz Hauser and a trio with Jacques Demierre and Barre Phillips.” [label description & liner notes]
|
2005 |
€16.00 |
|
| HECKER |
Live @ WDR |
MC |
Tape-Sammler aufgepasst ! Ein Radio-Mitschnitt (inklusive der Nachrichten vorher!) vom WDR vom September 2007; 45 Minuten gewohnt sperrige / ungewöhnliche Computermusik des radikalen Laptop-Noisers, unglaubliche Sounds, irgendwo scheinen Radio-Waves und Tiersounds durch (well, maybe..) , aber die Verfremdungen sind stets extrem ! Professionelles Cover.
www.tochnit-aleph.com
|
2008 |
€9.50 |
|
| HECKER, TIM |
Harmony in Ultraviolet |
CD |
Klang, schimmernd wie helles Licht! TIM HECKER ist nun auf Kranky gelandet, was seinem recht einmaligen Drone-Sound keinen Abbruch tut, im Gegenteil, HARMONY IN VIOLET erscheint uns wie der vorläufige Höhepunkt seines Schaffens: HECKER schafft es, seine digital-sphärischen Drones fast gleichzeitig wie einen monumentalen Noise-Sturm und doch höchst emotional harmonisch & zärtlich-melancholisch erklingen zu lassen....
"Hecker geht den auf seinen letzten Alben eingeschlagenen Weg weiter, baut ihn aus, erweitert ihn. Vielleicht ist "Harmony In Ultraviolet" nicht so hart wie das letzte Album "Mirages", aber Stücke wie "Chimeras" sind nicht weniger eindrucksvoll. Sie berauschen und entziehen den Hörer der Realität. Epische, weite und hocheindrucksvolle sphärische Momente brillieren da. Sie zeigen Heckers grosses Talent für Klangforschungen im Bereich der "spektralen" Musik. Überhaupt, Tim Heckers Klangkompositionen bewegen sich wie auf einem Farbspektrum: immer wieder werden neue Facetten und Färbungen abgetastet und herauspoliert. Feinfühlig, sensibel ebenso wie kalt, dunkel und zerfahren. Doch einerseits klingen die 15 neuen Stücke auf "Harmony In Ultraviolet" so bedeutungsvoll und geladen, andererseits aber so leicht zugänglich, durchschaubar... und bedeutungslos? Wie steckt man den Rahmen ab wenn man Heckers Musik beschreiben soll? Tim Hecker bewegt sich auf einem Feld von Ambient, Drone, elektronischer Musik, Noise und einem gefühlsmässigen Metal. "Harmony In Ultraviolet" ist ein Herbstalbum und erscheint genau zur richtigen Zeit. Denn zusammengefasst klingt es einfach wie der Herbstwind in all seinen Daseinsformen." [Creative-Eclipse]
"Call Canadian Tim Hecker's fourth full-length release (and first for drone-oriented American label Kranky) "ambient for bombardiers." Like onetime-tourmates Isis, Hecker's focus is on the molten core of metal—the drones, distortions, compressed crunching, and industrial noises that course underneath its notes and riffs. Not surprisingly, one of his earliest releases deconstructed and distended Van Halen's "Ain't Talking 'Bout Love" to more ambient ends. The display of WWII-era portraiture on Harmony in Ultraviolet's cover suggests a cenotaph to downed pilots (in actuality it's an anti-fascist memorial), while the overhead shot of Bologna, Italy, on the interior forebodes the imminent firebombing. Hecker's focus, though, is on the interior of that flying fortress, a blurry suite of movements rife with churns and buzzes. At these stratospheric heights, the guitar's distinct qualities are made fuzzy and uncertain via laptop and digital effects. If you melted off the pop structure from My Bloody Valentine's Loveless with some molten magma, you'd have a good idea of Hecker's sound.
Flow is maintained throughout, as Tim Hecker apparently understands that ever-tricky notion of fluid dynamics. He breaks up motifs (see "Palimpsest") with churning ebbs and digressions but keeps together the pinnacle suite, "Whitecaps of White Noise." And while Hecker has always been an adept craftsman, Harmony reveals his mastery of the idiom. Washes now feel oceanic, as epic and evocative ripples take shape out of unplumbed depths of feedback and distorted peals." [Andy Beta]
"....Harmony is, paradoxically, Hecker's most dramatic and most oceanic record. The former implies twists, arc, and carefully planned change intended to evoke specific effects; the latter suggests stasis, immersion, and a state of dreamy contemplation. Harmony manages to be both these things by surprising as it mesmerizes, with Hecker reigning in or tempering any jarring effects just enough to keep the self-obliterating sense of endless drone intact. One key is that the tension never really dissipates, varying only in degree and quality. The opening "Rainbow Blood" sets the scene with a screeching and trebly drone, like an orchestra tuning up in the darkened theater where Rebecca del Rio performed in Mulholland Drive, and for the next 48 minutes, Harmony keeps the pulse elevated..." [Mark Richardson / Pitchforkmedia]
|
2006 |
€14.50 |
|
|
Love Streams |
do-LP |
"Zwischen Noise, Ambient und Minimal: Elektronische Musik, die in keine Schublade passt.
Für die Werke des Kanadiers Tim Hecker, der als einer der wichtigsten Musiker in der E-Musik-Szene gilt, eine Schublade zu finden, gleicht einer Herausforderung. Er selbst nennt seine Ergebnisse »fake church music« oder »neo metal drone«. Tatsächlich verbinden seine Sounds an der Schnittstelle von Melodie, Dissonanz und Lärm so ziemlich alles, was - vielleicht? - nicht zusammengehört, aber dennoch gut klingt.
Mal sind das Kirchenorgeln, mal Samples von Streichern, Pianos oder elektroakustischen Komponenten, die in eine rauschend-ozeanische Klangwelt ausufern: tiefgründig, majestätisch und eine Brücke zwischen Noise, Ambient und Minimal schlagend. »Love Streams« entstand Ende 2015, nachdem sich Hecker für längere Zeit nach Los Angeles bzw. zusammen mit Johan Johanssen und Ben Frost ins isländische Greenhouse Studio zurückgezogen hatte.
Das Album ist das vielleicht ambitionierteste Werk in der mittlerweile fünfzehnjährigen Schaffenszeit Heckers sowie ein konsequente Weiterentwicklung seiner Schlüsselwerke »Radio Amor«, »Harmony In Ultraviolet« und »Virgins«, die in den Jahren ihrer Veröffentlichung sowohl von Kritikern wie auch Fans jeweils in allerlei Bestenlisten gewählt wurden." [label info]
www.4ad.com
"Ah, Tim Hecker signs to 4AD. The modern-day maestro of digital etherealism recording for a label that was once defined by the siren-song haunt from Liz Frazer's voice and Robin Guthrie's guitar, with many a 4AD act through the '80s consciously or otherwise paralleling that aesthetic. Hecker's "power ambient" luminosity and the scope of his music continue to be very much his own, and this album seems all the more baroque and exaggerated than his previous spirals of pixelated noise and dusted drone. Much of the source material for Love Streams originated with the vocals from an Icelandic choir, whose melodies were arranged by Johann Johannsson. The content of the choir's plainsong may have begun with a 15th century score, with the lyrics reversed from the original Latin and then wholly obliterated into mere phonemes of language by Hecker. So, yeah, there's voice... but a voice that utters only its connection to humanity and not any philosophical musings. That task is for Tim Hecker and Tim Hecker alone, whose romantic crescendos of manipulated, re-manipulated, and lushly re-drafted electronic smear and pointillist melody is wrapped up in the tapestry of detail and a magnificent luxury of his surface. The compositions bluster and quiver as semi-gelatinous chunks of sound, rippling with somewhat extemporaneous electro-glockenspiel melody and Icelandic vocal deconstruction, all self-aware of their shimmering beauty." [Aquarius Rec.]
|
2016 |
€27.50 |
|
|
Love Streams |
CD |
"Zwischen Noise, Ambient und Minimal: Elektronische Musik, die in keine Schublade passt.
Für die Werke des Kanadiers Tim Hecker, der als einer der wichtigsten Musiker in der E-Musik-Szene gilt, eine Schublade zu finden, gleicht einer Herausforderung. Er selbst nennt seine Ergebnisse »fake church music« oder »neo metal drone«. Tatsächlich verbinden seine Sounds an der Schnittstelle von Melodie, Dissonanz und Lärm so ziemlich alles, was - vielleicht? - nicht zusammengehört, aber dennoch gut klingt.
Mal sind das Kirchenorgeln, mal Samples von Streichern, Pianos oder elektroakustischen Komponenten, die in eine rauschend-ozeanische Klangwelt ausufern: tiefgründig, majestätisch und eine Brücke zwischen Noise, Ambient und Minimal schlagend. »Love Streams« entstand Ende 2015, nachdem sich Hecker für längere Zeit nach Los Angeles bzw. zusammen mit Johan Johanssen und Ben Frost ins isländische Greenhouse Studio zurückgezogen hatte.
Das Album ist das vielleicht ambitionierteste Werk in der mittlerweile fünfzehnjährigen Schaffenszeit Heckers sowie ein konsequente Weiterentwicklung seiner Schlüsselwerke »Radio Amor«, »Harmony In Ultraviolet« und »Virgins«, die in den Jahren ihrer Veröffentlichung sowohl von Kritikern wie auch Fans jeweils in allerlei Bestenlisten gewählt wurden." [label info]
www.4ad.com
"Ah, Tim Hecker signs to 4AD. The modern-day maestro of digital etherealism recording for a label that was once defined by the siren-song haunt from Liz Frazer's voice and Robin Guthrie's guitar, with many a 4AD act through the '80s consciously or otherwise paralleling that aesthetic. Hecker's "power ambient" luminosity and the scope of his music continue to be very much his own, and this album seems all the more baroque and exaggerated than his previous spirals of pixelated noise and dusted drone. Much of the source material for Love Streams originated with the vocals from an Icelandic choir, whose melodies were arranged by Johann Johannsson. The content of the choir's plainsong may have begun with a 15th century score, with the lyrics reversed from the original Latin and then wholly obliterated into mere phonemes of language by Hecker. So, yeah, there's voice... but a voice that utters only its connection to humanity and not any philosophical musings. That task is for Tim Hecker and Tim Hecker alone, whose romantic crescendos of manipulated, re-manipulated, and lushly re-drafted electronic smear and pointillist melody is wrapped up in the tapestry of detail and a magnificent luxury of his surface. The compositions bluster and quiver as semi-gelatinous chunks of sound, rippling with somewhat extemporaneous electro-glockenspiel melody and Icelandic vocal deconstruction, all self-aware of their shimmering beauty." [Aquarius Rec.]
|
2016 |
€13.00 |
|
| |
No Highs |
do-LP |
"The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue. Whether taken as warning or promise, No Highs delivers -- this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined. Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys. Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions \'negation\' as a muse of sorts -- the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.
https://timhecker.bandcamp.com/album/no-highs
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The veteran ambient musician pushes back at the hollowing out of the form with a burly, physically imposing release peppered with moments of gentle beauty.
Ambient music is in crisis. Passive listening is no longer an alternative or fringe idea but the model on which the entire streaming industry is built. YouTube radio stations guarantee hours of chilled-out, challenge-free audio, and albums on Spotify fade into endless loops of sound-alikes. How to preserve the tradition of thoughtfully made ambient music in a market inundated with corporate-friendly fluff, or to convince listeners of the importance of artistic vision when an AI program can churn out a perfectly good drone? On No Highs, a self-described “beacon of unease against the deluge of false positive corporate ambient,” Tim Hecker gives his answer.
The Canadian musician’s first album in four years isn’t a grouchy get-off-my-lawn statement, nor is it an abrasive audience-thinner like Vladislav Delay’s Rakka. In fact, it’s less confrontational than a lot of Hecker’s albums, even ones that don’t seem intended to be difficult, like his recent experiments in Japanese gagaku music Konoyo and Anoyo. What No Highs argues for instead is the importance of a wizard behind the curtain. The album is strongest when it makes you aware of the artist’s invisible presence, standing behind the scenes and summoning thunder and lightning at will, playing the audience like the director of a good thriller.
The most satisfying passage comes less than two and a half minutes in. “Monotony” begins with one of the many Morse code-like, single-note sequencer patterns we’ll hear throughout. Atop that, Hecker creates a wilderness of sirens and street sweepers that begin to slow and morph into grand minor chords. Then—here is the moment—Hecker introduces the magisterial growl of a church organ, blowing the track’s low end wide open with vivid color and high drama. It’s a sound he’s used many times over, and it comes across here as a personal stamp, like Shinichi Atobe’s echoing piano or GAS’s kick drum. It’s his way of saying, You are listening to a Tim Hecker album, a reminder that this stuff couldn’t be made by just anyone.
No Highs can be physically discomforting to listen to, not because it’s particularly noisy or dissonant but because it seems to consciously resist syncing with the bodily rhythms of the listener. “In Your Mind” introduces a throbbing sequencer pattern in its first few seconds, but Hecker keeps slowing it down and speeding it up, fading it in out, preventing the brain from getting a foothold. Saxophonist Colin Stetson appears throughout the album, exhibiting his usual burly, physical approach to his instrument. As he commences his endless runs on “Monotony II,” the clack of his keys clear as day, the listener might actually find themselves contracting their lungs in sympathy with his gobstopping breath control. This music is not going to align with your chakras.
WATCH
The One Song Jeff Tweedy Wishes He Wrote
But No Highs can be beautiful in passing, and its last 10 minutes are devoted to two remarkable tracks that conjure the spirit of ambient’s early years. Mewling steel guitars make “Sense Suppression” a cousin of Daniel Lanois’ work on Brian Eno’s Apollo, a ghost of a country song drifting on the wind. “Living Spa Water,” meanwhile, is based on a metallic twinkle reminiscent of Laraaji’s zither, even if Hecker undergirds it with big synth blats that that gentle soul would probably find disquieting. These two tracks nod to ambient as a tradition—a noun rather than an adjective.
For a state-of-the-genre address like this to work, the music has to present a viable alternative to whatever it’s railing against, and the physicality of Hecker’s approach allows the music greater range and freedom than if it were merely trying to set a mood. But Hecker’s primary concern here appears to be staking out a certain patch of turf rather than experimenting or expanding the possibilities of his music, and he shies away from extremes. No Highs is muted in comparison to the Gothic grandeur of Harmony in Ultraviolet, the buffeting noise of Ravedeath, 1972, the thorny ruggedness of the underloved An Imaginary Country. But Hecker’s title seems to already anticipate this criticism, and No Highs ultimately works as an example of what ambient music can be, rather than a suggestion of where it might go.
[ Daniel Bromfield / Pitchfork ]
|
2023 |
€32.50 |
|
| HEGARTY, ANTONY |
The Art of Antony: Swanlights |
BOOK + CD |
"Wunderschöne, üppige Kunst mit Songtexten im typisch künstlerischen Stil von Antony. Dieses Buch ist das ideale Geschenk für Liebhaber von Kunst und Musik. Antony Hegarty, Leadsänger der von Kritikern regelmäßig lobgepreisten Band ANTONY AND THE JOHNSONS, präsentiert hier sein erstes Kunstbuch – eine prachtvolle Kombination aus Kunst, Liedtexten und anderen Medien (Malerei, Zeichnungen, Photographie und Collage), die sich gegenseitig ergänzen und einen interessanten Kommentar zur Musik, persönlichen Mythologie und der Gender Problematik von Antony liefern. Zum Buch gesellt sich die neueste CD von Antony, „Swanlights“, die gleichzeitig regulär veröffentlich wird. Antonys Kunst war kürzlich das Thema einer eigenen Ausstellung in London. Ende des Jahres wird Antony im MOMA eine Installation/Kunstperformance vorstellen. Das Debütalbum von ANTONY AND THE JOHNSONS „I Am A Bird Now“ wurde seinerzeit von Mojo zum Album des Jahres gewählt; Antony erhielt den angesehenen Mercury Prize." [label info]
|
2010 |
€32.50 |
|
| HEIRS |
Alchera |
LP |
"... Durch die bereits angesprochene Monotonie bekommen die Lieder eine wirklich unaussprechliche Brachialität verliehen, die aber nie auszubrechen droht, wie zum Beispiel ähnlich gelagerte Bands wie Pelican oder Explosions in the Sky. Auch verzichten die HEIRS komplett auf Gesang oder orchestrale Untermalungen, und so stehen sie mit ihrem kargem und brachialem, aber dennoch wahnsinnig emotionalen Sound so ziemlich alleine da. Spiralförmig ziehen die sechs Songs den Hörer immer tiefer in ein anderes Universum, lassen ihn dann wieder fallen, geben aber durch die stets aufkommenden und zutiefst befreienden Melodiebögen eine Hoffnung preis, die man so kaum gehört haben dürfte. Die HEIRS schaffen mit ihrem Debüt "Alchera" einen Postrock-Meilenstein, der sich vom Einheitsbrei stark abhebt, spielen mit dem Hörer ihr ganz eigenes Spiel, der nach dem letzten Song, dem ambienten "Russia" in einer Trance zurück gelassen wird, die er so schnell nicht vergisst. Natürlich wird "Alchera" vielen Leuten vor den Kopf stoßen, das ist ein ganz eigenes Universum, und lässt sich mit keiner Band aus diesem Genre vergleichen. Dabei haben die hier enthaltenen 45 Minuten Musik viel mehr, als man von einer Post–Band erwarten dürfte. Ein wirklich bemerkenswertes Debüt, das nicht nur frischen Wind mit sich bringt, sondern die neuen Scheiben von MONO, PELICAN und Co ganz klar hinter sich lässt. Eine wunderschöne Aufmachung gibt es obendrauf. Alles richtig gemacht." [In-Your-Face]
"Heirs is the marriage of dark and light. The pain and hopelessness of addiction vs the elation of freedom. The name Heirs originates from an ideal of "hunting and gathering" musical ideas, and formulating these ideas into an improved version. To write music without paying some sort of tribute to the artists influencing your everyday subconsciousness is a dishonest practice. The name stands as a allegory - to be the Heirs of a musical history and to expand on this, becoming a part of history themselves. Heirs began as a solo project by Damian Coward (Maps, Love Like... Electrocution) in late 2006, founded by a importunity to create a personal sound and direction. Heirs expanded its lineup during 2008 and consists of Brent Stegeman (Whitehorse, Love Like... Electrocution) and Ian Jackson (Damn Arms) on guitars, Laura Bradfield on bass and Coward on drums.
Heirs' debut full-length "Alchera" is a 43 minute movement of oppressive instrumental power, cyclic ritualism and bleak hallucinogenic revelation. Recorded at Head Gap Studios by Neil Thomason in the heat waves of Melbourne in January 2009 and mastered by James Plotkin (Isis, Khanate, Burning Witch), the 6 pieces recorded capture the band's live volume - a blanket of sound traversing a rolling dynamic landscape. Drawing influence from Michael Gira and his Swans legacy, the sledgehammer riffs and industrial pummel of Godflesh, and continuing Stegeman's incense shrouded low-end incantations from his work with doom dealers Whitehorse, combined with Jackson's reverb-soaked noise, Alchera strips bare the needless excesses of post-rock and heavy metal in favour of something much more concise and affecting. A lurching, drugged-out specter - holding solace in one hand, and vengeance in the other. From the seething metallic buzz and bluster of the opening track "Plague Asphyx", through to the crowning low-end droning turbulence of "Russia", the recording is an archetype for an existence shrouded in confusion, joy, disappointment and addiction. Heirs are touring Nationally throughout Australia, New Zealand, Japan and Europe/UK for the rest of 2009. Dates can be found on their website - www.heirs.com.au." [label info]
www.denovali.com
|
2009 |
€18.00 |
|
| |
Fowl |
CD |
"Upon returning to Melbourne after 67 shows across Europe and Japan, Heirs commenced work on their second album, Fowl. With the baton of core song-writing being handed from drummer Damian Coward to guitarist, Brent Stegeman, Heirs turned their attention toward their electronic underbelly, honing in on the industrial vapour and blackened ambience that
permeated their debut, Alchera, distilling the underlying sense of melody with an arresting sense of dread. Fowl displays a deliberate shift towards a broader sonic palette, enabling the band to incorporate disparate inuences and approaches to create a sound that is uniquely their own.
Fowl deals with the human processing of the ornery – the filth we feed upon to entertain us, to sate our hunger, to gratify our sexual desires, to escape our reality or simply to facilitate our survival. Fowl is an exploration of the consumption of filth, the nourishment it provides and the way we excrete it back into the world, calling into question the notion of morality and its place in an increasingly faithless populace.
From wheezing blasts of industrial steam to weeping passages of gothic suspense, Fowl is a fully realised analysis of the repugnant. Its pugilistic rhythmic foundation, reverb soaked guitars, crackling electronics and deadpan dark-wave meditation create an abstract dronescape of industrial dirge and metallic ambience coalesced into an ambitious whole.
Recorded and mixed by Neil Thomason at Head Gap in June/July 2010, and produced by Brent Stegeman and Damian Coward, Fowl is a 45-minute journey inside the proverbial machine and represents a band confronting the visual and aural atrocities of the quotidian.
The VINYL VERSION comes with a fantastic design in three different colors (white with yellow, Black/Yellow - A Side / B Side, Black) in a heavy gatefold sleeves with thick printed inner sleeves and on 180g. The CD is available as a limited card pack. For fans of Swans, Controlled Bleeding, HTRK, Pelican, Godflesh & Nadja." [label info]
www.denovali.com
|
2010 |
€14.50 |
|
| HELDEN, JOHANNES |
Sketchbook |
CD |
Höchst introspektive und verhaltene erste Veröffentlichung (?) eines Schweden: angenehm warme Soundbrisen und -wellen mit manchmal konkreteren Feldaufnahmen, ein wahrer KlangHAUCH entsteht hier.
“..Based on field recordings Johannes made while traveling from Sweden to Russia via Norway, Sketchbook is a quiet, moody work of great atmosphere and devoid of all pretention. In an essay I wrote for the Digital Narcis label’s new website you will find the following statement: ‘’In my earlier days as an artist, I believed that there had to be something called ‘Kunstwille’ in German (i.e., the will to
create art) and a specific gesture (I called ‘the art gesture’ in my own terminology) to turn a given material into a work
of art. This can indeed bring about excellent results, but there is also an inherent danger in this when the will to create and the ‘art gesture’ become the masters, and artistic sensibility is lost. Nowadays I have come to distrust the ‘artness’ in art, and feel that I should do without the ‘will to create’ and the ‘art gesture’ to create art just the same way one eats, sleeps and breathes. I’m thinking of the descriptions of Kendo practice Mishima Yukio has put in some of his works: the real master has to forget the sword, the enemy, the will to kill the enemy, and the wish to be a master.’’ [press release]
|
2002 |
€14.00 |
|
| HELICE PIED |
Conduit No. 2 |
7 |
Debut-Release von HELICE PIED, nach einer Namensumwandlung aus NIXILX.NIJILX hervorgegangen. "Intelligent Drone" aus nicht-elektronischen Quellen gesponnen, die Cover-Artwork verwendet vielfältige aufeinanderbezogene Symbole und versteckte Bedeutungen... weisses Vinyl, gold-farben bemalte schwarze Cover.
"HELICE PIED is a newcomer from Athens, Greece, who had a few outstanding releases before under the nom de plume NIXILX.NIJILX, but for this very first vinyl release a new project-name was chosen. #Conduit No.2# is a perfect example of sensibly spun experimental drone, floating waves with metallic tinkling-sounds slowly approaching and disappearing again, soft white noise-swooshes circulating widely around an invisible center... sound-sources are hardly recognizable (coming from concrete sounds of churchbells and e-guitar), the atmosphere rising is one of quietness & meditation, able to transcend your mind. All words & symbols HELICE PIED uses (see inlay & cover-structure & endgroove) have a strong structural and inter-related meaning...Filed under: hologram-drones. BLACK COVERS WITH HANDPAINTED GOLDEN COCK & CHURCH BELLS ON IT"
[press release]
|
2006 |
€7.00 |
|
| HELM |
Silencer |
mini-LP |
"Luke Younger’s PAN debut Impossible Symmetry was a clear highlight of last year’s experimental crop, and with its airy blend of noise, drone and psychedelia summed up to many listeners exactly what had been missing from the scene for so long.
Now Younger is set to return with a brand new Helm 12″, and it looks to capitalize on his new found notoriety and the worldwide appreciation for his earth-shaking live performances. Silencer is a split release between PAN and Younger’s own Alter imprint, and explores markedly different territory from its predecessor, welding together collapsing acoustic drum rhythms with squealing oscillator blasts and ominous chimes." [label info]
www.pan-act.com
"Luke Younger aka Helm follows-up last year's widely acclaimed 'Impossible Symmetry' album with four tracks of eldritch electronics and cranky drums crafted in its wake. Helm's rhythmic tracks have always struck us most, so its to our dark pleasure that he's worked further on that tilt with 'Silencer', conjuring alchemical reactions between autistic, brittle-boned percussions and uncompromisingly noxious atmospheres which make most other "dark"-dwelling artists seem pseudo in comparison. Informed by a taste for the most decrepit, cruddy tone and poised with a steadfast, stare-down glower, he hoofs clods of flinty drums comparable with the recent Wolf Eyes sound against oppressive atmospheres redolent of Kevin Drumm's 'Imperial Distortion' on 'Silencer', and slowly sinks into boggy marshland ambience under the peal of sustained foghorn brass performed by John Hannon ov Liberez in 'Mirrored Palms'. Flipside, 'Bergamo' inhabits a claggy tunnel of effluent, roiling drums and marrow-freezing atmospheres, and our favourite, 'The Haze' epitomises the EP's strange sense of detachment with insectoid, mechanical percussions and field recordings diffused to a visceral yet spacious sort of para-dimensional dread. You're best seeing this EP as a companion piece to 'Impossible Symmetry', - it's just as heavy and equally frightening." [Boomkat]
|
2013 |
€16.00 |
|
|
Impasse |
LP |
"Impasse is a sideways journey into the archives of London-based artist Luke Younger, a.k.a. Helm. Conceived six years ago in the wake of a Birds of Delay tour, the album originally saw the light of day in an abridged version as a mini-CDR on the Low Point label in 2008. This remastered and expanded reissue has the two original tracks along with two others from the same sessions that remained unmixed until a couple of years ago. Impasse appears as somewhat of an anomaly in the Helm canon when viewed alongside recent live performances and his work for labels like Pan and Kye. Where other works explore the mystery inherent in everyday sounds and acoustic phenomena, Impasse is significantly brighter in tone. Consisting of four loop-based pieces, the record invokes the same fantastic worlds found in Terry Riley’s or Boyd Rice’s early ambient pieces. Picture a functional family vacation, an explorer at the apex of his endeavors, a 4:00 AM drinking session with new liquids discovered. Bright corners, euphoric angles and ecstatic drones come together for an emotionally charged high that reflects these unique moments in the human experience. The beauty of Helm lies in its implacable curiosity, the way his music observes the current state of being. Released in a limited edition with artwork by Graham Lambkin, Impasse is another sublime offering from one of the UK’s sharpest cats." [label info]
|
2014 |
€15.00 |
|
|
Olympic Mess |
do-LP |
"Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
"It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos".
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in "I Exist In A Fog" and "Outerzone 2015," where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening In Reverse" and "Fluid Cloak" offer no such relief, while the title track and "Don't Lick The Jacket" are mineral, multilayered abstractions twisting around a brittle pulse.
Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.
The album is mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP and CD. It features photography by Kim Thue and artwork by Bill Kouligas."
www.pan-act.com
|
2015 |
€27.00 |
|
| |
Axis |
LP |
"London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.
The album’s unique immediacy stems from Younger’s instinctual muse, reactivating raw methods with fresh energy. “I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes.” Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record’s bristling palette. Although half the tracks were begun pre-Covid at Hannon’s Essex studio, the rest were finished in Younger’s kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality before entrusting the album to Stefan Betke (Pole) for final mastering.
From the hellscape metronome of “Moskito” to the insectoid warzone pulse of “Repellent” to the seething orchestral undertow of “Axis,” this is music of ominous gravity and worlds in peril. But it’s the closing cut, “Tower,” which Younger calls “perhaps the most dramatic piece of music I’ve ever made.” A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. From their ashes the three-note riff slowly returns, like some astral dungeon synth exorcism, rising in a searing arc towards frenzied immolation before finally fading away in white fire and afterlife whispers."
"HELM has consistently been one of the most fascinating (projects) in British experimental music the past decade" - The Quietus Luke Younger, der unter dem Moniker HELM Alben veröffentlicht, die bereits Kult-Status genießen, hat beim Label DAIS angedockt. HELM hat bislang fünf Studioalben und drei EPs mit experimenteller Musik veröffentlicht, in denen er eine Beziehung zwischen akustischen, elektronischen und realen Klängen erforscht. Ab 2012 veröffentlichte er seine Alben beim renommierten PAN Label, darunter die von Kritikern und Fans gleichermaßen gefeierten Alben "Olympic Mess" und "Chemical Flowers". Der Londoner Industrial-Musiker Luke Younger aka HELM beschreibt die Kreation seiner neuesten Kollektion "Axis" als eine befreiende Rückkehr zu den Wurzeln: "It felt like going back to the beginning, it felt freeing." Das Ergebnis ist düster und fesselnd: Seekranke Klänge, die in einem niedrigen Raum taumeln, durchsetzt von gebrochenem Klirren, zischendem Dampf und mahlenden Spiralen aus körnigem Dunst. Lärm in seiner höchsten und fesselndsten Form, von und für den Körper ebenso wie für den Geist. Wichtige Gastbeiträge von Lucy Railton (Cello), Mark Morgan von Sightings (Gitarre), Alex Tucker (Gesang) und dem verstorbenen, legendären John Hannon (Violine) bereichern die schillernde Palette des Albums zusätzlich. Mix-Spezialist Randall Dunn verfeinerte das Material und fügte eine lebendige räumliche Qualität hinzu, bevor er das Album Stefan Betke (Pole) für das endgültige Mastering anvertraute. Vom höllischen Metronom von "Moskito" über den insektoiden Warzone-Puls von "Repellent" bis hin zum brodelnden orchestralen Unterton von "Axis" ist dies Musik von bedrohlicher Schwere und Welten in Gefahr. Aber es ist das abschließende Stück "Tower", das Younger als "perhaps the most dramatic piece of music I've ever made." bezeichnet. Ein lauernder, geschwärzter Abstieg, beschworen von Tasten, Saiten und Wurmloch-Wah, die Melodie brodelt und schwillt an, bis sie plötzlich in einem Chaos aus verzerrten Blastbeats explodiert. Aus ihrer Asche kehrt das dreistimmige Riff langsam zurück, wie ein astraler Kerker-Synthie-Exorzismus, der sich in einem brennenden Bogen zur rasenden Verbrennung steigert, bevor er schließlich in weißem Feuer und Jenseitsgeflüster vergeht.
"Mit einem an Bauhaus’ „The Sky’s Gone Out“ erinnernden Cover erscheint nach einer Reihe von Alben mit “Axis” der neue Longplayer von Helm, dem Einmannprojekt von Luke Younger, auf Dais Records. Younger bezeichnet sich auf seiner Bandcampseite als „sound artist and experimental musician“, dabei hat er eine lange und durchaus heterogene(re) musikalische Biographie (u.a. Hardcore mit The Lowest Form).
Auf „Axis“, ursprünglich vor der Pandemie konzipiert als Soundtrack für eine Tanzperformance, die dann doch nicht zustande kam, setzt Younger bewusst „primitives“ Equipment ein (“cheap FX, contact mics, noise boxes”). Hinzukommen Gastmusiker an Geige, Gitarre, Cello sowie Gesang von Alex Tucker.
Mit zerhäckselten Störtönen beginnt das das Album eröffnende „Para“, bevor melodische Passagen einsetzen. Das elektronische Gebrutzel, das sich immer wieder verdichtet, gibt dem Stück eine dissonante Unruhe. „Moskito“ mit seinem kuriosen, kargen und schleppenden Rhythmus, klingt anfangs nach Minimaltechno, dann lassen sich dissonante Streicher erahnen. “Crash” dagegen ist – dem Titel zum Trotz – ruhiger, besitzt fast schon Ambientcharakter. Hier sorgen Streicherpassagen für Momente der Melancholie. Dieses Innehalten wird mit den Zahnarztbohrersounds, die “Repellent” einleiten, beendet. Dann setzen verzerrte Beats ein. “Mole” knistert, als werde eine Verpackung geöffnet. Das ist ein dunkles Stück Geräuschmusik mit Streicherpassagen, die an einen Folk Horror-Soundtrack denken lassen. Auf dem düsteren Titeltrack hört man übereinandergeschichtete schabende und nach Sirenen klingende Sounds, die in einer Kakophonie untergehen. “Tower” schließlich ist ein im Kontext des Albums fast schon orchestraler, dramatischer Track. The rest is silence." [MG / African Paper]
|
2021 |
€23.00 |
|
| HELVACIOGLU, ERDEM |
Altered Realities |
CD |
"Meine erste Post aus Istanbul macht mich bekannt mit einem mehrfach preisgekrönten Elektroakustiker mit weltweiten Performance- und Installationserfahrungen, mit einem breiten Fächer an Sounddesigns für Film, Theater, Tanz, an Produktions- und Sessionjobs, an Auftrags-kompositionen, Kollaborationen (etwa mit Kazuya Ishigami von Neus-318) und Kompilationbeiträgen. Bei seinem Beitrag Kicking Memories zum Projekt Audio Elf beim ScoreCologne-Festival zur letzten Fußball-WM zeigte er polyglotte Fußballerinnerungen als global gemeinsamen Nenner. In seiner Performance Living in Istanbul zur Ausstellung BLUT & HONIG - Zukunft ist am Balkan (2003) operierte er u.a. mit Soundtracks populärer türkischer B-Movies und, ähnlich wie bei seinem CDDebut A Walk Through The Bazaar 2003, mit Straßenmusik und dem Alltagslärm von Istanbul, den er zusätzlich elektronisch abwandelt. Trash und Mischmasch ist das einzig ‚Folkloristische’ und ‚Balkan-spezifische’ dabei. Abwandeln, to alter, scheint Helvacioglus Leitmotiv zu sein - wo Blut [türkisch kan] war, soll Honig [türkisch bal] werden. Seinen neuen Arbeiten gab er Namen wie ‘bridge to horizon’, ‘sliding on a glacier’, ‘dreaming on a blind saddle’ oder ‘pearl border’. Sie entsprechen vollkommen dem impressionistischen, träumerischen,
eskapistischen Charakter der Klänge, die er mit einer akustischen Ovation Custom Legend 1869-Gitarre erzeugte und gleichzeitig liveelektronisch mit Multieffektprozessor, Midi foot controller und Audiomulch-Software so modulierte, dass Wohlklang betont schwerelos und frei veränderlich sich entfaltet. Der folkloristische, mehr kosmo-politische als rein orientalische Aspekt des Saitenspiels wird transferiert durch ein Hightechmorphing, das ungeniert Wohlfühlsignale ausstrahlt, Entspannung jenseits so erdenschwerer Trivialitäten wie EU-Beitrittsverhandlungen, unbewältigtem ‚Armenierproblem’ und ‚Beleidigung des Türkentums’. Ohne Scheu vor Kitschverdacht lässt Helvacioglu seine Gitarre harmonieverliebt und zart blinken und all seine virtuosen elektronischen Manipulationen scheinen das Ziel zu haben, zuckersüßen Tee zur Entspannung zu servieren und spielerisch Veränderlichkeit zu realisieren. Einfacher sagte es Ishigami: "Ich fliehe in den Klang, es ist die Flucht aus einer kleinen Welt in eine große." " [Bad Alchemy]
"Altered Realities is an album of solo acoustic guitar and live electronics. All of the compositions were recorded in real-time, directly to DAT (Digital Audio Tape) without any overdubs, mixing, editing, post-processing, or the use of previously recorded material. All of the textures were created based only on the acoustic guitar signal with no other sound source used during the recording. Within these textures, there are long sustaining single notes, beautiful shimmering chords and rhythmic clusters.
During the making of this album, Ovation Custom Legend 1869 acoustic guitar, TC Electronic Fireworx multi effects processor, Behringer FCB1010 midi foot controller and the software Audiomulch were used.
With no post-processing, no editing and no use of previously recorded material, the moment that is recorded is the moment that we hear on the cd." [label info]
www.newalbion.com
|
2006 |
€14.00 |
|
| |
Timeless Waves |
CD |
"NEW SERIES FRAMEWORK: An extension of our CONCRETE ELECTRONICS NOISE, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers.
Timeless Waves originally composed for a 47 channel / 53 speaker diffusion system running on The Morning Line, is a sonic work based on six basic human emotions. The CD is a stereo version of this multichannel work. The piece has been inspired by W. Gerrod Parrott's book "Emotions in Social Psychology" and has been commissioned by Thyssen-Bornemisza Art Contemporary (T-BA 21) for The Morning Line - an interdisciplinary art project by Matthew Ritchie, Aranda/Lasch and Arup AGU - and premiered in May 2010, when the project was exhibited at Eminonu Square in Istanbul. Sonically, Timeless Waves is based on the timbres of Togaman GuitarViol, Gibson Les Paul electric guitar, sine waves, various analog pedals and hardware fx processors. The music combines elements from genres such as electroacoustic, drone, noise, contemporary music blended with minimal melodies.
Erdem Helvacioglu was born in Bursa, Turkey in 1975. He is one of the most renowned 'contemporary electronic music' composers of his generation in Turkey. His music has been broadcast on national radios such as BBC, ABC, WDR and Radio France, among others. He has received commissions from the 2006 World Soccer Championship, TBA 21 The Morning Line, Borusan Center for Culture & Arts, Arter "Space for Art", The Association for the Art of the Harp, Novelum Contemporary Music Festival, International Istanbul Biennial(IKSV) and the world famous new music ensemble Bang on a Can-All Stars.
His sound installations have been included at museums and galleries such as 10th International Istanbul Biennial, Los Angeles Track 16, Indonesia Soemardja, Köln Museum für Angewandte Kunst, London Menier Gallery. His film music has been heard at Cannes, Sarajevo, Locarno, Seoul, Sao Paulo, and Sydney film festivals and he received the 'Best Original Soundtrack' award in the 2006 Mostramundo Film Festival. He has received prizes for his electroacoustic compositions from the Luigi Russolo, MUSICA NOVA and Insulae Electronicae
Electroacoustic Music Competitions.
Erdem Helvacioglu has collaborated with artists such as Mick Karn, Jacob Young, Elliott Sharp, Kevin Moore, Luo Chao-yun, Robert Scott Thompson, Stuart Gerber, Craig Green, Bill Walker, Nathan Larson, Nina Persson, Todd Reynolds, Kinan Azmeh, Jeffrey Roden, Ros Bandt, Stefan Ostersjo, Per Boysen, Sirin Pancaroglu and Saadet Turkoz.
Erdem Helvacioglu's music has been released on labels such as Locustmusic, New Albion, Aucourant, Quiet Design, chmafu nocords, Pozitif, Sargasso. His solo and duo albums have been included in the 'best album of the year' lists on All About Jazz, Textura, Cyclic Defrost, Blogcritics, Culture Catch, Perfect Sound Forever and Guitar Player magazines.
www.erdemhelvacioglu.com" [label info]
www.subrosa.net
|
2012 |
€13.00 |
|
| HENNIES, NICK |
Work |
CD |
"Nick Hennies makes music from work - and work into music. Simply put, work is process and one of Hennies' goals as a composer is to shape the possibilities of a given instrument as well as its sonic imprint. The result is austere, lyrical solo percussion music that focuses on resonance, natural overtones, room acoustics and slowly developing structure. As Hennies' art matures, it has become clearer and more refined, whether appearing to be finely tuned adjustments to previous approaches or something altogether unheard. Hennies now lives in Ithaca, New York, though he was based in Austin, Texas for many years, where he was a member of the Austin New Music Co-Op and played drums in doom-folk outfit The Weird Weeds. Work is Hennies' latest release and first for the revamped Quakebasket label and it consists of two pieces. The first is a ten-minute solo vibraphone piece called 'Settle,' which as it evolves, brings out electrifying resonances that evoke the early piano music of Charlemagne Palestine or even the lush dogma of Brian Eno and Michael Nyman. Hennies has famously explored the shapely vibrational properties of woodblocks, making them truly sing in a way that few Western percussionist-composers have, so it should be no surprise that his coaxing of metal lamellae, cylinders and sustain pedal would result in a panoply of interlocking and unfolding shapes. These shapes are patently the result of refined action - striking, damping, and measuring intervals - but reducing their behavior to stimulus and response oversimplifies the comely beauty that his instrument produces. The bulk of Work is made up of the forty minute 'Expenditures,' which shows a side of Hennies' compositional strategy for ensemble (something that's been emerging gradually on recent releases). His vibraphone is joined by several Austin new music regulars, including bassists Ingebrigt HŒker Flaten (The Thing, The Young Mothers, Scorch Trio) and Brent Fariss, drummer Chris Cogburn, clarinetist Jon Doyle, trombonist Steve Parker, and violinist Travis Weller, with the horns and strings also doubling on percussion in the piece's closing minutes. As Hennies puts it, 'the goal of the piece is for the musicians to play sustained tones on the same pitches as the vibraphone and then eventually to play 'work music,' where the players each come up with their own phrase to be repeated until the end of the piece. 'Though the first fifteen minutes are rooted in gently nattering repetition and the ghostly shapes that emerge from ringing sustained drones, the ensemble's whispers at first seem to follow suit before their weight vis-à-vis personality emerges rather quickly. Thus, while initially this music might seem to espouse the arid mathematics of minimalism (albeit with rare poiesis), the individualism of each player as an improviser within a surprisingly unruly collective vision emerges. The effect is something like Gunter Hampel's Galaxie Dream Band playing Terry Riley's In C. Though far from a traditional avant-garde improviser and avowedly distant from free jazz, it's entirely fair to place Hennies' piece within the pantheon of conducted/directed improvisation from such minds as Laurie Scott Baker, John Stevens, Gavin Bryars and Radu Malfatti. As Hennies said in a 2011 interview with online journal Ni Kantu, 'What I really want to do is harness my natural inclinations rather than decide to 'do' certain things, and that's why there's a wide variety of music that I've put out recently. I'm a little self conscious that I have music that doesn't sound like it was made by the same person, but I would like to think that over several years there would be a palpable connection between these things. I would like to create a body of work that gives one an example of where I was at certain points, and this is one of the biggest influences I got from John Duncan, where he says that 'all of my work is about self-discovery and trying to learn about [himself].' As singular as Work may appear, it is a fascinating outgrowth from a decade-strong book of generative themes and processes, all reflecting on a committed, physical engagement with the implements of sound production." [label info]
"Percussion player Hennies belongs currently to one of my favoured minimalist composers. His pieces are deceivingly simple and highly hypnotic. So far, I think, the pieces I heard from him where solo pieces, for such instruments as snare drum and vibraphone, but here we have two pieces, one for solo instrument and one for small ensemble. In the solo piece 'Settle' Hennies has a multi-track recording of him playing the vibraphone in his 'usual' style. Stead fast with overtones ringing through. Maybe there is some sort of post-production in this music? Like out of phase placing of the various layers? Maybe, but I doubt that. It sounds more like an exercise in controlling the instrument and various ways to play the same thing over and over. Over the course of the ten pieces the piece gradually dies out, and reaches no particular place in nowhere land.
The small ensemble piece is called 'Expenditures' and is for percussion, sine waves, clarinet, contrabass, vibraphone, trombone and violin, in which Hennies himself plays the vibraphone. This piece starts out, for a long time, to be a piece for vibraphone solo again, or so it seems, but the sine waves play very nicely along and gradually the piece seems to be falling apart - like in 'Settle', dying out - and the ensemble takes over. A very spacious piece of music then evolves - seemingly out of nowhere, seemingly going nowhere. But it keeps unfolding. One could think this was improvised rather than composed but what do I know? Maybe it's somewhere in between? The instruments bending forever, making small gestures, plucking strings, maybe with objects and all such like. It has that jazz like feel, like that recent release by The Necks, but also electro-acoustic and modern classical. It's perhaps not something I would expect from him, but it sounds no less great!" [FdW/Vital Weekly]
|
2014 |
€13.00 |
|
| HENNIX, CATHERINE CHRISTER |
Unbegrenzt |
LP |
Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.
Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.
Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.
Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.
https://blankformseditions.bandcamp.com/album/unbegrenzt
|
2020 |
€27.50 |
|
|
Solo for Tamburium |
do-LP |
The fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.
Since the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.
In 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.
Solo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
|
2023 |
€38.50 |
|
| |
Solo for Tamburium |
CD |
The fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.
Since the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.
In 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.
Solo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
|
2023 |
€16.50 |
|
| HENNIX, CATHERINE CRISTER (THE DEONTIC MIRACLE) |
Central Palace Music (from 100 Model Subjects for Hegikan Roku) |
CD |
"Central Palace Music, performed by Catherine Christer Hennix's just-intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via IMPREC. This previously unheard piece was taken from an eight day festival organized in the Spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe and Hans Isgren on sheng.
Central Palace Music is packaged in a deluxe letterpressed package and is being released at the same time as a recent recording of Hennix's new ensemble live at Issue Project Room.
"...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time..." The Quietus
Catherine Christer Hennix (1948, Stockholm) is an artist, poet, composer and philosopher with a strong interest in logic and formal music theory. She was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960's and in the 1970's she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated with on numerous occasions. She pursued studies with raga master Pandit Pran Nath and led the just intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle, the recordings of the latter are presently being released by Important Records. She was a professor of mathematics and computer science and assistant to and coauthor with A.S. Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Insitute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, drawing inspiration from the Japanese Gagaku music and the early, vocal, thirteenth-century music of Perotinus and Leoninus, for example.
In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the just intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, vol. 1, Berlin, 2011, Important Records 2012). In 2012 Henry Flynt asked Hennix for a new, expanded realization of ISE for an installation at ZKM in Karlsruhe, Germany, to be featured in his retrospective/ prospective show Henry Flynt Activities 1959 – at ZKM. In response Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4-channel computer assisted composition since 1969." [label info]
www.importantrecords.com
|
2016 |
€19.50 |
|
| HENRIKSEN, ARVE |
Strjon |
CD |
Drittes Album von ARVE HENRIKSEN für Rune Grammofon, eher bedächtig und melancholisch, eine Art ethno/world-ambient/drone-Jazz von allererster Güte !
"This is Norwegian Arve Henriksen's third full-length release on Rune Grammofon. On Strjon, Henriksen is joined by his Supersilent colleagues Ståle Storløkken and Helge Sten, who also produced the album. Strjon brings together the various sides of Henriksen, from the zen-like solo pieces of his debut album Sakuteiki to the open-ended melancholia of Chiaroscuro to the dark, brooding lyricism of Supersilent. "Strjon" is the medieval name of Arve's hometown Stryn on the west coast of Norway, referring to a streaming river or water. The nature around Stryn is fantastic and the changes between winter and summer are quite drastic, from crashing avalanches in steep mountains to calm beauty and majestic tranquility. Some of the music dates back to sketches made by a young Arve Henriksen in these surroundings, later worked on by both Arve himself and Helge Sten. Arve Henriksen is without doubt one of Norway's leading instrumentalists and a master of the trumpet, as can be heard on his previous solo albums, numerous Supersilent albums and as a side player for musicians such as Trygve Seim, Christian Wallumrød, Dhafer Youssef, David Sylvian and Frode Haltli to name only a few. As Henriken himself explains: "Most of the music comes from my own 'library' of sounds and music created during my days at Stryn. At the age of 16 I started to make sketches and recorded lots of cassettes with improvised electronic sequences, and over the years loads of tapes and discs have been added to the pile of homemade studio sketches. My idea has been to look into this material to search for a history, for moods, perhaps to understand a little bit more and maybe discover some reasons for why I play like I do." Performed by: Arve Henriksen (trumpet, voice, keyboards and electronics), Ståle Storløkken (keyboards) and Helge Sten (guitars and bow)." [label info]
www.runegrammofon.com
|
2007 |
€15.00 |
|
|
Places of Worship |
CD |
"Es kann auf viele verschiedene Weisen an den verschiedensten Orten gebetet werden. Musik kann sich überall eine Kirche errichten.
Mit "Places Of Worship" bewegt sich ARVE HENRIKSEN endgültig in die erste Reihe der Weltklassemusiker.
Der norwegische Trompeter hat seine Duftmarke über einige Jahre hinweg regelmäßig hinterlassen, nicht nur als Bläser für die stetig fordernde und langjährige Gruppe SUPERSILENT, sondern auch als Lieferant exquisiter Soloarbeit, die sich seit 2011 auf vier Soloalben erstreckt, die kürzlich als retrospektives Boxset auf Rune Grammofon erschienen.
Tief verwurzelt in der himmlischen Geologie seiner norwegischen Heimat hat sich die Musik von HENRIKSEN zu etwas Wunderschönem entwickelt, das die kosmopolitische Umwelt des 21. Jahrhunderts an natürliche Orte entführt. Auf "Places Of Worship" bewohnt HENRIKSEN beide dieser Welten und versammelt eine Serie von Tondichtungen und Stimmungsbildern, die sich um religiöse Gebäude und Ruinen ranken. //
Norwegian trumpet player Arve Henriksen has made his mark over many years, not only as the horn player with the consistently challenging and long lived group Supersilent, but also as the purveyor of exquisite and distinctive solo work. Deeply rooted in the sublime geology of his homeland, Henriksen's music has developed into something beautifully at one with natural habitats and reflecting the hybrid, cosmopolitan environments of the twenty-first century. On 'Places Of Worship' he inhabits the space between these two worlds, in a series of tone poems and mood pieces located around religious buildings and ruins." [label info]
www.runegrammofon.com
|
2013 |
€14.50 |
|
|
Places of Worship |
LP |
"Es kann auf viele verschiedene Weisen an den verschiedensten Orten gebetet werden. Musik kann sich überall eine Kirche errichten.
Mit "Places Of Worship" bewegt sich ARVE HENRIKSEN endgültig in die erste Reihe der Weltklassemusiker. Der norwegische Trompeter hat seine Duftmarke über einige Jahre hinweg regelmäßig hinterlassen, nicht nur als Bläser für die stetig fordernde und langjährige Gruppe SUPERSILENT, sondern auch als Lieferant exquisiter Soloarbeit, die sich seit 2011 auf vier Soloalben erstreckt, die kürzlich als retrospektives Boxset auf Rune Grammofon erschienen. Tief verwurzelt in der himmlischen Geologie seiner norwegischen Heimat hat sich die Musik von HENRIKSEN zu etwas Wunderschönem entwickelt, das die kosmopolitische Umwelt des 21. Jahrhunderts an natürliche Orte entführt. Auf "Places Of Worship" bewohnt HENRIKSEN beide dieser Welten und versammelt eine Serie von Tondichtungen und Stimmungsbildern, die sich um religiöse Gebäude und Ruinen ranken. //
Norwegian trumpet player Arve Henriksen has made his mark over many years, not only as the horn player with the consistently challenging and long lived group Supersilent, but also as the purveyor of exquisite and distinctive solo work. Deeply rooted in the sublime geology of his homeland, Henriksen's music has developed into something beautifully at one with natural habitats and reflecting the hybrid, cosmopolitan environments of the twenty-first century. On 'Places Of Worship' he inhabits the space between these two worlds, in a series of tone poems and mood pieces located around religious buildings and ruins." [label info]
www.runegrammofon.com
|
2013 |
€24.00 |
|
|
The Nature of Connections |
LP + CD |
"The Nature Of Connections" almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustic of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. At the same time it features some of the most melodic and seductive music he has recorded. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a special commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in "The Nature Of Connections". Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Oslo 13, JøKleBa!, Generator X, Terje Rypdal and Jon Balke.
Seit 2001 hat er eine Reihe von exquisite Soloaufnahmen aufgenommen, die elektronische Texturen, Holzbläser, ethnische Instrumente, Percussion, Keyboards und seine traurige, sehnsuchtsvolle Stimme vereinen. Die Musik von ARVE HENRIKSEN zeigt gleichzeitig die atemberaubende Schönheit der unberührten Natur und die sich stetig verändernde kosmopolitische Umwelt des postmodernen Reisenden. ,The Nature Of Connections" ist das neueste Glied in einer sich stetig weiterentwickelnden Kette. Dies ist sein erstes akustisches Album, das sich um vier großartige Streicher rankt und mit einigen seiner wärmsten und organischsten Tracks aufwartet. Aufgenommen mit Jan Erik Kongshaug in der kristallklaren Akustik des legendären Rainbow Studios in Stockholm ist ,The Nature Of Connections" Jazz mit einer engen Verbindung zur nordischen Folklore und der zeitgenössischen minimalistischen Kammermusik. Arve Henriksen - trumpet, piccolo trumpet, piano, Nils Okland - violin, Hardanger fiddle, viola d'amore, Svante Henryson - cello, Gjermund Larsen - violin, Hardanger fiddle, Mats Eilertsen - double bass, Audun Kleive - drums"
www.runegrammofon.com/artists/arve_henriksen/rcd2161-arve-henriksen-the-nature-of-connections-cd-lp/
|
2014 |
€25.00 |
|
|
Towards Language |
LP + CD |
Arve Henriksen is a major representative of a golden generation of Norwegian jazz musicians. This is his ninth solo album (eight on Rune Grammofon and one on ECM), he has also released a dozen albums as a founder member of Supersilent and appears on well over a hundred records by artists like David Sylvian, Jon Balke, Trygve Seim, Imogen Heap, Arild Andersen and many more. With "Towards Language" trumpeter Arve Henriksen is back with his trusted long time musical partners Jan Bang and Erik Honoré. Arve first collaborated with the pair on the much loved and highly praised "Chiaroscuro" (2004), Arve´s second album, and later on "Cartography" (ECM 2008) and "Places Of Worship" (2013). Also an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire.
Mit ,Towards Language" ist der Trompeter ARVE HENRIKSEN mit seinen bewährten musikalischen Partnern JAN BANG und ERIK HONORÉ zurück. ARVE kollaborierte erstmals auf dem umjubelten ,Chiaroscuro" (2004) mit den beiden, auf dem Nachfolger und später dann auf ,Cartography" (ECM, 2008) und ,Places Of Worship" (2013). Ein ebenso wichtiger Teil des Lineups ist EIVIND AARSET, der herausragende ECM-Gitarrist. ,Towards Language" ist ARVEs neuntes Album (acht auf Rune Grammofon und eines auf ECM) unter seinem eigenen Namen. Außerdem hat er mit zahlreichen Künstlern wie DAVID SYLVIAN, JON BALKE, CHRISTIAN WALLUMROD, TRYGVE SEIM und TRIO MEDIAEVAL zusammengearbeitet. ARVEs Statement zu seinem neuen Album und dessen Titel: ,With this recording, the good help and inspirational artistic contributions from EIVIND AARSET and JAN BANG at the recording session in Oslo has led to these selected tracks. Music that has a connection to ,Places Of Worship but this time recorded ,live in the studio in a chamber music like approach inspired by contemporary elements from composers like TORU TAKEMITSU and MANUEL DE FALLA, to traditional organ music, and at the end of the album bringing in a traditional ,kven (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of TRIO MEDIAEVAL."
www.runegrammofon.com/artists/arve_henriksen/rcd2192-arve-henriksen-towards-language-cd-lp/
|
2017 |
€25.00 |
|
| |
The Height of the Reeds |
LP + CD |
"The Height Of The Reeds" begann als Auftragsarbeit für die Stadt Hull, Großbritanniens Kulturhauptstadt 2017. Das von Arve Henriksen, Eivind Aarset und Jan Bang komponierte Werk feiert die langjährige Seefahrtsbeziehung zwischen Hull und Skandinavien. Ursprünglich war es der musikalische Begleiter eines Klangspaziergangs, der im April, Mai und Juni 2017 stattfand. Die Teilnehmer konnten die Musik über Kopfhörer hören, während sie die Humber Bridge überquerten. Ursprünglich nur für den April vorgesehen, erwies sich das Arrangement als so beliebt, dass es schließlich auf drei Monate verlängert wurde und stets ausverkauft war. Nur geringfügige Anpassungen wurden vorgenommen für den Übergang vom Sound Walk zum Album. Neben Henriksen, Aarset und Bang enthält die Arbeit wichtige Beiträge des Hull-Klangkünstlers Jez Riley French, der Field Recordings von der Brücke selbst liefert: den Fluss unten, das Geräusch von Motoren, das Knarren von Stahldrähten, Räder gegen Asphalt und das Lied der Schilfrohre im Wind. Der Chor und das Orchester der Opera North bieten den Solisten den nötigen musikalischen Raum, dazu lesen zwei Schauspieler und ein Kind aus übersetzten Gedichten des norwegischen Dichters Nils Christian Moe-Repstad.
The first pressing of the black edition comes with a CD.
"The Height Of The Reeds" started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset, Jan Bang and Jez riley French, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up with selling out three months, a total of 15.000 tickets. This beautifully evocative music can now be experienced through this release, where only minor adjustments have been done to justify the transition from sound walk to album. It´s an exquisite addition to the artists individual discographies, and sits perfectly well with Arve´s popular contributions with Jan Bang on "Chiaroscuro" (2004) and "Places Of Worship" (2013).
|
2018 |
€26.50 |
|
| HENRIKSSON, Ö. |
As the side-scene of reality melted, we slowly realized that the surrounding chaos of molecules and atoms no longer made sense to us |
CD |
"Neue Veröffentlichung auf dem LEIF ELGGREN-Label mit schwer zu beschreibenden blubbernden und elektronisch hin- und her schwirrenden Klängen, immer wieder tauchen aus dem Hintergrund undefinierbare Geräusche auf.. sehr mysteriös und fremdartig das ganze und angenehm zu hören.. von dem uns bisher unbekannten Ö.HENRIKSSON. File under: surreal acoustical environments !" [old Drone Rec. info]
"Extremely organic and flowing sound passages drift from one suspended perspective to the next, revealing new qualities and states to the sometimes ominous and distant sonic terrain. Its original sound design character immediately distinguishes this recording, an aural ecosystem flourishing with unknown abstract forms of life. [Anomalous Records]
label-website: www.fireworkedition.com
|
2000 |
€12.00 |
|
| HEYN, VOLKER |
Sirenes |
CD |
"Volker Heyn, 1938 geboren, ist ein >Außenseiter‹, besser: ein ›ungeliebter Insider‹, ein Avantgardist, auch und spezifisch in Sachen experimenteller Musik, jenseits der musikalischen Tendenzen seiner Generation wie »Neue Einfachheit«, »Neo-Romantik«, »Neue Komplexität« etc. 1960 verlässt er Europa und verbringt mehr als zehn Jahre in Australien. Dort schließt er sich einer reisenden Theatergruppe an, arbeitet als Clubsänger und als Hilfsarbeiter auf Nachtschicht in der metallverarbeitenden Industrie. Heyns Musik inszeniert einen akustischen Zustand, wie in einer Schachtel von Spiegeln, deren vielfache Reflexionen sich ständig ineinander fügen und sich gegenseitig zertrümmern. Es ist die Untersuchung eines klanglichen Prozesses, der als solcher unzugänglich und auf dem Papier nicht darstellbar ist. Volker Heyn interessiert sich nicht für den Klang an sich ¬ die positive akustische Geste ¬, sondern, und besonders, für die Negativform, die ›Rücktongeste‹, die Spiegelung der Reibung und die diskontinuierlichen Bewegungen. Seine Kompositionsmodelle folgen dem Nachklang ¬ dem Überhang ¬ den wir nur empfangen können, indem wir unsere Sensoren auf nahe Null begrenzen, um seiner Gewalt nicht zu unterliegen. Und das muss reichen, mehr wäre zu viel. Dann können diese restlichen Klangspuren aufgebraucht und erschöpft werden, bis hin zum kleinsten subversiven Konstrukt. Dies ist die Klangwelt, die uns gegeben ist: eine verwickelte, doch letztlich unschuldige Struktur von unendlichen makro- und mikroklanglichen Reaktionen.
###########################################
Born in 1938, Volker Heyn is an ›outsider‹, or perhaps an ›unloved insider‹, an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of »New Simplicity«, »Neo-Romanticism«, »New Complexity« and so forth. In 1960 he left Europe to spend more than ten years in Australia where he joined a travelling theatre company, made ends meet by singing in nightclubs and working the night shift in a metal works. Heyn’s music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. It investigates a process, which in itself is inaccessible and cannot be reproduced on paper. Volker Heyn is not interested in sound per se ¬ in the positive acoustic gesture ¬ but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements. His composition patterns follow the resonance ¬ the overhang ¬that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. And this must be enough, more would be too much. Then these remnants of sound will be drained and exhausted right up to the merest subversive unit. This is the soundscape that we are given: an intricate, though ultimately innocent
structure of endless macro and micro sounding reactions." [Martha Agostini]
www.edition-rz.de
|
2011 |
€17.00 |
|
| HIDEG RONCS |
A Vihar / The Storm (SOLD OUT) |
7inch |
released November 1994
"HIDEG RONCS is the voice of nature, the voice of the world stormstroke"
"The HIDEG RONCS raise from Budapest, Hungary, and possibly they are the very first real experimental 'underground'-band of this country as yet. Having existed since 1987 in various casts and developing different musical styles, they have now reached a point one could name their music as "natural noise" or "concrete, basic, pure sound". 'HIDEG RONCS' translates as 'cold wreck', but also has an ambigious meaning as 'nervous breakdown'. On their first vinyl the HIDEG RONCS play a kind of ritual music which has nothing to do with a 'gothic' feel to it, using basses, voices and nature-recording only: they go back to where the sound originates and search for the 'heart of hearing' ". [label info]
|
1994 |
€ |
|
| HIGGINS, GARY |
Seconds |
LP |
"The music business is full of funny stories -- and some of them aren't that funny at all. Take Gary Higgins. In the early 70s, he made a great record, the culmination of years of listening and playing and work. Then he went to jail for marijuana possession, a short stint, but still, the kind of crime that's almost not a crime these days. The record came out -- but without him to promote it, almost nobody heard it, until... 2005: Red Hash, Higgins' megaobscure psychedelic folk-rock masterpiece is reissued on CD, drawing all kinds of acclaim and selling thousands of copies. Shows are played, interviews are done. But how to answer the question, why haven't you made another record since then? 2009: Gary Higgins' Seconds. is here to answer the question. It's a beautiful acoustic-based record featuring careful, melancholy arrangements in the tradition set by his famous previous record -- but with a few unpredictable musical touches. Additionally, Seconds. weaves black threads of lyrical reflection into its sleeve in the shortlived Higgins tradition. His was never a hippie-dippy perspective -- back in the day, his songs featured a thoughtful, but worldweary, occasionally even paranoid perspective. And today, he opens Seconds. with the couplet 'I got demons on my back/they don't travel nice.' Gary is from the original singer-songwriter wave of rock and roll. There's no need for him to pretend that his songs are being sung from another point of view. And so Seconds. strings together moments of life, working through regrets and reflections on fallibility, the odd flashback, and a few hopes for the future over the course of seven deep songs. Whether the material has been gathered in the years since his reemergence in 2005 or over the longer stretch since the last released Higgins material, it flows with oneness. And accompanied by his fellow travellers (including a couple Red Hash players as well as his son), he's put together a bold and colorful statement of where he's at today. Seconds. ain't no Sweet Baby James, or anyone else for that matter. This is the sound of Gary Higgins, making music and digging it once again." [label info]
www.dragcity.com
|
2009 |
€15.00 |
|
| HIJOKAIDAN |
Zouroku No Kibyou (40th Anniversary Edition) |
LP |
’Zouroku no Kibyo is the first album by Hijokaidan, released in April 1982. It is a compilation of live recordings from 1981, when the extreme performances of Hijokaidan first attracted attention, and is a record of the chaotic inner energy of young people in their early 20s, influenced by rock, jazz, contemporary music, and avant-garde art, erupting outside. It was first released on the independent Osaka label Unbalance Records and came to be regarded as a historical masterpiece of independent recordings in Japan. It was later released on CD several times by "Alchemy Records," and was also released by the major Japanese label Teichiku Entertainment. An analog reissue of the album was released in 2006 by the German label Vinyl-On-Demand in the form of a double LP set. This will be the first time that the album will be reissued in its original form as a single analog disc, this time on Urashima in 2022. ‘’ JOJO Hiroshige Hijokaidan is a Japanese noise band with a turning lineup that has ranged from two members to as many as fourteen in its early days. The group is the project of guitarist Yoshiyuki ‘’JOJO’’ Hiroshige, its one constant member, who is owner of the legendary Osaka-based Alchemy Records. The ensemble began at the very end of the 70’s as a performance art-based unit whose anarchic shows would often involve destruction of venues and audio equipment, food and garbage being thrown around, and on-stage urination. As the group's lineup changed over time, their focus became less performance-based and more musically based, fine-tuning their sound into a dense wall of white noise created by each member both for live performances and for studio recordings.
Zouroku no Kibyo resting at a fascinating juncture between space-harsh progressive, impro and noise, it was years ahead of its time when it first appeared becoming one of the great holy grails of Japan noise. Creatively thrilling - filled with emotive highs and lows - it’s a crucial piece in the puzzle of Japan’s wild and wonderful history of noise music. A truly stunning, visionary expanse of texture and tonality - pushing noise practice and the very notions of language into uncharted realms, improvising with a ferocity different from that of hard rock or punk, and a chaos unlike that of free jazz.
https://urashima.bandcamp.com/album/zouroku-no-kibyou |
2022 |
€24.00 |
|
| HINSIDAN |
Nightshift |
10 |
4-track EP from this promising project, two pieces of very subtle / droney material, one remix on Side B by L'OMBRE, and one live-version of "Nightshift", this sounds like dark wave drone ambient with beats & vocals, hard to define but highly atmospheric and stunning!
"After their monumentual debut - the praised double album 'God Is In The Details / Music For Ghosts' [phisteria 2005], and hot on the heels of two limited album releases in Germany [Shapeshifter Blues on Verato Project] and US [Bleach Dye Yr Heart on Gears of Sand],
our very own animal rights avantgarde-drone-poltergeist-rockers return to phisteria, with this diverse 4-tracker that really pays hommage to the band's heritage. This limited 10'' EP of 250 copies is most likely to be a hot collectible for all eternity, we dare you to miss it!!" [label info]
"... Opening very slowly, the first piece titled "The first time we met the blues" (no worries, not any sign of Blues on this track!) builds steadily from inaudible drones to smoothing vibrant drones building a great atmosphere from early start, not too far away from British legends Zoviet France. As the first piece fades out, another swarm of drones build with the opening of following piece "Labyrinths of obsession", this time with a more abrasive approach. Soon after subtle acoustic drum-patterns penetrates to create a rhythm structure in the abstract composition. Side B of the vinyl opens with a remix of "The first time we me the blues" executed by Ant-Zen legend L'Ombre. The result is a completely different work based on repetitive downbeat rhythm textures assisted by discreet ambient melody in the background. Final piece on the album is a live recording from legendary Danish underground club "Ungdomshuset" (R.I.P.). Despite the fact that it has been recorded live the sound of the work is still nice and clean. The title-track "Nightshift" consists of vibrant drones and distant male vocals adding to the strange nocturnal atmospheres of the track. As was the case with the earlier efforts of Hinsidan the guitar plays an important role in the spheres of work, and the result again is utterly beautiful." [NM, Vital Weekly]
www.phisteria.com
|
2008 |
€12.00 |
|
| HISS |
Zahir |
CD |
Hiss is an improvisational quartet made up of one Englishman and three Norwegians with an instrumental line-up that is unremarkable enough, but with a sound that is fairly unique. Keyboardist/electronicist Pat Thomas is a veteran of the British free improv scene while guitarist Ivar Grydeland, bassist Tonny Kluften and percussionist Ingar Zach -- though the latter three are younger -- are mainstays of the Norwegian free jazz and improv cultures. The reasoning behind the Arabic-sounding track titles remains obscure. The music herein has some of the spikiness and general clamor associated with the post-SME scene in England, and leavened with allusions to contemporary electronica and even a tinge of rock-based fills. One might even be able to pick up the slightest influence of the very early Jan Garbarek groups: Grydeland sometimes brings to mind Terje Rypdal at his most extreme. Had the latter (a Norwegian saxophonist) stayed true to the aesthetic displayed in albums like Sart and Afric Pepperbird, it's just possible he might have been creating music like Hiss in 2002! For all their abstractions, the pieces hover in more of a free jazz vein than a non-idiomatic one. Though there are no solos per se; there is very much a sense of four individuals playing with less regard for the overall group sound than with creating a ruckus: a goal they reach often enough to make the album a fairly successful, noisy joyride. Listeners familiar with Company Weeks of the past, or the music produced along the Derek Bailey/Barry Guy/Evan Parker axis over the last several decades, may find nothing terribly groundbreaking here (though the title cut edges into intriguing territory). But overall it's a solid effort; very clearly recorded; that pays its own dividends.
|
2003 |
€6.00 |
|
| HISS TRACTS |
Shortwave Nights |
CD |
"180g Vinyl mit Kunstdruck und Downloadcode. 'Shortwave Nights' ist das Debüt von HISS TRACTS, einem neuen Duo aus David Bryant (GODSPEED YOU! BLACK EMPEROR, SET FIRE TO FLAMES) und Kevin Doria (GROWING, TOTAL LIFE). Die beiden trafen sich 2004 und begründeten eine musikalische Freundschaft, die in drei GROWING Alben mündete, die im The Pines Studio von Bryant in Montreal aufgenommen wurden und in mehreren Kollaborationen mit z.B. dem experimentellen Filmkünstler Karl Lemieux. Probebänder für ein Underground Film Festival in Lausanne 2008 wurden zur Basis für HISS TRACTS; David und Kevin arbeiteten zwischen 2009 und 2013 daran, doch vieles von der Magie der ersten Versionen ist noch immer greifbar. Kevin und David sind instrumentale Musiker von ungewöhnlicher Tiefe und Intensität. HISS TRACTS eröffnet neue kollaborative und erzählerische Pfade, um die beiden Musiker die Soundlandschaft von Komposition und Produktion erforschen zu lassen. Beide sind Gitarristen und die E-Gitarre erscheint als Quelle von 'Shortwave Nights', doch die Fülle an zusätzlichen analogen Quellen und Signalen stellt sicher, dass dieser Sound hier nicht mit gitarrenbasiertem Drone, Noise oder Postrock verwechselt wird. 'Shortwave Night' setzt sich über solch engmaschigen Genrebegriffe hinweg und lässt sich ebenso wenig in die vorherrschenden Subgenres einordnen. Wenn Drone jedoch der Orientierungspunkt ist, dann liegt das sicherlich an dem Mix, der die einzelnen Elemente zu einer Wall of Sound in Stereo vereint. Dies ist keine Elektro-Platte und 'Shortwave Nights' begibt sich auch nicht in die Welt von Ambient oder Wave, vielmehr lässt sich der Sound hier im breiten Abstammungsfeld von Post-Industrial und Musique Concrète verorten. //
Shortwave Nights is the debut album by Hiss Tracts, a new duo featuring David Bryant (Godspeed You! Black Emperor, Set Fire To Flames) and Kevin Doria (Growing, Total Life). The two met in 2004 and struck up a musical friendship that led to three Growing records being made at The Pines (Bryant's recording studio in Montreal) and a separate collaboration between the two, initially in conjunction with experimental filmmaker Karl Lemieux (also GY!BE's current 16mm auteur/projectionist). Rehearsal tapes from a set of sessions for a Lausanne Underground Film Festival performance in 2008 became the foundation and starting point for Hiss Tracts; David and Kevin continued working throughout 2009-2013, but much of the material from their earliest session is still present, in one state or another, within the tracks on this debut album.
The sonic preoccupations of Bryant and Doria are well-known and well-documented across many highly acclaimed recordings over the past fifteen years, from the organic, group-based, semi-improvised collage albums of Set Fire To Flames to the glimmering, immersive minimalism of Growing and the more maximalist full-spectrum noise works of Total Life. David and Kevin are instrumental music practitioners of uncommon depth and intensity; Hiss Tracts opens new collaborative, procedural and narrative pathways for these fine musicians to continue exploring soundscape-based composition and production. Both are guitar players, and the electric guitar figures as both recognizable and unrecognizable source instrument on Shortwave Nights, but the deployment of a wide range of additional analog sources and signals ensures that there is no confusing this for a guitar-based drone, noise or post-rock record.
Shortwave Nights defies categorization by terms like "drone" or "ambient" and it does not easily slip into any of the predominant subgenres that have proliferated around studio-based soundscape work in recent years. Insofar as drone is a touchstone, this has mostly to do with the approach to mixing, which tends towards a transcendent/trance-inducing integration of elements into a unified, saturated, wall-of-sound stereo field. The album contains no beats or programming and very little that is identifiably loop-based or overtly sampled and sampler-driven. Occasional deployments of digital signal processing remain firmly in the service of Hiss Tract's overriding framework and commitment to analog sources and human instrumentation. This is not an electronic record, nor does it sit comfortably at either the pastoral or spooky/sinister poles of any ambient or 'whatever'-wave spectrum; it can perhaps best be placed within the broad lineages of post-industrial and musique concrète.
Meditative and visceral, humming with the electromagnetic atmosphere through which all manner of frequencies, transmissions and surveillances pass and collide, Shortwave Nights strikes an evocative balance between sonics captured-channeled-harnessed vs. composed-sculpted-performed, with an almost documentary rigour and restraint that nonetheless remains profoundly charged and engaged. Constellation is thrilled to introduce this new project with a brilliant debut album that has heavily infiltrated our brains and bloodstreams since Bryant and Doria first played us the nearly-finished recordings in the fall of 2013. Thanks for listening.
Release date: 13 May 2014
Running time: 44:28
Packaging notes
CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, pull-out art poster and download code for 320 kbps MP3 copy of the album." [label info]
www.cstrecords.com
|
2014 |
€14.50 |
|
| HOARFROST & INNER VISION LABORATORY |
Decline |
CD |
"Both Hoarfrost and Inner Vision Laboratory are young projects, but it would be an understatement to call them 'newcomers.' Each of them has already released debut albums alongside numerous split releases, collaborations, web extended plays and compilation tracks. Thanks to them they gathered a substantial following among experimental music listeners.
It was just a question of time when the men behind the projects would collaborate on a release. The result is 'Decline' – a tale of descending into the pits of madness in 8 parts. Inspired by two poems, 'Madman' and 'Modern Icarus,' takes you on a journey into the realms of dark thoughts. With such a clear concept, it's no wonder that the music is cinematic, thus slowly building images in the listener's head. Face the stillness, but remember: something is lingering in the corner." [label info]
www.zoharum.com
|
2010 |
€12.00 |
|
| HODELL, AKE & DAVID GRUBBS |
Igevär / Yellow Sky |
LP |
Rare Scheibe mit zwei unveröffentlichten Stücken des legendären schwedischen Sound-Poetikers AKE HODELL (unglaubliche Stimmen-Drones, von 1963 und 1965, extrem!), dazu hat HODELL-Fan DAVID GRUBBS eine theatralisches Hörspiel-artiges Stück komponiert! Weisses Vinyl, Klappcover, ausführliche liner notes.
"The first release by Kning Disk is a 12 vinyl, consisting of two legendary works (one previously unreleased) by Swedish text-sound pioneer Ake Hodell; Igevr (1965) and General Bussig (1963), coupled with a specially composed piece by the north American pop-experimental musician David Grubbs; Yellow Sky (2004). The cover is created by Swedish artist Elis E. Eriksson." [label info]
|
2004 |
€20.00 |
|
| HODGKINSON, TIM |
Pragma |
CD |
"Wer sich für experimentellen Rock interessiert, der sollte den sympathischen Engländer Tim Hodgkinson kennen, ist er doch schon seit den späten sechziger Jahren aktiv. Einst bei den vielgelobten Henry Cow mit von der Partie, machte Tim in den Achtzigern und Neunzigern mit Bands wie The Work (immer unterschätzt, doch eine grandiose Gruppe!) oder Momes oder mit dem Jazz-Core-Projekt Godd (den englischen) weiter. Nebenher bringt der Saxofonist und Komponist auch immer wieder Platten unter dem eigenen Namen heraus. "Pragma" schöpft sowohl aus seiner Erfahrung als Improvisationsmusiker als auch aus seinem Interesse für zeitgenösische Klassik. Wir hören sechs durchaus strenge (nicht anstrengende) Kompositionen für "taped voices" ("SHHH") oder für "Klarinette, E-Gitarre, Brass Instruments und Percussion" ("Repulsion"). Bizarr und wie immer bei Hodgkinson, nicht ohne Humor." [Łeeson]
" Tim is best known as a founding member of the legendary avant rock group Henry Cow [1968-1978]. Pragma is an intense fusion of contemporary classical music and rock energy. There are six substantial compositions focusing on horns, violins, percussion, voices, & small orchestral ensembles." Includes: "SHHH" (for taped voices, including fragments of Ana-Maria Avram's 'Archae'); "For Looking Inside" (for 3 prepared violas) & 4 others." [label info]
www.rermegacorp.com
|
1998 |
€14.00 |
|
| HODGKINSON, TIM & MILO FINE |
Teshuvah |
CD |
"TWO BLOKES FINDING SOUND IN THE MIDST OF
A Sort of Macrocosm
Insufferable and absurd. But, what else to expect? Because we are (imagine ourselves to be?) sentient, or rather, due to the manner in which western "civilization", an infectious disease which has managed to inculcate almost every indigenous culture on the planet, has manifested this sentience, we are an utterly disingenuous species. Our actions, in one way or another, are, for the most part (exclusively?) unintentional manifestations of what lurks beneath; unacknowledged, suppressed, repressed, willfully unknown. Our behavioral watchwords? Rationalization and justification. Why? Well, fear of course, Knowing we will cease to exist, or, perhaps more accurately, lacking the ability to fathom the eternal (or what we imagine it to be), we turn to so-called power, material wealth, fame and the like as pathetically meagre compensation. Now, there are those who would, in the current lexicon, argue that "it's all good", which is nothing but a rephrasing of essential tenets found in any number of belief systems/philosophies. And while there is no doubt that truly existing in the eternity of every moment, to treat what we generally separate into "good" or "bad"/ "positive" or "negative", as nothing but unified energy of which we are simply a part -- to, in other words, maintain a sense of calm and "being" regardless of life's circumstances -- would likely be ideal, or close to it. But, given the essence of humanity's overall conditioning and wiring, this state is, sadly, more or less impossible to attain, never mind sustain. Not to say that it isn't worth considering and attempting. But, in the meantime, let's drop the pretense; the state of the world -- inner and outer -- makes it clear that it is not all good, and to excuse our behavior is to propagate the missteps that personify humanity.
Certainly A Microcosm
Social gatherings are all, to one degree or another, insufferable and absurd. Fraught with rampant hidden agendas and their manifestations -- positioning (hierarchal maneuvering) and networking (careerism) -- and underscored by insecurity and thinly veiled desperation (a bit thicker for those with truly sociopathic tendencies), how could they be otherwise? And, having such a gathering in the name of "art" only compounds the unbearableness, because the meaningful realization of the creative impulse should have at least something to do with transcendence. Not "transcendence" as a marketing tool or an image mongering label, but transcendence. So, when a local academy hosted yet another insular affair -- in this case, a "festival of electronic music and arts" -- wherein the invitees ranged from graduate students to out-of-town guests (underwritten by their own academies to come and display their wares; that is to say, add yet another line to their curriculum vitaes), the resultant lack of transcendence can hardly come as a surprise. And, indeed, just on the surface, there's abundant evidence as to how brilliantly this event works at cross purposes. First, it's centered around technology, which, these days, as one knows, means lap top gimmickry (and slow downloads). Second, there's a preponderance of hackneyed and merciless expropriation of indigenous musics, a clear sign of wrong-headed political correctness. Third, as part of ever elusive "audience development", there is much pandering to rock/pop influences. Fourth, the programming style is all pastiche -- a little of this, a little of that -- catering to short attention spans. (And, do I need to mention how the curator and others high in the food chain, get to present their work in the better, more prestigious venues? I thought not.) In all, it's fascinating how an event so concerned with creativity is, for the most part, so utterly bereft of same.
Tim and I first met when he came to town with Konk Pack (a trio which also includes Roger Turner and Thomas Lehn) in the fall of 2007. In addition to playing a duo set with Roger that evening, I had served as a middle man of sorts in setting up the gig, which, due to the curator dropping the ball vis a vis communications, almost didn't happen. (And, even when it did, the evening itself was filled with an assortment of additional miscues, which Tim -- the group's de facto "tour manger " -- and I handled well, and, perhaps more importantly, with good humor.) Tim and I didn't talk a lot that evening or at brunch the next day, but, as evidenced by our on-the-spot problem solving and the exchanges we did have, there was an obvious overlapping of sensibilities and interests. Evidently, Tim thought so too. I was, however, surprised and amused when Tim let me know he was returning to participate in this, as we say in the states, "dog and pony" show (i.e., an empty showcase). (That he was a member of an ensemble not playing his music -- a hired hand, so to speak -- mitigated my surprise.) In his e-mail he expressed an interest in finding some time to hang out amongst the rehearsals and performances. I countered by suggesting we get together to play. So, we elected to attempt both, but, naturally, given logistical concerns (schedules and transportation) the path to something simple was replete with small stumbling blocks. Enter filmmaker/videographer Mike Yaeger. Part of my unexpected and last minute middle man duties on Tim's previous visit was to find accommodations for Konk Pack. For several reasons, three people would have been a bit much at my place. Particularly in the light of Roger having opened his home to me for several days in 2003 while I was in England, his staying with me was a foregone conclusion. Fortunately, in an inspired moment, I remembered Mike had a long standing admiration for Tim's work. So, I contacted him about the possibility of Tim and Thomas spending the night at his house. Having met and had quite a long conversation with Tim the preceding year, Mike was delighted. This time around (late winter 2008), Tim had already alerted Mike to his return, but Mike was unaware that I had suggested our getting together to play. This prospect was especially exciting for him, because, in addition to his abiding respect for Tim's music, Mike has expressed a deep appreciation for my work as evidenced by his recurring bursts of support. (That a virodha bhakti -- devotion by defiance -- undercurrent informs our relationship is not surprising, as it is a recurring theme in my interpersonal dynamics.) He was, therefore, very keen on videotaping our session. And, because the audio on his camera is of mediocre quality, he suggested, no, almost insisted that I record it with my DAT equipment (consisting of a recorder, mixer and four microphones). I, on the other hand, just wanted to keep things simple and make some music. But, Mike, in his unbridled enthusiasm, can be extremely persuasive, and so we compromised. I'd record it, but with a basic stereo mike set-up.
Looking at the festival schedule, I noted the first day I was available to hear Tim, and made tentative arrangements to meet and go out with him and Mike. But that, of course, entailed the concerted effort of entering a domain that, despite my efforts to place occurrences in a broader context, nonetheless so irritates my nerve endings. Thus, with as much of an accepting attitude as I could muster, and keeping open the option that there just might, might be something of interest to hear (which, as it turns out there was, but just barely), I entered the venue where Tim would be playing and, once inside the performing space proper, immediately detected the pervasive stench of heightened self-importance and the politics of music as, first and foremost, a career path. A sort of existential nausea washed over me. With a demeanor of subtle defiance, I found a place to sit as some vacant post-modern design-form morphed on the stage's screen. Within moments, I spotted an enthralled Mike, who, for all his perspicacious opinions concerning artistic endeavor, can, in certain circumstances, be quite a, shall we say, forgiving listener; and Viv Corringham, one of my regular collaborators, whom I mercilessly (and, if I may be so bold, justifiably) tease for regularly showing up at these sorts of affairs. (However, as she actually participated in this event the previous year, her presence was de rigueur. Moreover, given that Viv has a genuine arts degree, one readily recognizes the force of habit extending from a good indoctrination, er, education.) During breaks between pieces, and almost trembling with displeasure, I asked Mike when we could get out of there, phrasing it along the lines of, "When the fuck can we get out of here and get something to eat?". He seemed perplexed and annoyed, to the point where, a bit later, and subsequent to Tim and I having warmly reestablished contact, Mike indicated he wouldn't be able to give Tim a ride to the session on Saturday, because he didn't want to miss any of the concerts (and, additionally, would have his young daughter, Alice, in tow). With no other viable options, I said I'd fetch Tim and get him back afterwards. Slight tensions aside, the four of us decided to get together for a meal prior to to Tim's next appearance that evening. The dinner at a small Indian restaurant was lovely; the usual push-pull banter amongst new and old comrades (Viv having known Tim for quite some time). Naturally, a fair portion of the conversation centered around the event at hand. And while Mike would have loved to find an ally in Tim concerning positive aspects of the festival, Tim was having none of it, and even went so far as to regale us with some wonderful and revealing behind-the-scenes stories. As the evening went on, Mike, in particular, was concerned about getting to the next venue in time to get a seat. I was, of course, in no great hurry, never imagining, in the light of the afternoon event's modest audience, that the place would be filled to capacity. Much to my chagrin, however, that was indeed the case, perhaps in part because it was a smaller venue. (Despite his being a performer in the evening's second half, even Tim wasn't allowed entrance.) Thankfully, my companions forgave me for filibustering at the restaurant. And, as we were in good spirits, and the ushers a good audience for our persiflage, we enjoyed our time in the lobby. Expectedly, some people left during the interval, so there were more seats to be had. I stayed to hear Tim, and then beat a hasty retreat.
Encounter
Saturday. Mike bringing Tim after all. Cart the smaller drum kit upstairs. Set it up. Open the piano. Assemble the clarinet. Set up the recording equipment. And, naturally, wait. Chronicling via cell phone: delayed rehearsals, concerts predictably running late, the convolutions surrounding their finding a place for a quick meal before arriving, and Mike's ongoing "negotiations" with Alice. Having a sense as to when Tim had to be back "on the job", I started thinking we'd have no time to play at all. Another call, they're almost here. Arrival. Mike and Tim set up their equipment, and, given the time constraints, we eschew a sound check. Then, without a word, the music starts. Now, if I may back up a moment. Previous to his hearing me play clarinets with Roger the year before, Tim knew fuck-all about my music. And my exposure to his work was limited; the early progressive/art rock, the raucous, improvised environs of Konk Pack (which didn't involve much woodwind playing), and the frugal bursts characterizing his contributions to the festival. So my expectations (like assumptions, a tricky business) were of a spare, lyrically-tinged aesthetic, perhaps informed by some "noisy" eruptions. But, when Tim put his horn to his mouth, it was all technically sharp, inventive fire. And I was delighted, as much for the music that was there, that moment, and to come, as for the fact that my expectations had been wonderfully circumvented. Improvisation. My lifework.
Acknowledgments
Mike, thanks very much for all your help, and, particularly for suggesting, er, insisting that I record the session.
(And, thank you to Kevin Cosgrove, whose serendipitous mentioning the word "renunciant" in a conversation just after my having essentially finished these notes, brought the track titles into focus.)
-- © milo fine (july 2008) " [label info / credits]
www.rossbin.com
" 'Teshuvah' reflects a first meeting between of two experienced veteran improvisors: Tim Hodgkinson (Henry Cow, Konk Pack, etc.) and Milo Fine. The career of Fine goes back to 1969 when he started The Milo Fine Free Jazz Ensemble. Throughout his career he was dedicated to free improvised music. I guess both gentlemen are more or less of the same age. Also Hodgkinson has a longlasting relation with free improvisation, as it was already part of the Henry Cow. They combined rock and free improvisation. In the last few years Hodgkinson tours regularly with his trio Konk Pack (Roger Turner, Thomas Lehn). During a concert in Minnesota he met Fine and the idea for a duo-session came up. It was realized in Fine's home, on a day in march 2008. Two long extended and one short improvisation made it to the CD that has Fine playing piano, drums, b flat clarinet and voice and Hodgkinson on b flat clarinet. While listening one feels the joy they had in their fabulous interactions. Never a dull moment during these sparkling, catch-me-while-you-can improvisations" [DM / Vital Weekly]
|
2009 |
€12.00 |
|
| HOFFMAN, KAY |
Floret Silva |
LP |
"Wiederveröffentlichung einer raren LP von 1985 (bereits 1977 aufgenommen) dieser Schweizerin, die inzwischen als Tanz- & Trance-Therapeutin in München tätig ist (www.kayhoffman.de). FLORET SILVA benutzt Texte der „Carmina Burana“, jener Gedichtsammlung aus dem 12.Jahrhundert, und bettet diese in mittalalterliche Folk-Melodien und ein „progressives“ Gerüst ein, gesungen meist von JACQUELINE DARBY. Eine avantgardistische Hippie-Platte mit meditativ-mystischer Ausrichtung und wunderschönem Gesang." [Drone Rec. info]
"Sounding at times like Vashti Bunyan fronting Sunforest, "Floret Silva" is a haunting mix of medieval music and progressive / psych / folk with Latin lyrics straight from the Carmina Burana book.
The "Floret Silva" project was born when minimalist composer Kay Hoffman went to Italy in the mid–70s. Once there, she met with welsh soprano Jacqueline Darby, who had recently been working with the Italian avant–prog band Pierrot Lunaire. Jaqueline was working on new compositions with RCA producer Vincento Miccocci in Rome and she asked Kay if she was interested in getting involved in a new project. Kay agreed and Gaio Chiochio and Arturo Stalteri of Pierrot Lunaire also joined them on this new venture. Gaio travelled from Rome to play the guitar and other friends of Jacqueline also offered their collaboration.
In a short time, Kay wrote all the material, inspired by the Carmina Burana book and her love of Medieval and Renaissance music. Kay also contributed vocals, clavinet and piano and together with Jacqueline Darby – on haunting vocals – plus an impressive cast of jazz/rock/progressive musicians, they recorded "Floret Silva" during 1977–78, under the guidance of Vicento Micocci.
Sadly, RCA backed off and the album went unreleased until a copy of the masters found their way to Japan, where the great Belle Antique label put out the first vinyl edition of "Floret Silva" in 1985. In 2006, US label Robot Records resurrected it again for the first CD release.
After many years out of print on vinyl, we present a new edition of this lost piece from the 70s Italian underground scene. A visionary album which anticipated the sound practiced by many neo–folk bands some decades later.
RIYL: Jan Dukes de Grey, Vashti Bunyan, Sunforest, Wicker Man, Pierrot Lunaire, Opus Avantra, Current 93, Nico, Gal Costa, Wooden O, Giles Farnaby’s Dream Band…
Master tape sound
4–page insert with detailed liner notes by Richard Allen and photos.
"This album is like the prettier, more elegant companion piece to Nico’s somber medieval explorations on The Marble Index" – Brainwashed.com
"This should appeal to experimental psych–folk fans for sure, even if this unique treasure is really something outside almost any genre designation you’d care to come up with!" – Aquarius Records
"…An almost perfect fusion of styles that when combined with the archaic language is both haunting and entrancing reminiscent perhaps of the otherworldly atmosphere created by Bo Hansson on his Lord of the Rings album." – Richard Allen
Iste Mundus – Floret Silva – Exorcismus – Intermezzo (Chume, Chume) – Ich Will Truren – Rondo – Mai Tanz – Quot Sunt Horae – Tot – Sonus Dulcis Lyrae – Ouverture – Zum Fest – Intermezzo (Fagott Sommer Nacht Promenade) – Tempus Instat – Langueo (Vacillantis) – Chume, Chume – Nummus – Post Communio Sancti Cyrilli "
www.guerssen.com
"We've had the cd reissue of this gem before, but now for the very first time it's been reissued on vinyl, too! What does Floret Silva sound like, you ask? How about RennFaire gone Rock In Opposition? Italian prog meets medieval madrigals?? We're still puzzling about how to describe this wonderful, wonderful disc, a reissue of a rare lp which was recorded by composer Kay Hoffman in Florence, Italy in 1977, though not released until 1985, on vinyl in Japan only!
Hoffman and her collaborators, including members of the very excellent and arty Italian prog band Pierrot Lunaire, took a trove of medieval Latin poetry known as the Carmina Burana - poems written by anonymous authors around 1200 AD that are both religious in nature as well as very earthy and real, about such subjects as love and money - and set them to music. The settings are diverse (as befits the variety of these texts), and the results are often eerie and pretty and even a little bit groovy, with quirky chamber ensemble/prog rock backing and even the use of field recordings. Utterly magical for the most part, most especially due to the delicate vocals of Jacquline Darby. One song reminds us strongly of Stereolab, others call to mind (rather more obscurely) that Flamen Dialis album we've raved about before. This should appeal to experimental psych-folk fans for sure, even if this unique treasure is really something outside almost any genre designation you'd care to come up with!" [Aquarius Rec.]
“1977 avant/folk progressive masterpiece from minimalist composer Kay Hoffman. Includes collaborative performances from Jacqueline Darby and Gaio Chiocchio--members of the legendary, Italian progressive group Pierrot Lunaire. Originally slated for release on RCA/IT (Italy) in ‘78, the album was later rejected due to recording deadlines, release schedules, and requests by RCA for other artistic/musical considerations. However, many years later, Floret Silva did end up surfacing on a very different shore. Copies of the masters found their way to the highly eclectic Japanese label Belle Antique, whose musical director had heard rumors about the early project in the mid-1980’s. As a result, Floret Silva was finally released eight years after the completed sessions in 1985 as a small edition, but very well received LP (Belle Antique 8502, Japan). Apparently, not many copies of the record were exported outside Japan. This merely created even more mystery surrounding the recordings as well as rumors associated with a Pierrot Lunaire-related project. The recordings were based on the Carmina Burana--a collection of medieval poetry written by various authors of which little is known. Floret Silva was an attempt to find a voice for these anonymous authors in the late 1970’s in Florence. Now, nearly 30 years after the completed sessions, Floret Silva blooms again….this time in the US. Available for the first time on CD with remastered sound, including a 12-page booklet with full lyrics and English translations. A lost (but now reclaimed) gem from the Italian progressive underground.” [label info for the CD release]
|
2016 |
€22.00 |
|
| HOLLYWOOD DREAM TRIP |
Second Album |
CD |
listen:
https://christophheemann.bandcamp.com/album/second-album
"As much as I try to 'follow' some musicians' actions, I don't always keep up. I am pretty sure I knew that Christoph Heemann (once of HNAS, Mimir, Mirror, but mostly of himself) had teamed up with Will Long (mostly of Celer fame, but also doing other ambient music projects, but also works with minimal dance music as
Long Trax). From the small discography of Hollywood Dream Trip, I understand that they work together whenever Will Long is in Europe—three albums in 2013 and two (digital) ones in 2021. One of the three from 2013 is 'Would You Like To Know More', a line from the Paul Verhoeven movie 'Starship Troopers'. They also recorded 'Second Album' in 2013 (no release is called 'First Album'), which they released as a CDR in an edition of 50 copies for the tour they did that year—now finding its way to a broader audience and quite rightfully so. Armed with a Moog Rogue, Roland MC-202, Lexicon PCM90, Electro Harmonix Random Tone Generator and tapes, they set out to record this forty-two-minute piece of slow-moving drones. There seem to be some field recordings in this piece, but they are hard to find here. In the beginning, there is a slow bump, like a heartbeat during sleep, which slowly alters as the piece evolves and the sound opens up. Becoming a tad lighter and brighter, maybe the heartbeat is the same, but it feels different because of the changing synthesiser sounds. It's not the kind of music I recommend when sleeping (in fact, I would never recommend any music during sleep, but that's my occasional insomnia speaking), as the overall tone remains dark. Especially around the thirty-minute mark, things roughen and could create a nightmarish scenario. It's not as relaxing as it could have been, which is good. This has all the markings of a live-in-the-studio recording, not trying to smooth things out too much. I enjoyed this work a lot, especially for that direct, in-your-face quality; nothing all too fancy, yet never anywhere close to being a full-on noise thing (far from it); just the sort of drone improvisation I love. (FdW)
"Stephen Meixner hat neben seiner Arbeit mit Contrastate und Soloaufnahmen auf seinem kleinen Label Black Rose Recordings in den letzten Jahren eine Reihe von Alben anderer Künstler aus dem weiten Feld der Geräuschmusik veröffentlicht – zuletzt wurden bei uns noch hervorragende Alben von rlw und Asmus Tietchens besprochen.
Nun wiederveröffentlicht er das zweite Album von Hollywood Dream Trip, einem aus Christoph Heemann und Will Long bestehenden Duo, das um 2013 aktiv war (und insgesamt drei Alben veröffentlichte), dem Jahr, in dem auch das lapidar „Second Album“ betitelte Zweitwerk in Aachen aufgenommen wurde. Ursprünglich war „Second Album“ nur als auf 50 Exemplare limitierte CD-R während einer Tour von Heemann und Long erhältlich.
Eingespielt u.a. mit Moog Rogue und einem Roland MC-202 beginnt „Second Album“ mit dunklem, reduziertem Dröhnen und Pulsieren, zu dem nach und nach melodische flächige Sounds hinzukommen, die anfangs im Hintergrund bleiben. In weiteren Verlauf der 40 Minuten zu einem lauter werdenden, an- und abschwellenden Drone steigern. Als vor etlichen Jahren auf diesen Seiten Hollywood Dream Trips „Would You Like To Know More?“ besprochen wurde, konnte man lesen, man könne den Namen des Projekts „aber auch als Hinweis auf das Unterbewussste, Somnambule sehen – auf das, was dem Verstand oft nur indirekt zugänglich ist. Letzteres kommt einem beim Hören der zwei etwa 20-minütigen Tracks dann auch schnell in den Sinn.“
Letztlich passen diese Überlegungen auch zu dieser Veröffentlichung. Das ist nämlich, um auf das zweite Substantiv im Projektnamen zu kommen, tatsächlich eine im wahrsten und beiderlei Wortsinne „traumhafte“ Musik“ und es ist ein interessanter Kontrast zwischen dem doch recht prosaischen Titel des Albums und dieser Musik, der fortwährend ein Moment des Ver- und Entrücktseins innewohnt. Man kann sich problemlos eine nächtliche Fahrt durch die Hollywood Hills vorstellen, während man die CD hört und an David Lynchs Haus vorbeifährt. Zu dieser durchgängig somnambulen Atmosphäre passt dann auch das von Christoph Heemann gezeichnete Cover." [MG/African Paper]
|
2023 |
€13.00 |
|
| HOLTERBACH, MANU |
Aare am Marzilibad |
mCD |
Das kleine aber feine belgische Label EREWHON meldet sich mit zwei Releases zurück (die zweite VÖ ist die ERIC CORDIER CD), und einem neuen Namen für uns: MANU HOLTERBACH führt uns ins innere einer Flasche, die durch einen Fluss treibt; eine eigene Mikro-Welt von flüsterndem Rauschen, ans Glas stossenden Luftblasen & Aussengeräuschen... faszinierend ! „Für 18 Minuten teilt man die Audiosphere mit einer Forelle“ [Bad Alchemy].
“Manu Holterbach is a young French sound artist who proposes his many-faceted talents since already more than 10 years. He invents new instruments, spatialization devices and mutant loudspeakers that were showed around the world in diverse installations and performances, in solo or in collaboration with a.o. Sophie Durand, Pierre Berthet, Jean-François Laporte, David Maranha. You can listen to his beautifull "verres enharmoniques" instruments on his highly acclaimed CD recently released on cloudmirror, and to "parenthèses flottantes" a piece freely available online on Happy New Ears (look for the www.creaties link). He is actually working on a biography of the French composer Eliane Radigue. Manu also composes pieces realized with natural and industrial environmental sound recordings, like the one we proudly propose on erewhon, Aare am Marzilibad.
This piece realized in 2003 is a ready-made recording of a Swiss choppy river, the Aare, done with a microphone hermetically locked into a bottle. What you can hear is the sound of thousands of pebbles that knock together in the powerful stream. It illustrates perfectly Manu's focus on microscopic events and fragility.” [label description]
“Manu Holterbach, inventor of the electronic glasses (see Vital Weekly 472), works also with spatialization devices and mutant loudspeakers, but also installations and performances. For the piece presented on this miniCD, he locked a microphone hermetically in a bottle. He threw the bottle in a Swiss river, the Aare, and made this recording. If you open a bottle of some drink with bubbles, you might be fascinated at the sounds of the bubbles escaping. The first half of this piece sounds a bit similar, but if you listen carefully you can also hear voices from aside of the river. But they are far away, and as the piece progresses, they become louder. Perhaps the bottle washed ashore? It's a pretty single-minded concept that however works out very well. It's a beauty to listen to. Somewhere between highly filtered rain sounds and opening the next beer can.” [FdW / Vital Weekly]
|
2006 |
€7.00 |
|
| HOLTKAMP, KOEN |
Field Rituals |
CD |
" 'Field Rituals' is the first solo album to come from Koen Holtkamp, an artist probably better known as one half of ambient duo Mountains. Based in Brooklyn, Koen created the album slowly and as a love letter of sorts, taking in delicate field recordings and using them like faded photos representing his distinct memories of the people and places he chanced upon. Some may have heard the incredible ‚Make Haste’ which appeared on limited edition vinyl earlier in the year, but this was only a taste of what Koen has to offer on ’Field Rituals’.
Taking cues from the classic ambience of Brian Eno and fusing it with the instrumental subtlety of Sweden’s Tape, Koen has come up with an aural book on his subject matter. Each track feels entwined in the next and feels like a part of something much bigger. Sure we’ve heard field recordings, synthesizers and guitars before but rarely have these instruments been injected with such a lightness of touch and with such a delicate open ear. Each listen reveals more, like peeling back layers of onion skin – take the album’s epic centrepiece ’Sky Flowers’ for example, which blends slow-moving synthesizers with good-natured environmental recordings and shimmering strings. The result is explosive somehow, with the grandeur more usually exploited by Arvo Part being framed with a distant electronic ambience.
The slow-burning pace is probably the single most important facet and reveals an artist at ease with his musical choices, something unusual in a genre brimming with young hopefuls. A good comparison might be Stars of the Lid, but Koen’s music is more organic and more humble somewhat than the ex-Texan duo. In the end we are just proud that Koen has allowed us a look into this most personal of works." [label info]
"Here be the first full length album from Mountains-man Koen Holtkamp. You may recall we got in (and sold out) his contribution to
the A Room Forever series of LPs commissioning artists to match a field recording on one side with a sympathetic composition on the other. Where his offering there was a dark-hued, ominous crescendo of crackled drone sourced from acoustic guitar, Field Rituals has its
head in the clouds. Holtkamp begins the album with a lovely round of brightly rendered acoustic guitar finger picking with some tricked out ring modulation effects giving each of the tones a sun-flecked glow and funhouse mirror curvature. Sustained drones from loops of melodica and harmonica mutate into an ersatz harmonium with the soaring overtones and sweeping fluctuations of tonalities gently crashing into each other. The loops every once in a while coalesce into a rhythmic underbelly, but mostly they settle as a effervescent bubbling of overlapping delay patterns and softly shimmered ambience. On top of all of this, Holtkamp dapples everything with his shimmered guitar and occasional crackles of tactile objects (he mentions water, seeds, ice, and paper) as well as field recordings of giggly children romping in a playground. The effect is somewhere between the immaculate pieces from Keith Fullerton Whitman's recordings and the bright-eyed naturalist
wonder of the Jewelled Antler camp. Really gorgeous stuff from the ever impressive Type label." [Aquarius Records review]
www.typerecords.com
|
2008 |
€16.00 |
|
| HOOR-PAAR-KRAAT |
A Doorbell of Earbows for Brefix |
LP |
Geheimtip aus den Staaten! Wer auf rauh-chaotische Collagenmusik mit hohem Objekt-Noise Anteil steht, die trotzdem stimmungsvoll atmosphärisch ist, sollte hier unbedingt mal reinhören. Die vier Stücke schwanken zwischen wirren, sehr konkreten Impro-Geräuschmusik-Passagen und eher dronigen Parts in denen auch vokales Material auftaucht, immer mit dem Hang, die wahrhaft ungewöhnlichen Klänge und Arrangements herauszuarbeiten...
"Grainy loop tracks, vocal tracks (which may or may not also be from tape), and surrealist music which isn't miles away from early Nurse With Wound. Richard Vergez (Drowning the Virgin Silence, Gray Girls, Mothersky), Duane Hosein (A Jealousy Issue, Hand Carved Gentleman, ex-Poison the Well). BRANDON SAMDAHL (Mr Entertainment and the Pookie Smackers) and ANTHONY MANGICAPRA bathe the entire thing in foggy reverb and mysterious scratching and shifting, which pulls it all together. It makes sense only as a dream transcribed onto recording equipment. The A side contains material previously released on The Huntington Chapters three-inch CDR (Small-Doses) and the B side is all previously unreleased recordings from the same sessions. Mastered by JAMES PLOTKIN." [label info]
"...The A side, previously released on Small Doses, is a tripped out burst of mysterious musical abstraction. Two tracks, clocking in
at about 18 minutes total, an abstract and spacious drift through some lost alien soundscape. The first track is all tinkling melodies, glistening high end, strange rumbling fluctuations way off in the distance, bits of creak and scrape, everything bathed in foggy reverb and warm wet swirls of tape hiss and atmospheric whir. Melodies creep in and out, as do bits of field recordings, it all feels like some cinematic bleary eyed wander through a hazy druggy flashback, a washed out world of lost memories and fragmented dreams. Here and there guitars grind and reverberate, and strange percussive sonic events drift into earshot, like an even more abstract Wolf Eyes maybe. Quite gorgeous and dreamlike. The second track starts out the same, a smear of high end
shimmer, but instead of spreading out into languid pools of blurry sound, things get decidedly more abrasive, the high end becomes
sharper, the percussion is more clattery and jarring, a disembodied voice intones some creepy monologue over the top, effects swirl and swoop, deconstructed riffs chug and churn, everything dizzying and disorienting, like the nightmare analogue to the opening track's dream.
The flipside also offers up two tracks, the first begins with a swirl of creaking metal, sizzling cymbals, clattery percussion, until suddenly the clang and crunch are transformed into a strangely rhythmic crunch, the metal sounding much deeper, more of a resonant bellow, all very chaotic and cacophonous, underpinned by deep distant rumbles. Which leads right into track number two, all birdsong and tinkling chimes, whispered voices, random sonic detritus, sharp slivers of momentary buzz, soft smears of static, very haunting and ominous and like the first side, quite cinematic. Beautifully packaged as always, pressed on thick vinyl, housed in full color sleeves with super striking artwork from HPK mainman Anthony Mangicapra. We know it's LIMITED too, just not sure to how many." [Aquarius Records review]
www.goat-eater.blogspot.com
|
2008 |
€15.00 |
|
| HOTOTOGISU |
Under the Rose |
LP |
"Hototogisu's first LP release on their own imprint Heavy Blossom. Under The Rose is a pair of incantations for the dark and vengeful animal spirits. Sung in two parts, malignant coronation and origami skulls are blackened arias, dizzying vortices and canyons of screams, guitars and chaotic rhythms. Arising from this richly recorded and mastered vinyl slab come black tarpits of malevolence and savage beauty, harking back to a pre-Christian universe of animating spirits and tutelary daemons. Comes in a black jacket with a full-color photograph attached to the front cover and thickly inked silk-screened backs. Edition of 600." [label notes]
|
2008 |
€20.50 |
|
| HUDAK, JOHN |
On and On |
CD |
"Eine extrem überraschende Platte auf einem unserer momentanen Lieblingslabels, dem jungen italienischen Presto!? John Hudak scheint sich mit On And On vorgenommen zu haben, den Nachfolger für O’Rourkes Bad Timing zu schaffen. Scheinbar ohne Richtung und Verdichtung plunkern einzelne Gitarrentöne (sic! für Hudak!) im Raum herum, dem geneigten Hörer kommt nach etlichen Durchläufen die Erleuchtung. Genau, das muß alles so sein. Und nicht anders. Herrlich in seiner beharrlichen Intentionslosigkeit." [Zipo, Auf Abwegen]
www.prestorecords.com
|
2008 |
€14.00 |
|
| |
Don't worry about anything, I'll talk to you tomorrow |
CD |
"Minimale ruhige elektronische Verfremdungen, absolut merkwürdige Sounds... außergewöhnlich auch das Konzept von HUDAK für diese CD: 'its pretty simple: my mother died about five years ago. someone returned me a one-of-a-kind tape that happened to have an answering machine message from my mother on it, saying 'don't worry about anything, i'll talk to you tomorrow.' that is the only sound source on the cd.'
Wunderbare, fremdartige "Alien"-Soundwelt, just great!!" [label info]
|
1998 |
€13.00 |
|
| HUM |
Flesh of the Soul |
CD |
Nach vielen selbstveröffentlichten CDRs hier endlich die erste "grössere" Veröffentlichung von HUM, "Flesh of the Soul" besteht aus neun mantrischen Drone-Meditationen, die einen sehr sanft und fast unmerklich umschlingen....Musik wie das geheimnisvolle Wispern der Natur, wie der hörbar gemachte Gesang des Äthers. Klänge die das Mysterium der Existenz ausdrücken & wiederspiegeln, dunkel aber überhaupt nicht depressiv...
HUM schafft es immer wieder, die Drones nicht "banal" klingen zu lassen, sondern voller emotionaler Tiefe... und höchst authentisch!
"Being well-known to the inner circles of russian industrialists for his long-time work under different names, Hum didn’t have such an attention that he deserves until now, when Quag decides to change the situation and to offer the first CD of this brilliant russian talent. His mystical cold ambient explores the nature of soul and the soul of nature, the mysteries hidden in the sky, the earth, the water, the forest. Simple and minimalistic musically, Hum is very complex in its influence on a listener’s perception. Quiet unconstrained sound sorcery opens the higher realms of the unseen. Being far from dark and depression Hum is even more far from New-Age-like garbage. Recommended for those who wants to have a rest from darkness without dipping in syrup. The first edition of 300 copies in a special “Quag-pack” printed silver-on-black. IST 024 CD" [label info]
"Finally, after the numerous CDRs and one 7” on Drone Records, this is the first factory-pressed CD of this brilliant drone-ambient project. “Flesh Of The Soul”, which is definitely one of the best works Dmitry Chistov has ever done, is a real masterpiece of cold transcendental soundscapes. The album is filled with majestic melancholy, it is clear and soothing, there’s a plenty of veiled melodies and celestial harmonies hidden inside its simple sound structures. It sounds a bit nostalgic cause Dmitry uses only old-fashioned tape-technique and analogue synth loops, utilizing digital devices just for the final mastering, but the atmosphere is very special, reminding of early Zoviet France, Maeror Tri, Tesendalo or Aidan Baker. It could seem very peaceful and calm, but beyond this bright and peaceful surface the sorrow and darkness is hidden. The beauty of this music is enchanting and it is hard to resist its magical spells, so it might be difficult to fight the desire to play this album over and over in yearning to experience again the tender touch of this unearthly Flesh Of The Soul. The album is limited to 300 copies and comes in special package printed silver on black. Very recommended!" [press release / Indiestate]
|
2007 |
€13.00 |
|
| |
The Spectral Ship |
10inch |
Eine Huldigung an den "Klang an sich", der nicht erzeugt wird, sondern seit Anbeginn da ist. HUMs Beitrag für unsere 10" Reihe über das Nicht-Erkennbare.
"Two great new pieces by this russian artist from the Moscow-area, most sensible & emotional drone-ambience, a graceful dance of acoustic reflections & resonances. "Spectral Ship" and "Tidal Fire" appear like universal mantras, revealing the basic HUM of the universe. These works seem to represent perfectly the concept of the SUBSTANTIA-series: Sound that exists but which is not originating from the impact of two subjects in contact. Sound that is simply "there", with no beginning or ending.
Edition of 500 copies on silver-coloured vinyl, with a full colour sleeve design by DANIEL CROKAERT / MYSTERY SEA." [label info]
www.substantia-innominata.de
|
2008 |
€12.00 |
|
| HUMAN GREED |
World Fair |
CD |
"Michael Begg: This is my 5th record as Human Greed, 7th if you include the non-ensemble pieces Dirt on Earth and the OMEGA soundtrack I released last year for Moscow’s blackSKYwhite theatre company. This one has been cooking for two years and has seen me attempt to up my game with regards to formal musical theory and composition. There is a lot going on in there and I don’t know how to begin marking out its foundations for you. Possibly best just to remain relatively quiet on the matter and hope it can speak for itself over a few listens. However, the songcraft has its roots partly in the 16th century – from where also arises the preoccupation with melancholy and mortality- and there is much to be owed to the second law of thermodynamics, entropy, the singularity and heat death of the observable universe. That is all touched upon lightly, though I was keen to explore the potential for that science to be represented in a devotional mode more associated with faith.
The ensemble this time is notable particularly for the number of voices that come into the recording. This, in itself, is unusual for someone like me so closely associated with ambient drifts and drones.
So, aside from my long time partner, Deryk Thomas, Chris Connelly (Revolting Cocks, Ministry) gives a stylish reading of a traditional Scottish folk song, Scottish Jazz institution Sophie Bancroft joins the fold (I worked with her in the late 1990s running music and memory recovery workshops in dementia wards) and Sukie Smith from London’s Madam is also here. Nicole M. Boitos, sleeve artist for Swans, and James Blackstock, as well as my own Fortress Longing album shows that she, too, can hold a note. And I love her spoken word reading of the central World Far text on Waiting In A Car.
Colin Potter (Nurse With Wound, Monos) being a long time collaborator both through Fovea Hex and Fragile Pitches is once again on hand to contribute to the treatments and I am so thrilled to have worked with Steven R. Smith (Ulaan Khol, Hala Strana) on a composition called Chrysler. Steven’s work always, to me, sounds like an advancing desert storm and my vision of such a storm tearing down a city really came to life here. The sound of his home made spike fiddle! Wow!
Two gifted kids from the village helped out on the strings, and Pietro Riperbelli allowed me to plunder his archive of field recordings of cathedral interiors." [label info]
www.omnempathy.com
World Fair, album of the year : "There used to be a trinity of Nurse With Wound, Current 93 and Coil. Now the sonic gate keepers are a quartet; Nurse, Current, Cyclobe and Human Greed.” Was Ist Das (UK)
www.omnempathy.com
"This is the fifth album by Human Greed (or Michael Begg's seventh if you count the other ones under his own name) and he worked for the last two years on this, and that's something that shows here. While Human Greed is mainly himself and Deryk Thomas, there is a whole bunch of musicians helping them out, on cello and violin but mainly in the vocal department, such as Chris Connelly (Revolting Cocks, Ministry), Sukie Smith and Sophie Bancroft. If I understand well the album is about exploring 'the potential for that science to be represented in a devotional mode more associated by faith', and Human Greed harks back to the 16th century, both for that and the song craft here. It's not that easy to detect I must say, but then: I am no expert on 16th century music either. In the past I compared the music of Human Greed with Fovea Hex, and it's still on a similar line. The mood is a bit dark, with string instruments playing minor chords, aided by dark and moody soundscapes, field recordings, spoken words, and sweet sung melodies, although Human Greed is less folky than the music of Fovea Hex. There are also links to the musical world of Current 93, especially when things are a spookier and more textured here, Colin Potter and Andrew Liles may be inspirations here, and the whole thing has no doubt something very English about it. The creepy country castle atmosphere, the mechanics of a broken doll perhaps. Human Greed moves between the soundscape textures and the more song based structures of some of these pieces, and with pieces fading into each other, this sounds like one long trip, a journey if you will, moving through this fine, yet somewhat dark landscape. In good Fovea Hex tradition there is also a bonus CDR available, in which Begg and Thomas take the whole music of the CD apart and make an entirely new studio construction out of that. You hear little bits of the original in here, sometimes you may recognize a cello, or a violin, some voices but it's otherwise heavy on the use of sound effects to create even denser atmospheres; the cloud on the CD is perhaps more grey; here's it's more black. More abstract perhaps too, and less with a story to tell us. This is an excellent form of sound recycling - to avoid the word 'remix'. An excellent release, all around." [FdW/Vital Weekly]
|
2014 |
€14.00 |
|
| HUNTING LODGE |
The Will |
CD |
"HUNTING LODGE gehören zu den Urvätern des Industrial Genre ( neben SPK , TG und LUSTMORD..) "Will" war ihre 1.LP vor 25 Jahren auf S/M Operations (1983) und ist eine der wenigen, aber essentiellen Pflichttitel für jede Plattensammlung !" [label info]
www.darkvinyl.com
|
1992 |
€14.00 |
|
| HUNTSVILLE |
For the middle class |
CD |
Sehr schwungvoll-polyperkussive Instrumental-Melangen dieses norwegischen Ensemble, absolut hörenswert !
"Die drei Musiker von HUNTSVILLE - Ivar Grydeland, Tonny Kluften und Ingar Zach - stammen allesamt aus Norwegen. Grydeland und Zach gründeten zusammen das Sofa Label für improvisierte Musik und tauchten schon zusammen in ebenso unzähligen wie vielfältigen Gruppen wie dem Improvisations-Ensemble NO SPAGHETTI EDITION oder gemeinsam mit dem britischen Keyboarder Pat Thomas im Quartett HISS auf. Die Tatsache, dass alle Mitglieder von HUNTSVILLE Multiinstrumentalisten sind, zeigt, dass die Band um Lichtjahre von einem konventionellen Trio mit Gitarre, Bass und Drums entfernt ist. Grydeland mischt akustische und elektrische Gitarre und am Banjo mit Fingerpickung, verschiedenen Bögen und obskuren Effektgeräten. Ebenso benutzt Kluften am Bass unterschiedliche Bögen, Stöcke und Gummibänder, während Zach dies mit den diversesten Klängen seines Drumkits untermalt. Am Ende ist es ganz unmöglich, herauszufinden, wer welches bizarre Geräusch zu Tage gefördert hat. HUNTSVILLE treiben den polyrhythmischen Zugang, wie ihn ORNETTE COLEMAN bei "Lonely Woman" kultiviert hat, auf neue Höhen. Verschiedene Tempi der Instrumente konkurrieren miteinander und kommen am Ende der Reise doch als homogenes Ganzes im Gehör des Zeugen an. //
_This is the debut release for Norwegian trio Huntsville. Huntville are Ivar Grydeland, (guitars, banjo, pedal steel guitar, etc.) Tonny Kluften (double bass, etc.) and Ingar Zach (percussion, tabla machine, sarangi box, shruti box, etc.) Grydeland and Zach founded the Sofa label for improvised music in 2000 and appear together in various projects on several of the label's releases. They have worked with Kluften since 1998, as the core of improvising ensemble No Spaghetti Edition and in the quartet HISS with British keyboardist Pat Thomas. The HISS CD from 2003, Zahir, shows the group's intense application of so-called free improvisation. The Huntsville project contrasts sharply with their earlier work, and this release reveals a quite different, more groove-based approach with strong elements of composition. Zach comments, "... during the last two or three years, our interest in country music and electronic music has developed into a sound we really wanted to investigate -- also Feldman and Cage, drone music, folk music..." The group's multi-instrumentalism means that this is no conventional guitar-bass-drums trio. On acoustic and electric guitar as well as banjo, Grydeland mixes finger-picking techniques with various types of bow, as well as acoustic and electronic devices. Tonny Kluften on double-bass uses various bows, sticks and rubber bands, while Zach produces a wide range of sounds on drum kit. They make striking use of a marvelous polyrhythmic approach pioneered by Ornette Coleman on "Lonely Woman," and Zach's locomotive groove is contrasted by the free tempo of plangent, folk-like acoustic guitar, in a kind of fractured descendent of the railroad blues. Alternately, the drums set up a tight and furious high-tempo, with the other instruments either at a slower tempo, or out of tempo completely. When the group lowers the energy levels, soft arpeggios on acoustic guitar are heard against percussive objects and a lone, rather erratic bass drum -- these effects are spare, haunting and quite beautiful. For The Middle Class displays a genuinely musical use of unexpected sounds and textures, allied with echoes of traditional genres in a radical new conceptual language." [press release]
"Pretty incredible long-player by the Norwegian trio of Ivar Grydeland, Tonny Kluften and Ingar Zach, who’ve long been involved with the free improvisation world already documented by Grydeland’s Sofa label on a number of releases since 2000. Here, however, they utilise all manner of instruments from guitars, double bass, banjo, tabla machine and various others originating from India to explore a more recent interest in drone, country, folk and electronic music. Opening song, ‘The Appearance of a Wise Child’, tethered to around 15 mins worth of driving, hypnotic percussion and snatching some random vocals along the way, largely sets the tone for the remainder of the release. Organic textures snake around each other, rhythms staple everything to that juncture where everything points to an apex of unadulterated ecstasy, and discernible ur-strums combine with frenetic bows and scrapes for that only too important raw effect so hard to find in this day of software-generated sterilisation. Only second track, ‘Serious Like a Pope’ loses its grip slightly as the pace is whittled back to a near Fahey-esque approach rendered better on fourth and final cut, ‘Melon’, which furnishes us with a comparatively stripped and gentle touchdown to the proceedings. Nonetheless, Huntsville sound like their experience within such realms of music is paying off. The product of people who know their game without having let their imagination or yearning to voyage to new places suffer. Fucken dandy in my book, I have to concede." [RJ, Adverse Effect]
|
2006 |
€10.00 |
|
| HYBRYDS |
Ritual Anthology |
CD |
Aufnahmen von 1986-1993 von der belgischen Ethno / Ritual / Industrial-Band, welche eindrucksvoll ihren mal verträumt-mysteriösen, mal magisch-beschwörenden, meist perkussiven Stil präsentiert. Über die Hälfte der Stücke ist unveröffentlicht. Ziel dieser Musik ist die Erzeugung von Trance, welche den Zugang zu im Alltag schwer zugänglichen Bewusstseinszuständen möglich macht. Kommt im edlen schwarz-gold bedruckten Papp-Ausklapp-Cover.
"With this CD Aquarellist is proud to present the anthology of early ritual works of this fabulous Belgian project. This music immerses the listener into the space of RITUAL - the magical action aimed to reach the goals beyond the borders of the ordinary world. An action evoking deeper layers of consciousness, deeper memories not active in our everyday life. An action that helps to reveal our potential as powerful and miraculous creatures.
Hybryds present their visions of rituals in the form of rhythmical compositions built on repetitive percussive loops crowned with layers of numerous archaic instruments, aided by vocal spells and atmospheric soundscapes with minor electronic additions.
This material was recorded in 1986-1993 by Magthea & Yasnaia with the help of their friends: Ah Cama Sotz, Djen Ajakan Shean, Vidna Obmana, Clive Richards, Irae Deprofundo and Bobby Colombo. Three tracks from this CD were previously released on "The Rhythm Of The Ritual" CD (Charnel Music, 1994), one track was released as "The Ritual Should Be Kept Alive - Part 1" CD EP (3RIOART, 1991), and three other tracks are released here for the first time.
CD, limited edition of 600 in digipak from a corrugated cardboard, picture it is executed by a method of silk-screen printing
1- For the Nameless one
2- El Caballo
3- Je suis la premiere
4- Call for the Touareg
5- Fallen Angels
6- The ritual should be kept alive - part 1
7- The ritual should be kept alive - part 3
Recorded between 1986 and 1993.
Digital re-mastered 2009 by 3RIOART vzw from original material recorded on 4 track cassette and recordings live to DAT.
Credits:
Magthea,
Yasnaia,
Ah Cama Sotz,
Djen Ajakan S,
Vidna Obmana,
Clive Richards,
Irae Deprofundo,
Bobby Colombo.
Visit:
http://www.hybryds.com
http://users.telenet.be/3rioart/
Reviews:
http://maeror3.livejournal.com/80596.html"
[label info]
www.aquarellist.ru
|
2009 |
€14.00 |
|
|
The Rhythm of the Ritual / Ein Phallischer Gott |
do-CD |
"Zoharum continues reissuing past works of one of the most interesting projects coming from the 1980s underground - Hybryds. ”The Rhythm of the Ritual / Ein Phallischer Gott” is the fifth instalment in the reissue series of Hybryds classic releases.
Sandy tells a few words about the period: In the 1990s only small independent labels existed which had their own area to cover distributionwise hoping to spread our music in the world. ”The Rhythm of the Rituals” (1994, Charnel Music) and ”Ein Phallischer Gott” (1997, Crowd Control Activities) shared some songs. There were no official media supporting this world of “underground” music. Acid and rave became popular in the “commercial” scene. Pro Tools was the magic word. But we made our music live on the 8-track. The only sequences were the drum machines. We stayed loyal to working the old-fashioned way. It's the more rhythmical and ethnical site of Hybryds, lots of percussion, played acoustically, or sampled and looped, or from drum machines. Some of the basic music was from the 1980s but by then we worked on a reel-to-reel 8-track tape recorder with a bigger mixing desk. Livewise we started to transfer to our cyberpunk period (as visible in the live version of ”Whisper”). Depending on the demand we had two live shows, the “magical” or the cyberpunk. It was also the time when Yasnaïa and me did the live shows alone. We did not work live on stage with others anymore. We had a manager, Patty Hele from Motherdance. It was easier to travel and perform with two people only. Yasnaïa released her solo album and started playing live with her solo project.
The first CD collects tracks from two studio releases ”The Rhythm of the Ritual” and ”Ein Phallischer Gott”. The live CD contains live versions of the studio CD (some taken from the live Obuh vinyl LP) and some extras, like an unreleased song ”Dusk Falling”." [label info]
www.zoharum.com
"Neben dem Backcatalog anderer Bands taucht in den letzten Jahren auch immer wieder ein Album der HYBRYDS via ZOHARUM auf. Mit „The Rhythm Of The Ritual/ Ein Phallischer Gott“ ist man dabei bei zwei Werken von 1994 bzw. 1997 angekommen, die nun ergänzt um Live-Aufnahmen aus der Zeit als Doppel-CD, wiederaufgelegt werden. Hierzu ist allerdings anzumerken, dass nur drei Stücke des „The Rhythm Of The Ritual“-Albums enthalten sind. Die drei anderen wurden bereits mit der (Wieder-)veröffentlichung von „The Ritual Should Be Kept Alive“ 2015 erneut ans Tageslicht befördert. Auch nicht alle Stücke von „Ein Phallischer Gott“ haben es auf diese Zusammenstellung geschafft. Dafür taucht z.B. das eindrucksvolle „Call Of The Tuareg“ auf – ein Compilation-Track aus jener Zeit. Auf die fürchterlichen, quietschbunten 90er Jahre Computer-Cover der Originale wurde zum Glück nicht zurückgegriffen. Stattdessen wurde dem Release ein absolut stimmiges Artwork verpasst, das sich in die aktuelle, künstlerische Darstellung der HYBRYDS einpasst.
Dass die vorliegenden Aufnahmen um die zwanzig Jahre alt sind, lässt sich tatsächlich nur schwer heraushören. Frei von damaligen Trends wirken die Stücke eher zeitlos. Die stark Ritual-, Tribal-lastige Musik wird zumeist von einem Rhythmus-Loop zusammengehalten, über den nicht durchgängig aber hin und wieder YASNAIAs Stimme gelegt wurde. Daneben erklingen Flötenklänge und Synthesizerpads, so dass der Gesamtsound mal organischer und mal elektronischer wirkt. Beteiligt waren an den Arbeiten damals auch illustre Gäste wie HERMAN KLAPHOLZ (u.a. AH CAMA-SOTZ) oder MOON FAR AWAY.
Die Live-Aufnahmen und Proberaumaufnahmen der zweiten CD stammen ebenfalls aus der Zeit – zumeist 1996. Neben anderen Stücken, sind hier auch einige Tracks noch einmal in der Live-Version vorhanden, die auf der „Studio-Seite“ bereits zu finden sind. Der Sound ist dabei bis auf einige Ausnahmen durchweg recht gut.
Wie oben dargestellt ist „The Rhythm Of The Ritual/ Ein Phallischer Gott“ keine Wiederveröffentlichung im eigentlichen Sinn, sondern eher eine Zusammenstellung von Stücken aus einer zeitlichen Periode, die in sich aber absolut stimmig und geschlossen wirkt und mit den zusätzlichen Live-Versionen und Outtakes einen gewissen Mehrwert mitbringt. Hörer, die sich für rituellen und Tribal-lastigen Ambient interessieren, sollten ruhig ein Ohr riskieren, da die Musik ohne Frage gegenüber der heutigen Konkurrenz mithalten kann – mindestens."
[Tony F. für nonpop.de] |
2016 |
€16.00 |
|
| |
The Ritual of the Rave |
do-CD |
For the past several years Zoharum has been reissung the subsequent albums of the Belgian independent scene legend, Hybryds; so far five has been released. "The Ritual of the Rave" is the sixth installment in this series and is an expanded version of the 1995 album. It has not lost its freshness in those years. It is electronica with strong ambient and ethnic music influences locked in six long, slowly developing compositions. Here there are rhythmic elements directly taken from techno (which announced further changes in the Belgian project's repertoire.) "Icarus" or "Sjamanistic Dream" are still classics in the Hybryds catalogue.
This is also one of the expanded editions of their classic albums. The second disc shows what Hybryds was like at concerts during the period when the recordings were made (live tracks compose the first five tracks recorded in 1995). In addition, we have three studio compositions here here. The first one belongs to the collaborative Hydra project, whose only official recording appeared on the compilation "The Uncertain Future" on Antler. The other two are the early recordings from 1988 by Magthea with Mark Burghgreave of Klinik. One of them, "Octahedron", appeared on the absolutely first single of the project.
The album has been digitally remastered from the original master tapes by none else but Sandy Nys, who also provided the cover based on the previous editions. The CDs are housed in a digipak sleeve and the album is strictly limited to 500 copies.
https://zoharum.bandcamp.com/album/the-ritual-of-the-rave
|
2017 |
€15.00 |
|
| I.CORAX |
The Cadaver Pulse I: Sealed in a radiant larval Maelstrom |
CD |
"We are proud to present through our Stellar Mansion series the long-awaited first official release of I.corax, a duo formed by AIH and JKV in the late 1998. The album was originally released in an edition of 80 copies through the groups own label, Blue Sector in 2003. 'The Cadaver Pulse I' consists of over 70 minutes of very original ambient music that is continuously evolving and challenging. The six states of the album weave a potent radiant web that encapsulates the original, subliminal oneiric visions. The sonic tapestries have been produced mainly from heavily processed natural sound sources such as animals, various field recordings, human voice, wind and bowed instruments that culminate in a work that is archaic and dark, multilayered and harsh. All material was received, composed and mixed during long and intensive recording sessions held in the Blue Vortex, duo's studio-temple at the time, between December 2002 and February 2003. The album is enclosed inside a newly designed and silk-screen printed cardboard covers including six offset printed insert cards and a four panel booklet." [label info]
www.auralhypnox.com
"Shamanistic Ambience? Der Titel dieser CD-R jedenfalls verweist sehr treffend auf das Gefühl des „Eingeschlossen-Seins im Sound“, als sei dieser greifbares Umgebungsmaterial. I.CORAX ist ein weiteres Projekt aus der finnischen post-industrial-Szene, die hier als erste Veröffentlichung von BLUE SECTOR brillieren. Alle Klänge dieser druckvoll-klaustrophobischen harsh-drone Soundreise basieren auf Feldaufnahmen unterschiedlichster Couleur, was sich in den mannigfaltigen Mikro-Effekten eindrucksvoll zeigt.. sharp dark pulsating ambient at its best !!!!" [Drone Rec. 2003]
|
2014 |
€13.00 |
|
| I:WOUND |
The patricide |
mCDR |
I:WOUND überrascht hier mit dunkel-flächigen Arrangements und geflüsterten bzw. gesprochenen Vocals, in die surreal wirkende Effekte eingebunden werden. Das klingt nach Aufarbeitung von traumatischen, frühkindlichen Erfahrungen mit dem „männlichen Prinzip“. Surprising new work for I:WOUND, who creates dark-spheric arrangements with whispered or spoken vocals and surrealistic effects within. Sounds like a treatment of traumatic early childhoop experiences with the “male principle”. |
2003 |
€6.00 |
|
| IANNOTTA, CLARA |
A failed Entertainment |
CD |
"Herausgegeben und finanziert durch das Berliner Künstlerporgramm des DAAD. Clara Iannotta war 2013 Gast des Berliner Künstlerprogramms des DAAD.
Intent on Resurrection — Spring or Some Such Thing [2014] für 17 Musiker (Ensemble Intercontemporain · Leitung: Matthias Pintscher) [ 14:04 ]
Limun [2011] für Violine, Viola und 2 Notenwender (Ensemble Recherche · Violine: Melise Mellinger · Viola: Barbara Maurer) [ 9:28 ]
D‘après Talea [2012] für 7 Musiker (Talea Ensemble) [ 8:18 ]
Àphones [2011] für 17 Musiker (Orchestre des Èlèves du Conservatoire National Supérieur de Paris · Leitung: Tito Ceccherini) [ 6:50 ]
A Failed Entertainment [2013] für Streichquartett (Quatuor Diotima) [ 17:04 ]
Al di là del bianco [2009] für Ensemble (Ensemble Garage · Bassklarinette: Richard Haynes) [ 5:29 ]
The people here go mad. They blame the Wind [2013-2014] für Bassklarinette, Cello, Klavier und 12 Spieluhren (Trio Catch) [ 9:52 ]
Clara Iannottas Kompositionen ist eine bestimmte "Theatralität" eigen. Theatralität, die die Körperlichkeit des Klanges, seine innere Bewegtheit, seine Erregungszustände, seine instrumentale Genese aus der Stille heraus meint und die den Klang nicht losgelöst von der Geste, die ihn hervorbringt, und der Inszenierung im Kontext eines jeweils unterschiedlichen instrumentalen Gefüges betrachtet. Meistens schneidert Iannotta (*1983) ihre klangfeinen Kompositionen ganz bestimmten Musiker/innen oder Ensembles auf den Leib, macht sie im künstlerischen Dialog passend, ...
Dr. Barbara Barthelmes
"I am particularly interested in music as an existential, physical experience — music should be seen as well as heard. This is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration." [Clara Iannotta]
www.edition-rz.de
"My first portrait CD is finally out! It includes some live and studio recordings of my works from 2009 to 2014 played by Ensemble Intercontemporain conducted by Matthias Pintscher, Ensemble Recherche with Melise Mellinger and Barbara Maurer, Talea Ensemble conducted by Eduardo Leandro, Orchestre des Élèves du Conservatoire National Supérieur de Paris conducted by Tito Ceccherini, Quatuor Diotima, Ensemble Garage with Richard Haynes, and Trio Catch.
The beautiful booklet has been written by Tim Rutherford-Johnson." [Clara Ioannotta]
|
2016 |
€16.00 |
|
| ICHIYANAGI, TOSHI |
Computer Space |
CD |
Two sound compositions discovered at Mr. Ichiyanagi’s home in 2018 to be released for the first time! One is an unknown early work created on a computer and the other is material for an experimental short film by Toshio Matsumoto. Particularly, the former piece was revolutionary. the quirky sound he made on the computer at the time was unheard of especially because a computer could only create simple sounds then. Moreover, it also includes an unknown electronic ambient piece reminiscent of a bird tweeting as well as a reissued version of an accompanying single of a mythical self-published book, which inspired Yoji Kuri’s animation work known as Tragedy on G string!
Computer Space (1970)
There is a piece called “Music for Living Space” (1969), which recreated human spoken words. It is an electronic music piece that Ichiyanagi produced almost solely with a computer. Computer Space is created in the same era, therefore it was impossible to create a complexed sound. However, echoes and rapid pitch changes are heard in the middle of the recording (there is also voice like sounds intermixed). Since similar phrases are repeating, it is considered that he created various short phrases to edit on an analogue tape then bind them together.
Sound materials for Metastasis (1971)
It is considered as sound material for a short film by an experimental filmmaker, Toshio Matsumoto. The discovered sound material is only 30 seconds long, which contains two different electronics sounds. The (b) sound repeats more often as a part of minimalistic pattern to create a work of about 10 minutes. Using a fade-in/fade-out arrangement made me think it might have some special intention?
title and year unknown
These works archived in Sogetsu Foundation contain electronic sounds which are considered to be created by changing tones of real bird tweets. The sound repeats itself in a straightforward manner, while changing its foam somewhat. Originally, there are many pieces that last for 1 or 2 minutes. For this CD, some of them were strung together. A piece using parts of popular music that was created for Expo’70 Takara Beautilion contains similar sounds to that. Ichiyanagi also contributed another ambient music composition played on another floor of the building, however it is not included to this CD, according to the artist.
For String #2 + Stanzas (Both in 1961, Simultaneous performance)
This piece is the music used in the film however it is originally a recording of a public performance at Sogetsu Art Center and edited to a few minutes shorter. The original sound material was included in an accompanying single of a book, Yabunirami-No-Concert, which Yoji Kuri self-published in 1966 before he created an animation. This book contains 10 pages of a series of ink drawings, which is completely different from Tragedy on G string. This CD has a reissued version of the original sound material. The time could be between 1961 and 1964 when Ono was in Japan. It is considered that Kenji Kobayashi was on Violin and Ichiyanagi was on Piano in an internal rendition style were together with Yoko Ono on vocal.
1_Toshi Ichiyanagi Computer Space / 1970_3\'12\"
2_Toshi Ichiyanagi material of Metastasis (a) / 1971_0\'39\"
3_Toshi Ichiyanagi material of Metastasis (b) / 1971_0\'34\"
4_Toshi Ichiyanagi title and year unknown (a) _7\'25\"
5_Toshi Ichiyanagi title and year unknown (b) _7\'18\"
6_Toshi Ichiyanagi For String #2 + Stanzas (both 1961, simultaneous performance)_15\'55\"
|
2019 |
€21.50 |
|
| IELASI, GIUSEPPE & HOWARD STELZER |
Night Life |
CD |
Sehr fruchtbare Zusammenarbeit in der Brombron-Serie: GIUSEPPE IELASI, Impro-Gitarrist aus Italien der auch das FRINGES Label betreibt, und der US-Amerikaner HOWARD STELZER, bekannt für seine "schwierigen" Tapemanipulationen und field recordings und ebenfalls Labelbetreiber (INTRANSITIVE RECORDS), kamen für einige Tage in Nijmegen im Extrapool-Studio zusammen.... so entstand "Night Life, wo low-fi noises der seltsamsten Art mit ruhigen Gitarren-pickings kontrastieren, oft bewegt sich die Musik im pulsierend-atmosphärischen Bereich aber mit stetiger Veränderung, cut-ups & nicht-alltägliche Konkret-sounds tauchen auf, sowie immer wieder Giuseppes ungewöhnliche Gitarrenarbeit, die sich kaum beschreiben lässt.....
"I am not sure wether the title of this disc refers to the time of recording, but if so the last track's title says it all: Losing our taste for the night life. I know for a fact that a Brombron project can mess up your daily rhythm pretty bad and that ending it feels almost as good as starting it. This disc by Ielasi and Stelzer has obviously had exactly the right amount of night time anyway. I have known and admired Howard Stelzer's work as tape jockey for quite some time now (aside of his activity as boss of the wonderful Intransitive Recordings), but Giuseppe Ielasi was a new name for me. He is a contemporary guitarist, using this instrument in all possible ways, but with a strong bias towards electronic manipulations. The result of this collaboration is absolutely fascinating: on one hand there are the harsh and explosive eruptions of Stelzer's tapes and on the other hand there are the more gentle and melodic guitar manipulations of Ielasi. This combination is truly excellent and invigorating. It has certainly been a while since I heard something this refreshing and exciting. I am not sure why this is; the use of sounds, the compositions, the tension, somehow everything just fits together so well that I am lost for words really. Simply beautiful and an absolute must!!!" [MR / Vital Weekly]
|
2006 |
€13.00 |
|
| IF, BWANA |
Tripping India |
CD |
IF, BWANA ist seit langer Zeit das musikalische Betätigungsfeld von Al Margolis, der in den 80er das SOUND OF PIG – Label betrieb (eines der größten Cassettenlabel für experimentelle Sounds ever!), und jetzt hinter POGUS PROD. steckt. "Tripping India" enthält drei konzeptuell & elektro-akustisch geprägte Stücke, in welchen mit Piano-Sounds, grummelnden Geräuschen, effektierter Percussion und field recordings hantiert.
www.pogus.com
"Consisting of 3 compositions, TRIPPING INDIA is the 3rd IF, BWANA release on Pogus. On this recording If, Bwana is joined by, among others, Paul Marotta (Styrenes/Electric Eels/Mirrors) on 3 Out of 4 Ain't Bad, a conceptual work for 3 different pianists, playing 3 different pianos at 3 different times to the same tape. The final version is for 3 pianists, no tape. PR-DR is an electroacoustic work for processed/manipulated percussion. The title piece combines audio "snapshots" of a wandering through India with multiple tracks of manipulated and processed drums and percussion. The end result is an "audio travelogue for 2 (highly) manipulated percussionists." [label info]
|
1997 |
€13.00 |
|
|
Assemble.Age! |
CD |
"Modern classical music meets industrial meets musique concrete.
The music of If, Bwana (Al Margolis) represents a vigorous, original and informed continuation of the experimental traditions of American music, responding as it does to the sounds and materials of late 20th and early 21st century American life with a keenly sensitive ear and a marvelous feeling for form, balance, and texture in music.
The five works on this recording all utilize and reprocess the performances (both studio and live) of the musicians and vocalists. Their work has been processed, edited, selected and assembled into strange and mutated pieces which in many cases are quite some way removed from the realms of the familiar.
Active since 1984 under the If, Bwana name, Al Margolis has been making music that has swung between fairly spontaneous studio constructions and more process-oriented compositions. He ran the cassette label Sound of Pig Music in the 1980s and co-founded and continues to run the experimental music label Pogus. Margolis plays bass guitar in the long-lasting, legendary punk/post-punk band The Styrenes. Recordings of his work have been released on the Tellus, Anckarstrom, Ants, Absurd, GD Stereo, Odradek, Monochrome Vision, and Pogus labels. Recent projects have included a sound art commission by WDR Koln, collaborations with video artist Katherine Liberovskaya on "Take-off", "Rant Dance". and "Frogfield", all of which have been shown internationally, and the premiere of "Three Songs in Search of a Voice", a "nohtopera" with MutaMYTHeatre - music by Margolis and text and voice, Lisa Barnard Kelley." [label info]
www.mutablemusic.com
"Al Margolis career as If, Bwana has been going strong for more than twenty-five years now and it has making strange turns. Originally, to put it crudely, If, Bwana was an industrial group, using raw sound collage/montage techniques, but it has grown over the years in a way that not many others do. While many of his peers took the route to more musique concrete, Margolis went into the serious avant-garde direction. Working with small ensembles and soloists with various instruments, he now composes that are seriously modern and, at other times, sounding improvised. The role of Margolis is that of the conductor. Not in the traditional sense, raising a baton, but the organizer. He tapes the music and then fiddles it about using the computer. Maybe the 'organizer' is a better word, or 'assembler', to stay in tune with the title of the CD. Sometimes he receives sound material, such as by Trio Scordatura, which he then organizes into a piece of music, such as the nicely woven drone like sounds of 'Ringing The Bell', and sometimes they all team up to play live, as in 'Cicada #1: EHG Version'. Its here that the music sounds more improvised, an 'real' instruments (voice, trombone, flute) collide with a nord modular and computer. In 'Six Minus 6' and 'DTTO' it seems we are dealing with a composed piece of music and its hard to say what the role of Margolis is. His working method seems to differ within each piece he does and that's something that is surely great as it makes a very release. Different approaches to a similar working ground. A fine work, yet again, of various interests (composed music, improvisation, musique concrete techniques) merging together. Quite a unique voice in this music." [FdW/Vital Weekly]
|
2010 |
€13.00 |
|
| |
Red One |
CD |
"Please note: This release is packaged in hand stenciled 11” x 17” card type stock paper, folded, inserted into re-sealable plastic sleeves. There is no jewel case, tray card etc. There is a bar code.
After the last If, Bwana (Al Margolis) release on Pogus – the large-scale double cd E (and Sometimes Why), this brand new If, Bwana recording is a little more intimate. This release consists of six smaller works for one or at most two instruments – with the instruments all being multi-tracked for a denser, deeper sound.
Red One features performances by stalwart experimental/avant musician/composers such as Nate Wooley, trumpet, on Toys for Al (with Al Margolis on toy trumpet); Ellen Band’s vocals on Ellen, Banned; trombonist Monique Buzzarté on Xylo 2; bassoonist Leslie Ross on It is Bassoon; Lisa B Kelley, voice and Veronika Vitazkova, flute on Lisa Verabbit; and Al Margolis, toy trumpet on Toys for Nate.
To quote from Massimo Ricci’s Touching Extreme review of E (and Sometimes Why) - and an equally apt description here: “…enriching with a distinct human component – Al Margolis’ “academically improper” compositional conceptions. The ensuing music is intelligently awkward and typically difficult to categorize, barring the creation of a “Bwana” label: rich in disruptions yet engrossingly (and economically) minimalist at times, comprising twisted details that, in a general context of rationalism, increase the amount of question marks each and every time the discs are spun.”
This disc adds another chapter to the thirty-year journey of If, Bwana.
If, Bwana was born on New Year's Eve 1984, making music that has swung between fairly spontaneous studio constructions and more process-oriented composition. A recent review of Margolis's work says: "Let it be declared that Al Margolis/If, Bwana is some sort of evil genius working with raw materials which are never adapted to a genre or a context, because they create one in that very moment. Those sources are radically altered up to an utterly unrecognizable state, anarchic manifestations moving in compact determination." (Massimo Ricci, Touching Extremes).
Al Margolis has been an activist in the 1980s American cassette underground through his cassette label Sound of Pig Music; was
co-founder of experimental music label Pogus Productions, which he continues to run. Active under the name If, Bwana since 1984, making music that has swung between fairly spontaneous studio constructions and more process-oriented composition."
https://www.pogus.com/21068.html
"And finally there is label boss Al Margolis with a new release as If, Bwana, his moniker since the mid 80s. His 'Red One' looks very much like some tape release he could have done in the 80s, with paint images sprayed on paper and a rather 80s design, but the music is all new. In each of the six pieces he works with sound material which he received from others, and all that has to do with 'air'. Nate Wooley plays trumpet, Margolis himself toy-trumpet (both in the first piece), Ellan Band uses her voice (second), Monique Buzzarte trombone (third), Leslie Ross (bassoon), Lisa B Kelley (voice) and Veronika Vitazkova on flute (fifth) and Margolis again on toy trumpet in the sixth piece. Margolis keeps his If, Bwana name for when it comes to using recordings for acoustic instruments and reworking them into lengthy pieces of drone like sound scapes. Taking the working method from Phill Niblock he cuts the sounds right before they start and right after they end, and then starts to layer them on the computer. He pitches some up, some down, and in some tracks in the musical program he cuts out parts, so have a start/stop feel, like some instruments only play part of the time, and others are in a more continuous mode. Thus clever modern classical music is made of a highly atmospheric chain. It's a technique If, Bwana has been using for years now, and he mastered it quite well. Not as controlled as Niblock himself does this, but the music is more playful - for instance in the two pieces that use voice, especially 'Lisa Verabbit' connects to the world of improvisation/free forms of classical music. It's different, playful, but perhaps not my most favorite of this disc. I'd rather settle 'Toys For Al' or 'It Is Bassoon', which it's controlled sustaining sounds and sounds dropping in and out in very gentle way. Another fine release with a nice, strange visual esthetic. Not the next new move, but a further investigation into what we already know." [FdW/Vital Weekly]
|
2013 |
€14.00 |
|
| IKONEN |
Zeitschrift für Kunst, Kultur und Lebensart Nr. 4 (Frühjahr 2004) |
mag |
Themen: Walter Benjamins 'Passagen' (von Bernd Kiefer). Das obsessive Kino von Agustí Villaronga (von V. Thomas) . Theodor W. Adorno - Metaphysik nach Auschwitz? (von Rüdiger Sünner). Diamanda Galás - Porträt und Interview. Jörg Buttgereit - Interview über Berliner Undergroundkultur. Mechanismen des Untergangs- Viscontis Götterdämmerung auf der Bühne (von Alexander Jackob). Fetisch-Fotograf Arne Jahn - Fotos und Porträt. Fotokünstler Nobuyoshi Araki - Porträt (von Christian Fuchs). Hommage an Werner Herzog (von Norbert Grob). Rezensionen: Sam Peckinpah, Werner Herzog Kollektion, S.R. Meixner (Contrastate), Darkwood, Max Richter. |
2004 |
€5.00 |
|
| IL SANTO BEVITORE |
Sorge Il Buio |
CD-R (EP) |
Taking inspiration from the great sci-fi book “Nightfall”, first IlSantoBevitore's Ep, explores conceptually the contrasts between dark and bright through a deep research of a certain sound. More deeply this matter has been transposed to music production in which bright percussions and distortions live all together. Harsh and unpleasant high frequencies crash against a wall of sub bass frequencies. All leaded by layers of acoustic world percussions and dynamic polyrhythms.
https://emerge.bandcamp.com/album/sorge-il-buio
"IL SANTO BEVITORE, das ist Nicola Serra aus Sardinien, der allerdings in Nordlondon mit Beats, Synth and Percussions die Dröhngitarre von Francesco Garau in D503 betickt und durchpulst. Joseph Roths "Legende vom Heiligen Trinker" ist ihm wohl durch Ermanno Olmis Verfilmung (1988) zu Kopf gestiegen. Auf Sorge il Buio (ACK 1038, CD-R, EP) kündigt er ein mit knurrigem Synthiebassdrone unterspültes Drumsolo gleich mehrfach als 'Luce perenne' an. Gefolgt von 'Oltrepassare' als Reigen aus Drumming, Dudelsackgetriller, Gerassel, einer stehenden Vokalwelle, Klangschalenklang, pochendem Elektroherzschlag. Schließlich entfaltet noch das Titelstück zu schnarrendem Puls und tackenden Beats einen elektroperkussiven Groove, verziert mit Gong- und Beckenschlägen und feinen Klicks. Er überschreitet damit das Dunkel, ich bin dazu noch zu nüchtern." [Bad Alchemy]
|
2016 |
€6.00 |
|
| ILLUSION OF SAFETY |
Time remaining |
CD |
“WARNING: use extreme caution when playing contents through headphones or inferior speakers”. IOS (inzwischen studiomäßig meist DAN BURKE alleine) loten hier in jeder Beziehung Extreme aus – radikale elektronische Experimente breiten sich hier auf 8 Stücken aus, jedes bietet einen eigene Mikrokosmos von fremdartigem Klang – zwischen schneidenden Elektroniklärm und ruhigen Collagen. 20 Jahre gibt es diese Industrial-Pioniere jetzt schon, und mit jedem neuen Werk scheint eine weitere Wandlung und Erneuerung einzutreten..
Great new IOS-Work where they plumb the very extreme poles of noise and calmness...
“....Somehow it reminds me of 'Historical', compact disc number one. Drones, noise and sound collage - each seems to have it's own place on this CD. Whereas a lot of other CDs were in one direction, this CD is in more places, sometimes even within one track. I was thinking that despite the various tracks (each having their own title), this is more a continious work, just one long piece of music, each track flowing in the other. With this CD one can hear the experience of Dan Burke, both as a studio musician and a live one - the sheer elegance with which is this is made. Unlike many others, Illusion Of Safety changes all the time, and comes up with something new, based on twenty years of experience. Let's hope there is a lot of remaining time, for lots more. [FdW, Vital Weekly]
|
2003 |
€15.00 |
|
|
In Session |
CD |
Neues Material des Projektes von DAN BURKE - als eher elektronisch arbeitende Industrial-Band fing man an, aber die verschiedenen Metamorphosen in der nunmehr 25jährigen Geschichte führten über Geräuschobjekt-Improvisationen und eher collagigen musique concrete Werken bis hin zum dark ambient und drone-basierender Musik.
IN SESSION führt einiges davon zusammen, besitzt Anteile von verschiedenen Stilen, spannungeladen & sirrend, wellig, dronig, dicht, wieder ein kleines Meisterwerk.
Geräuschmusik wie sie intensiver kaum vorstellbar ist.
"Illusion Of Safety is one of the oldest post-industrial acts in the Americal musical underground, and in my opinion, of the most interesting projects ever. During 25 years of existence IOS have recorded a lot of various albums and their music has been changing a lot. Having passed through all the circles of industrial hell, Dan Burke has lost almost all his companions and remained alone. He hasn't released too many albums recently, and "In Session" released in 2008 has become a real surprise for me. I mean of course the fact of the release, because the highest quality of musical material and huge amount of pleasure while listening to it is guaranteed by any of IOS albums. "In Session" was recorded in 2007, the mastering was made by Thomas Dimuzio at Gench Music Studio. This is a very thorough and delicate work, an abstract performance in which synthetic and natural sounds mix in the most unusual combinations, when you really hold your breath to wait what's gonna be further. In 6 tracks of the album there are a lot of quiet microscopic sounds which whirl in front of the eyes like thoughts without rational content. They change into the smooth waves of melodic ambient, then to insane sampled collages which don't make you feeling relaxed keeping the constant tension. This shortening of the distance between contemplativeness and neural spasms has always been the trademark of IOS - it's interesting to watch how the musical structure transforms under the emotional passion hiding after each second of the track time, but not always going out. Separate compliments should be given to the artwork designer - you can observe the cover for a really long time being astounded by it's beauty. [Dmitry Vasilyev, Monochrome Vision]
"One of my favorite post industrial bands ever. Period. Since more than twenty years I am a fan and every new release is awaited with eager anticipation. This highly limited release from Russia, in a gorgeous package, is no different. These days, since many years actually, Illusion Of Safety is reduced one person, following a free floating membership that included Thyme Jones and Jim O'Rourke to mention just two, which is Dan Burke. He plays 'sound generating devices and random objects that deliberately provoke, mesmerize and even affront listeners'. I deliberately use the term 'post industrial' and not say 'electro-acoustic' or 'musique concrete', which could also easily be applied to the music of Illusion Of Safety. When they started they were firmly rooted in the world of industrial music, and later on elements of musique concrete came along, but if you listen to 'In Session' the elements of industrial music are still there. Heavy, steel walls of drone music pierce your ears and are as easily replaced by soft drones, crackling sounds of hand held objects and contact microphones. I wouldn't be surprised if Burke plays all of this 'in session', live at home so to speak. I saw him a lot of times playing concerts which capture the equal beauty that is captured here. Ranging from sheer noise to near silence and there is always an element of surprise lurking around the corner. An abrupt, full stop or start and it bring the piece in a new territory. Illusion Of Safety's music can be compared with the likes of Roel Meelkop or Toy Bizarre, but is less bound to rules of composition and more free and joyous (well, that's probably not the right away) than those of the microsound/musique concrete posse that inhabits the world of Vital Weekly so frequently. That alone makes a great band and another great CD. Very fine concentrated bursts of sound." [FdW / Vital Weekly]
"The first proper record from Illusion Of Safety in well over 5 years emerges from the Russian label Waystyx, meaning that this will
not be around for long and will not be easy for us to track down once these are gone. Just a caveat before we launch into the, um, virtues
of this exercise in muscular electronics and brainmelting dronescaping. Illusion Of Safety began well over two decades ago, firmly embracing the death factory imagery and psychological tension that came through the work of Throbbing Gristle, John Duncan, and The Hafler Trio. While the grizzly subjects of torture and sexual violence have dissolved over time, Illusion Of Safety's interest in unsettled soundscapes, collages, and electronic walls of noise remain as powerful as ever. Illusion Of Safety has always been a revolving door project centered around Chicago's Dan Burke; and In Session finds Burke alone at the helms of Illusion Of Safety, concocting a dizzying series of arcing electroshock compositions filled with intense dynamics and rapid crescendos of incremental noise quickly nosediving into subharmonic tones and microtonal squiggles, with plenty of slow
building elements in between. The piercing drones that dominate the Illusion Of Safety palette are matched with crumbled textures from electronic circuits on the verge of collapse (see Wolf Eyes, Carlos Giffoni) and contact microphone agitation (see Tarab, Eric La Casa,
Loren Chasse, etc.). There's one track of grim psychedelic arpeggiations which sounds as if Prurient were attempting a Terry Riley piece, with bad intentions running through the phase shifting loops. Totally fantastic, if not totally disquieting!" [Aquarius Rec.]
|
2008 |
€13.00 |
|
| |
Mort aux vaches (II) |
CD |
"Als erste Gruppe erhalten ILLUSION OF SAFETY die Ehre, eine zweite MORT AUX VACHES zu veröffentlichen! In einer Session vom 21.Mai 1997 bewiesen sie ihr ganzes Dark Ambient Industrial –Können, mit konkreten Passagen (Glas!) und Tapeeinspielungen angereichert, immer für eine Überraschung gut! Great Cover, rot bedrucktes Schmirgelpapier." [Drone Rec. 1999]
www.staalplaat.com
|
1999 |
€15.00 |
|
| ILSE LAU |
De tinnen mannen |
CD |
Das vierte Album der Bremer „keine Schublade gefällig“-Band: noch besser produziert, vertrackter und gewagter in den Harmonien,
mit Einsatz von Bläsern, Piano, und Sprechgesang.... if you like RECOMMENDED RECORDS No Wave-Stuff,,,,,if you like THIS HEAT....... if you like Jazzcore-stuff..... if you like CPT. BEEFHEART....... check out the fourth album of this un-categorizable band from the sweetest town in Germany !!
„Jetzt machen wir'ne Tanzplatte..." - so sagten sich die drei von Ilse Lau beim Gang ins Studio. Tanzen jetzt aber nicht so, wie man denken würde. Keine Disco, kein Rock'n'Roll, kein Rave. Sondern statt Rockdekonstruktion und grandioser Neuzusammensetzung, bislang auf drei exzellenten Alben mit eigener Handschrift vorexerziert, nunmehr das: gerade Takte, vergleichsweise knappe, entschlackte Kompositionen. Erstmals zusätzlich akzentuiert durch gelegentliche Gesangseinlagen. Die Band hat sich gründlich neu erfunden. Ilse nimmt ihre HörerInnen auf Album Nummer 4 ganz freundlich bei der Hand, trägt auch in dieser Saison jenen zarten Dub-Hauch-von-einem-Schleier, der ihr schon im letzten Sommer so gut stand. Dabei ist Ilse Lau immer noch von ganzem Herzen den entlegeneren Regionen fortschrittlicher Rockmusik zugetan - Captain Beefheart, Pere Ubu oder U.S. Maple zum Beispiel -, hat aber das Wissen darum derart durchdrungen, dass sie leichter Hand daraus etwas ganz Eigenes machen kann, das ihre bisherigen Alben zusammenfasst und in eine verbindliche Form überführt. Kompakter, zupackender als zuvor klingt das Trio auf "de tinnen mannen", spielt funky, lässt Gäste strahlende Bläsersätze setzen, und manchmal klingt gar eine Art Drum'n'Bass-Beat an. Ihre reifste Platte bis zum heutigen Tag. "[Andreas Schnell]
„Still one of our favourite German avant-rock bands, this guitar/bass/drums trio from Bremen. Never thought themselves capable of vocals, but now for the first time they’re giving it a go in a couple of tracks.” [Worm]
|
2004 |
€13.00 |
|
| IN DIE FERNE |
Ad Un Passo Dal Grigio |
CD-R |
On The Verge Of Grey / Music For An Imaginary Film is a release by In Die Ferne an Italian dark ambient project by Gabriele.
It is a special cinematic dark ambient because it is a conceptual album, a soundtrack to an imaginary film. The gradual descend from the exterior to the interior world. A meditation, a second life, the inner world exploration and a story told at the hospital's pond.
Translation of the title and tracks:
Ad Un Passo Dal Grigio / On The Verge Of Grey
(Musica Per Un Film Immaginario / Music For An Imaginary Film)
1. La Noia (Interno Sera) / Boredom (Evening Interior)
2. Ora Gli Alberi Sono Fantasmi / Now The Trees Are Ghosts
3. Nell'ex Ospedale Psichiatrico / In The Abandoned Psychiatric Hospital
4. Unghie, Mozziconi Di Sigaretta / Fingernails, Cigarette Butts
5. Exeunt (Esterno Notte) / Exeunt (Night Exterior)
This interesting yet darkly concept album of about 80 minutes was conceived in the early 2018 to April 2018. It was taken great care for design details and it was developed actually in more stages until completion. It is dark drone soundscapes with subtle field recordings for a definite dark ambient album an out of this world journey, an interesting "Kopf-kino" music to get lost to it.
https://essentiamundi.bandcamp.com/album/ad-un-passo-dal-grigio-em042 |
2018 |
€8.00 |
|
| IN THE NURSERY |
Recordings 1981-1999 |
7 x LP BOX |
7 Lp Box w. Shirt & Booklet. Black vinyl ltd. 400. In The Nursery is the Sheffield-based musical project centered around the nucleus of twin brothers Klive and Nigel Humberstone and formed in 1981 together with Anthony Bennett. The trio were originally associated with the UK's industrial music scene, releasing the six-track When Cherished Dreams Come True in June 1983. The "Witness (To A Scream)" single and Sonority EP followed before the band moved to the Sweatbox label for the fearsome Temper EP. The full-length Twins was recorded without the departed Bennett at Bradford's Flexible Response Studio. ITN’s musical history spans 30 years and has constantly expressed their desire for progress and experimentation. Their sublime, cinematic music blends electronica, classical arrangements, orchestral percussion and soundscapes evoking a timeless quality.
regular black Vinyl edition Number 100-500
LP1 Basement Tapes 1981/82
LP1A Basement 1981/82 Basement Tapes 1981/82
LP1A I'll Turn Away 1981/82 Basement Tapes 1981/82
LP1A Patter 1981/82 Basement Tapes 1981/82
LP1B Stone Souls 1981/82 Basement Tapes 1981/82
LP1B Listen 1981/82 Basement Tapes 1981/82
LP1B Dawn Song 1981/82 Basement Tapes 1981/82
LP1B Red Blue Yellow 1981/82 Basement Tapes 1981/82
Lp2 Live Melkweg 1985
LP2A Fabricata 1985 Melkweg Live
LP2A Iskra 1985 Melkweg Live
LP2A A to I 1985 Melkweg Live
LP2A And Your Eyes 1985 Melkweg Live
LP2A Workcorps (early version) 1985 Melkweg Live
LP2B Illuminata 1985 Melkweg Live
LP2B To The Faithful (Deceivers) 1985 Melkweg Live
LP2B Witness (to a scream) 1985 Melkweg Live
LP2B Deus Ex Machina 1985 Melkweg Live
Lp3: Tracks from 1986-1991
LP3A The Outsider (instrumental) TWINS (1986) 1986-1991
LP3A Breach Birth (Blockade Mix) TWINS (1986) 1986-1991
LP3A Twins (remix) TWINS (1986) 1986-1991
LP3A Blind Me (An Assault on Heaven in 4 Chapters) Stormhorse (1987) 1986-1991
LP3A Counterpart (pre drums mix) Stormhorse (1987) 1986-1991
LP3A Ostinato Koda (1988) 1986-1991
LP3B Blade (instrumental) L'esprit (1990) 1986-1991
LP3B Archaic Torso (instrumental) L'esprit (1990) 1986-1991
LP3B Cadence (unreleased) L'esprit (1990) 1986-1991
LP3B Epigraph (instrumental) Sense (1991) 1986-1991
LP3B Sense (instrumental) Sense (1991) 1986-1991
LP3B Dextral Sense (1991) 1986-1991
LP3B Memoirs 2 Sense (1991) 1986-1991
LP3B A Rebours (instrumental) Sense (1991) 1986-1991
Lp4: Tracks from 1992-1994
LP4A Desiderata (instrumental) Duality (1992) 1992-1994
LP4A Red Harvest (instrumental) Duality (1992) 1992-1994
LP4A Duality (instrumental) Duality (1992) 1992-1994
LP4A Corruption (instrumental) Duality (1992) 1992-1994
LP4A Pulse (extended demo mix) Duality (1992) 1992-1994
LP4A Mecciano (instrumental) Duality (1992) 1992-1994
LP4B Anatomy Of A Poet (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Motive (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Byzantium (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B The Golden Journey (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B The Seventh Seal (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Blue Lovers (instrumental) Anatomy of a Poet (1994) 1992-1994
Lp5: Tracks from 1995-1997
LP5A Laten (unreleased) 1995 1995-1997
LP5A Grace (unreleased) 1995 1995-1997
LP5A Rescue (unreleased) 1995 1995-1997
LP5A Radiator (WIP) 1995 1995-1997
LP5A Tungsten (demo mix) 1997 1995-1997
LP5A Compliance (HTS 200 snare mix) 1996 1995-1997
LP5A Rainhall (unreleased) 1996 1995-1997
LP5B Mallarme (instrumental) 1996 1995-1997
LP5B Woman (instrumental) 1996 1995-1997
LP5B Caprice (instrumental) 1996 1995-1997
LP5B Precedent (instrumental) 1996 1995-1997
LP5B Cold Eyes 1996 1995-1997
Lp6: Tracks from 1998-1999
LP6A I Ask For Grace (instrumental) Lingua 1998 1998
LP6A El Secreto (instrumental) Lingua 1998 1998
LP6A Mute Harmony (instrumental) Lingua 1998 1998
LP6A The Living Tongue (instrumental) Lingua 1998 1998
LP6A Poema (instrumental) Lingua 1998 1998
LP6B StrR (MWMC wip) MWMC (1998) 1998
LP6B Luxuriate (MWMC wip) MWMC (1998) 1998
LP6B Arp Stuff (MWMC wip) MWMC (1998) 1998
LP6B Liberation (MWMC wip) MWMC (1998) 1998
LP6B Groundloop (divergent strings mix) Groundloop 1999
Lp7: Vinyl Tracks from 1983-85
LP7A A To I 3:33
LP7A Patter 4:32
LP7A Stone Souls 3:22
LP7A Mystery 3:56
LP7A Remain 3:10
LP7A Execution's Romance 5:22
LP7A E984 3:13
LP7B Witness (To A Scream) 4:07
LP7B Iskra 3:10
LP7B Sentient 4:05
LP7B Deus Ex Machina 5:52
LP7B Lost Prayer 4:42
LP7B And Your Eyes 6:33
|
2023 |
€145.00 |
|
| INFANT CYCLE |
Old Plus Four |
CD-R |
Sehr experimentelle Dance-Elektronik aus Kanada, enthalten sind hier re-mixes von tracks von alten Cassetten-Veröffentlichungen (Dancemix, 1996, Tulpa, 1997) und 4 neue tracks. Einiges ist mit tausend Effekten versehene, durchaus tanzbare, aber kantige Beatmusik, andere Stücke sind bis zur Auflösung in reine Sounds zerstückelt oder bewegen sich in dark-ambient-Sphären.... Eine Gratwanderung zwischen Experimental Dance und reinen elektronischen Geräuschen, sehr zu empfehlen!
www.eetapes.be |
0000 |
€8.00 |
|
|
Playout |
CD-R |
Eine halbstündige CDR-EP mit 2 langen Stücken, nach vorne drängende Rasiermesser-Pulses, ständige Wechsel von Sounds & Stimmungen, reine klackernde Geräuschparts, wieder begeisternd und weiterhin zu entdecken!
"Limited to one rhythm-carved record playout groove, and operational record player sounds (augmented by violin bow and razor blade), The Infant Cycle creates a half-hour exploration through all the sounds possible. Harsher rhythmic timbres fly through into quieter microtonal terrain, the static interrupted by spasms of unstability. Numbered edition of 250 copies." [label info]
label: http://zhb.radionoise.ru/
|
2007 |
€8.00 |
|
| |
Secret Hidden Message |
7inch |
"...oszillierend zart und schwirrend, bis ein auslaufgroove für unerwartete erdung sorgt; der sich der windende drone nicht unterwerfen will, statt dessen sich sammelt und ins reverb flüchtet (inklusive delay-feedback-stop). stück 2 auf der A-seite dagegen ein wolkig-voluminöser drone mit nervösen einsprengseln, durch die flüchtigkeit von wolke + sprengseln genau so wenig statisch wie der erste track „secret hidden mistake", bis urplötzlich die wolke hinter sich gelassen wird und der nackte ton bleibt. das stück auf der zweiten seite heisst dann nicht nur „trombone", sondern ist nach angabe auf dem inlay (alle instrumentalen zutaten werden gelistet) auch allein mit einer posaune gespielt. nun denn, wenn auch die instrumente genannt werden, über die produktion herrscht stillschweigen; so ist die posaune auch in keiner weise erhörbar... ...wie sie als fragmentiert lautmalerischer impuls wächst und wächst und schließlich in einem wind untergeht. höhepunkt!" [N, Unruhr.de]
"THE INFANT CYCLE is a long operating experimental project from Ontario (Canada), active since 1992 with many releases on MC & CDR on different labels and the home imprint THE CEILING.
The three pieces on this EP were created using sounds from various instruments as Trombone, guitar, windchimes, marimba, birdcage, etc.. The result sounds rather electronic & hypnotic, with bright shining drones & repetitive rhythmic patterns & loops moving into more amorphous & multilayered sounding electro-acoustics. In spite of the rather experimental working-methods the outcome is very compact & condensed. THE INFANT CYCLEs approach to sound is based on the belief that words and explanations can only fail to describe or explain it, what is needed is a non-verbal, intuitive understanding of the work: "The artist's ego must not inhibit the piece's effect. It is the sound you are hearing, not the artist." Is the artist playing the sound or the sound playing the artist?
Filed under: Multilayered Drone-Hypnotism
more info: www.myspace.com/the_ceiling
FOGGY VINYL; BLACK COVERS WITH DIFFERENT SIZED BLACK SPOTS ON IT & TRANSPARENT COVERAGE USING INFANT CYCLE-LOGO" [label info]
"This is the first release from drone records and the infant cycle that I am listening to and it is a happy surprise. I have to admit that drone music is not exactly my mug of coffee mostly because most of the times I find it different to concentrate to it due to the lack of information. This doesn’t apply here cause there is an interesting mix with electro-acoustic elements. Infant cycles is Jim DeJong active sinve 1992 in (from the infant cycle’s last fm page) “…exploring the relationship between sounds and their origins, as well as that which proceeds it”. Both sides of the 7” are very carefully structured. Side A has two tracks that could easily been understood as one, “secret hidden message” and “(and then the dog replied)”, both characterized by the persistence of DeJong in what I understand as detailed abstract linear narration, all sounds are collaged beautifully in medium durations that produce beautiful kind of loop effects though there is complete absence of repetition. As I read that some of these sounds come from a bird cage, wind chimes and cookery I can only suppose that they were time and pitch stretched. The second side is the most impressive though. “Trombone” is based on recordings of a trombone (obviously) that were manipulated and treated in a manner that brings to my mind of oval. There is a minimal techno element , at least in the first part, that is followed by an abrupt change in the composition. Despite of that the result is very cohesive. I have to admit that I have this feeling that I should know what the infant cycle do. This is very well-crafted, well thought and interesting 7”. Bull’s eye." [Fervent, Randeom E-Zine]
www.dronerecords.de
|
2008 |
€7.00 |
|
| INFANT CYCLE & RAMUNAS YARAS / DELPHIUM |
Translation / Heart full of Soul |
do-mCDR |
Die Wiederkehr des britischen, vor langer Zeit (DR-24) auch auf Drone gefeatureten Projekts DELPHIUM! "Heart full of Soul" besteht aus fünf überwiegend aggressiven "pulse'n'noise"-tracks, basierend auf Gitarrenklängen (das merkt man kaum), harsch und metallisch-mechanisch rhythmisiert, mit wie immer sehr düsterem Unterton...
THE INFANT CYCLE dagegen arbeitete für die zweite mCDR mit RAMUNAS YARAS (aka ENDICHE VIS.SAT) zusammen, der Klarinett-Klänge beisteuerte; entstanden ist ein grossartiger, hitziger, fast flirrend-rhythmischer track, dronig-melancholische Zwischenspiele, sowie mysteriöse Klanglandschaften die auf verfremdeten Vogelstimmen, Radiokurzwellen & "feedback generators" bestehen... starke Kontraste auf einer hervorragenden Split-Veröffentlichung! Das ganze in schlankem Hochformat, ein sehr kurioses Cover, professionell gestaltet, lim. 100 !
"Heart Full of Soul," nearly 23 minutes, is one of Delphium's darkest and noisiest recordings to date. The very direct and engaging work features tracks ranging from droning dark ambient to distorted and expressive rhythmic beats. "Translation" is a 20-minute release consisting primarily of The Infant Cycle processing and supplementing avantgarde clarinet recordings by Ramunas Yaras. The resulting experimental (and somewhat rhythmic) pieces fall variously within the spectrum between ambient drone and noise. This release is presented as a pro-printed 2x3"CDr set, packaged in a special color folder sleeve, and limited to 100 copies. Delphium has been active since 1993, releasing numerous vinyl and CD releases on labels such as Drone, Moloko+, Hibou, and his own Aquese label. The Infant Cycle, active since 1992, has many releases on labels such as EE Tapes, Blade, Hands, and his own label, The Ceiling. Ramunas Yaras is a Lithuanian experimental composer and writer who is also known for his work in Endiche Vis.Sat and Magic Carpathians Project." [label info]
|
2007 |
€8.00 |
|
| INFANT CYCLE / DRONAEMENT |
split |
CD-R |
Sehr gute 9-track CDR (3 Stücke von INFANT CYCLE, 6 von DRONAEMENT) auf dem KIRCHENKAMPF-Label COHORT! INFANT CYCLEs Stücke sind intensiv-atmosphärische Industrial-Droners mit mechanisch-wuchtiger Variante, welche hypnotische Strukturen mit bemerkenswerten Sounds & Effekten verbinden und eine pulsierende Spannung aufbauen, intensiv & schön !
DRONAEMENT begeistert wieder mit seiner Mischung aus field recordings und sublimen Melodien, die Stücke sickern allmählich ins Unterbewusste wo sie sich verzaubernd auszubreiten scheinen...
".. pairing the German sound artist Dronaement who uses a combination of field recordings and electronics, and the droney abstractionist Canadian artist The Infant Cycle." [label info]
http://cohortrecords.0catch.com
|
2008 |
€9.00 |
|
| INFINITE LIGHT LTD |
same |
LP |
"INFINITE LIGHT LTD ist das neue Projekt von Aidan Baker (NADJA), Nathan Amundson (RIVULETS) und Mat Sweet (BODUF SONGS). Das Trio erforscht die Parallelen und Unterschiede ihrer jeweiligen musikalischen Projekte und erschafft dabei Musik, die Minimal Folk, abstrakten Post-Rock, Glitches und Drones verbindet. Ihr selbstbetiteltes Debüt wurde unabhängig in den Studios der einzelnen Mitglieder über den Winter 2010 aufgenommen; Songskelette und Fragmente wurden digital ausgetauscht, um schließlich ein Album aufzubauen. Die Instrumentierung reicht von elektrischen und akustischen Gitarren über Klavier und Schlagzeug bis Harmonica und Flöte. Die Songs erstrecken sich von wehmütigem Folk bis zu schrägem Blues und kombinieren digitalen Noise und süße Melodien. Wer bereits andere Projekte dieser Herren kennt, kann sich vorstellen, wie gut die Qualität dieses Debüt ist."
"Infinite Light Ltd. is a collaborative project between Nathan Amundson (aka Rivulets), Aidan Baker (of Nadja, Whisper Room, ARC), and Mat Sweet (aka Boduf Songs). The trio explores the similarities and the disparities of their respective musical projects, creating music which combines minimal folk, abstract post-rock, glitching noise, and ambient drones. Their debut, self-titled album with Denovali Records was recorded remotely in each members’ respective studios over the winter months of 2010, digitally trading skeletal songs and fragmentary sounds to collectively build an album. Instrumentation ranges from electric and acoustic guitars to piano and drums to melodica and flute. Songs range from wistful folk to off-kilter blues, combining digitally manipulated noise and sweet melodies. If you know the other projects of these guys you already can imagine the quality of this debut."
https://denovali.com/digitalstore/index.php?main_page=product_info&products_id=895&s=infinite light
|
2011 |
€16.00 |
|
| INNER VISION LABORATORY VS. NEPENTHE |
Ambit |
CD |
"Two years after well-received "Perpetua" album, INNER VISION LABORATORY returns to Zoharum with their new album entitled "Ambit". Not a solo venture, but a collaborative effort with young, but promising NEPENTHE project. The album was 3 years in the making when they were searching for a common language and fiddling with sonic matter using the Internet in this respect, they have created a monolith - a very cohesive, yet symbiotic world. It might be easily labelled as "ambient", yet they break the patterns of that style.
"Ambit" is composed of 7 compositions, clocking in at 50 minutes. It is composed of beautiful, yet unsettling melodies, for those who are fascinated with sounds coming from Cyclic Law and Loki Foundation labels, but also for new-comers to the genre. For those open-minded for something new and touching, a kind of music painted with the whole palette of colours and sounds." [label info]
www.zoharum.com
|
2014 |
€12.00 |
|
| INSTANT DRONE FACTORY |
Critical Mass |
CD |
"Die Instant Drone Factory formierte sich 2005 beim Schiphorst Avantgarde Festival. Veranstalter Jean-Hervé Péron (Faust) hatte den Solokünstler Frank Gingeleit gebucht. Problem: Gingeleit brauchte eine Band, hatte aber keine. Den Schlagzeuger Christian Jäger und den Bassisten Thomas Gorny (beide Space Debris) sowie den Gitarristen Andrea Tabacco (Elton Junk) lernte er kurz vor dem Auftritt kennen. Ohne Soundcheck oder gar Probe gelang dem Quartett ein legendärer Auftritt. Das nächste Treffen der Instant Drone Factory fand im Studio statt. In der eintägigen Session zu „Critical Mass“ entstand ein unglaublicher Flow aus Soundscapes und scheinbar komponierter Songs. Die CD reflektiert auch die musikalischen Ursprünge ihrer Akteure: Psychedelic, Krautrock, Fusion, aber auch Jazz, Industrial, Post-Rock und die Zufallsmusik aus Geräuschen und Dröhnen. Obwohl in weiten Passagen experimentell, ist die CD einladend und zugänglich. Für jeden, der an authentischer, zeitgenössischer Musik zum Zuhören interessiert ist." [label info]
German-italian impro-psych-drone outfit with FRANK GINGELEIT.
|
2006 |
€10.00 |
|
| INTRAVENE |
Flotation Toy Warning |
CD |
"INTRAVENE ist eine faszinierende Zusammenarbeit von Steve Pittis (BAND OF PAIN) und Stephen Meixner (CONTRASTATE). Kaskaden von Echos & fliessende Sounds, plötzlich ein kurzes Auftauchen von Drum'n'Bass (sehr kurz), Naturerecordings, nach vorne preschende Geräusche, surreale Atmosphäre. Great work! Weitere Veröffentlichungen sind geplant!!" [old Drone Rec. info]
www.aufabwegen.com |
1998 |
€13.00 |
|
| IOLINI, ROBERT |
Songs from Hurt |
CD |
„ROBERT IOLINIs ‚Silent Motion‘, der erste Teil von Songs From Hurt (ReR RI2), ist ein Stück für actor, besser Sprecherin (Virginia Baxter), sampled film projectors, pianos and 1927 fotoplayer und setzt sich auseinander mit einer aus widersprüchlichen Texten über (Stumm)Filmmusik collagierten Theorie derselben. Fast kniggemäßig wird ein Katolog von Empfehlungen, Gebrauchsanweisungen und Warnungen verlesen, das Repertoire von Lautmalerei, Phantasie-handläufen und Stimmungstriggering - Grotesque, Mysteriouso, Sinister, Religiouso etc., das Leitmotiv wird eher verdammt, der heutige Usus, Gefühle durch bekannte Hits mit bereits eingeimpften Assoziationsreflexen zu gängeln, sowieso. Iolinis eigener ‚Silent Motion‘-Soundtrack, der mit seinem ‚Funiculì, funiculà‘-Auftakt gleich ungeniert in eines des Fettnäpfchen tritt, ist wie Stummfilm ohne Bild, ein Cowboy ohne Pferd, das er verkehrtrum sattelt. Abstrakt und ironisch wird die emotionale Magie von Stummfilmmusik demonstriert, mal mit, mal gegen den Text. Mit den Songs zu Phillip Crawfords Doku Hurt und mit ‚Black Sheep‘ geht der 1960 geborene Australier, der mit seinem Beitrag ‚Hong Kong: City in Between‘ zur Soundscapes Be)for(e 2000-Compilation schon einmal in BA auftauchte, dann den Schritt von formalen Fragen zu praktischen Verknüpfungen von Form und Inhalt. Bei ‚Songs from Hurt‘ for voices and rock band kommen jugendliche Misfits zu Wort. Ihr O-Ton vom alltäglichen Horror, von Drogen, schlagenden Vätern, Müttern und Polizisten skizziert lakonisch und im Zeitraffer, wie sie im Jugendknast landeten und fungieren 1:1 als ‚Lyrics‘. Iolinis Versuch, in einer falschen und kaputten Wirklichkeit als Künstler realistisch zu werden, collagiert bei ‚Black Sheep‘ erneut ausschließlich O-Ton von Insassen, aktuellen, ehemaligen und potentiellen (sic!), des Don Dale Detention Centre in - ausgerechnet - Darwin, Australien, gemischt mit Aussagen von Sozialarbeitern und Experten für Jugenddelinquenz. Als musikalischer Fond dient minimale Elektronik aus Fieldrecordings, die Jugendliche im Umfeld des Gefängnisses aufgenommen haben. Iolinis schwer zu kategorisierende Audio-Art, „part music, part documentary and part drama“, zeigt verwandte Züge mit Arbeiten von Gregory Whitehead, Jon Rose oder Bob Ostertag, deren Radiophonien Fact & Fiction, Form & Function, Was & Wie so neu justieren wie Raymond Chandler einst den Kriminalroman. Und das mit einer Credibility, die das Maulheldentum des Rap krampfhaft sucht.“ [Rigobert Dittman, Bad Alchemy # 47]
“Robert Iolini is a composer who transcends the divisions between music, documentary and radio art, mixing investigative journalism, sound ecology, storyboarding and conventional notated composition -- using songs, spoken word, field recording, improvisation and electroacoustic manipulation to make complex audio works that might equally be music, documentary or fiction. He works, initially, like a radio journalist: researching, collecting materials, conducting interviews. The bulk of Songs From Hurt have been constructed in this way, around the extraordinary testimonies of aboriginal teenagers, prisoners, shadow communities and witnesses to a world in which the interviewees are continually told that they are surplus to requirements. Then this raw data is organised, transformed and integrated into complex musical compositions, becoming itself musical in the process -- its pitches no longer simply prosaic, its rhythms driving the structure of its setting while remaining intact -- not looped or pressured into becoming servants to the overall organisation of an aesthetic fiction. The witnesses and sounds converse and conspire in Iolini's work, but never give way to one another. It is rare for conventional and electronic compositions to remain so respectful of voices and what they have to say, and this plain matter of fact-ness makes most rap sound like bluster, and most opera sound like history." [press release]
|
2005 |
€14.00 |
|
| IONOSPHERE |
Nightscape |
CD |
"Eight years since the last release in 2007, Ionosphere has now returned with its third full length album. It follows the path of previous works focusing on deep, shivering, cosmic sound waves and moves further with the inclusion of an emotional core. Expansive drones, drifting melodic soundscapes, ominous sonic undertones and vocal transmissions intersect with densely concentrated rhythmic pulsations that emphasize the sculptural nature and deep atmospheric scope of the 11 tracks.’Nightscape’ is a soundtrack that transports the listener on an epic journey far away into spaces and environments where lights and noises move and circulate slowly while the night embraces everything.
Comes in elegant 6-panel digi-sleeve." [label info]
www.loki-found.de
"Schon in meiner Besprechung zu Sawakos „Nu.it“-Album schrieb ich, dass es wenig Musikarten gibt, die das Phänomen der Nacht so unmittelbar und quasi impressionistisch einzufangen wissen wie Ambient. Während die Japanerin die Nacht als ein verspieltes Abenteuerreich darstellte, in dem sich wohlige und unheimliche Stimmungen gegenüberstehen, bis alles wie in einem Film zum beruhigenden Finale kommt, erscheint die Nacht in „Nightscape“, dem dritten Longplayer des deutschen Projektes Ionosphere, wie ein unendlicher Raum, der nicht nur den Schlafenden scheinbar für immer in seine Dunkelheit zieht. „Watch the world fall into the endless night“ lautet das aus den Titeln des eröffnenden und des abschließenden Tracks zusammengesetzte Motto des Albums. Doch auch hier ist die Nacht kein Gleichmacher, der alles in einem monochronen Schwarz zu ersticken droht.
Ionosphere versteht es, sein Paket an Klängen in dichte, ausladende Dronehüllen von soghafter Schwere zu packen, die über weite Strecken eine molllastige Wärme aufweisen. Mal körnig, mal vibrierend, mal so glatt wie eine Skulptur und dann wieder so kantig wie das Gebirgsmassiv auf dem Cover ist die Beschaffenheit dieses Rahmens so wechselvoll, dass die epische Reise schon deshalb episodisch anmuten muss. Noch interessanter ist allerdings das, was sich unter dieser Hülle abspielt. Das können kleine, wie im Zeitraffer vorbeischnellende Klangschnipsel sein, die in „Vast Winds from Beyond“ gegen den Strom der Dröhnung anschwimmen, oder auch die kleinen Leerstellen und Hohlräume im ganz bezeichnend „The Silence Underneath“ betitelten Stück. Oft geht es jedoch merklich konkreter zu, und es ist eine der reizvollen Paradoxien des Albums, dass man über gerade diese konkreteren Sounds letztlich doch nur mutmaßen kann – ist es das Stöhnen eines Liebespaares, das in „Watch the World“ von der Nacht verschluckt wird, was sagt die grummelige Männerstimme in „Polarized Light“, woher kommt wohl das hintergründige Pfeifen in „Radio Altitude“, bevor es von einem bedrohlichen Pochen übertönt und endgültig im analogen Klangstrudel verschuckt wird? All dies und weitere Dinge verdanken ihre Faszination der Vagheit, mit der sie nur schemenhaft durchs Klangbild huschen oder wie von sehr weitem, aus der Ionosphäre, betrachtet anmuten.
„Nightscape“ ist seinem Thema entsprechend ein düsteres Album geworden, doch es wäre falsch, es darauf und auf die Wucht der hereinbrechenden Düsternis zu reduzieren. Mit gestalterischem Feingefühl ist hier ein v.a. eine Hommage an die ins Dunkel gehüllte Vielgestalltigkeit einer verwandelten und verzauberten Welt gelungen." [Uwe Schneider / African Paper]
africanpaper.com/2015/06/20/ionosphere-nightscape/#more-10344
|
2015 |
€13.00 |
|
| IRR.APP. (ext.) |
Kreiselwelle |
CD |
"Das ist nun - nach Ozeanische Gefühle und Cosmic Superimposition - der abschließende Teil von M. S. Waldrons Trilogie über den Freudo-Marxisten, Faschismusund Orgontheoretiker und Parawissenschaftler Wilhelm Reich (1897-1957). Reich war der Auffassung, dass der von ihm postulierte ‚Orgonenergie-Ozean‘ 'Lebensenergie‘ in Form von ‚Kreiselwellen‘ ausstrahlt, die sich visuell, thermisch, elektroskopisch und mit Hilfe des Geiger-Müller-Zählers nachweisen lassen. Waldron spielt entsprechend mit ‚Spiral-Klängen‘, Spiralfedern, dem Geräusch anbrandender, ‚lappender‘ Wellen, Luftwirbeln, aufziehbarem
Spielzeug etc. Rasselnde, pulsierende, blubbrig unkende, wie Whirlies sirrende und automatisch klappernde Geräusche mischen sich mit
elementaren zu einem unruhigen Gedröhn. Die an- und abflauenden Erregungszustände sind Teil eines Kontinuums von gut einer Dreiviertelstunde. Schritte zu Beginn und zwischendurch vage Stimmfetzen im Hintergrund deuten an, dass der Mensch in diesem Energiefluss, diesem Kontinuum von Wirbeln mitschwingt." [Bad Alchemy]
" irr. app. (ext.) is the sound-engineering project of Californian M.S. Waldron, whose liminal slippages and detourned croons have been spotted recently on stage in Nurse With Wound. Yet for all of the antics that are required for the NWW spectacle, Mr. Waldron still dedicates himself in the parallel pursuits of irr. app. (ext.) with a discography that reads more like a wunderkammer of uncanny investigations into futility declared as its reverse.
Kreiselwelle is the third and final installment to a body of works that irr. app. (ext.) has composed under the influence of Wilhelm Reich, the unorthodox 20th Century psychologist who proposed amongst many hypotheses, an interconnectivity between energy, organisms, and the entire cosmos. The title to this album translates as ‘spiral wave,’ a structuralist form which Reich had observed throughout nature within numerous systems, whether that be the grand arcs of galaxies down to the radial symmetries of micro-organisms. For Kreiselwelle, Mr. Waldron returns to the same collection of field recordings which began this trilogy that includes Ozeanische Gefühle and Cosmic Superimposition; however, he restricted himself to those sounds with spiralling origins: resonating springs, the sounds of the ocean cyclically churning over pebbles on the beach, the wafting of air around various objects, or simply a lamp-shade spinning in place.
The resulting recording develops as an organic sublimation of one sound transforming from one state into another and then another. Motorized sounds of mechanical toys set askew settle into a tremolo phase pattern of electrical vibrations. These in turn morph into a cauldron of slow locomotive rumbling, which beget one of many glassine drones that float throughout Kreiselwelle. Many of the sounds seem to have origins in objects that are broken, obsolete, or just plain wrong; but through Waldron’s deft alchemy, these sounds are allowed to flourish in this richly dark and oddly serene amalgamation." [label info]
"...[as] for the ultra-fantastic soundwork of Irr. App. (Ext.), this Californian composer has been baffling and perplexing the ears of international listeners for not a few years now, and his new Kreiselwelle, a single 45-minute work of strange process music, is a slow voyage into the unknown. Within minutes, we're taken far beyond the relatively familiar world of "dark ambient" and enter a murky field of immersive and twisted shapes, where possible danger lurks at every corner. Conceptually rooted in an interpretation of the works of Wilhelm Reich, Kreiselwelle is the third part of a trilogy and connect with the "spiral waves" of the title, derived all of its sounds from things shaped like spirals (such as metal springs, or the circular movement of the ocean). In like manner, M. S. Waldron's composition will probably suck you into a whirlpool of doubt and ambiguity."
[Ed Pinsent / The Sound Projector]
www.helenscarsdale.com
"Kreiselwelle is the conclusion to a superb trilogy from irr. app. (ext.) who used the words, philosophies, and eccentricities of Wilhelm Reich as the springboard into a realm of post-Surrealist, post-industrialist, post-drone arena of sound design. While a prominent European psychoanalyst, whose ideas could be seen as an occasional counterpoint to those of Freud, Reich may be best known for his parascientific research into Orgone energy, which he claimed was central and unifying force of life throughout the universe. Much of this latter research has been discredited and unfortunately shed a cloud of incredulity upon his psychoanalytic work. While Reich's claims of cloud-busting and orgone therapy offer particularly strong metaphors, M.S. Waldron - the principle architect to irr. app. (ext.) - has looked more to the psychological aspects of Reich's work. Kreiselwelle translates from the German as spiral wave or gyroscopic wave, and points to the similarities which Reich had noted in the structures of microscopic organisms, turbulent wave patterns, and spiral-arm galaxies.
Through this trilogy (which also includes Ozeanische Gefuhle and Cosmic Superimposition), Waldron mirrors Reich's early cosmology through a compositional fluidity that alludes to contemporary drone fascination, constructed through overlapping collages, occluded field recordings, sustained tones from atypical instruments, and crosshatched synthetic noises. All three of these albums were sourced from the same set of field recordings, but each detours into its own particular wandering. Kreiselwelle begins with a very slow hypnotic strum across a detuned guitar with liquid tactility and a warped distance buzz filling in the gaps. Grand sweeps of slashing drones that could originate from an echoing chainsaw deep in the woods forms an unlikely crescendo with sympathetic tones, only to collapse into the softened white noise of cars passing by. Soon after, a rhythmic tapping of agitated electronics forms a motorik rhythm against the tapestry of audio fluidity, with all of the electro-shock bursts of a tesla coil. This in turn morphs into a cauldron of slow locomotive rumbling, which beget one of many glassine drones that float throughout Kreiselwelle. For fans of any of work of Nurse With Wound (after all Mr. Waldron is in the NWW touring ensemble!), H.N.A.S., and the more esoteric recordings of Organum; and certainly of note for those of you taken by Dead Letters Spell Out Dead Words, Xela, Svarte Greiner, Expo '70, Emeralds, or any of the darker, weirder, more fucked-up drone ensembles of recent days. Very highly recommended!" [Aquarius Rec.] |
2009 |
€13.00 |
|
| |
Josephine & Elsewhere |
CD-R |
Second handmade live collection and 12th full-length irr. album. This disc features the best moments of 3 live performances in Seattle during October of 2009.
A hand-assembled CDR release packaged in a jewel case with a printed photo cover & printed disc, including an original signed & numbered ink drawing and a handwritten track listing inside each booklet. Released by errata in excelsis [eie008] in an edition of 200 copies (of which 7 remain).
Duration: 62:14.
1. Weaning Ysbryda In A Yurt Full Of Fluid
2. The Four Horsemen Of Natural Science (after Aphrodite’s Child)
3. Haphazard Trajectory I
4. CMBR (variation 1)
5. Rogue Gluons Castigated By The Strong Nuclear Force
6. Caniad At Yr Annisgwyl Sbasm
7. Sprialfederschlagen Und Meckern
8. Haphazard Trajectory II
9. Piddle-Fie-Ungulate
10. CMBR (variation 2)
11. Bestial Discharge
12. O, Wistfully Cantillating Paraceratherium
13. Admonitum Tripartitus |
2010 |
€16.00 |
|
| IVERSEN, J-M. |
Singles |
CD-R |
Das norwegischer Explorer-Weblabel TIBPROD wird von JAN-M. IVERSEN betrieben, der zur Generation neuer unabhängiger „Networker“ gehört - seine Welt besteht aus digitalen Medien und ‚freien’ MP3-Releases. Auf SINGLES zeigen 24 Stücke das ganze Spektrum seines « experimental drone« - Sounds auf: alien ambience, minimale GeräuschKonturen, digitale Verfremdungen, sphärisch-sehnsuchtsvolle Flächen...... Widersprüchliches wird vereint. Die tracks hier sind oft bisher nur als MP3-Singles erschienen, Titelnamen entstehen durch Übernahme von nicht-verstehbaren Phrasen aus SPAM-mails. JAN IVERSEN entführt augenzwinkernd in eine autonome Zone freier Experimentierfreudigkeit, obskur und verwunschen, wie geschaffen um neue Erfahrungen mit SOUND zu machen....
|
2006 |
€6.00 |
|
| IVERSON AND WALTERS |
First Collection |
LP |
After almost two years of work, we're glad to invite you to a new journey through the fog of time and enjoy the upcoming reissue of the great Ambient/Folk record from 1984. A well-known to collectors but extremely rare record by Jon Iverson a multi-instrumentalist from Palo Alto and his college friend, mandolinist Tom Walters. They shared a love for singer/songwriter fare and gigged around campus playing covers of Neil Young, CSN, and Loggins/Messina in the late '70s.
"First Collection" was recorded during the Spring of 1984 in a small garage that had been converted to a one-room apartment in the seaside community of Los Osos, California.
With an instrumentation of 12-string guitar, piano, mandolin, analog synthesizers, and sampler, the duo has recorded nine bright, weightless, and diverse compositions where electronic experiments mix with ethnic rhythms, sweeping through inspired folk reminiscent of the work of William Ackerman, John Fahey, Master Wilburn Burchette, and Robbie Basho, to homemade pastoral space folk exuding sophisticated, pale, lunar sonic moods that somehow might remind of the work of Roedelius from the early 80s.
Equipment used for tracking included a rented 1/2" 8-track Otari MX5050 analog tape machine and assorted mics. With only a few thousand albums pressed, First Collection has become a collectable in some circles.
Now, almost forty years later, First Collection has been remixed and remastered from the original 1/2" tapes for this release.
~~~
Press:
"Using such non-EM instruments as mandolin and 12-string guitar, Jon Iverson and Thomas Walters produce a distinctly folk-oriented electronic music, full of exquisite acoustic sonorities along with their lovely digital synthesis. Wonderful job of recording, too."
(Robert Carlberg, Polyphony, 1983)
|
2022 |
€23.00 |
|
| JARBOE |
Illusory |
CD |
"Jarboe of course doesn't need an introduction. As a torche bearer for avant-garde music, she is no stranger to Consouling as well. After the fantastic split 10" release with Father Murphy, we are truly honered to be collaborating with Jarboe on her new album 'Illusory'.
'Illusory' truly is an engaging album, where the textures of the music interact with Jarboe's almost haunting vocals in a remarkable way. Her constant forward thinking approach makes it feel like travels through uncharted territory, where her siren-like voice leads the way. Or perhaps, as the dark and brooding nature of the album captivates you, will lead you astray."
https://consouling.be/release/illusory
"JARBOE, eine der absoluten Ikonen der experimentellen und avantgardistischen Musikszene meldet sich zwei Jahre nach ihrem letzten Album nun mit ‘Illusory ‘ zurück. Erscheint als CD und LP auf CONSOULING SOUNDS. Der Name JARBOE muss nicht groß vorgestellt werden. Seit den 1980er Jahren gehört die US Amerikanerin zu den kultigsten Künstlerinnen, die sich im avantgarde, Experimental und Heavybereich tummeln. Als Ehefrau von MICHAEL GIRA (SWANS) war sie eine zeitlang auch Mitglied dieser Band. Sie entwickelte sich aber immer weiter und war offen für verschiedenste musikalische Expermiente. So arbeitete sie u.a. auch mit SONIC YOUTH, NEUROSIS, BLIXA BARGELD, PHIL ANSELMO zusammen. Ihre Release-Vita kann ein ganzes Buch füllen und sie sorgt quasi jährlich für neuen Output in den verschiedensten Varianten. Nach ihrem letzten Soloalbum ‘The Cut Of The Warrior ‘ (2018) veröffentlichte sie noch eine neue Variante des früheren ‘Blackmouth ‘ Albums (zusammen mit John Bergin und Brett Smith). Nun steht mit ‘Illusory ‘ das neue Meisterwerk der ‘Goddess of Dark ‘ (Metal Injection) in Haus. Sieben Tracks, die die Grenzen zwischen Ambient, Experimental und Avantgarde ausloten und unglaublich intensiv sind." [Broken Silence]
|
2020 |
€15.00 |
|
| JARL |
Inner Domain |
do-CD |
“Inner Domain” is a third (after “Tunguska Event” and “Negative Rotation/ Intensive Fracture”) release by Jarl on Zoharum label.
Artist himself often labels his music as withdrawn electronics focused on isolation. Psychedelic, chemical, unbalanced, from calm to destructive, insomnia with or without structure. In this case music was influenced by experiencing sleep paralysis. Each CD deals with either the hypnagogic or hypnopompic state. The before and after experience.
“Inner Domain” offers a bit more primitive and aggressive approach to sound but still has that psychedelic feel to it which hallmarks Jarl’s works. Originally intended for a double cassette release and recorded between 2007 and 2009 on either a 4 or 8 track recorder. Electronic sounds on album made with a wave form generator interwine with acoustic sounds with lots of delay. No computer was used during the recording process. Artwork made by Karolina Urbaniak
2CD album folded in 6-panel ecopack released in strictly limited edition of 300 copies
https://zoharum.bandcamp.com/album/inner-domain
|
2020 |
€16.00 |
|
| |
Misophonia Colours |
CD |
Drone Records launches a new CD series named "SYM" which could be understood as a place holder for different notions and inner processes
(such as Symmetrization, Symbiosis, Symbolization, forming an epistemological circle of inter- relations)
- associated with the act of perceiving and understanding sound on a substantial level...
The first two CDs are OUT NOW:
SYM : 01: JARL - Misophonia Colours CD
Swedish hypno-droner JARL starts the series with a longform, trance-inducing drone/ambient piece, shaping audio ornaments like visual forms, playing a game with your head... a 60 min. one-tracker.
Mastering: PETER ANDERSSON (raison d'etre) / Artwork: TILMANN BENNINGHAUS
listen to an extract:
https://soundcloud.com/drone-records/jarl-misophonia-colours-extract
order:
https://www.dronerecords.de/album.view.html?album=20792
"...Jarls Musik dreht Mühlräder und die Windmills of Your Mind, sie ist ein unablässig ebbendes und flutendes Gezeitenkraftwerk. Mit beständig mahlendem Drehmoment, sirrendem Auf und Ab, klirrendem Oszillieren, koloriert mit metalloid glissandierenden und 'läutenden' Tönungen. Loop für Loop, in pulsendem, schwallendem, dengelndem Drang. Industriell, aber doch auch vital und mit feinen Kling- oder Dröhnklang, der mit dem Maschinellen kontrastiert. Mit dem Sound von Melodica und Glockenspiel, in schwänzelnden, kaskadierenden, phasenverschobenen Wellen, mit summendem Mund, über 60 ozeanisch und kurbelwellig bewegte Minuten." [BAD ALCHEMY # 118]
|
2021 |
€13.00 |
|
| JASCH |
Shimmer |
CD |
Knistern, vibratorisch wummernde & hell zerfliessende Streicher-Drones, in der Tat „schimmernd“ wie Licht; sehr schön wie sich hier Flächen überlagern, vermengen & gegenseitig auslöschen zu scheinen, ab und zu kommen „konkretere“ Streicher-Klänge an die Oberfläche... 8 Stücke sehr gelungene experimental drones von diesem uns bisher unbekannten Schweizer.
“SHIMMER from the swiss artist JASCH (catalogue number 6) marks a new step in the development of dOc as it is the first release without any involvement of label owner Pure (besides dOc8 "Die Instabilität der Symmetrie" which was a cooperation with Cologne based label Grob). It therefore stands for the label's conceptual shift from a platform for documenting solo and collaborative live works to a release possibility for like minded sound and video artists. SHIMMER features a mixture of organic and synthetic characters that build crystalline shimmering layered sonic spaces. A constant flow of steadily evolving palettes of rich sound drifts from standstill to hectic, from recognisable instrumental timbre to digital fragments, constantly changing spatial perspectives and acoustic appearance. the most notable sound source for these eight tracks are recordings of string instruments, even though echoes of voices and traces of field recordings evoke an intimate exchange with the sonic materials used for this work. All eight tracks were recorded during a 4 month time span in spring and summer of 2003. Most of the pieces are direct-to-disk live-recordings, a few were recorded in the studio. all pieces were improvised using custom made soft- and hardware and no edits were applied in postproduction. the main tools use process-based algorithms and open dynamic systems geared towards intuitive and instantaneous interaction.
JASCH is an active musician coming from the fields of improvisation with a background in jazz and electroacoustic music. He holds a degree in jazz doublebass and a masters in digital arts. He has been performing improvised, electroacoustic and audio/visual electronic works in a variety of settings in festivals and clubs all over europe and north america.
Beside his solo works he is member of DYAD, the critically acclaimed live project with american video artist Johnny Dekam, whose collaboration DVD with dOc label owner Pure is released just a the same time.” [label description]
|
2004 |
€13.00 |
|
| JASENKA, ANTANAS |
An Artist and a Plane |
CD |
Unser definitiver Favorit unter den letzten ELECTROSHOCK-Releases ist das neue Werk von ANTANAS JASENKA. Zwei Stücke, ARTAC (40:52), und ELECTRONIC SUTARTINES (20:10), mit visionärer, dunkel-fliessender Elektro-Akustik.... verzerrte „poetic texts“.... Soundscapes mit hoher Dynamik, Spannung und geheimnisvoller Aura.......irgendwo zwischen BRUME, ZOVIET FRANCE und Elektro-Akustik wie NORMANDEAU.
Our definite favourite amongst the latest new ELECTROSHOCK-releases! Visionary dark & floating electro-acoustic of highest dynamic and tension & with a secretful aura... DEEPLY RECOMMENDED !!!!!
|
2004 |
€12.00 |
|
| |
Deusexmachina |
CD |
Entdeckung auf ELECTROSHOCK ! Aufregende, ausufernde Elektro-Akustik, mal in sphärische Gebiete driftend, dann wieder hochdynamisch und explosiv ausbrechend...
“....Then comes Antanas Jasenka and his "Deusexmachina", a disc of fantastic noise art. The album goes from moments of tensed-up silences and slow-building background noises a la Francisco Lopez to outbursts of finely chiselled harsh noise the likes of Merzbow or Sickness. A lot of action takes place between these two poles, cinematic scenes that pair found sounds with digital treatments to produce captivating sonic environments. In "Accsident" (sic) strings, brushes, and a voice sample are arranged into a post-rock interlude that degenerates in screams, electric guitar, and another build-up of tension. Jasenka has the artistry but most of all the flair to orchestrate an album in such a way that it anticipates the listener's reactions. He is constantly two steps ahead of you. The music of labelmates Artemiy Artemiev, Stanislav Kreitchi, or Anatoly Pereslegin sound highly distinctive because it has developed in a closed-up universe... [Francois Couture / All-Music Guide]
|
2002 |
€12.00 |
|
| JAYTROPE + ANSGAR WILKEN |
Miniatures |
7inch |
1. Miniatures I 06:32
2. Miniatures II 06:17
Happy Zloty #14
October 2022
Recorded and Mixed by jayrope
jayrope.bandcamp.com
Additional Instruments by Frank Schültge Blumm
Layout by Ansgar Wilken
Stamped Font by Peter Strickmann
Risographed at We Make It, Berlin
The Record was manufactured by my45
"Diese klitzekleine EP ist sicherlich nicht nur nicht als eine Hommage an all die Veröffentlichungen
gleichen Names zu verstehen, sondern bezieht sich vielleicht insbesondere auf die von Morgan Fisher im Jahr 1980 veröffentlichte LP mit Stücken von Robert Wyatt, Residents, Fred Frith und anderen aus einer Zeit, als derartige Musik einen zuvor nicht gehörten, beweglichen Standpunkt zwischen Avantgarde und DIY markierte. Jetzt mit beiden Beinen mittenmang im Gewühl aus selbstgebauten Instrumenten, Kitchenavantgarde, souveränem Geschichtsbewußtsein und ... immer zu kurz!"
[H. Hagedorn]
https://ansgarwilken.bandcamp.com/album/miniatures
|
2022 |
€12.00 |
|
| JEAN, MONIQUE |
L'adieu au S.O.S. |
CD |
In faszinierende akusmatische Welten entführt die aus Montreal stammende kanadische Komponistin, wobei sie sehr dunkle & dynamische Stimmungen erzeugt, die z.B. auf Themen von „Hilflosigkeit und Verwirrung angesichts der Zerstörung des Individuellen“ , „Entzeitlichung“ & Fragen des Menschlichen basieren.. Dicht, spannend, in den Bann ziehend.. hier sind elektro-akustische Meisterwerke entstanden!
MONIQUE JEAN war Schülerin von FRANCIS DHOMONT und arbeitet auch im Bereich Experimentalfilm, Video, Tanz...
„Monique Jean lives and works in Montreal. She studied electroacoustic composition at the Université de Montréal under the supervision of Francis Dhomont. In addition to her acousmatic compositions, her work is also regularly associated with video and experimental films, with dance and with installations. Her harbour symphony “L’Appel des machines soufflantes” (The Call of Blowing Machines), a commission of Radio–Canada, was premiered in March 1998 at the Port of Montreal and in 1999 she was an invited composer during the “Rien à voir (5)” concert series produced by Réseaux (Montreal). Finalist in the Ciber@rt (Valencia, Spain, 1999), Musica Nova (Prague, Czech Republic, 2001) and Bourges (France, 2002) competitions, her works are regularly performed and broadcast during numerous national and international concerts and festivals. [Translation: Sean Furgeson, xii-02]“ [website-info]
|
2003 |
€13.00 |
|
| JEANIE FINLAY |
SOUND IT OUT! |
DVD |
"Hommage an die Leidenschaft: englische Doku über einen der letzten Plattenläden.
Der kleine Vinylplattenladen ist eine fast ausgestorbene Spezies. Dem Druck großer Ketten und Onlineriesen hat im Nordosten Englands einzig Sound It Out Records standgehalten. Der letzte Laden seiner Art ist heute eine kulturelle Enklave, ein gewaltiges Archiv der Erinnerungen. Die tapferen Vinylverteidiger kennen die Kunst des Suchens und Findens, des Stöberns und Ordnens. Shopbesitzer Tom Butchart hat mit seinem umfassenden Wissen schon so manche Lücke in Plattensammlungen gefüllt - aber auch geschaffen. Es ist ein unendliches Geschäft - für die einen eine Religion, für die anderen fröhliche Wissenschaft. Sound It Out Records ist heute der Lebensmittelpunkt für eine erstaunliche Versammlung von Originalen - vom Status-Quo-Verehrer über Metal-Liebhaber bis zum Gartenlauben-DJ - eine schwindende Spezies unter technologischer Belagerung. Jeanie Finlays Beitrag zum Record Store Day 2011 ist ein Film voll skurriler Charaktere, genialer Musik und längst vergessener Plattencover. Eine Hommage an die Leidenschaft.//
Over the last five years an independent record shop has closed in the UK every three days.
SOUND IT OUT (75 mins) is a documentary portrait of the very last surviving vinyl record shop in Teesside, North East England. A cultural haven in one of the most deprived areas in the UK, SOUND IT OUT documents a place that is thriving against the odds and the local community that keeps it alive. Directed by Jeanie Finlay who grew up three miles from the shop. A distinctive, funny and intimate film about men, the North and the irreplaceable role music plays in our lives." [Verlagsinfo / website info]
www.sounditoutdoc.com
|
2012 |
€18.50 |
|
| JENSEN, CLARICE |
The Experience of Repetition as Death |
CD |
Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s pioneering 130701 imprint, ‘The experience of repetition as death’, was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’ , which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals.
An outstanding musician, Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. As the artistic director of ACME (the American Contemporary Music Ensemble), she’s helped bring to life some of the most revered works of modern classical music, and as a solo artist has developed a distinctive compositional approach - improvising and layering her instrument through loops and a chain of electronic effects to open out a series of rich, drone-based sound fields. Forging a very elegant and precise vision, her music has been described by Self-Titled as “incredibly powerful neo-classical pieces that seem to come straight from another astral plane” and by Boomkat as “languorously void-touching ideas, scaling and sustaining a sublime tension”. Her debut album was released in 2018 on Miasmah and followed in September 2019 by the ‘Drone Studies’ cassette EP on Geographic North. Receiving glowing critical acclaim, both releases made it into Pitchfork's end of year charts.
Expanding her sound again, ‘The experience of repetition as death’ is a warm, deep and cyclical album that explores notions of repetition in both its conceptual underpinning and musical structure. Unlike the easily readable step builds and grid-locked looping of so many artists using the looper as a compositional tool, Clarice’s loops slide across one another in organically morphing structures; align and intersect at different moments, yielding a kind of aleatoric yet minimal counterpoint, with joins overlaid in ways that appear seamless and sophisticated. Where her live performance relies heavily upon the use of loop pedals, in the studio she and Donadello recorded much of the material onto tape to create a series of physical loops. There’s something oceanic in the immensity of the resulting work - in the ebb and flow of her sound and the way it builds and dissipates through swelling and wave reflection.
Whilst in previous releases Jensen’s cello has largely been abstracted via effects to sound somewhat other than itself, ‘The experience of Repetition…’ opens with an undisguised passage that is clearly wood and string - a clarity retained throughout much of the album. Across its span, Clarice balances her material between darkness and light and the shades in between. Rigorously structured yet fluidly slipping between states, the album shifts from a glowering sense of dread / malevolence to warm, euphoric washes; from an elegaic or graceful sense of suspension to curious, clipped interstitial loops that recall the segues in My Bloody Valentine’s ‘Loveless’ or the minimalist pulsing and phase-shifting of Steve Reich. Throughout, the album reveals a viscerality and attention to textural accretion that’s reminiscent of more electronic artists like Actress or Gas; whilst the glacially moving, hypnotic build recalls prime Stars Of The Lid. Other reference points might look back to Minimalism, to the deep listening immersion of Pauline Oliveros, Eliane Radigue, La Monte Young and Marian Zazeela, and the long-string drone work of Ellen Fullman. Or forwards to the rising current wave of drone-spinners like Kali Malone, Ellen Arkbro, Caterina Barbieri and Sarah Davachi, and adventurous cellist peers like Hildur Gudnadottir or Resina.
Conceptually, the album is based upon the theme of repetition and informed by some of Freud’s key principles of psychoanalysis (namely the “compulsion to repeat” self-destructive beaviours or re-live traumatic events explored in his writings about the Death Drive in ‘Beyond the Pleasure Principle’); by notions of the primarily repetitive nature of our existence and attempts to break beyond this: “I hope this album, in its repetition, might provide the listener with a respite from - or a reflection upon - the malaise and / or comfort of life’s repetition,” she writes. The album’s title is taken from a line in a 1971 poem by the influential American radical feminist poet Adrienne Rich called ‘A Valediction Forbidding Mourning’ – a response to a John Donne poem of the same title from 1611. Jensen expresses great admiration for Rich both as a writer and feminist icon, citing her as “an inspiration to create work in a field that is still largely male-dominated," and noting how “her poem to me is a reflection on the idea that dying and death are ordinary. Any meaningfulness we create comes from within and is deeply personal but entirely our own construct.”
With death as a clear subtext, Jensen describes how the music was written or conceptualized in a period towards the end of her mother’s fight with leukemia and shortly after she passed away. “My sister and I were taking care of her. So I’m also referencing the repetitiveness of all the mundane things we still did with her in the face of her terminal illness - preparing meals, doing the shopping, paying bills - as well as the repetition of all of visits to the doctor and hospital." Third track ‘Metastable’ was inspired by the chorus of repetitive beeping heard in hospitals - a sound that can be both fascinating and beautiful as well as overwhelming or irritating. The beeps here integrate themselves into a single loop, creating a fixed counterpoint around a deep, foreboding bass loop and slowly building, Reich-ian structure. “This idea of the ‘metastable’ became very pronounced to me”, notes Clarice. “Her continually evolving treatments kept her in temporary states of stability that would eventually become unstable, which would then require some different treatment."
Perhaps the most dramatic of the five pieces here, ‘Holy Mother’ is a towering piece that moves through all twelve chromatic pitches. The title refers to the Tibetan name for Mount Everest (Qomolangma) and through this piece Clarice has attempted to evoke a sense of that place and the obsession with its conquest - an extreme example of the feats people attempt in an effort to break from the monotonous repetition of everyday life - as well as contemplating the bodies of those climbers who didn’t make it, left frozen and permanently entombed there.
Musically, in addition to the looping on every track, the concept of repetition is also expressed on a larger scale, with the album’s central melodic theme repeated in different ways across its length. On opening track ‘Daily’ the theme appears in the track’s second half, fragmented into three different tape loops and never expressed fully in order; in ‘Day tonight’, it’s played in full but in an unfamiliar key and rhythmically augmented; whilst mirroring track one, closing track ‘Final’ employs the same tape loops as the opener, but this time with the tape having been subjected to methods of degradation in order to erode the sound – crumpled up, creased and stepped on, and run (silently) for long periods of time to deteriorate the quality of the tape and the sounds recorded on it. As the piece draws to an end, the album’s theme is finally presented in full in its original key and fully harmonized, performed by a quartet of cellos without effects and emerging whole at the end of the process in a beautiful resolution.
Structurally smart, texturally rich and deeply immersive, ‘The experience of repetition as death’ is a powerful new album by a hugely talented young artist, whose star is clearly on the ascendant. It is released on FatCat’s 130701 imprint on 3rd April on vinyl and digital formats. Clarice will be touring the US in March / April supporting A Winged Victory For The Sullen, with whom she will also be performing as cellist.
https://claricejensen.bandcamp.com/album/the-experience-of-repetition-as-death |
2020 |
€16.00 |
|
| JESU |
Heart Ache & Dethroned |
do-CD |
"Das A und O des Justin K. Broadrick: zwei EPs des Industrial-Pioniers.
Es gibt wenige Künstler aus den Grenzgebieten der populären Musik, die nicht in irgendeiner Weise vom Werk Justin K. Broadricks beeinflusst wurden. Als Gründungsmitglied von Bands wie Godflesh, Napalm Death, Techno Animal und Final half er Genres wie Industrial und Death Metal auf die Beine, ist im Hip-Hop und Dub, Grindcore und Ambient zu Hause. Auch mit seinem Projekt Jesu war Broadrick seit 2004 sehr produktiv. Für Neueinsteiger und Fans erscheint mit "Heart Ache & Dethroned" quasi das A und O der bisherigen Jesu-Karriere. "Heart Ache" ist die wieder veröffentlichte Debüt-EP, auf der noch sehr viele Godflesh-Anklänge zu hören sind, aber auch die typischen Zutaten des Jesu-Sounds wie etwa hypnotisierende Strukturen, sich überlappende vielschichtige Melodien und andere klangliche Verschönerungen bzw. Brutalitäten. Mit "Dethroned" wiederum schließt sich der Kreis. Es ist die jüngste Jesu-EP, deren vier Tracks zwar bereits 2004 geschrieben, aber erst 2010 fertiggestellt wurden." [label info / Indigo]
www.hydrahead.com
|
2010 |
€18.50 |
|
| JGRZINICH (JOHN GRZINICH) |
Ferric |
mCD-R |
"One 20min long piece created by this eminent american (but living in estonia) sound artist and based upon field recordings, a wind harp and various improvised wire and metal constructions. b&w printed 3" cd-r with artwork by john grzinich." [label info]
"The vastly growing empire of Taalem: an endless line of 3" CDR, a bit like the other endless line of 7"s on Drone, and covering many similar names and music. The first new one is by Jgrzinich, who has been active in the field of recordings for more than a decade now. These days he is in southeast Estonia, where collects his field recordings, along with rusty metal wires, a wind harp and such like. 'Ferric' is one piece of alternating drone music and back in the shack rusty metal shields, carefully swung together. Highly atmospheric, slowly in decay towards the end." [FdW / Vital Weekly]
http://taalem.free.fr/
|
2007 |
€5.00 |
|
| |
Phase Inversion |
CD-R |
"... A bunch of acoustic objects, bells, wood, metal, stones, are being played manually and then the sound gets processed with various electronics and layered into thick swirling drone pieces. Jgrzinich never stands 'still', its always on the move. Small crackles from field recordings, majestic drones from electronics, with always something new happening. This is a Jgrzinich as we would have expected. Perhaps a bit like the release by Steve Roden reviewed elsewhere, one could say that Jgrzinich doesn't change his mode of operation very much, which might be necessary by now. But without that one could easily say this is another damn fine disc. Perhaps not as aquatic as many of the other releases on Mystery Sea." [FdW / Vital Weekly]
"Currently involved in workshops, and coordinator for MoKS - Center For Arts and Social Practice, an artist-run international residency center and project space in Southeast Estonia, John Grzinich is a nomadic mixed-media explorer whose main tool of expression is sound composition declined in various forms : manipulation of acoustic, environmental sounds & found objects, phonographies, construction of original instrument devices, site-specific installations & performances, collaborative sound actions...
Active since the early 1990s, he has collaborated with many artists & famous names in this sphere such as michael northam, Seth Nehil, Olivia Block... he travelled also intensively through Europe, and published CDs on a plethora of labels, namely for instance : Intransitive Recordings, Elevator Bath, Orogenetics (US), Cloud Of Statics, Cut (CH), Edition Sonoro (UK), Sirr (PT), CMR (NZ), Erewhon (BE), Prele, Tâalem (FR)...
For Mystery Sea, John Grzinich has plunged deep into its own creative process to come back with "phase inversion", an haunting & soothing thorough sound litany...
Sinking slowly within,
oscillating slightly,
in a continuous imperturbable movement
at the heart of an unseen core
lies a point of entry,
a source of multiple diffractions...
-
Rubbings, vesperal sighs,
microcollisions, metallic asperities,
elemental debris,
tiny fragments recombine in a wordless score...
-
"phase inversion" turns things upside down,
makes Below becoming the Above,
draws a precise, refined outline
where each detail is like the echo of a new path...
a cognitive retraction..."
[label notes]
www.mysterysea.net
|
2009 |
€12.00 |
|
| JOAQUIM, VITOR |
A Rose is a Rose |
CD |
Very complex digital-ambience soundscapes from this portugesian composer, hard to describe but much acoustic happenings are going on here on different levels, carefully constructed and drowns everything into a surrealistic, ominous atmosphere.... excellent stuff !
“Der Gertrude Stein’sche Titel seines rosenfarbenen Solos ist ja eigentlich das Motto jeder Musik. Sounds sind Sounds und können nicht übersetzt werden. Alles narrative und imaginäre Beiwerk ist subjektiv, ja geradezu idiosynkratisch. Allerdings ist eine rigorose Idiosynkrasie mein bad alchemystischer Generalschlüssel zur Welt, um sie zu durchstreifen als ein Spiegelkabinett, eine Echokammer des Imaginären, eine Passage voller synästhetischer Reize und kryptischer Symbole. Und Rilke hat schon gewusst, dass die Rose nicht nur eine Rose ist, sondern ein „reiner Widerspruch’ und die „Lust, Niemandes Schlaf zu sein.’ Joaquims bruitistisches Cinema pour l’oreille, imprägniert mit unkenntlichen TV-Samples, ist, wie alles Abstrakte, eine vieldeutige Projektionsfläche. Acht Tracks, alle namenlos, stoßen die Phantasie in ein traumlandschaftliches Erewhon, in dem sie sich unwillkürlich zu orientieren versucht - stotternder Funkverkehr im verrauschten Wellensalat (1), eine Unterwasserwelt (5), ein Fabrikgelände in der Nacht (6)? Das Gewebe aus vibrierendem grauem Rauschen ist wie durchpulst und durchatmet von etwas, das gleichzeitig organisch ist und automatisch, vital und mechanisch, elektronisch und psychophysisch, etwas wie Eshuns Futurhythmachine, wie eine Wunschmaschine. Die war schon bei Sade fähig zu glossolalischen Flüchen wie „Chivarusmarbarbarmavosacromicrepanti!’. Und von Sade stammt auch die weitsichtige Erkenntnis, dass es nicht die Maschine ist, sondern „das unreine Reptil, das eine Rose schändet.’ Joaquim fungiert als ein weiterer Pilot eines oulipoetischen Perpetuum mobile, das unermüdlicher ‘Autor’ einer ecriture automatique ist. Er (der Künstler) „präsentiert paranoische, Wunder- und Junggesellenmaschinen, als wären es technische Maschinen, stets bereit, die technischen Maschinen mit Wunschmaschinen zu unterlaufen. Vielmehr ist das Kunstwerk selbst eine Wunschmaschine. Der Künstler füllt seine Schatztruhe für eine bevorstehende Explosion...’ (Deleuze/Guattari) Joaquims Tracks 7 & 8 zeigen die Klangmaschine in der Metamorphose vom kalibanisch gurgelnden Poeten zum knurrenden Hund zum rückwÄrts lallenden Orakel. Laut M. Pfister & S. Zweifel ist es die „Imachination’, die die Verhältnisse zum Tanzen bringt.“ [Rigobert Dittmann / BAD ALCHEMY 45]
|
2004 |
€13.00 |
|
| |
La Strada is on Fire (And We Are All Naked) |
CD |
Elektroakustisch anmutende Stimm- & Gesangexperimente, schöne schwungvolle Loops, Knistern und Piano-tunes; in magischer, leicht melancholisierter Atmosphäre, inkl. Saxophon und Bass real-time Integrierung, 8 Stücke, jedes aussergewöhnlich und gut!
Another very good album from this portugesian composer, combining electro-acoustic voice-experiments with loops, more concrete sounds and real time saxophone & bass-sounds.
“Vitor Joaquim: piano, electronics, singer table
Martin Archer: saxophone on 3 & 4
(processed by Chris Bywater + Charlie Collins)
Rodrigo Amado: saxophone on 5 & 7
Victor Coimbra: bass on 4 & 5
Mariana F: voice on 1
Vitor Joaquim started performing improvised music in 1982 with Em’dio Buchinho. For some years he studied cinema and produced sound for cinema, video and advertising, while also working as a video director.
He first started composing for dance at the Lisbon Dance Company (CDL) with the choreographer Mark Haim that would later take his work to the Coogan Dancers of Munich. Since then Vitor Joaquim has been composing for dance, theater, cinema, video, installations and multimedia, having worked with such creators as: Andreas Stocklein, M—nica Calle, Mark Haim, Vera Mantero, Paulo Ribeiro, Maria Jo‹o Pires, çlvaro Correia, Luis Fonseca, Alfredo Kraus, Michie Nakamaru, Gerard Uginet, Vitor Garcia, S—nia Rocha, Keith Vyse, Ana Sendas, Joana Novaes, Sandro Aguilar, Stephanie Tiersch - Mouvoir and Rui Horta. Since 1990 he is teaching audiovisual techniques in Lisbon.
In 1997 his release Tales From Chaos, as Free Field, is considered by the Portuguese newspaper Pœblico as one of the 10 fundamental records of Portuguese electronic music.
In 1998 he becomes a member of the Electronic Music Foundation, by invitation of it's president, Joel Chabade.
In 2000 he produced the first EME - Experimental Music Encounters, in Setœbal, a festival dedicated to the new musical languages.
Live or recorded he collaborated with such musicians or collectives as Carlos Z’ngaro, Nuno Rebelo, Rodrigo Amado, Carlos Santos, Em’dio Buchinho, Ernesto Rodrigues, Jose Oliveira, Jeffrey Morgan, Marco Franco, Gregg Moore, @c , Ulrich Mitzlaff, Pedro Rebelo, Franziska Schroeder, Paolo Angeli, Martin Archer, Sergi Jordˆ, Harald Sack Ziegler, Miguel Carvalhais, Robin Rimbaud (Scanner) and Pure.” [label info]
|
2003 |
€15.00 |
|
| JOB KARMA |
Ecce Homo |
DVD-R |
Ein ca. 10 minütiger Film mit neo-klassischem, melancholischen post-Industrial-Soundtrack von JOB KARMA. „Ecce Homo“ ist ein professionell produziertes Video (s/w Zeichentrick-Animation) und spielt in einer düsteren, komplett mechanisierten Maschinenwelt, deren Ästhetik etwas an GIGER erinnert. Jesus hängt hier nicht am Kreuz, sondern an den Röhren & Leitungen der „grossen Maschine“...
“Its a story about loneliness, individualism, media domination in modern society. The short movie based on the story about the last days of Christ. Autor of movie Arek Baginski - moved action from the past to the
new days, to the industrial and informatic time. Limited to only 150 numbered copies, exclusively printed by AUBE in special handmade packaging!” [label info]
|
2005 |
€15.00 |
|
| JOHANNSSON, JOHANN |
Orphee |
LP |
"Der Komponist Jóhann Jóhannsson, Golden Globe-Preisträger sowie für den Oscar, BAFTA und Grammy nominiert, veröffentlicht sein erstes Album für die Deutsche Grammophon Gesellschaft: es ist eine Meditation über die Schönheit und den künstlerischen Schaffensprozess. Jóhannsson ist eine Galionsfigur in einer dynamisch wachsenden Szene von Komponisten, die sich frei und einfallsreich zwischen Filmmusik, klassischem Minimalismus, Ambient und elektronischer Musik bewegen.
Orphée schildert einen Weg von der Dunkelheit ins Licht, inspiriert durch die verschiedenen Versionen des antiken Orpheus-Mythos, von Ovid bis Cocteau. Die vielschichtige Erzählung über Tod, Wiedergeburt, Wandel und die Kurzlebigkeit der Erinnerung lässt sich auch als Metapher für künstlerische Kreativität deuten.
Orphée bietet eine vielseitige Klangpalette: Es gibt akustische Instrumente solistisch oder im Ensemble kombiniert mit Elektronik und den geheimnisvollen Lauten der »Nummernsender« auf Kurzwelle. Sie ist angelehnt an viele Facetten seiner vorangehenden Werke und bindet Musik für Solocello, Orgel, Streichquartett, Streichorchester und A-cappella-Gesang mit ein." [label info]
"Based loosely on Ovid’s interpretation of the Orpheus myth, the Icelandic composer’s latest work reveals the grandeur of his music outside of scoring films.
Orphée, the latest album by the Icelandic composer and filmmaker Jóhann Jóhannsson is billed as his first studio album in six years since the somber and excellent The Miners’ Hymns**. But during that time Jóhannsson has released eight records—three of which were scores to major films (including Sicario & The Theory of Everything) and the rest music for smaller film projects, one of which Jóhannsson directed himself. But with even The Miners’ Hymns itself serving as a score to a film, the particular criteria for which Jóhannsson deems a record to be a “studio album” as opposed to a “film score” is somewhat unclear. What is clear is that after years of albums on 4AD and small post-classical labels such as Fat Cat’s 130701, in moving to Deutsche Grammophon—the oldest and most significant classical music label left standing—Jóhannsson wants Orphée to be seen as a work of music propped up by nothing but itself and its own deserved grandeur.
Loosely themed around Ovid's version of the Orpheus myth, Orphée’s grandeur is made clear within seconds. Using only a few repeated parts of piano, violin, and some crackling sound treatments, opener “Flight from the City” takes off. It feels like film music in a way that most of Orphée does not; you could easily imagine it playing over credits, or an opening scene, or in a mid-film montage. But the palette, tone, and structure of Orphée vary greatly and much of it embraces a compositional approach akin to ’90s chamber experimentalists the Rachel’s and others in the post-classical mold on 130701 or Erased Tapes. “A Song for Europa” features more of those crackling sound treatments as well as a recurring spectral vocal sample, while the stately “A Deal With Chaos” or “The Radiant City” would be at home on the Rachel’s Music for Egon Schiele.
Apart from “Flight from the City,” the most unforgettable tracks on Orphée are where Jóhannsson adds more experimental textures, particularly in the penultimate diptych of “Good Morning, Midnight” and “Good Night, Day.” In a way, these two tracks play out the climax of the Orpheus myth: The former begins with dreamy slow-waltz strings and burbling sound effects that connote the gait of a person heading toward destiny unknown, before giving way to a close-mic'd solo piano piece that sounds like the ruminative thoughts of man by way of Satie-style impressionism. The latter, “Good Night, Day,” begins with repeated string warnings that plays as a realization of chased dreams lost, with a cello melody serving as an elegiac narrative counterpoint. On each, the blend of early 20th-century modalities and experimental recording approaches make them archetypal post-classical tracks.
Boldest of all is Orphée’s a capella closer “Orphic Hymn,” which features a breathtaking choral vocal performance by Paul Hillier’s Theatre of Voices of text from Ovid’s The Metamorphoses. Sung vocals are rarely found in Jóhannsson’s work, but the angelic arrangement makes you wish that he had found more opportunities to integrate vocals into the rest of the record. “Orphic Hymn” also brings Jóhannsson back full circle to British post-classical elder statesman Michael Nyman. The piece strongly recalls the longing of “Miserere” from The Cook, The Thief, His Wife and Her Lover, a great example of how Nyman’s scores work as independent music woven into a film rather than applied to the surface of scenes.
It’s exciting to hear the freedom of Jóhannsson’s compositions in autonomous music, and with Orphée he’s reasserted himself as not a just an elegiac film score guy. As good as his cinema work has been, the act of telling someone else’s story puts limits on both an artist’s freedom to work and the impact of how they might be received, and Jóhannsson likely isn’t looking to become known as “the Next Thomas Newman.” The voice he uses on Orphée says otherwise, and provides a clear blast attestation that Jóhannsson is among the brightest lights of any member of the loosely grouped post-classical genre. [Pitchfork]
"Sometimes, some records, and I along with them, fall into this first-class trap, this uppermost attic, this top-notch shelf, where this reside, and then I fail to cover them in time. These are records, like this one, that are just too good, and so I blunder on my task to ‘seek them out’ for you, to provide the filtering of all the noise, and then to spread the good ol’ sermon of their beauty. Surely you have found this simply on your own. Of course, you are already a huge fan of Jóhann Jóhannsson, and automatically grab every single record he puts out, including the latest pressed by Deutsche Grammophon. Right? No wonder Orphée appears at the top of HC’s Reader’s Poll Results for best records of 2016. So why even bother covering it, you know? Yet, here I am, unable to resist the urge to give this wonder all the words that it deserves.
Jóhannsson has been pretty busy these past few years, working mostly on film scores and soundtracks. Even his last studio album, The Miners’ Hymns (130701, 2011) was a soundtrack of sorts. In fact, whether they were imaginary scores, like the one for Fordlandia (4AD, 2008) and IBM 1401, A User’s Manual (4AD, 2006), or real ones for independent films, like Copenhagen Dreams (NTOV, 2012) and McCanick (Milan, 2014), or full-blown Hollywood productions, like Prisoners OST (WaterTower Music, 2013), The Theory Of Everything OST (Blacklot, 2014) and, most recently, Arrival OST (Deutsche Grammophon, 2016), it’s easy to make a statement that Jóhannsson’s modern classical productions are indeed cinematic in nature. Painting these imaginary landscapes with his music is in his soul… it’s what he does.
Orphée, of course, is no exception. From the very first note and subsequent chord progression, we hear the music of Jóhannsson at his best. Full strings are at the center of the stage, dancing the slow waltz in a haze of melancholy, minor heartbreak, and remorse. Baroque and classical elements appear throughout the album, in the form of a pipe organ, symphonic themes, and orchestral accompaniment (AIR Lyndhurst String Orchestra). The work is concluded with the Theatre of Voices singing the lines from Ovid. The minimal pieces are complemented by fundamental electronic treatments, minor field recordings, and sounds of shortwave radio from the “numbers stations”. The atmospherics are resplendent with space and texture, structurally stitched in all the critical thematic places, driven forth by a coherent motif, carried further by the forlorn piano or the anguished cello at its heart (with Clarice Jensen of ACME and Hildur Guðnadóttir).
Orphée traces a path from darkness into light, inspired by the various re-tellings of the ancient tale of the poet Orpheus, from Ovid’s to Jean Cocteau’s. A many-layered story about death, rebirth, change and the ephemeral nature of memory, the myth can also be read as a metaphor for artistic creation, dealing with the elusive nature of beauty and its relationship to the artist, as well as the idea that art is created through transgression – by the poet defying the gods who have forbidden him to turn back towards his beloved as he leaves the Underworld.
Unlike Jóhannsson’s previous albums, Orphée did not start out with a conceptual narrative. Yet, at the root of the album is a theme of change that Jóhannsson has been dealing with in the last six years. He has left Copenhagen to build a new life in Berlin, absorbing the city with all of its new offerings, relationships, and inspirations. “Perhaps this is one of the reasons I was drawn to the Orpheus myth, which is fundamentally about change, mutability, death, rebirth, the elusive nature of beauty and its sometimes thorny relation to the artist,” explains Jóhann. “This album, my first solo record for six years, is an oblique reflection on personal change.” We’re all familiar with all this change and our struggle and final acceptance of some endings and new beginnings. Perhaps these sounds will accompany your journeys. A true modern classical composition which will surely withstand the test of time." [Headphone Commute]
|
2016 |
€25.50 |
|
| |
Personal Effects |
LP |
Jóhann Jóhannsson gehörte bis zu seinem tragischen Tod zu den gefragtesten und innovativsten Filmkomponisten einer neuen Generation in Hollywood. Weltweit gefeiert für seine wegweisenden Scores für die Villeneuve-Filme “Sicario”, “Arrival” und “Prisoners” gewann er 2015 in der Kategorie Best Original Score den Golden-Globe für den Film Theory of Everything. Sein musikalischer Stil war geprägt von klassischem Minimalismus sowie der Verschmelzung von elektronischen Klängen mit klassischen Elementen.
Am 29. Mai erscheint nun die bisher noch unveröffentlichte Musik zum Film “Gemeinsam stärker” (2009) mit Ashton Kutcher & Michelle Pfeiffer als Vinyl bei Deutsche Grammophon.
“Für mich war es eine aufregende Zusammenarbeit. Jóhann griff immer wieder in die Bilder und Emotionen des Films ein, um etwas Besseres zu schaffen als alles, was ich mir je vorgestellt hatte.” David Hollander (Regie & Drehbuch)
https://www.deutschegrammophon.com/de/katalog/produkte/personal-effects-soundtrack-johannsson-11986
|
2020 |
€28.00 |
|
| JOHANNSSON, JOHANN & YAIR ELAZAR GLOTMAN |
Last and First Men |
CD & BLUE-RAY |
Format: CD + BluRayWährend er eindringliche Konzeptalben und wegweisende Soundtracks wie für Denis Villeneuves „Arrival“ komponierte, dachte der preisgekrönte isländische Komponist Jóhann Jóhannsson schon seit 2010 über ein noch größeres Projekt nach - ein multimediales Gesamtkunstwerk, das sein eigenes visuelles Konzept, Regie und Musik umfassen würde.
Basierend auf dem gleichnamigen Kult-Science-Fiction-Roman von Olaf Stapledon verbindet Jóhann Jóhannsson in seinem Opus Magnum Last and First Men kunstvoll Musik, Film und Erzählung gesprochen von Hollywood-Star Tilda Swinton, zu einer poetischen Meditation über Erinnerung und Verlust.
Bilder einer verfallenden futuristischen Landschaft - in 16mm-Schwarz-Weiß im ehemaligen Jugoslawien gefilmt – verbinden sich mit Jóhannssons ergreifender Orchesterpartitur, die über sieben Jahre hinweg entstanden ist. Zum Zeitpunkt von Jóhannssons überraschendem Tod in 2018 arbeitete er noch immer an Last and First Men, wobei ihm der in Berlin lebende Komponist und Tonkünstler Yair Elazar Glotman zur Seite stand, der die Partitur anschließend fertigstellte.
Für die Aufnahmen fanden sich darüber hinaus Jóhannssons langjährige, enge musikalische Wegbegleiter wie Oscar-Preisträgerin Hildur Guðnadóttir (Gesang, Cello, Schlagzeug), Mitglieder von Theatre of Voices u.v.a.m. zusammen um sein atemberaubendes Werk zu vollenden.
Der Film feiert seine Premiere bei der diesjährigen BERLINALE und wird gleichzeitig auf Blu-ray zum ersten Mal im Bundle mit der Originalaufnahme der Partitur auf CD und in einer Limited Deluxe Vinyl Art-Edition bei Deutsche Grammophon veröffentlicht
01 PRELUDE 2:35
02 A MINOR ASTRONOMICAL EVENT 3:40
03 A MOVE TO NEPTUNE 3:48
04 PHYSICAL DESCRIPTION OF THE LAST HUMAN BEINGS 4:37
05 ARCHITECTURE 5:01
06 SUPREME MONUMENTS 1:48
07 TELEPATHIC UNITY 1:59
08 CHILDHOOD / LAND OF THE YOUNG 5:36
09 THE NAVIGATORS 8:09
10 THE SUN 1:29
11 A NEW DOOM 2:54
12 TASK NO. 1: THE SCATTERING OF SEEDS 1:56
13 TASK NO. 2: COMMUNICATING WITH THE PAST 1:06
14 THE LAST OFFICE OF HUMANITY 2:11
15 SLOW DESTRUCTION OF NEPTUNE 4:25
16 THE FEW THAT PREVAIL 2:01
17 THE LAST MEN 3:19
18 REMEMBRANCE OF THE PAST 2:35
19 THE UNIVERSAL END 1:23
20 EPILOGUE 5:09
|
2020 |
€23.00 |
|
| JOHNSON, RAGNAR ASSISTED BY JESSICA MAYER |
Sacred Flute Music from New Guinea: Madang / Windim Mabu |
do-CD |
Recorded by Ragnar Johnson & assisted by Jessica Mayer, Papua New Guinea, April-August 1976
We would like to thank the performers and people of the villages of Awar, Borai, Bo'da, Kaean, Kuluguma, Nubia Sissimungum and Damaindeh-Bau for making this record possible. Copies of the master tapes are in the Institute of Papua New Guinea Studies, Port Moresby. Ragnar Johnson thanks the Canadian I.D.RC. for supporting his anthropological research.
Thanks to Dave Hunt for transferring the original magnetic tape recordings onto digital media and to Stephen O’Malley, David Toop and Evan Parker for assistance.
Sacred flutes are blown ("Windim Mambu'') to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. The Ravoi Flutes from Bak are accompanied by two garamut carved wooden slit gongs. The Waudang Flutes from Manam Island are accompanied by two large and two small slit gongs and six singers. The Jarvan Flutes from Awar are accompanied by a shell rattle. The Mo-mo resonating tubes were recorded in the Finisterre Range. There are the cries of six different pairs of flutes and one pair of conch shells from the Ramu coast, two pairs of Waudang Flutes from Manam Island with singing and Mo-mo resonating tubes from the Finisterre Range. Occasional percussion is provided by wooden slit gongs and hand drums. These recordings were made in 1976.
Tape to digital transfer by Dave Hunt at Dave Hunt Audio, London 07/15
Mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin 08/15
Notes and photographs by Ragnar Johnson & Jessica Mayer
Originally released on LP 1977 as !Quartz 001 & 1979 as !Quartz 002, Quartz Publications by David Toop with the assistance of Sue Steward, Evan Parker, Robert Wyatt and Alfreda Benge. Re-released on CD 1999 as Rounder Records 5154 & 5155.
www.ideologic.org
|
2016 |
€20.00 |
|
| JOSEFSON, MATHIAS |
Suihkulähde |
LP |
Erster Solo-Release von JOSEFSON aka MOLJEBKA PVLSE, auf seinem eigenen Label in schöner "letter-press"-Hülle. Ganz verschieden vom typischen M.P. Drone- und Geräuschsound wurde hier auf Seite A ein "ready-made" verewigt, der konkrete Klang einer mechanisch dröhnenden, röhrend-gurgelnden Maschine, ohne weitere Overdubs! Alltagsgeräusche in voller Aufmerksamkeit, auch das kann ein Erlebnis sein. "ALTE WEGE DIE WIR WANDERN WERDE NEUE SEIN". Auf Seite B dasselbe nach leichter Bearbeitung... Ein obskurer "Klangkunst"-Release, der zunächst verwirrt, dann begeistert!
"Side A of this album is a ready-made, a found sound. Except for adjusting the volume, the recorded source material is not processed with effects in any way. Side B is a processed version of the same track." [label info]
"Who, you may ask? Mathias Josefson is however not an unknown person in the realms of Vital Weekly, as he unleashed a whole bunch of recordings under the guise of Moljebka Pvlse, but for this new release he chooses to use his own name. Not an uncommon trend in the land of serious music. Perhaps it has also do with the nature of this record. One side has a found sound, the other is a reworking thereof. The found sound is not explained but it sounds to me like a fridge. I once tried to sleep somewhere next to a fridge, but the sound of it kept it me awake all night. Not a big problem, since I liked it quite a lot. Josefson's found sound side reminded me of this night. The drone of a machine, with all it's subtle varieties, the way it switches of in the end it is still a great listening experience. The 'processed' version of the track eludes me a bit I must say. Whatever there is that has been processed, I may have a trouble hearing it (and no, I am not listening on computer speakers, as
a disappointed artist once suggested). The processing are done probably very subtle, but they don't seem to be adding much to the other side. Now if I had two copies and a DJ set up I could perhaps check it out, now it's a bit more of the, albeit nice, same. The work of Josefson moves away from the ambient industrial park and this piece of sound art is a most promising start." [FdW/ Vital Weekly]
label: www.isoramara.com
|
2007 |
€14.00 |
|
| JULIUS, ROLF |
Music for the Ears |
CD |
"For a long time I've been thinking about how to create spaces into which one can retreat, where one can find quiet, where one can see, hear, where one is able to concentrate, where one is isolated from the world around but still is able to participate in itby means of art or Music or both' Rolf Julius, 1987. 'Futurism and Dadaism both made use of the synthesis of audio and visual arts to create a singular experience greater than the sum of its parts. This idea was further advanced by the Fluxus and Minimalism movements. Born in 1939 in Wilhelmshaven, Germany, Rolf Julius was profoundly influenced and inspired by these movements while he studied art in Bremen and Berlin. YEars later, after immersing himself in Musical works by artists like Morton Feldman, John Cage, and La Monte Young, Julius began to shift his focus from visual art to the synthesis of sound and visual art and nature, exploring the relationships between sounds and objects and environments. Julius soon discovered how sounds can influence vision, creating simple tones to be presented in conjunction with his early photographic work. Such experiments culminated in the creation of his pioneering work 'Dike Line' (1979), which combined visual images with texture-inducing tones. This piece was presented at the ground breaking exhibition 'Fur Augen Und Ohren' in 1980. Mythical in scope, this was the first major European exhibition attempted to map international research by artists exploring relations between sound and visual art, bringing together work by John Cage, Luigi Russolo, Nam June Paik, Joe Jones, Bill Fontana, Milan Knizak, Harry Bertoia, David Tudor and Rolf Julius. Over the next 30 yEars Julius went on to create some of the most meaningful and moving works in the grey area between Music and art, between sound and silence. Alongside Takehisa Kosugi, Terry Fox, and Akio Suzuki, he has emerged as one of the most important and influential sound artists of our time. Since the early 1980's Julius has referred to his compositions as Small Music, receiving international acclaim from those in the fields of contemporary art and Music for calling the origins of sound and vision into question. Small Music not only describes Julius' approach to composition (soft and compelling sounds from simple instruments and nature), but also a way in which to view his works and ultimately the world. Art historian Bernd Schulz once wrote 'if one recalls John Cage's central theme of 'silence' then Rolf Julius is the contemporary artist who approaches him most closely'. Julius' Small Music has the distinct ability to heighten our perception such that 'silence' becomes a positive quality of a place and a situation, and not just an absence of sound. Whether using photographs, ink drawings, audio compositions, or subtle and sometimes almost hidden outdoor installations, Rolf Julius' works serve as catalyst, increasing our awareness of the great beauty of the world that surrounds us. Western Vinyl is proud to release 'Music for the Ears' the first in a series of Small Music releases by Rolf Julius. With a goal of creating solitary sound environments, the Small Music series will culminate into a boxed edition of seminal works by this master sound artist. 'Music for the Ears' is comprised of two long tracks of gently weaving tones exploring the possibilities of spatial experience. The cover image depicts Julius' sound installation in a bamboo forest in Kyoto, Japan where his Music is placed high in the air, by speakers hanging freely from the branches of the trees. As the Music suspends itself in the air, the tones sway in the wind floating ever so gently, caressing the Ears, the trees, the light, and clouds." [label info]
www.westernvinyl.com
"Now here's someone who is perhaps world famous in the world of sound art, yet hardly ever appears in Vital Weekly. Its, among other reasons, because he didn't release that music, but also because his music is usually heard in museums and galleries and not always on record. But the good news is that Western Vinyl will re-release eight of his old works, starting with 'Music For The Ears', which comes with the subtitle 'small music no. 1' and small music it is. 'Song From The Past', the first of the two pieces on this album sounds like one long tape loop of bamboo flute being played. Every now and then it stops and then it starts again. Music that is very undemanding - an environmental piece to fill your ambience. Or perhaps music to meditate by - if only I ever did that. The second piece 'Music On Two High Poles' is different. It might be played on a small, children's organ or a harmonium, cut into two loops of a varying length. Its a bit louder, or perhaps it just appears so: I turned
up the volume quite a bit for the first piece, so this one comes in louder. I think both pieces are designed to do the same thing: create a sonic environment. What I especially liked about it, and that's something you can only hear when the volume is quite a bit, is all the extra sounds that come along: the static hiss from the used analogue tapes that creates a nice additional sonic layer to the music. And which doesn't seem to make the music static but very much alive and vibrant. Excellent music. This is the earliest Rolf Julius recording, from 1979 and the start of a great career. Can't wait for the other seven releases." [FdW / Vital Weekly]
|
2010 |
€14.00 |
|
| |
Raining |
CD |
" "Raining" ist der dritte Teil einer kleinen Musikserie und die erste Veröffentlichung, die nach dem Tod von ROLF JULIUS erscheint. Das Titelstück ,Raining" erschien ursprünglich als Teil der Installation ,Drawing (Dot)" von 2007. Spielt man das Stück mit großer Lautstärke ab, steht der Hörer mitten in einer Welt aus dichtem Regen, windgeschüttelten Bäumen und durchnässten Wiesen voller Leben. Wenn man das Stück jedoch durch den kleinen, flachen Lautsprecher abspielt, den JULIUS für die Installation benutzte, werden die Sounds zu sanften, zyklischen Mustern, wie eine üppige Landschaft, auf die man vom Flugzeug aus herabsieht. Das zweite Stück ,Weitflächig" ist ein Beispiel dessen, was JULIUS ,Musik für eine weite Ebene" nannte - aus einem kleinen Sound eine weite Soundlandschaft zu erschaffen. ,Music For A Glimpse Inward" tauchte ursprünglich 2005 als Teil einer Installation auf. Kleine Lautsprecher wurden am Rand eines sehr großen, leeren Raumes platziert. Die Musik erklang leise und vermittelte dem Betrachter so einen noch stärkeren Eindruck von Raum und Leere. Die Arbeiten von ROLF JULIUS wurden in wichtigen Museen auf der ganzen Welt gezeigt: im PS1 in New York (1983), 1985 auf der Pariser Biennale, auf der 8. Doucmenta in Kassel, im Hamburger Bahnhof, in Berlin (1998), in der Mattress Factory in Pittsburgh 2001, im Pariser Centre Pompidou (2004), in Japan und in den verschiedensten Galerien auf der ganzen Welt.
###########################################
Raining is the third installment in the small music series and the first posthumous Rolf Julius release. The title piece “Raining” originally appeared as part of the 2007 installation “Drawing (Dot)". When played on room speakers the piece engulfs the listener in a dense world of rain, wind rattled trees, and soaked pastures full of life. However, when played in the context of the small flat speaker which Julius originally chose for the installation, the sounds become soft and cyclical patterns, similar to a lush landscape being viewed from a plane many miles above. The second piece, “Weitflächig”, is an example of what Julius called “Musik für eine weite Ebene” (Music for a Wide Plain) - a method of "sketching" which allows small sounds to flourish into vast landscapes. “Music for a Glimpse Inward” originally appeared in a 2005 installation. With small speakers placed along the edge of very large empty room, the music played softly, heightening the listener's perception of space and stillness."
[label info]
www.westernvinyl.com
"Western Vinyl occupy themselves with the release of the archive of Rolf Julius. They started doing so when he was alive and continue doing so after his death, last year. This is the first release since then, from his archive. Julius is a man of 'small sounds', making 'small music' in mostly empty spaces with a minimum of equipment. His work could either be installations or compositions. Small speakers in small or large rooms, or even outdoors, using field recordings of say rain, such as the almost fifty-four title piece on this CD. Its very minimal music, of rain sounds and 'something else' which I found very hard to define, but it gives that electronic texture to the piece. That something which I think also very much defines music by Julius. More water like field recordings can be heard in 'Weitflachig' - music for a wide plain. Here too we hear insect like sounds, over water sounds. Are they tape loops, real time recordings? Its hard to say. 'Music For A Glimpse Inward' has insect and bird sounds and was originally a piece for small speakers in a large room. All of these pieces are very minimal, and show hardly any development. But that's hardly the point of Rolf Julius' music. Its more about perceiving space and silence and it works best when played softly in your space. Open up windows - if you are in a quiet surrounding I should think - and have this on repeat for a long time. It will definitely alter your perception of space and time. An excellent release - once again, and hopefully with more to follow." [FdW/Vital Weekly]
|
2012 |
€13.00 |
|
| JUNIOR VARSITY KM |
InvalidObject Series (export) |
mCD |
Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50
Better priced now, last copies of this absolute compendium of IDM. € 9.50
“ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works.
Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}
|
2000 |
€9.50 |
|
| JUNZO, SUZUKI |
Awake in the Wuthering Heights |
CD-R |
"New album by Suzuki Junzo, from famous japanese underground act MIMINOKOTO! factory-replicated CDr and printed artwork, limited to 100 copies only!" [label info]
www.licht-ung.de
|
2013 |
€10.00 |
|
| JUPITTER-LARSEN, G.X. & ALLAN ZANE |
Banjax |
CD |
„...The Haters (G.X. Jupitter-Larsen) und WYRM (Allan Zane) haben die Sau rausgelassen und sie turnt gewaltig über Haufen gebohrte und gebrochene CD’s, CDR’s, Plattenspieler und Singles. „Banjax“ meint „beschädigen“, „ruinieren“ und so brummeln G.X. Jupitter-Larsen und Allan Zane kratzend ein Hohelied auf den Noise. Damit distanzieren sie sich abermals von den hochtechnisch abgeklärten Beamten ihrer Zunft. Sie betreiben keine Pflege des Vorhandenen sondern pflegen die Zerstörung. Es wird verwertet, was in den Reißwolf passt, die Fressgeräusche sind das Entscheidende .
The Haters (G.X. Jupitter-Larsen) and WYRM (Allan Zane) are in the fields of damaged civilisations rubbish. Under the sign of “banjax”, which means ‘damage’ and ‘ruin’, they break and drill and hammer CD’s, CD-R’s, turntables, 7”, forcing explosions of SM car crashes on scratched glass. It is a tribute to the noise beneath high-end. The sound is coarsely but extrem powerful in its production. A full lorry of destruction with pauses of contemplation between reduced lines turns along blending expectation with surprise...” [Peter Schlewinski]
“ ...The master-minds behind The Haters (G.X. Jupitter-Larsen) and WYRM (Allan Zane) have finally tag-teamed on a full-length CD--'Banjax'. A collaborative/conceptual (of course!!!) project, 'Banjax' will not only satisfy the appetites for those of the "aesthetics" of "noise", but also appeal to those with a sensibility for "dark ambience" to boot! When worlds collide, if you will... Standard edition of 900.” [label info]
|
2005 |
€8.00 |
|
| |
Banjax (artist's edition) |
CD |
„Dieses Jutesäckchen enthält den Harsch. The Haters (G.X. Jupitter-Larsen) und WYRM (Allan Zane) haben die Sau rausgelassen und sie turnt gewaltig über Haufen gebohrte und gebrochene CD’s, CDR’s, Plattenspieler und Singles. „Banjax“ meint „beschädigen“, „ruinieren“ und so brummeln G.X. Jupitter-Larsen und Allan Zane kratzend ein Hohelied auf den Noise. Damit distanzieren sie sich abermals von den hochtechnisch abgeklärten Beamten ihrer Zunft. Sie betreiben keine Pflege des Vorhandenen sondern pflegen die Zerstörung. Es wird verwertet, was in den Reißwolf passt, die Fressgeräusche sind das Entscheidende . 100 Exemplare der Künstleredition mit Originalunterschriften!
The Haters (G.X. Jupitter-Larsen) and WYRM (Allan Zane) are in the fields of damaged civilisations rubbish. Under the sign of “banjax”, which means ‘damage’ and ‘ruin’, they break and drill and hammer CD’s, CD-R’s, turntables, 7”, forcing explosions of SM car crashes on scratched glass. It is a tribute to the noise beneath high-end. The sound is coarsely but extrem powerful in its production. A full lorry of destruction with pauses of contemplation between reduced lines turns along blending expectation with surprise. CD housed in silk-screened drawstring bag with a signed and numbered print by both artists.” [Peter Schlewinski for Drone Records]
“Artist's edition of 100 IN 2 PARTS as follows:
PART 1 (Audio/packaging): CD housed in silk-screened draw-string bag,signed and numbered print by both artists, AND MAIL-IN VOUCHER (TO SOMNIMAGE...) FOR PART 2.
PART 2 (Conceptual): To be aquired upon return of voucher...
"Destroyed Music"-- and then some!!!
Pre-orders are being taken now for this release. It will arrive sometime in November. Only 75 copies of the limited artist edition are for sale so act fast.” [label info]
|
2005 |
€24.00 |
|
| JUPITTER-LARSEN, GX |
Expanded Slam |
10inch |
" "Expanded Slam" and "Extended Slam", two new compositions by one of America's most consistently explorative and radical artists. Presented in a blazing gatefold package designed by Jupitter-Larsen, including an essay on the permawave, the polywave and the hoopla. Utterly delightful.
GX Jupitter-Larsen is an media artist, based in Hollywood, California, who has been active in a number of underground art scenes since the late 1970s. He has been involved in punk rock, mail art, cassette culture, the noise music scene, and zine culture. During the 1990s he was the sound designer for the performances of Mark Pauline's Survival Research Laboratories. His best known work is as the founder of the noise act The Haters, who have performed all over the world, and appear on over 300 CD & record releases.
Mastered and cut at D+M, Berlin
Edition of 500, vinyl only " [label info]
www.hronir.de
www.jupitter-larsen.com
"Hronir is a small German label, who released two things in the late nineties and five new items only this year. This 10″ is the latest release and is a noise record from G.X. Jupitter-Larsen. I have no idea why its released under his own name, and not by The Haters. Maybe it has to do with profiling as a composer? Maybe a wholly different reason. Two side long pieces here, ‘Expanded Slam’ and ‘Extended Slam’, which may or may not be extensions of eachother. Two sides of loud noise. The scraping of an object onto a surface perhaps, but then within a full distortion package. Loud, vicious noise music. Probably, if you have been paying attention, you would imagine that this is the kind of noise I don’t like, and you are probably right. But over the last twenty-five years I learned to appreciate The Haters quite a lot, and I think the sheer minimal noise of The Haters is great. It is loud and distorted, but also totally captivating. It also fits perfectly into whatever else Jupitter-Larsen does, in his performances and internet work, so unlike youngs boys fiddling with two distortion boxes in their bedroom, this is all encapsulating. Not just a record, but a statement." [FdW/Vital Weekly]
|
2010 |
€16.00 |
|
| JÜPPALA KÄÄPIÖ |
Alpen Ocean |
LP |
"ALPEN OCEAN is the final recording of Carole Kojo (Swiss) and Hitoshi Kojo (Japanese) that they left behind as Jüppala Kääpiö, whilst resident in Switzerland.
The sound sources are rather familiar instruments and materials for us such as voices, handmade instruments, viola, organic materials and field recordings. However, the style has evolved to a hybrid of our early style: an intense harmonic drone music that has appeared in RAINBOW MASK, and another phase which might be termed as a cosmopolitan ethnic music, that has been archived in later recordings such as OWLORA MUSKARIA and ANIMALIA COROLLA.
The overlaid harmonies of a murmuring of trees, howling skies, roarings of the ocean and the gradual transformation that is accompanied by melodies may remind you of migratory birds travelling across the sky on a lost ancient continent, or the dream of sea animals that are in eternal slumber in a ridge of mountains.
This piece would be one of a high-water mark by Jüppala Kääpiö who have looked for sound which resonates throughout time and space, whilst regarding a life-size reality that is rooted on the earth.
This release is a limited edition of 250 copies. 30 copies of the special edition in a stencil design box includes an extra cd-r that contains same tracks with the LP and two unreleased tracks from our early period.
Since the move to Belgium where is a foreign county for both of us in 2011, we are investigating a passage to our next chapter in the new environment." [label info]
"So lovely is the work of Juppala Kaapio! That said, we must sadly report that the Japanese / Swiss, husband-and-wife duo have stated that Alpen Ocean will be their final album under the guise of Juppala Kaapio. Another project is in the works, and they are planning to unveil whatever this may be sometime in 2014. Many of the drone-clad works we champion hedge their bets with the power of the darkside; but there are plenty of choice examples of rapturous, celestial tones and holy minimalism that seek to enlighten rather than darken the consumers' mind. Juppala Kaapio's small catalogue of lovingly crafted minimalism figures somewhere between the summer solstice nature jams of the Finnish freak-folk types and the twinkling harmonics of Terry Riley and LaMonte Young. As for Alpen Ocean, a brightly hued psychedelia of a sunburst and snowblind tableau is rendered through the wide-eyed sense of awe and wonder after calmly sipping a cup of psilocybin mushroom tea. Carole Kojo's delicate falsettos waver into a meditative chorale through tape loops and delay amidst the slow kaleidoscopic arrangements of chiming bells, bowed gongs, glassy electronics, and a few pastoral field recordings thrown in for good measure. It all comes together into bright, rapturous drones that Juppala Kaapio's Hitoshi Kojo describes as "overlaid harmonies of a murmuring of trees, howling skies, roarings of the ocean and the gradual transformation that are accompanied by melodies which may remind you of migratory birds travelling across the sky on a lost ancient continent, or the dream of sea animals that are in eternal slumber in a ridge of mountains." Limited to a mere 300 copies!" [Aquarius Records]
|
2013 |
€19.50 |
|
| K-SPACE |
Going Up |
CD |
"These recordings, with their disparate acoustic properties, are overlaid and overlapped to form dense sonic thickets alive with action and event, palpably embedded in the multi-dimensional flux of the world and lived social structures. Human voices conversing, footfalls on frozen ground, a blackbird singing, the sound of the wind or water, the crackling of wood in a fire, audience applause -- sounds from specific sites with their own peculiar resonance and significance leak through the K-Space mesh into the listening present. This layering and the filtering through of discrete geographic and temporal occasions compounds that superimposition already at work in the trio, the piling up and overlap of intense personal experience. Chamzyryn, a bona fide shaman and folk artist; Hodgkinson, academically trained in social anthropology, an exploratory rock musician, composer and radical improviser; Hyder, jazz drummer, free player, inveterate field worker in remote musical worlds." Performed By: Gendos Chamzyryn (Tuva), Tim Hodgkinson (England), Ken Hyder (Scotland)." [press release]
"Mit Going Up (Ad Hoc 12) von K-SPACE, einem Trio aus dem Tuva-Throatsänger & Schamanen Gendos Chamzyryn, Tim Hodgkinson mit ‚hawaiian guitar horns, piano corpse & location recordings‘ und dem schottischen Perkussionisten Ken Hyder, teleportiert einen Ad Hoc jenseits von Novosibirsk. Der Name K-Space spielt an auf den russischen Astrophysiker Nicolai Kozyrev (1908-83), Referenzpunkt für ‚Zeropoint energy‘- und Zeitvariabilitätstheorien (-> z.B. http://ascension2000.com/DivineCosmos/ 01.htm). An Kozyrevs ‚torsion energy‘ Phi knüpfen sich Spekulationen über einen Zusammenhang zwischen Phi, Sound und der DNA, der womöglich schamanistischen Praktiken real zugrunde liegen könnte (-> z.B. Sol Luckman: Sound, Intention & Genetic Healing). K-Space praktiziert vor dieser einigermaßen esoterischen Folie neo-schamanistische Soundrituale aus Drumming, Noise und gutturalem Obertonröhren. Art Brut
oder scratch-orchestrales Improvising in prosaischen Ohren, ‚healing sounds‘ nach der Formel ‚sound + intention = healing‘ oder Flug- & Zeitmaschine aus Wordsounds + Beats für solche, die zu der Überzeugung neigen, dass in der Kosmischen Schlange ein Gottescode schlängelt. Hodgkinson & Hyder, seit 1979 als Shams zusammen auf dem Schamanenpfad, sind keine Touristen oder blauäugigen New-Ager. Vielfache Reisen zum Bajkal-See und zum Altaj, nach Kyzyl, Barnaul und Akademgorodok, haben ihnen bei ihren ‚Radical Transcultural Initiatives‘ im Zusammenspiel mit lokalen Musikern wie wenigen anderen ‚Westlern‘ ethno- und musikologische Einblicke in die Kultur und Spiritualität Tuvas ermöglicht. Uns Laien vermitteln sie immerhin das Faszinosum absolut uriger Soundkreation. Kozyrevs ‚Zeitmaschine‘ steht auf dem Papier. Going Up krümmt die Raumzeit ganz sinnlich und real so, dass neolithische Archaik und die postmoderne Neugierde auf das Alte, aus dem wir herkommen, zusammenrauschen." [Babyblaue Seiten]
www.adhocrecords.com
|
2005 |
€14.00 |
|
| |
Infinity |
CD-ROM |
K-SPACE ist das Projekt von TIM HODGKINSON, KEN HYDER und GENDOS CHAMZYRYN, die für ihre dritte Veröffentlichung eine (soweit ich weiss) Weltneuheit geschaffen haben: Das 20 minütige "Infinity" klingt bei jedem abspielen (geht nur auf Computer) neu und erschafft sich quasi jedesmal selbst noch einmal, da eine auf der CDR mitgelieferte Software die einzelnen Klangelemente & Parameter jedesmal individuell "mischt". Enthalten sind perkussive & vokale Ritualsounds von diversen Schamanen, RADIK TYULYUSH (Mitglied bei der legendären sibirischen "throatsinging" Gruppe HUUN-HUUR-TU), ein ganzer russischer Chor aus Kyzyl, sowie diverse ethnische & klassische Instrumente die von den K-SPACE Mitgliedern eingespielt wurden. Die INFINITY-Versionen die ich bisher hören konnte klingen nach einer organischen Melange aus Ethno- und (Geräusch)-Jazz-Elementen, dunkler Geräuschmusik und rituellem Post-Industrial. Faszinierendes Konzept und sehr stimmiges Ergebnis !
"A first in formatting. This CD will only play on your computer, on the on the other hand it will always be different, every time you listen to it. K Space is Tim Hodgkinson (electronics, Hawaiian guitar, reeds), Ken Hyder, (percussion, voice) and Gendos Chamzyryn (voice and percussion), but this doesn't tell you much. There are also environmental recordings here, and deconstructed fragments, all pooled so that specially written software will compile and sequence 20minute pieces according to complex algorithms (rather than just randomly) that will never repeat. In other words there is no object here that will deliver what you know; there are materials that are constantly recombined so that each audition will be something unexpected. A great idea, brilliantly realised." [label notes]
www.adhocrecords.com
|
2008 |
€14.00 |
|
| KA-SPEL, EDWARD |
O'er A Shalabast'r Tyde Strolt Ay |
CD |
Wiederveröffentlichung des schönen Albums von 2002, welches bisher nur auf Vinyl erhältlich war...
"Repress of the album packaged in a custom made gatefold case and fully remastered by Randall Frazier at Helmet Room studios. A shalabast'r tyde, like unto pantent leather shoes, really doth shyne up. Reflected in the waves are twinkling stars; a smirking harvest moon; herds of passing clouds & hazey pink dots, like legends burned against eyelids after a long stare into an errant brightness. Ka-Spel's penchant for musical procreation is further fathered via this, another outstanding experimental recording. Fading into a subatomic rumble, 'Shalabast'r' sneaks into a quiet Edwardian waltz that sneaks into a fragmented sampling autoclave. If nothing else, Edward's always been a little sneaky. Maybe that's why he wears sneakers." [label info]
”..Slowly he seems to be pushing his solo music forward by going more and more for instrumental music, and move away from the song structures that were a feature of his older solo work. From the intimate sing-song-keyboard thing, he seems now interested in apocalyptic sound fields, dense, dark but always with a dot of light at the end of the tunnel.” [Frans de Waard, Vital Weekly]
www.blrrecords.com
|
2009 |
€14.00 |
|
| KAFFE MATTHEWS & ANDY MOOR (THE EX) |
Locks |
CD |
Sehr ungewöhnliche Zusammenarbeit: die englische Avantgardistin mit dem Gitarristen ANDY MOOR von THE EX ! Alle Stücke sind „live in the studio“-Improvisationen: weirde loops, ungewöhnliches Gitarrenspiel, überraschende breaks, wild und ungestüm, aber auch mit dronig-schwelenden Passagen !
“Live convertor Kaffe Matthews and sonic guitarist Andy Moor first performed together as an improvised duo in London in 1998. The combination of Andys energetic guitar work and Kaffes serene, highly focused live sampling technique worked well... they produce a dark, textural sound with extremes in dynamics from barely audible blips and squeaks to massive walls of joyful noise often backed by bizarre rhythmic patterns and melancholic drones.
Their live performance is totally improvised, Kaffe sampling and processing Andys guitar sounds in real time and together building tension, with a restless energy that never allows the form to collapse.” [label description]
|
2002 |
€13.00 |
|
| KAHN, JASON |
Songs For Nicolas Ross |
CD |
Recorded 2000-2003 in Amsterdam, Baltimore, Berlin, Caudeval, Lausanne, Los Angeles, New York, Paris, St. Pölten and Zürich.
Cover design by Luca Roux
The audio material of «Songs for Nicolas Ross» is taken from my travels 2000-2003 in the cities Amsterdam, Baltimore, Berlin, Caudeval, Lausanne, Los Angeles, New York, Paris, St. Pölten and Zürich. As the CD was for the birthday of Alessandro Bianco's son Nicolas Ross, I thought of the pieces as short songs, either as lullabyes or just brief sonic enivornments for him to enter into. I tried to imagine young Nicolas' perception of the sound around himself and his relation to this. This was the starting point in my selecting the sound for these songs. I hope Nicolas likes them!
www.rossbin.com/rs014.htm
https://jasonkahn.bandcamp.com/album/songs-for-nicolas-ross
|
2003 |
€7.50 |
|
| KAHN, JASON & ASHER |
Vista |
CD |
Extremst minimaler, rauschiger Drone-Ambient, so subtil und subliminal dass eine "neue" Empfindungsfähigkeit gefördert wird.. die spezielle Atmosphäre, die hier übermittelt wird, ist mit Worten einfach nicht beschreibbar...
"Aus Feldaufnahmen, die Kahn am Zürichsee und in den Schweizer Alpen machte, und Asher seinerseits vor Ort in Somerville, MA, und in den nicht so vornehmen Ecken des Bostoner Stadtteils Back Bay, entstand eine imaginäre Szenerie, die hauptsächlich aus Regen zu
bestehen scheint. Oder ist das Wind, der in Baumkronen rauscht? Oder doch nur Industriegeräusche von Motoren, Generatoren, Lüftungsanlagen? Oder beides? Es wummert, knirscht, brodelt und zischt so ununterscheidbar, dass man am Ende nicht mehr ausschließen kann, dass einem die Phantasie vielleicht durchgehend nur Streiche spielte. Der Drang, Geräusche als Dinge zu identifizieren und so gut es geht ein Was und ein Wo festzustellen, der ist doch sehr stark. Kahn fügt dem Rauschen, das nach einer halben Stunde in den Hintergrund rückt, während im Vordergrund ein dunkles Wummern Raum greift, ein flirrendes Cymbaltickling hinzu. Das siffende Rieseln und Zischeln bleibt aber, wenn auch etwas gedämpfter, so als ob der ständige Regen etwas nachlassen würde oder man selbst sich weiter in den Maschinenraum zurück gezogen hätte, wo das Brummen mollige Wärme auszustrahlen scheint. Ob diese Illusion aus Klang jetzt als ‚offener Kamin‘ taugt, der Gemütlichkeit verbreitet, oder als Regenvorhang, to read Krimis Noir by, das muss jeder selbst ausprobieren." [Bad Alchemy]
"The work on Vista began in the summer of 2006 with recordings made by Asher in the Back Bay neighborhood of Boston. Walking through the
alleys and side streets he recorded the various mechanical rooms, generators, ventilation systems and idling motors which were to be found
there. These recordings were processed and sent to Kahn.
Later that fall, Kahn sent Asher several pre-dawn recordings he had made on the shores of Zürich Lake. Asher processed these in keeping
with the methods he had used with his own location recordings so as to create continuity among the amassing material. Unprocessed wind
recordings made by Kahn in the Swiss Alps in the summer of 2007 comprised the final batch of material used on Vista. Asher and Kahn
spent the remainder of that year working on a final mix. Addressing the idea of hearing and seeing out and beyond spatial planes, title Vista references both the aural expanses of Asher's home on a hill in the town of Somerville and Kahn's trips to the Alps and Zürich Lake.
In processing and mixing the discrete details of a landscape, we hear them from a real physical distance. Through the incidental
combinations of processed local sounds and sound materials which are entirely foreign to us, an imaginative aural view is created which
obscures any relationship to a documentary account of the original locations recorded for Vista.
Jason Kahn is a sound and visual artist based in Zürich. His work includes sound installation, performance and composition. He was born in New York, grew up in Los Angeles and relocated to Europe in 1990.
Kahn has given concerts and exhibited his sound installations throughout Europe, North and South and America, Japan, Mexico, Korea, Israel, Turkey, Russia, Lebanon, Egypt, Hong Kong, New Zealand and Australia. Kahn's work has been published by many other labels such
as his own imprint Cut , For4Ears, Sirr, Crouton, Korm Plastics, Creative Sources, Longbox Recordings, 1.8 sec records, Chloë and ATAK among others.
Asher (Thal-Nir) is still a relatively new sound artist living and working in Somerville, Massachusetts who has already garnered quite a bit of acclaim in just a few short years for his work using old cassette tapes and field recordings. He also uses processed acoustic and electronic instruments. His work has been published online by 12k / term, Con-v,
Laboratoire Moderne (EARlabs), and Homophoni, and on CDR and DVDR by Con-v, Leerraum, Conv, Winds Measure Recordings, Mystery Sea, The Land Of, among others.
DISCLAIMER: For full effect, turn up the volume and do nothing else but listen. You may very well find that this is ALL you will be able to do anyway... Despite the cover images on the packaging, driving while under the influence of this CD should be done with caution. This CD may induce a "thousand-yard stare" (a long, unfocused gaze), instances of "missing time", or audio hallucinations that could cause disorientation in the listener. Bottom line: friends don't let friends drive under the influence of Vista. This CD is for recreational use only. ENJOY." [label info]
www.and-oar.org
|
2008 |
€12.00 |
|
| KAMMERFLIMMER KOLLEKTIEF |
Teufelskamin |
CD |
"Als Teufelskamin wird eine natürliche Felsformation bezeichnet, durch die Meerwasser mit gewaltigem Druck nach oben steigt und dort als Fontäne hinausgepresst wird. Die unmittelbare Übertragung des Begriffes auf das aktuelle Album des Karlsruher Trios KAMMERFLIMMER KOLLEKTIEF scheitert, denn weder Meeresgewalt noch Steinlandschaften kommen hier vor. Durchaus aber sind Assoziationen möglich mit einem winterlichen Kaminfeuer, in dem ab und an der Teufel, vielmehr ein Teufelchen steckt, welches die Funken stieben lässt.
"Teufelskamin" ist das entspannteste, wenn man so will: das winterlichste Album der letzten Jahre, nach dem experimentellen "Jinx" (2007, Besprechung) und dem schon sehr friedlichen, erdigen "Wildling" (2010, Besprechung). Neu ist die RY COODER-Gitarre, dieses surfige 'Twang', der Beach ein Winterwald natürlich. Sie verleiht dem ganzen einen Hauch von Country, von gediegenem Landleben.
An der Kernbesetzung hat sich nichts geändert: HEIKE AUMÜLLER ist zuständig für den entrückten, silbenhaften Gesang, JOHANNES FRISCH für Bass und Perkussion und THOMAS WEBER für Gitarre, Elektronik und Klavier. (In genau dieser Stammformation ist das KOLLEKTIEF übrigens auch live zu sehen.)
Mit der erwähnten Roadmovie-Gitarre beginnt "Teufelskamin", der "Coricidin Boogie" (01) wärmt und entspannt. Schlagzeugbesen und der gewohnt traumhafte Gesang von HEIKE AUMÜLLER – ob Text oder Silben lässt sich nicht genau deuten, ist aber eigentlich auch egal – sorgen für ein wohliges Gefühl, hier ist Heimat, ein Feuer im Kamin (noch ohne Teufel), nur leichtes Quietschen und Knarzen. "Never Collapse, Always Dazzle!" (02) wechselt in die Nacht, es schwirren eindeutig Silben durchs Dunkel. Geheimnisvolle Ambientmusik, bis dato still und leise, ohne Ausbrüche. "Teufelskamin Jam #1" (03) – das 'Jam' deutet es an – klingt jazzig und im Verlauf improvisiert. Nach drei Minuten tauchen die ersten Störgeräusche auf, psychedelische Gitarre und Kratzen, dazu ein 70er Fender-Rhodes-Piano. Immer noch das knarzende, wohlige, manchmal aber auch unheimlich flackernde Kaminfeuer. "Shangrila" ist kurz und wunderbar (04), ein melancholischer Wattebausch, Musik wie ein warmer (Schnee)Regenschauer. "Soft Machine" (05) ist Jazz zu später Stunde, nur mit Piano und Contrabass, getragen von einer anheimelnden, umwerfenden Melancholie.
Auch die zweite Hälfte des Albums birgt diesen neuen KAMMERFLIMMER-Ambient, erinnert übrigens während mancher Instrumentalpassagen (etwa in "New Ghosts", 09) an die stets unterschätzten DAS HOLZ – passt ja wiederum zum Thema 'Kamin'. Allerdings lodern die Flammen nach hinten etwas aufgeregter, knistern und knastern, die knarzigen und quietschenden Instrumente nehmen zu.
Seit 1996 existiert das KAMMERFLIMMER KOLLEKTIEF und erfindet sich trotz aller Wiedererkennbarkeit, vor allem durch den Gesang, für jedes Album neu. Nach "Jinx" und "Wildling" ist "Teufelskamin" innerhalb weniger Jahre das dritte hochkarätige Album, typisch KOLLEKTIEF und doch wieder anders, diesmal mit dem Schwerpunkt eindeutig auf wohligem Ambient im winterlichen Landhaus. Der Cowboy am Lagerfeuer für Zuhause. Herzerwärmend! Und im ausgehenden Sommer schon meine Lieblingswinterplatte." [Michael We./NONPOP]
|
2011 |
€15.00 |
|
| KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS |
split |
10inch |
"Für den Auftakt der halluzinatorischen Wahrnehmungen gewidmeten Parakusis-Reihe des mit Bill Laswell gestarteten Karlsruher Labels, variieren Thomas Weber, Heike Aumüller & Johannes Frisch zwei Tracks ihres Staubgold-Releases Jinx, bei denen der Musik Flügel wachsen, die einen in eine Art ‚out of body experience‘ davon tragen können. ‚Jnx (Excursion)‘ klopft, rasselt und dröhnt und Aumüller kaut mit zittrigem Gesang die Luft weich, damit das Karlsruher Schamanen-Kollektief an der Weltachse entlang in die Anderwelt gelangt. ‚Both Eyes Tight Shut‘ (Instrumentalversion) bringt Strings -Frischs Kontrabass arco, Heike Wendelins Viola und Martin Siewerts Lapsteel - so in Schwingung, dass die Phantasie auf sanften Langwellen den Orbit verlässt und durch Outer Space driftet, nirvanasüchtig wie der finale Surfer in Dark Star. Zwei astrale Trips in der Tradition krautiger Space-Psychedelik. Hinter fest geschlossenen Augen öffnet sich die Tür des Cactus Tree Motels auf den Mäanderweg in Sound, der in Altered States lockt. Stringtheoretisch versiert zeigt sich auch das von BiP_HOp-Macher Philippe Petit versammelte 11-köpfige Ensemble STRINGS OF CONSCIOUSNESS. Saiteninstrumente haben die absolute Mehrheit gegenüber der Fraktion aus Trompete, Saxophon, Vibraphon, Sampler und Petits Laptop. Nach einer ersten Duftmarke auf der BiP_HOp-Compilation Generation v.8 wird man hier entführt in
den ‚Forest of Spades‘ mit seinem von Streichern und Vibraphon gestreuten Nadelteppich, von Perceval Bellones süßem Saxophon in ein ‚Fantastique Alaska‘ und von Andy Diagrams Trompete auf Bergkämme, auf denen sich nicht nur die Wasser scheiden. Diese Fourth World hat ihren Magnetpol im Osten. Die Musik verflüssigt das Bewusstsein so, dass es dem Sehnsuchtshorizont stetig zuströmt. Wenn nicht auch die Anderwelt ein Kugel wäre." [Bad Alchemy]
"Kammerflimmer Kollektief/Strings Of Consciousness Split 10". Exclusive tracks on a strictly limited aficionados edition of 500. Both bands recently released a full-length album. Gatefold sleeve, elaborate artwork." [label info]
www.karlrecords.net
|
2007 |
€12.00 |
|
| KAMPEN SKOLES MUSIKKORPS |
performs The KREV Underwater National Anthem |
7 |
Die "Nationalhymne" des Königreichs Elgaland-Vargaland (KREV) in der norwegischen Version! Der von LEIF ELGGREN und CM VON HAUSSWOLFF 1992 in Stockholm gegründete Staat besteht aus allen Grenzgebieten / Niemandslanden zwischen anderen Staaten, sowie besonderen Bewusstseinszuständen wie dem hypnagogen Zustand, dem Traum, dem "Territorium der Eskapisten" oder dem virtuellen digitalen Raum. Natürlich braucht so ein Staat auch eine Hymne, auf dieser 7" hören wir den 24köpfigen Marschmusik-Verein "KAMPEN SKOLES MUSIKKORPS", einen der ältesten Norwegens. Unglaublich, aber WAHR. Aufgenommen im März 2008 von JANA WINDEREN.
"Numbered edition of 500. This 7' is the third in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the Mariachi version [Ash 7.2] and the Klezmer and Afrobeat versions [Ash 7.4], both issued in 2007 via Ash International. Kampen Skoles Musikkorps consists of around 24 musicians aged from 9 to 16. It was founded in 1906 and is the third oldest school marching band in Norway. Recorded on 12 March 2008 at Kampen Skole in Oslo. The KREV Underwater National Anthem was recorded under MS Reichenau on the occasion of the Annexation of the Bodensee (Lake Constance) including Überlinger See, Zeller See, Gnadensee, Untersee and the Insel Mainau (Island of Mainau), formerly a part of Switzerland, Austria, Germany, by the Kingdoms of Elgaland-Vargaland on Wednesday, 28 May 2008. In attendance were Kings Michael I & Leif I, The KREV Ambassadors for Basel, UK and Zürich; The Minister of Galleries and many others. Recorded using Dolphin Ear hydrophones and a Nagra Ares PÐ11 flash recorder whilst The Emmishofer Brass Band and The Diessenhofen Yodelling Choir performed With thanks to Adrian Notz at Cabaret Voltaire, Richard Tisserand at Kunstraum Kreuzlingen and Stefan M. Seydel at (((rebell.tv)))." [label info]
www.ashinternational.com
|
2008 |
€7.50 |
|
| KAPOTTE MUZIEK & RICHARD RAMIREZ |
Muziek - Mix - Memory |
CD-R |
LICHT-UNG gehört sicher zu den seltsamsten Labels der Welt, es verzichtet komplett auf Beschreibungen, Präsentationen, und oft auch auf die grundlegendsten Infos auf den Veröffentlichungen. Was sich erschliessen soll erschliesst sich an der Ratio vorbei. Das erste Stück auf dieser CD zeigt KAPOTTE MUZIEK in Höchstform, wenn sie das Quellenmaterial des US Harshnoisers R. RAMIREZ verwenden. Fängt sehr subtil an und steigert sich unter der Verwendung von Loops und merkwürdig elektronisch klackernden Sounds und Konkret-Geknirsche in noisigere Bereiche hinein, um wieder ruhig zu enden. Sehr fein!
RICHARD RAMIREZ darf dann auf dem zweiten Stück an KM-Material ran, erwartungsgemäss ein rauschender Maelstrom, der aber auch erstaunlich sanft bleibt, und in verschiedenen Intensitäten und Stärken erbebt, white noise Frequenzmischungen die wie in Spektralfarben schillern. Aufgenommen übrigens in Stralsund, vermutlich auf dem "Garage" Festival, Juli 2004.
..First album is titled "Muziek-Mix-Memory" and is a "versus"-album between Kapotte Muziek and Richard Ramirez. First track is the legendary trio of Kapotte Muziek, Frans De Waard, Peter Duimelinks and Roel Meelkop manupulating
the source materials of composer Richard Ramirez. The intense work opens fairly quiet
with crackling sounds and field recordings of water. Bursts of noises attack the relative quietness of the opening, but as the track develops the noise washes in and after twelve minutes the work transforms into hordes of harsh noise until the final moments where the tracks dwells back into peace. Second track is Richard Ramirez' take on Kapotte Muziek. In contrary to the radical change in expression of Kapotte Muziek's contribution, Radical Ramirez constantly keeps the mass of noise on a quite high sound levels resulting in an almost 20 minutes piece of harsh noise/power electronics. During the work there are moments of slightly
easier levels but overall Mr. Ramirez creates a hard time for the receiving ears." [NM, Vital Weekly] |
2009 |
€10.00 |
|
| KAPOTTE MUZIEK / SEYMOR |
split (Keulen...) |
10inch |
Second in the new split 10“-series on LICHT-UNG. Undescribable concrete sounds vom KM, sound-groans, crackles, clicks & silences, most obscure... SEYMOUR seems to be another incarnation of LICHT-UNG themselves creates pure feedback-microphone noises. Not for the weak-hearted, but reveals some hidden beauty inside the sounds.... |
2006 |
€13.50 |
|
| KAR |
Piccolo racconto crudele sulla notte appena trascorsa |
CD-R |
Interesting drone / field / concrete atmospherics-recordings from this duo consisting of ADRIAN SCERNA (also active as –> ANOFELE) and MARCO CARCASI. “a jungle of magnified lowerglyphs math-looped in a hive of despair by the roman duo of Adriano Scerna and Marco Carcasi.”[label description]
“ Kar has had releases before on the S'Agita label, but that was a live CD. Here they offer a studio CD, with just one track of thirty seven minutes. Kar is a duo who produce also microsounding stuff but less refined than Fioratti/Belfi. Traces of old school industrial music can be detected throughout in the louder bits in this piece. Things are more straight forward, direct in your face approach. Processings take a much simple course and the overall approach is much more minimal. Things stay longer in the same vein. For those who think microsoundings are too soft, this is the one to get then... “ [FdW, Vital Weekly]
|
2003 |
€9.00 |
|
| KARKOWSKI, ZBIGNIEW |
Intensifier |
CD |
Onetracker-Live-Aufnahme eines Auftrittes in LYON (Datum unbekannt). KARKOWSKI kreiert white noise in verschiedensten Intensitäten, auf- und abwellend wie Brandung, mit digitalen Granular-Störgeräuschen versehen und hohlem Pfeifen, trotzdem nie extrem harsch oder pure-noisig, das ganze hat etwas von einer nautischen Distortion-Reise, die perfekte Symbiose von (dark) ambience und Noise!
Recording from a great concert that happened in Lyon with a kind of nautical harsh ambience.....
|
2004 |
€13.00 |
|
| |
The last Man in Europe |
LP |
"Reality (realityfilm.co.uk) had the honour of working with pioneering electronic composer Zbigniew Karkowski on two occasions. In 2007, as part of the Recording Angel Ensemble’s accompaniment to Wojciech Has’ film “The Saragossa Manuscript” at the National Film Theatre and finally, for the last time on the 31st October 2013 when, already gravely ill after learning that he had advanced pancreatic cancer, Karkowski premiered his music to the BBC 1954 teleplay production of George Orwell’s “1984 - The Last Man in Europe” at London’s Horse Hospital. It was to be his last public performance. Zbigniew died aged 55, just six weeks later on Thursday December 12th in the jungles of Peru where he had travelled seeking treatment with the Shaman healers of the Shipibo. “Where language ends music begins” Zbigniew Karkowski March 14, 1958 - December 12, 2013. Recorded Live to Film at the Horse Hospital, London. October 31, 2013. Recording: Aleksander Kolkowski."
www.erratum.org
"Zbigniew Karkowski was a very important and influential figure across various arenas of music including electronic, noise, experimental, avant-garde some of which obviously cross over from time to time. He passed away at the age of 55 a mere 6 weeks after recording what we have before us today.
The Last Man in Europe is a document of Mr. Karkowski’s presentation to the BBC 1954 teleplay production of George Orwell’s “1984-The Last Man in Europe.” This piece was recorded live at The Horse Hospital – a London independent arts venue on October 31, 2013.
On a personal note, this recording is nothing like I have ever heard before. It’s uniqueness makes it virtually impossible to categorize. However, this important recording is the work of not only a pioneer but a master of electronic music dynamics and frequencies. Some of the tones here range from mid-level to ear-piercing. There are other moments, for example (around 3:30 in track 2) when the base track, often ebbing and flowing is layered by a sound that can best be described as a noise wind. It’s at that point where this recording really has become a brain-altering experience.
Few releases in experimental and noise arenas can really invade the mind the way The Last Man in Europe does. It reaches beyond the reasons why we listen to noise and experimental music in the first place.
Fortunately, Erratum Records has decided to release this important recording in LP form giving the piece and Mr Karkowski the respect they deserve. As noted above, Zbigniew Karkowski passed away six weeks after this recording was presented. He traveled to the jungles of Peru seeking the help of Shaman healers for his pancreatic cancer. This is further confirmation that this influential artist lived and died in areas where a very small amount of people dared to go before." [The Noise Benath the Snow]
|
2017 |
€17.50 |
|
| KASTEL, SILVIA |
Air Lows |
LP |
Air Lows is the debut solo album by Silvia Kastel.
The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia (“It’s like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu’s Dub Housing, lit the fuse and, ahem, stood well back” – Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Through her own label, Ultramarine, she has released music by the likes of Raymond Dijkstra, Blood Stereo and Bene Gesserit.
Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows – which follows the cassette releases Love Tape (2011), Voice Studies 20 (2015) and The Gap (2016) – is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground.
Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono’s Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very “human” synths in the jazz of Herbie Hancock’s Sextant and Sun Ra: all these things were touchstones for Air Lows’ conception and composition. All strains of music addressing – and complicating – the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like?
Though used sparingly, Kastel’s voice remains her key instrument, whether subject to dissociative digital manipulations as on ‘Bruell’, delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italian studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and empty spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructons of its first half leading inexorably to the icy noir of ‘Spiderwebs’ and ‘Concrete Void’. These later tracks are reminiscent of 2015’s magnificent 39 12”, Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout: a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.
|
2017 |
€16.50 |
|
| KAUDERS |
Games |
CD-R |
Wieder eine Überraschung auf TONTO ! Dieses Duo schafft auf 10 instrumentalen Stücken eine sehr filmische Atmosphäre mit experimentellen down-beats & Schlagzeug, Gitarren und minimalen elektronischen Klängen & Samples, dunkel und harmonisch....klasse wie sich hier Songstrukturen und Experimentelles vereinigen..... einiges hat uns spontan an BRANNON HUNGNESS / OBLIVION ENSEMBLE erinnert...
tonto # 29 / KAUDERS: Games / frontcover: christian zagler, gottfried
krienzer / postproduction: winfried ritsch / (c)+(p) 2004 gottfried
krienzer / austro mechana / supported by ske
|
2004 |
€11.00 |
|
| KESZLER, ELI |
Stadium |
do-LP |
NewYork-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author La´szlo´ Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize– winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.
“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.
Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer — he’s a world-building percussionist.”
In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.
Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations - especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work 'Northern Stair Projection'. “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”
|
2018 |
€26.50 |
|
| KHAN, USTAD HAFIZULLAH |
Khalifa Kirana Gharana |
CD |
"2002 release; recorded 5/18/00. Ustad Hafizulla Khan (sarangi), Rik Masterson (tabla), Rosa Okada (tambura). "Just Dreams' reissue of the out-of-print CD-R originally on the Kirana West label. First recording released by the late Sarangi Master, Khalifa and son of Ustad Abdul Wahid Khan of the Kirana Gharana. Exquisite intonation, pure tone, graceful command of the bow, effortless speed over the complete range of three octaves. 'Tradition, love and devotion -- a beacon of the Kirana Gharana in our time.' --La Monte Young." [label info]
www.justdreams.com
|
2002 |
€17.00 |
|
| KINETIX |
White Rooms |
do-CD |
„Hinter Kinetix steckt seit 1999 der Komponist elektronischer Musik und Klangkünstler Gianluca Becuzzi. Er schreibt: “The artistic production of KINETIX is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the digital technologies and by a clear aesthetic inclination towards minimalist forms and micro noises/sounds.” Und tatsächlich klingt die Musik, als würden Kunstwerke der minimal art vertont werden. In den 9 Stücken der CD 1 wird die Beziehung zwischen physischen und akustischen Raumverhalten durch die Aspekte Klangvolumen, Zeit und Häufigkeit klanglich hervorgehoben. Klare digitale Signale von Summen und Sirren, die sich im Wechselbad mit großräumlich hallenden drones befinden, rufen flächige Klänge und dreidimensionale Eindrücke hervor. Auf der zweiten CD sind sehr reduzierte Sounds zu hören, die für eine Klanginstallation entwickelt wurden. Hier ist lediglich der Raum der Interpret. Hochfrequente Geräusche, ein wallendes Brummen und beinernes Knirschen umschmeicheln die Stille.
Since 1999, KINETIX is Gianluca Becuzzi, electronic composer and sound artist active since the first half of the 80’s. He writes: “The artistic production of KINETIX is characterised by a strong experimental imprint, by the interest into the expressive possibilities offered by the digital technologies and by a clear aesthetic inclination towards minimalist forms and micro noises/sounds.” (from the website) Really, the music sounds like a study about a representational work of minimal art. The first CD includes 9 pieces dealing with volume of sound, time and frequencies to underline the relationship between physical space and acoustic space. Clear digital signal-buzz changes with wide open resounding drones evoking superficial sounds and three-dimensionally impressions. The 2. CD shows very reduced sounds conceived for a sound installation. Only the room is the interpreter. High frequencies circle abstract noises, playing with silence.” [Peter Schlewinski for Drone Records]
“...Carefully constructed soundscapes of sine-waves gently moving in and out, with occasional crackles and soft whispering voices, certainly in the first part. It reminded me of some of Jos Smolders' older work in this direction (but much better recorded by Kinetix, but in Smolders' defense, he work with hissy tapes in his early days). In the second and third part Kinetix uses the voice of Alvin Lucier with his well-known ramble about rooms that he is in and you are not, but Kinetix uses it quite nicely. The fourth part is a stretched out drone piece with off and on rumbles and it moves all quite slowly. The previous works by Kinetix were nice, but couldn't convince me that much, but here it surely does. Not so much in terms of presenting something new, but it's a well-thought out disc, excellently produced, good concept and presented well. Thumbs up!” [FdW / Vital Weekly]
labelwebsite: www.smallvoices.it
|
2005 |
€7.77 |
|
| KIRCHENKAMPF |
Transmissions |
CD-R |
Schwelender Katakomben-Ambient-Industrial vom inzwischen wieder aktiver gewordenen US-Projekt. Es grummelt & bebt wie aus riesiger Entfernung, knatternde Sounds drängen nach vorne, mitunter hat man das Gefühl in einem mit schrägen Tieren bevölkerten Dschungel zu stehen, geisterhafte Stimmen und Drones tauchen aus dem Off auf... Sehr kraftvoll und dunkel... vielleicht der bisher beste Release von KIRCHENKAMPF, leider wurden nur 100 Stück hergestellt...
"Diophantine Discs is pleased to announce the release of 'kirchenkampf' - Transmissions. 'kirchenkampf' is the work of John Gore (Cohort Records, >wirewall<, The Oratory of Divine Love) and has existed since 1986. With his 6th and latest CD, "Transmissions," he presents us six tracks (over 50 minutes) of stunning experimental dark ambient soundscapes. This release is limited to 100 numbered copies and is housed in a blue slimline jewel-case with color cover." [label info]
http://discs.diophantine.net
|
2006 |
€8.00 |
|
| KLIVE |
Sweaty Psalms |
CD |
"KLIVE ist das Solo Projekt von Ulfur Hansson, einem jungen Musiker aus Reykjavik, Island. Er ist sonst Live-Musiker bei JÓNSI (Solo-Projekt des Sigur Rós Gittaristen) und Bassist der Noisecore-Band SWORDS OF CHAOS.
Was SWEATY PSALMS auszeichnet, ist vor allem der am besten „organisch“ zu nennende Sound. Obwohl grundsätzlich elektronisch produziert, ist das Klangbild überraschend akustisch. Hierfür sorgen zunächst einmal die quäkend-exotisch klingenden Blechbläser seiner 3 Live-Begleitmusikerinnen (2010 auf Tour als Support von KIRA KIRA). Vor allem aber die Aufnahmen von original isländischen Klangereignissen (engl. Field Recordings) machen den ganz eigenen Charakter des Albums aus: Schwer zu sagen ob es sich um einen Flaschenzug oder ein vertautes, schaukeldes Ruderboot handelte, es klingt jedenfalls definitiv nach Holz und Wasser. Es knarrt, flötet, klappert und planscht unbekannterweise, lediglich Möven sind zu identifizieren. Und die Percussion auf DON’T GIVE UP THE GHOST ist tatsächlich das vehemente Schlagen auf Töpfe und Pfannen der aufgebrachten Bevökerung vor dem isländischen Parlament nach dem Finanz-Crash 2008!
All dies macht SWEATY PSALMS zum einem klanglich und musikalisch auffälligen und wahrscheinlich bislang am wenigsten elektronisch klingenden MILLE PLATEAUX Album. Bislang. // KLIVE is the solo project of Ulfur Hansson, a young musician from Reykjavik, Iceland. He is also a touring member of JÓNSI ( Jon Þor Birgisson of SIGUR ROS) and the bass player of notorious noisecore band SWORDS OF CHAOS.
Digital Folk From Iceland. SWEATY PSALMS sounds like water and wood. It bubbles, whistles and rattles indefinitely, with merely seagulls to be spotted. SWEATY PSALMS has a strong organic feel, mixed with tongue in-cheek brass samples and orchestrations that compliment heavily processed field recordings. In fact, DON'T GIVE UP THE GHOST include sounds from the vehement battering of pots and pans outside the icelandic parliament, after the nations financial crash and burn of 2008.
It's inverted folkiness and warm concrete touch makes SWEATY PSALMS a remarkable album, and probably MILLE PLATEAUX's least electronic sounding album so far. So far!" [label info]
www.mille-plateaux.com
|
2011 |
€13.00 |
|
| KLOOD |
Retraction |
CD-R |
Zum letzten Mal gibt es einen Schwung neuer VÖs auf dem italienischen Handwerker-Label BLADE Records – wie immer in besonders aufwendig handgemachter, aber klobiger Coververpackung: Zwei quadratische Holzplatten wurden verschiedenfarbig mit einer Schablone besprüht und aneindergeschraubt, innen wartet ein schönes full-colour Cover.
Aber auch musikalisch kommt man hier auf seine Kosten: Nach langer Zeit (& fast zeitgleich mit der „Aversion“ auf EE Tapes) neues Material vom französischen Drone-Projekt aus Armentieres. Auf „Retraction“ sind 6 soft-dronige und gitarrig hell-schwingende Stücke versammelt, aufgenommen zwischen 1996-2003, zeitlos schön.. 65 min.
The last ever batch of Blade Records-releases brings us new material of the french drone-project KLOOD, timeless drone-compositions .. comes in special painted & screwed wood covers.
|
2004 |
€15.00 |
|
| KLUCEVSEK, GUY |
Flying Vegetables of the Apocalypse |
CD |
Neun Stücke mit folkloristisch-melancholisch geprägter Akkordeon-Tanz-Musik, v.a. Polka- und Walzer-Bearbeitungen mit experimenteller Note und slovenischen Wurzeln. Mitspieler z.B. TOM CORA. Beschwingte Wehmut voller Virtuosität.
“ Composer and accordion virtuoso Guy Klucevsek is teaching his instrument to whoop and wheeze in strange new ways. He plays deconstructed, reconstructed art songs and dance tunes, translated into a metalanguage of his own making. His is a musical Esperanto fashioned from hocketed melodies, giddy arabesques; tone clusters; eerie difference tones; hypnotic phasing and locomotive ostinatos; low register drones punctuated by high register yips; and a rollicking, roisterous energy borrowed from dance forms and folk music the world over. Ensemble pieces for strings, percussion, guitars, and woodwinds, feature Bobby Previte, Tom Cora, David Hofstra, John King, Laura Seaton, and more.” [label description]
|
1991 |
€13.00 |
|
| KLUSTER |
Klopfzeichen |
LP |
"Angstmusik: Reissue des Debüts der bahnbrechenden deutschen Elektronikband.
Kluster war ein kurzlebiges Projekt der drei Musiker, Künstler und Performer Dieter Moebius, Hans-Joachim Roedelius und Konrad Schnitzler. 1970 nahmen sie mit Conny Plank zwei Alben auf, die in ihrer experimentellen Radikalität bahnbrechend waren. Chaotische, apokalyptisch klingende (Geräusch-)Improvisationen (später nannte man diesen Sound Industrial), teilweise angereichert durch rezitierte Texte. Wer heute zum ersten Mal das 1970 auf Schwann AMS Studio (einem Label für Kirchenmusik) erschienene "Klopfzeichen" hört, bekommt Geheimnisvolles und auch nicht einfach zu Entzifferndes aus einer längst vergangenen Zeit mitgeteilt. Die drei "Verfasser" formulierten mit "Klopfzeichen" vor allem eine radikale Forderung: anarchische, völlige Freiheit der Kunst und der Musik. Klopfzeichen war mit Abstand das radikalste Album der frühen deutschen Popmusik-Avantgarde. Kluster-Musik war reine Angstmusik. Die Linernotes des Reissues stammen von Asmus Tietchens, erhältlich als CD, Download und 180g-Vinyl." [label info]
www.bureau-b.com
|
2012 |
€18.50 |
|
|
Klopfzeichen |
CD |
"Angstmusik: Reissue des Debüts der bahnbrechenden deutschen Elektronikband.
Kluster war ein kurzlebiges Projekt der drei Musiker, Künstler und Performer Dieter Moebius, Hans-Joachim Roedelius und Konrad Schnitzler. 1970 nahmen sie mit Conny Plank zwei Alben auf, die in ihrer experimentellen Radikalität bahnbrechend waren. Chaotische, apokalyptisch klingende (Geräusch-)Improvisationen (später nannte man diesen Sound Industrial), teilweise angereichert durch rezitierte Texte. Wer heute zum ersten Mal das 1970 auf Schwann AMS Studio (einem Label für Kirchenmusik) erschienene "Klopfzeichen" hört, bekommt Geheimnisvolles und auch nicht einfach zu Entzifferndes aus einer längst vergangenen Zeit mitgeteilt. Die drei "Verfasser" formulierten mit "Klopfzeichen" vor allem eine radikale Forderung: anarchische, völlige Freiheit der Kunst und der Musik. Klopfzeichen war mit Abstand das radikalste Album der frühen deutschen Popmusik-Avantgarde. Kluster-Musik war reine Angstmusik. Die Linernotes des Reissues stammen von Asmus Tietchens, erhältlich als CD, Download und 180g-Vinyl." [label info]
www.bureau-b.com
|
2012 |
€13.00 |
|
| |
Zwei Osterei |
CD |
Das 1971 erschienene Album "Zwei Osterei" ist das Ergebnis des zweiten Teils einer legendären Aufnahmesession, die im November 1970 an einem einzigen Tag stattfand. Mit dabei: die drei Musiker, Künstler und Performer Dieter Moebius, Hans-Joachim Roedelius und Konrad Schnitzler sowie Conny Plank als Produzent. Der erste Teil, die Platte "Klopfzeichen", erschien bereits ein Jahr zuvor. Allerdings übertrifft "Zwei Osterei" in seiner Konsequenz, in seiner harschen Geräuschhaftigkeit und seinen brutalen Lärmattacken das vorangegangene Album ganz erheblich. Alles, was an revolutionärer Verve der späten 60er-Jahre noch aktiv war, scheint in dieser Musik brennglasartig konzentriert zu sein: ästhetische Destruktion, um den Kopf und die Ohren freizubekommen für utopische Entwürfe; endgültige Verschmelzung von Kunst und Pop zu etwas völlig Neuem; schrankenlose musikalische Freiheit, gepaart mit der Lust am Geräusch. Alles das ist "Zwei Osterei". Die Linernotes des Reissues stammen von Asmus Tietchens, erhältlich als CD, Download und 180g-Vinyl.
https://kluster-official.bandcamp.com/album/zwei-osterei
|
2012 |
€13.00 |
|
| KMRU |
Stupor |
LP |
https://otherpower.bandcamp.com/album/stupor
Nairobi-born Berlin-based sound artist Joseph Kamaru, aka KMRU, shares his new work Stupor on the new Helsinki-based label Other Power. Commissioned by the Helsinki curatorial and commissioning agency PUBLICS, Stupor is comprised of three original long form tracks. The tracks on the album are speculative notes to social architectures and environments the artist has traversed.
As Bhavisha Panchia, a curator and researcher, writes in her liner notes:
“A musical alchemist, KMRU places his listeners’ ear into a sonic-spatial matrix in which he transmutes his trans-local experience of place into elevated sonic dimensions that demand a kind of listening that you need to surrender to. If listening positions you inside an event – into a relational, social and cultural act that also positions us in the world – then listening to this album projects you inside an indeterminate unfolding, thick with tensions of movement and transitions.
The artist’s pursuit of sounding out and responding to the world is undertaken through a creative mode of listening, recording and production, in which his ‘voice’ reverberates in his compositional arrangements – that mediate, translate, imagine and re-encode. As he engages with the environments he encounters, KMRU ‘renders sound negotiable, thinkable’.
His signature emerges through electro-acoustic forms as he configures spatial and temporal imaginaries still tethered to the experiences of the places his ear encountered. The tracks on this album, Stupor, are speculative notes to social architectures and environments the artist has traversed. His orchestrated compositions and arrangements levitate us and turn our ears towards places and times beyond our reach, propelling us into a future anticipated but ungraspable. It is exactly the physical and psychological space that KMRU forges from his recordings and digital processes that stretch and transform them into prolific sound ‘events’.
We could think of Nairobi and Berlin as instruments in KMRU’s compositions, where the east African city is the place from which KMRU’s listening has been nurtured, while the west European is the city to which his ear has been attuned. The artist’s relationship with Nairobi’s diverse neighbourhoods – from Kariokor flats in the Eastlands where he grew up, to the suburbs in Rongai – has shaped his approach. His ongoing recordings of the city are crucial to his process of working and become historical records that capture it in time. They could be thought of as aural archives of a postcolonial place, undergoing numerous planned and unplanned infrastructural as well as economic changes. He treats these sonic documents of a rapidly expanding postcolonial environment – alongside globalisation, hyper-capitalism and increasing economic disparity across the globe – as the foundations from which he creates.
Stupor reminds us that we are intrinsically spatial and temporal beings who contribute to the social construction of our worlds. Importantly, this album is a reminder of the capability of sound to carve out space and its potential to open spatial and temporal dimensions. Sound is movement. Sound is space. As Brandon LaBelle points out, “sound is both a thing of the past and a signal of the future”, pulling us forwards and pointing us back. The signals KMRU points us towards are indefinite, indeterminate and uncertain. They lean towards a future, yet never fully arrive there.
For Joseph Kamaru, sound is a sensorial medium through which social, material and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond expanding his sonic practices, bringing an awareness of surroundings through creative compositions, installations and performances. KMRU has carved out a serious and definitive space on the list of essential authors in ambient experimental music - one of the most prolific and innovative artists in his field.
Composed by Joseph Kamaru
Mastered by Stephan Mathieu at Schwenbung Mastering
Original photos & artwork by Joseph Kamaru
OBI Design (Publics identity presence) by Valerio Di Lucente
Design by Matti Nives
Black vinyl LP edition of "Stupor". Inside out sleeve complete with OBI and printed inner sleeve with liner notes by Bavisha Panchia. Original photography and artwork by KMRU.
|
2023 |
€26.00 |
|
| KODAMA (HITOSHI KOJO & MICHAEL NORTHAM) |
Turning Leaf Migrations |
LP |
Nach der limitierten CDR auf HITOSHI KOJO Label OCTPIA ("Les Chambres Nuages", 2005) die erste Veröffentlichung des Duos (mit MICHAEL NORTHAM) in grösserer Auflage. Auf dieser LP schaffen sie mit Hilfe von Objekt-Klängen, rituell wirkenden Gesängen, traditionellen Instrumenten & Field Recordings sehr "konkrete" und doch oft fliessende, höchst ungewöhnliche psychedelische Geräuschmusik, deren Komplexität oft kaum durchschaubar ist - diese Überforderung eröffnet aber die Möglichkeit sich über die Ratio hinwegzusetzen und sich ganz den sich stets verändernden Strukturen hinzugeben.. .. die Aufnahmen stammen von verschiedensten (Aussen)-Orten, das "Studio" ist die Natur, die Psychogeographie als "nicht hörbarer" und doch erfassbarer Faktor spielt hier eine grosse Rolle. Einzigartige Transformationsmusik !
"Kodama is the ongoing recording project of two well-known visual and sound artists -- Hitoshi Kojo and Michael Northam -- and this is their first widely available release as a duo. Recorded in various improbable locations whenever they crossed paths over the course of several years and then finally edited and assembled in a cluttered garage in the west side of Indianapolis. There is a decidedly more improvisational feel and crisp psychedelic aura to these recordings when compared to their other work and one can hear the influence of Ghedalia Tazartes in how the various recordings were stitched together. To quote Hitoshi Kojo: 'We are the spirit of forest. Our howling has been offered to the many goddesses of the valleys. Teething our emptiness they, licking the stars, until white holes appear in our sky through them towards regenerative guides of the tonal-morphic omni-verses. Using found objects to seduce voices from unlikely sources as well as traditional instruments of wind, wires and wood. Kodama weaves between emotional poetry and dynamic forces of noises. The recordings have a strong atmosphere of each location -- the top of a mountain in Switzerland, a campground in Ohio, Lofoten Island in Norway, the arctic circle in Finland, Niagara Falls, etc. It includes a lot of the dirts of the raw recordings, but also incredibly beautiful moments such as the session with an owl in a Slovenian forest, an alpine summit singing meditation under the vast galaxy, and an encounter with the small people through strange ritual...' - HK. Limited pressing of 500 copies. Covers & insert printed on 2-color offset press with illustrations and design by Hitoshi Kojo." [label info]
"... All captured mainly outside, like the top of a mountain, a campground or the Lofoten Island. In terms of music I guess this is the best record of the lot, most thoughout and musically engaging. A refined mixture of ritual music (without those magickal overtones), drone, microsound and field recordings, all done in an unique way." [FdW / Vital Weekly]
|
2008 |
€18.00 |
|
| KODJABASHIA, NIKOLA |
Explosion of a Memory |
CD |
"Performed by the Macedonian Symphony Orchestra with Balkan electro legend Kiril Dzajkovski, Chris Cutler (percussion), Nikola Kodjbashia (prepared piano), Patric Driver and Valere Novarina (readers). Text fragments are by Heiner Muller and Valere Novarina.
A four-dimensional explosion in which stretches of Baroque, folk themes and Byzantine liturgy exist contemporaneously with modern and post-modern materials - much as strata emerge where tectonic plates fold one time over another – settling eventually into long, beautiful, tonal stretches, lighter than air, that drift and attenuate to reveal, dreamily, the old simplicities. Immersive, timeless and unmistakably new, this music respects but definitively breaks with existing schools to explore instead its own geographically unique influences and contradictions.
‘Explosion of a Memory’ is a homage to my literary heroes: James Joyce, Heiner Muller, Valere Novarina, William Gibson, Euripides and Colin Teevan; it’s also a deeply personal epic about the complex relationship between childhood myths, history and perpetual homecoming’. NK
NIKOLA KODJABASHIA is one of the Balkan’s most respected and award winning composers. Born into a musical family in Skopje in 1970, he pursued his compositional studies with Sir Harrison Birtwistle, Anatol Vieru, György Kurtág, and Rolf Gehlhaar. In the UK, he has scored and conducted music for numerous plays, including Sir Peter Hall’s Bacchae at the National Theatre, Walter Meieryohann’s Internationally acclaimed Kafka’s Monkey at London’s Young Vic, Wedding Day of the Cromagnons for the Soho Theatre, Helter Skelter/Land of the Dead and Monsier Ibrahim and the flowers of the Qu’ran for the Bush Theatre, and Jonathan Kent’s award winning Hecuba at the Donmar warehouse, Covent Garden. He is responsible for the music and sound-design for various BBC TV documentaries and his film compositions include Damianovski’s Dance with Me and Green Pages (Chicago Film Festival Award, UK première at Glastonbury Film stage, 2007).
His earlier ReR release, ‘Reveries of the Solitary Walker’ was hailed by John Walters in The Guardian as “…probably the best record of the year”." [full label press release]
www.rermegacorp.com
|
2010 |
€13.00 |
|
| KOLACKI, RAFAL |
Mektoub (1001 Nocy Paula Bowlesa) |
CD |
https://noisen.bandcamp.com/album/mektoub-1001-nocy-paula-bowlesa
Dron music, nagrania terenowe oraz krótkie fragmenty tekstów Paula Bowlesa weszły w skład nowej płyty Rafała Kołackiego. Mektoub. 1001 nocy Paula Bowlesa to produkcja Kołackiego inspirowana postacią charyzmatycznego podróżnika, kompozytora, pisarza, ikony indywidualizmu Paula Bowlesa. Ten niepoprawny emigrant wymykający się niemal wszystkim kulturowym i artystycznym schematom, stał się dla autora Mektouba inspiracją do nagrania płyty. Kołacki podąża śladami Bowlesa do Tangieru, nagrywa uliczki, targ, modlących muezzinów, miasto, w którym niemal przez 40 lat mieszkał i pracował twórczo autor Pod osłoną nieba. Przeplatając nagrania terenowe dodaje swoje kompozycje z gatunku drone music, dokonuje wyboru tekstów tworzonych przez Bowlesa, dotyczących między innymi kultury Marokańczyków, zapisków z Tangieru. Dzięki temu na płycie usłyszeć można również kilka interesujących, niemal poetyckich sentencji, które z pewnością uatrakcyjniły całość wydawnictwa.
Podczas koncertu artysta zaprezentuję dźwięki pochodzące z tego najnowszego wydawnictwa.
"Drohnenmusik, Feldaufnahmen und kurze Fragmente von Paul Bowles' Texten enthielten das neue Album von Rafao Koacki. Mektoub. Paul Bowles' 1001 Nächte ist eine Koacki-Produktion, inspiriert von der Figur eines charismatischen Reisenden, Komponisten, Schriftstellers, Ikonen des Individualismus von Paul Bowles. Dieser Zuverzähler, der fast alle kulturellen und künstlerischen Pläne bewegte, wurde für den Autor Mektoub zur Inspiration, das Album aufzunehmen. Koacki folgt Bowles in den Fußstapfen von Bowles nach Tanger, zeichnet Straßen, einen Markt, einen bettenden Müslizin, eine Stadt, in der er fast 40 Jahre lang vom Autor unter dem Deckchen des Himmels lebte und arbeitete. Interweared Field-Aufnahmen, fügt er seine Kompositionen des Drohnenmusik-Genres hinzu, wählt Bowles’ Texte, einschließlich marokkanischer Kultur, Platten aus Tangeru. Dank dessen hört man auch auf dem Album ein paar interessante, fast poetische operative Sätze, die die gesamte Veröffentlichung sicherlich attraktiver gemacht haben. Während des Konzerts präsentiert der Künstler Klänge aus dieser neuesten Veröffentlichung." [Google Transl]
|
2023 |
€13.00 |
|
| KOMMANDO |
Necroinvasiv |
CD |
THOROFON-fans aufgepasst! KOMMANDO war das prä-THOROFON-Projekt, enthalten sind hier Aufnahmen von 1993-1999. "...Wie man bereits dem blutigen Cover entnehmen kann, ist dabei ein Sound erstanden bzw. erhalten geblieben, der doch etwas roher und gröber ist als das, was man von THOROFON oder THE MUSICK WRECKERS kennt, wobei „Necroinvasiv“ nicht nur von musikhistorischem Interesse ist, sondern als eigenständige Veröffentlichung zu sehen ist. Dreizehn Tracks lang werden einem noisige Klänge um die Ohren gehauen, die immer mal wieder die Schmerzgrenze des Hörers ausloten, ohne diese dabei gar zu lange zu übertreten. Abwechslungsreiche und so weit ich das erkennen konnte, klischeefreie Samples, kräftige, krachige Rhythmusloops und einiges an Feedback lassen hierbei keine Langweile aufkommen, allerdings sind auch keine tanzflächenfüllenden ’Hits’ à la THOROFON zu erwarten. Kaum gezähmte oder stilisierte, sondern noch ziemlich brutal und ursprüngliche musikalische Energie und Wut ist es, was KOMMANDO einem entgegenschleudert und das ist, auch wenn es keine Musik für alle Stimmungen ist, gut so." [BLACK Magazin]
"They digged very deep in the UMB-archive, and finally brought some really rotten, dirty, sticky "audio-corpses", dated from mid of the 90`s,to the surface. The material had been digitally cleaned and partly restructured for being presented for the very first time on cd. Well arranged power-electronics with distorted screams and aggressiv vocals, leads to the roots of this pre-THOROFON project." [label info]
label-website: www.l.white-records.de
|
2007 |
€13.00 |
|
| KOMMISSAR HJULER & FRAU / JAAP BLONK W. BRAAXTAL & JÜRGEN OLBRICH |
Das Kapital |
LP |
LP in the series FLUXUS +/-, limited to 100 copies, numbered.
Tracks by Kommissar Hjuler und Frau are remastered by Sven Mühlender, Berlin.
The album DAS KAPITAL is conceptual collaboration by Jaap Blonk, Jürgen O. Olbrich and Kommissar Hjuler with special focus on Karl Marx' theories, all three artists focussed on special aspects of "DAS KAPITAL" in comparison to modern capitalism structures. Album is starting theoretically and ending in an overload as "Game Over".
Cover on front shows the work "Enter Konsum" by Kommissar Hjuler, which was prize winner of an art contest by Kleine Zeitung (Austria), cover backside shows a digital collage by Jaap Blonk, especically created for this album. |
2017 |
€20.00 |
|
| KOMMISSAR HJULER / MAMA BÄR / NINNI MORGIA / SILVIA KASTEL |
Live in Edinburgh |
LP |
"In April 2011 the two couples formed by Kommissar Hjuler & Mama Baer and Ninni Morgia & Silvia Kastel ventured for a tour in the UK; it was the first time they played together but their shared common visions, attitude and general craziness actually gave life to an inspired team. Every show was different; in Edinburgh, they decided to perform a piece originally written by Ninni Morgia & Silvia Kastel, "Jericho", that Papa Baer liked.
So before the show, the group pre-recorded a tape in a big theater-like room inside the venue, with a spoken version of the lyrics. On stage, Mama Baer projected a video made by her, depicting the four of them standing against a wall; the music starts off with Kommissar manipulating the tape, then the actual "Jericho" lyrics are sung by Mama Baer and Silvia Kastel while Ninni Morgia's bends,
buffs and brushes his guitar and Kastel's synthesizer starts growling out of the monster's belly. Tension, discomfort, love, pain, theatre? music? art? Four people, each of them immolates themselves for the cause.
This release is available in two editions (Art Edition & Standard Edition). DON'T MISS IT!!!" [label info]
www.ricercasonora.com
|
2012 |
€15.00 |
|
| KONKETE ANTI WULST |
Die Gespenstische Misthaufen-Konserve |
CD-R |
"partikelmusik auf granularebene. zumindest diese assoziation drängt konkete anti wulst mit „die gespenstische misthaufen-konserve“ auf.
nach kurzem luftholen setzt die noisekakophonie ein, ein sich umtosen einzelner unidentifizierbarer (auf dem cover aber genannter) quellsounds, so eng und dicht, dass jede individualidentifizierung fehlschlagen muss. mit dauernder veränderung auf jeder ebene und das so schnell und, wegen der unzahl der ebenen, so dicht. dass diese maximale veränderung zum stillstand wird, sich lange nichts mehr zu verändern scheint. plötzlich, nach minuten des chaos, ein milisekundenlanges aufbäumen eines einzelsounds, vergleichbar einem aus der schwarzen, trümmergefüllten windhose herausgeschleuderten artefakt, das erst in diesem moment als solches erkennbar wird. und so bis zum aus. hör- und kraftprobe. stille im sturm erst bei maximaler lautstärke als maximales paradoxon." [Hellmut N Neidhardt, Unruhr]
|
2016 |
€6.00 |
|
| KOPP, HERMANN / FUSILLER |
Les Naufrages |
LP |
"Best known for his scores to Jörg Buttgereit's cult films "Nekromantik", "Nekromantik 2", and "Der Todesking", this split vinyl (featuring with one with track with dark ambient artist Abattoir) sees German artist Hermann Kopp paired with Parisian electronic artist Fusiller (aka Jo Tanz). "Les Naufragés" ("The Shipwrecked") features geometric loops, dead melodies, synths, noise and vocals. Hermann Kopp started recording songs on tape in the 70's, combining his violin with a Moog imitation in a very personal and minimal approach to music, with lyrics that bordered on surrealism. In the mid-80's he became the fifth member of the experimental synthesizer band Keine Ahnung. Ltd x 200 copies with artwork by Piet du Congo."
https://ultimaratio1.bandcamp.com/album/les-naufrag-s
|
2020 |
€16.50 |
|
| KORBER, THOMAS / RALF WEHOWSKY |
Walküren am Dornenbaum |
CD |
"This three year-long collaboration begun in 2006 when Korber and Wehowsky embarked on intense recording sessions in Eggenstein, where the latter resides, lasting several days. The output from these sessions forms the basis of this work, augmented by additional field recordings and various electronic manipulations. Korber and Wehowsky used the same software which allowed them to exchange the pieces at any stage of the compositional process, so that every detail of the music could be shaped in a truly collaborative manner. The result obliterates the borders between improvisation and composition, spontaneity and careful planning. Tomas Korber (Zurich, 1979) received a basic training in clarinet and music theory alongside guitar lessons. He discontinued these studies after five years, shortly thereafter teaching himself to play electric guitar and use the computer and other electronic devices for music making. Korber has written compositions and played improvised music since the early 1990s. He is a prolific solo artist and performer; his work includes film scores and music for dance and theatre, as well as numerous collaborations. In 2009 he was awarded an artist residency in New York City by the Department of Cultural Affairs of the City of Zurich. Ralf Wehowsky founded the group P.D. (later renamed P16.D4) in 1981 and the label Wahrnehmungen in 1980, which was renamed Selektion in 1982. P16.D4 was a highly influential and experimental group. Their concept of materialaustausch (material exchange) was developed long before the term Ôremix' was coined. They performed at punk and No Wave festivals as well as at the bastions of academic avant garde such as Ferientage Neuer Musik in Darmstadt. In the early 1990s Wehowsky adopted his RLW moniker. His quiet, highly complex style of composition is based on artifacts of instrumental and electronic lateral noises. First edition of 300 copies." [label info]
www.entracte.co.uk
"Nur mit einigen Schwierigkeiten konnte ich diese laminierte Musik aus ihrer Verschweißung pulen. Aber wer würde bei dem Titel erwarten, dass einem da etwas leicht gemacht werden soll? Der Zürcher Bruitist ist durch Releases auf Cut und For4Ears, mit Mersault und dem Signal Quintet, ein seit 2003 wiederkehrender Name in der Noise Culture. Aka RLW reitet bereits seit 1980 ohne Furcht und Tadel auf den steinigen, dornigen Pfaden der Musique concrète und der experimentellen Klanggestaltung. Wobei ich immer schon lieber Spiel als Experiment dazu gesagt habe. Was die beiden da miteinander spielen, zielt, durch die Anweisung PLAY LOUD! forciert, auf das Hör-, nicht auf das Sprachzentrum. Wie es also in Worte fassen? Vinylglissandos und entsprechend verzerrte Samples, manchmal wie von gurgelnden Stimmen, mischen sich mit sirrendem Bohren, rau holpernden, rauschenden Verschleifungen, granularer Körnigkeit, zittrigem Mikrobeben, zischendem Brausen, streuenden Pixeln, aufwallendem und verhallendem Gedröhn zu durchwegs plastischen Eindrücken. ‚Leben in roter Landschaft‘ könnte auch ein Informel- Gemälde heißen, von Schumacher oder Tàpies. Die Ohren tasten über wulstige, körnige, löchrige Oberflächen, voller Grus und mit splittrigen, strohigen Einschlüssen. Als wären das Braillezeilen für brobdignagsche Fingerkuppen, oder eben Vinylauslaufrillen im Riesenformat. ‚Abstieg der Geisterseher‘ fiept zage, plinkt und flattert dazu drahtig. Tropfen hageln und prasseln, aus Liliputperspektive wird diese Perkussion zum katastrophalen Steinschlag. Zuletzt prasselt und knurscht noch einmal eine rote Landschaft, mit Effekten, als würde ein Tonband rückwärts gespult. Das ist nicht der Stoff, aus dem die Träume sind, sondern Reibungsflächen und Strahlungsimpulse des Materiellen." [Rigobert Dittmann, Bad Alchemy]
|
2010 |
€13.00 |
|
| KOSK, PATRICK |
Mondweiß |
CD |
"Die Klänge, die am Anfang eines Werkes stehen, legen den Komponisten nicht auf eine bestimmte Form fest. Jeder Klang ist in verschiedenen Kontexten denkbar. Zwar ist in Kosks Werkkommentaren wiederholt von der "Logik" des Klangmaterials die Rede, von der "Kohärenz" und der "Stringenz" musikalischer Formen.
Aber damit ist weder die teleologische, auf eine Erlösung hin ausgerichtete Form klassischer Provenienz gemeint, noch ist es ihm um die Konsequenz- und Vollständigkeitsästhetik der frühen Avantgarde zu tun.
Kosk sucht stattdessen Spannungsverhältnisse, die sich nicht auflösen lassen; er schafft Antithesen, die sich einer Synthese verweigern. Kosks Logik ist eine der Brüche und Unvorhersehbarkeiten.
2008 release. This is an assemblage of works by Finnish electroacoustic composer Patrick Kosk. Recordings from the Elektronic Studio at the TU Berlin, the Studio of the Institut International de Musique Electroacoustique de Bourges, and the artist's studio. From 1976-1981, Kosk studied composition at the electronic music studio at Helsinki University. From 1981-1991, he was mainly active as a freelance composer and a sound designer at the experimental studio of the Finnish radio. Since 1978, Kosk has composed electroacoustic music in various forms for theater, performance, dance, radio broadcasting, films and visual arts. The sounds that open a work do not prescribe a determined form for the composer. Every sound is conceivable in different contexts. Indeed, the “logic” of the sound material comes up repeatedly in Kosk’s notes on his works, of the “coherence” and “stringency” of musical forms. But this suggests neither the teleological form of redemptive classical provenance, nor is he concerned with the aesthetics of consistency and integrity of the early avant-garde. Instead, Kosk looks for relationships of tension that do not resolve; he creates antitheses that refuse a synthesis. Kosk’s logic is one of fragmentation and unpredictability." [label info]
www.edition-rz.de
listen:
https://www.youtube.com/watch?v=GRyJQAPcAes
|
2009 |
€15.00 |
|
| KOTKAVUORI, TAPIO |
Terra Hyperborea |
CD |
Wer sich für Archetypen, C.G. JUNG, rituell-archaische Musik, nord-europäische Mythologie & Runenmagie interessiert, sollte hier zugreifen! Der Finne TAPIO KOTKAVUORI hat zu magischen Praktiken rituelle Obertöngesänge & Didgeridoo aufgenommen, begleitet von anderen schamanistischen Instrumenten oder Objekten, und das ganze sparsam elektronisch effektiert. Kommt mit erklärendem Begleittext & Fotos & Videotrack.
“Tapio Kotkavuori is a Magister of the Temple of Set and he has an essential role in the practises and information sharing of northern magical context. He is also the author of two books on the subject of Left Hand Path. Terra Hyperborea contains a selection of Kotkavuori's sound-magical Workings recorded in 2001CE. At the time, recordings were made under the project name Vaskikäärme. These recordings have now been remastered and are publicly available in CD-format for the first time. The album contains also a high-resolution version of the Underground Tunnels-video. Musically artist himself describes Terra Hyperborea as "post-apocalyptic dark-ethno-ambient". Its semi-organic, semi-electric soundspheres are trance inducing, almost hypnotic, varying from soft mood adjustments to more focused incantations and chants. Kotkavuori's main weapon of choice in this battle against silence is didgeridoo, but tons of other instruments - such as vocals, rainstick, shaman drum, coffee maker, synthesizer, kitchen knives etc. - have been utilized as well. All in all, these recordings create a shamanistic ambiance with a dark twist characteristic to the Left Hand Path. They provide an inspiring background for mundane as well as Other Kind of activities. To some, this record offers an unique peek to the world of Black Magic. To others, it offers a lot more.” [label info]
label website: www.geminastella.net
|
2005 |
€13.00 |
|
| KOVAC, BORIS / NEW RITUAL GROUP |
The Path |
CD |
"What’s remarkable about Boris is that he has carved out a musical form that transcends genre or even musical content; it’s a music of depth and feeling; and that’s what you hear beyond the notes or style. And he has gathered, over time, musicians who can realize that quality. This, for Boris, is a small group, only five people, so they can be looser, more personal than the larger ensembles. Though informed by chamber music, Serbian, Romanian and Hungarian folk music, and jazz, you can’t file this record in any of those categories. Lyrical and ostensibly simple, these exquisitely coloured and beautifully recorded compositions float, occasionally changing density, but always solid enough to be clear about what they are. The drums are especially subtle in this regard, more touch than motor, but they make themselves expressive, even forceful, when they need to. For the rest, the music moves as a sinuous wave, the parts distinct but not separated. It’s autumnal, that I could say." [label notes]
"Mit „The Path“ veröffentlicht der Jugoslawische Komponist und Multiinstrumentalist BORIS KOVAC ein Album, das eine gefühlvolle Verschmelzung von Chamber Music, osteuropäischem Folk und Jazz bietet. Die CD erscheint als Digipack via RECOMMENDED.
Mehr als 20 Alben hat der 1955 in der damals unabhängigen Region Vojvodina am Rande von Jugoslawien geborene BORIS KOVAC bislang veröffentlicht. Und obwohl seine Wurzeln in traditioneller Musik, Improvisation und Jazz verhaftet sind, verschrieb er sich doch auch der musikalischen Arbeit für Filme und Theaterstücke, für die er bereits mehrfach ausgezeichnet wurde. Mit seinen World- und Jazz-Ensembles RITUAL NOVA, LADAABA ORCHEST und dem LA CAMPANELLA ORCHESTRA spielte er mehr als 500 Konzerte in 30 verschiedenen Ländern. In den vier Instrumentalisten seiner NEW RITUAL GROUP fand er nun die idealen Partner um den acht Kompositionen seines neuen Albums „The Path“ auf knapp 50 Minuten zu einer nachdenklichen, zerbrechlich anmutenden Grundstimmung zu verhelfen. Hauptsächlich mit Kontrabass, Piano, Saxophon und Percussions instrumentiert, scheinen die vordergründig einfach gehaltenen Kompositionen durch den Raum zu schweben,
mal düster, mal gefühlvoll verspielt, aber immer kristallklar. Durch ruhige Klänge - so schreibt KOVAC im Booklet - will er dem Hörer ein Ausbrechen aus dem turbulenten Alltag erleichtern und der Natur und deren Ruhe ein Stückchen näher bringen. Ein wunderbarer Gedanke, der mit „The Path“ ideal umgesetzt wird."
|
2016 |
€13.00 |
|
| KRAKEN |
Amore |
do-CD |
Nach FÖRLISA ein Doppelalbum des belgischen Duos, die wieder die dunkle Seite der Musik und des Lebens an sich ausloten, dabei aber zwei sehr gegensätzliche CDs vorlegen... auf der einen klingt das sehr minimal & elektronisch mit dunklen Flächen & hallenden Industrieanlagengeräuschen, wo später medizinische-kalte Spracheingaben auftauchen und die Spannungskurve allmählich geschickt nach oben wandert; auf der anderen gibt es mehr field recordings, strange Sprachbearbeitungen und Einspielungen und dunke Pulsationen & Beats & Bläser-Echos, die sich mit dunklen Klangmassen verbinden.....äusserst sorgfältig wurden hier Sounds ausgesucht und Stücke zusammengesetzt.... dark ambient der explorativen Sorte !
"...Amore" is a recording full of contrasts. The first CD requires an active attention span to fully appreciate the artistry involved. Although steeped in black ambience and drones the occasional slight experimental feel could be off putting for lesser souls. Whilst the second CD is more easily accessible to those into the darker side of music and life. All in all though the release is deceptively awe inspiring and is different enough to be a viable purchase for ambient / drone collectors.” [AuralPressure]
“With almost two hours of deeply absorbing soundscapes, latest album by Belgian project Kraken delivers an experience of abstraction similar to the aforementioned experience at the movie theatre. The album titled "Amore" first of all operates in the spheres of dark ambient built on low frequency drones, deep rumbling horns and mixtures of concrete and artificial sounds. The music is subtle and dreamy thanks to the drones of hypnotism and the distantly echoed voices as well as a clever use of field recordings. Even with the occurrence of the great amount of samples from real life accompanying you as you float through the tunnels of eerie ambientscapes the atmosphere on the album first of all delivers a sense of isolationism. Imagine the impression of being conscious enough to sense the dialogues of the surgical team as you lay on the operating table: The voices surround you, but they sound distant and you are not part of the dialogue. First CD has been divided into five works of art meanwhile second disc only consists of two tracks: Where the first track runs approx. 70 minutes, the closing track with its short duration of 49 seconds, first of all functions as a transformation between the sonic darkness of "Amore" and the outside world. Built on beautifully processed harpsichords the track, titled "de hoorn in je hoed", lightens up the atmosphere before the listener soon once again will have to face the real world. Despite the title there is absolutely no sign of romanticism on this remarkable exploration into the dark lands of Kraken.” [NMP / Vital Weekly]
www.spectre.be |
2005 |
€16.00 |
|
|
Chagrin |
CD |
Das belgische Duo mit dem vierten Album! Aggressiver und noisig-unterkühlter als die Vorgängeralben besticht "Chagrin" durch bedrohliche Stimmeinspielungen und einer unheimlichen 'Präsenz des Fremdartigen', die sich auch in den vielen nervenzerrenden Soundeffekten wiederspiegelt. Zum Ende hin gewinnt das Album an ritueller und dunkel-melancholischer Prägnanz...
"Just like on Amore all titles on their fourth CD Chagrin are in Dutch. Strange titles which present an insight in the (obviously) very sick mind of the Kraken. Floating dogs, Fear of meat and Your sister and the wrong leg are just a few examples of the mindsetting of this album.
Soundwise Chagrin can best be described as isolationist music, but with the remark that Kraken is a duo. You would expect true isolationism to be written by a single performer and because of this, the CD has so much more to offer. Deep droning sound layers, inaudible or at best incomprehensible lyrics, noisey ambience, field- recordings of an unknown origin and even a few rhythms. The Kraken might well be the Belgian Cthulu in disguise. Who knows ? After all, there are tentacles involved ..." [label info]
|
2006 |
€9.50 |
|
| |
Untitled |
CD |
"kraken is back and pulls us down into the abyss - a dark, cold and desolate place that is filled with the droning of oscillators. authentic field recordings mingle with evolving rhythms, and the underlying tension created by the poignant confessions of human beings adds to the unique flavor of kraken: equally fascinating, enchanting and disturbing, the sounds cut right through our souls. for fifty minutes, kraken keeps us in its tight grip and we all cannot resist but realize our own fugacity. fifteen years past the first kraken release, its epitaph is more actual than ever before: when gazing into the abyss for too long, one tardy realizes that he is part of it. from within the vast depths, raubbau brings to you the latest album, unnamed." [label info]
www.raubbau.org
"Lange Jahre haben wir die beiden Belgier auf NONPOP begleitet. Insbesondere ab Mitte der so genannten Nullerjahre waren JORIS VERMOST und RICARDO GOMEZ Y DE BUCK sehr aktiv, brachten regelmäßig ihre klaustrophobischen Tiefsee-Soundtracks zwischen Dark Ambient, Noise und Collage unter die Leute. (Ein Interview zur Arbeit von KRAKEN findet Ihr hier.) Mit "Strop" auf RAUBBAU (Besprechung) schien sich dann zu bewahrheiten, was KRAKEN aus Spaß bis dahin zu jedem Album sagten: Es sei ihr finales. Vier Jahre Funkstille ohne jedwede Ankündigung neuer Aktivitäten. Umso erfreuter war ich über die Nachricht von RAUBBAU, dass nun tatsächlich ein weiteres Album erscheint, passend zur Zurückhaltung einfach ohne Titel – "Untitled". "A dark, cold and desolate place" verspricht das Label, "equally fascinating, enchanting and disturbing" – diese Beschreibung deckt sich mit meiner bisherigen Wahrnehmung von KRAKEN. Und auch die gleichzeitig ästhetischen, aber sehr trostlosen Alltagsfotos, mit denen das Duo seit jeher seine Alben schmückt, deuten auf Kontinuität hin. Tatsächlich hat auch das aktuelle Werk eine hohe Wiedererkennbarkeit und liefert mit dem ersten Track einen der besten der Bandgeschichte.
"Untitled 1" beginnt überraschend mit einem deutschen Text: Eine furchtsame und angewiderte, rezitierende Frauenstimme (mit Akzent) berichtet von einem "schwarzen Loch, das alles verschlingt". Sie flüstert von Verfall, Drogen, Tot und Unrat – also vom ganz normalen Leben. Harsche, knirschende, aber nicht unschöne Sounds fügen sich darunter zu einem Ambientteppich, der wiederum abrupt von Billigbeats, von Surren und Knattern unterbrochen wird. Es folgt eine melodiösere Strecke mit Gitarrentönen, die weiterhin den Gegensatz des gesamten Albums aufrecht hält: schön vs. hässlich, Freundlichkeit vs. Verderben. Das Flüstern und allerlei mystische Geräusche spielen eine Rolle, manchmal erinnert das Stück gar an geknurrten Urfolk, um am Ende wieder von flächiger Trostlosigkeit eingeholt zu werden. "Untitled 2" wirkt als Collage aus diversen, organischen Sounds. Zwischen Field Redordings und Vocals schiebt sich ein Drone und bringt einige rituell anmutende Komponenten wie Stammesgeheul oder Kampfesrufe mit. "Untitled 3" besteht im Wesentlichen aus dem rhythmischen Peitschen von Frequenzen, ebenfalls mit entfernt unterlegten, menschlichen Geräuschen. Hypnotischer Dauerbeschuss wie intensives Hubschrauberdröhnen. In "Untitled 4" spielt erneut eine Frauenstimme – spanisch? – die tragende Rolle, spricht verzweifelt zu höhligen Sounds. Das Stück geht dann über in ambienthafte Drones und verströmt die das Album durchziehende, unheimliche Atmosphäre. "Untitled 5" schließt sich nahtlos an, als düstere Soundhöhle mit weiteren Vocals, hier kommt sehr deutlich das typische KRAKEN-Flair zum Tragen, der Bezug zur See mit Geräuschen wie knarzenden Schiffsbalken. "Untitled 6" schließlich ist überwiegend ein noisiges, ansteigendes Kreischen, das Abheben eines Düsenjets oder platzende Lungen bei Sauerstoffmangel im Wasser. Am Ende läuten die Totenglocken, mit denen die rund 55 Minuten auch begonnen haben.
Belgien steht ja bei der Fußball-WM hoch im Kurs. Musikalisch fällt mir in der Regel wenig zu diesem Land ein. KRAKEN allerdings sind ein Aushängeschild, und ich bin froh, dass sie sich wieder zeigen. Diese Mischung aus Trostlosigkeit und Eleganz, die Reduzierung auf menschliche Ängste und Triebe in Kombination mit der sich manchmal einschleichenden Unterwassersymbolik – das ist einmalig. 'Human Dark Ambient', vor allem im ersten Stück auf ganz hohem Niveau." [Michael We. / NON-POP]
|
2014 |
€6.00 |
|
| KRAUTROCK |
1 - Film by Adele Schmidt and Jose Zegarra Holder |
DVD |
Vor 50 Jahren, Ende der 60er Jahre, Anfang der 70er Jahre, explodierte in den deutschen Musikszenen die Kreativität. Diese weltweit hörbare Supernova wurde Krautrock genannt. In ihr entstanden neue musikalische Elemente, die es vorher nicht gegeben hatte. In KRAUTROCK 1 erzählen wichtige Musiker dieser Zeit von den Entwicklungen in Köln, Düsseldorf und Hamburg.
mit: Irmin Schmidt, Jaki Liebezeit, Malcolm Mooney (CAN), Damo Suzuki (CAN, DAMO SUZUKI NETWORK), Theo König, Dieter Klemm, Vridolin Enxing (FLOH DE COLOGNE), Wolfgang Flür (KRAFTWERK), Eberhard Kranemann (KRAFTWERK, KRAUTWERK), Harald Grosskopf (ASHRA, KRAUTWERK), Michael Rother (KRAFTWERK, NEU!, HARMONIA), Hans Lampe (LA DÜSSELDORF), Miki Yui (JAPANDORF), Jean-Hervé Péron, Werner Diermaier (FAUST, faUSt).
Vor allem Anfang der 70’er wurden Krautrockbands wie CAN oder KRAFTWERK berühmt, weil sie hervorragende Live-Bands waren. Das Publikum hatte bei jedem Auftritt das Gefühl bei der Entstehung von etwas Neuem dabei zu sein.
https://www.goodmovies.de/krautrock-1.html
|
2020 |
€16.00 |
|
| KRCFHL |
same |
do-CD |
The KRCFHL recording was made on September 28, 2005 by three well-known Russian sound experimentalists M.M. (Kryptogen Rundfunk), Evgeniy Voronovskiy (Cisfinitum) and Nikolay Kalmykov (Hladna). The musicians gathered in Evgeniy’s home studio in Moscow, spontaneously played and recorded this psychedelic set. The recording remained unknown to the public for 16 years, but worked as a fail-safe therapy for the kultFRONT label during all these years.
KRCFHL is a smooth immersion in the pulsating world of analogue synthesizers, embellished with the sounds of violin that does not sound like itself. Prior to this recording, the musicians performed several times on the same stages, either at post-industrial music festivals (a joint photo in the album’s artwork was taken on the Thalamus II fest, which happened in Pskov in May 2005), or in collaboration sets. After this recording, they didn’t practice any joint immersions, but the musicians worked on releasing other recordings.
In 2021 the recording became a double album thanks to four tracks from KRCFHL colleagues from the next generation of Russian sound experimentalists. Friends reimagined the recording from 2005, each in their own recognizable way. The first track was made by the project NOTUM, which was born in St. Petersburg, but is now developing in Berlin. The second remix was recorded by Xenia Lotus (Drone Liberation Front, a collaboration project with Tim Six) under the guise of her solo project BEZVLASTJE. The third rework was done by “the noise queen” Sveta Svetlo, aka SVETLO111. And the second disc (or side B on the cassette) is wrapped up by Ilya SYMPHOCAT.
The album artwork features photographs of an old wall in the vicinity of the Smolniy Convent in St. Petersburg. The place with the KRCFHL inscriptions has already become a point of attraction for pilgrims.
The album is released on 50 compact cassettes with a total length of 85 minutes. Additionally, the album is available on 200 double CDs.
KRCFHL is clear proof of how music and its magic only becomes more interesting over the years.
credits
released December 29, 2021
KRCFHL (parts I & II) recorded live by M.M. (KRYPTOGEN RUNDFUNK), Evgeniy Voronovskiy (CISFINITUM), Nikolay Kalmykov (HLADNA) on September 28th, 2005 at Evgeniy’s home studio, Moscow
~ kryptogen.bandcamp.com
~ cisfinitum.bandcamp.com
~ hladna.bandcamp.com
KRCFHL (NOTUM remix) recorded by Ikk Ygg in October 2021, Berlin
~ notumschaltung.com
KRCFHL (BEZVLASTJE remix) recorded by Xenia Lotus on November 25, 2021, St. Petersburg
~ soundcloud.com/bezvlastje
KRCFHL (SVETLO111 remix) recorded by Sveta Svetlo in October 2021, St. Petersburg
~ soundcloud.com/svetlo111
KRCFHL (SYMPHOCAT remix) recorded by Ilia Symphocat in October-November 2021, St. Petersburg
~ symphocat.com
Mastered by M.M. & ArSch
Photos by kultFRONT, Luiza Arroz, @cht00000, Vera Bezrukova
Design by kultFRONT
Co-released with ZHELEZOBETON Distribution Division: zhbd.bandcamp.com
https://kultfront.bandcamp.com/album/krcfhl
|
2022 |
€16.00 |
|
| KRENG |
The Summoner |
LP |
LP : Laser-Cut Outer Sleeve in Fulltone Bronze & Black, incl. full Color Insert
"The Summoner comes 4 years since the last Kreng album Grimoire and 3 years since the massive retrospective box set Works for Abattoir Férme 2007-2011. A lot has happened in between, and this new recording can be seen as quite the departure from the aformentioned.
His most personal album to date, The Summoner is based around the 5 stages of mourning and is made after a year of losing several close friends. Hard enough material to work on, he decided to add a 6th stage, entitled The Summoning to be able to arrive at the finalé, Acceptance.
Conjuring up the spirit of György Ligeti, the first half of the album is made entirely of 12 string players being directed to play around, make noisey clusters and crescendoes, moving you between Denial, Anger, Bargaining and Depression. In fact, The Summoner is the first Kreng album NOT made by hordes of samples. Music to really dig deep in to.
Following into the second part of the album, twists and turns are taken and it's hard to know where exactly you are. The Summoning's haunting organs and smoke-filled chambers lead you in to an earth- shaking wall of guitars, drums and bass courtesy of Belgian doom band Amenra. Leaving you in a state of shock, the album closes in an incredibly heartfelt and quiet way with the fittingly named Acceptance." [label info]
www.miasmah.com
"The first release from Kreng since 2011, but well worth the wait. While the sound sources on The Summoner are quite the departure from his 2011 release Grimoire, the dark and disorienting atmosphere is still here. Here Caudron conducts a dozen string players, creating a twisted and droney orchestral mass that explodes and dies without warning, bringing to mind the terrifying works of Polish composer Krzysztof Penderecki. The song titles here, too, tell Caudron's story as the five stages of grief, going from "Denial" to "Acceptance". The first four tracks are dark, twisted, orchestral soundscapes, dynamic and haunted that slowly goad you into Caudron's warped world. The climax of the album is without doubt the titular track, sandwiched between "Depression" and the somber "Acceptance". The 15-minute long track features Belgian doom band Amenra (whose album Mass V we reviewed back in 2013) providing the slow, crushing trudge (with maybe the slightest, SLIGHTEST hint of uplifting melody) to bring the whole piece to a bombastic, epic zenith. Very few out there can capture the range of emotion and atmosphere that Kreng can - terrifying, cathartic, bleak, and maybe just a little bit uplifting. For fans of Gnaw Their Tongues, The Caretaker, and anything on the Miasmah label." [Aquarius Records]
"Es sind schon viele Alben aus Trauer entstanden, und viele handeln von der Trauer um eine geliebte Person. Alben, die das Trauern als solches zum Thema haben, sind seltener. Das könnte damit zu tun haben, dass die Frage nach den Mechanismen des Trauerns sehr theoretisch anmutet, aber sie ist auch komplizierter als man vielleicht denkt, denn eine Trauer, die sich weder in die Verdrängung noch in Selbstmitleid flüchtet, erfordert Leidensfähigkeit und ist keineswegs eine passive Angelegenheit.
Für den Belgier Pepijn Caudron ist das Thema auch keine theoretische Sache, denn der Grund für seine Beschäftigung mit dem Wesen der Trauer ist ein sehr persönlicher und rührt aus dem Verlust einiger ihm nahestehender Personen. Irgendwo stieß der Musiker auf die psychologische Beobachtung, dass Trauer häufig in mehreren, sich teilweise widersprechenden Phasen bewältigt wird. Zunächst schreckt der Trauernde davor zurück, den Verlust und den damit verbundenen Schmerz anzuerkennen und klammert sich mit unterschwelliger Verzweiflung an die Zeit vor dem Verlust. Da eine solche Verleugnung nur auf Zeit funktioniert, stellt sich bald so etwas wie Wut ein, Wut auf den Verlust als solchen, vielleicht auch auf die betrauerte Person, aber auch auf sich selbst und die eigene Unfähigkeit zu verleugnen und zu verdrängen. Mit der Phase des inneren Abwägens setzt der erste Schritt in Richtung Akzeptanz ein, dem allerdings meist eine Phase der Depression vorausgeht: Erst wenn diese durchlebt ist, kann der Trauernde den Schicksalsschlag akzeptieren.
Caudron erkannte in dieser Beschreibung so viel von seinen eigenen Erfahrungen wieder, dass er den Drang verspürte, seinen eigenen Weg durch die Trauer in einem Album durchzuarbeiten. „The Summoner“, das auf diesen Erfahrungen und Überlegungen beruht und doch noch einen Schritt weitergeht, stellt in der Diskografie des Musikers schon deshalb eine besondere Wegmarke dar, weil hier erstmals mit Studiomusikern statt ausschließlich mit Samples gearbeitet wird.
Die minutenlange Stille, mit der „Denial“ beginnt, könnte glatt für all das stehen, das der Trauernde, beide Hände auf die Ohren gedrückt, nicht wahrhaben will. Doch es ist eine trügerische Stille, in der sich klammheimlich eine unerbittliche Realität zusammenbraut, die durch ihr schwelend kreisendes Dröhnen, durch seltsame Stimmen und entferntes Gerumpel so bedrohlich wie ein düsteres Wahngebilde anmutet. Caudrons Erfahrung bei der Arbeit fürs Theater kommt ihm schon hier zugute, denn die leicht überhörbaren Details schwirren derart gekonnt im Raum herum, dass man auch als Hörer dieser Wirklichkeit kaum entweichen kann. Die darauf folgende „dialektische“ Folge von wenig Licht und viel Schatten weiß ebenfalls davon zu kosten – das trockenere, direktere „Anger“ mit seinen lauten und eruptiven Streicherkaskaden, das mit viel orchestralem Geklapper vor sich hinsuchende „Bargaining“, das weitaus eindeutiger dahingleitende „Depression“ und zuletzt die genügsame Ruhe des schlichten Pianos in „Acceptance“.
Mit „The Summoning“ geht Caudron über das Theoriekonzeot hinaus und markiert den Punkt, an dem der schwärzeste in den lichtesten Abschnitt übergeht. Wie um zu zeigen, dass an der Stelle etwas neues geboren wird, scheint er hier noch einmal das ganze Album zu bündeln und über sich selbst hinauszuführen, und es ist nicht unpassend, dass er dies nicht im Alleingang vollzieht, sondern seine Landsleute von Amenra mitmischen lässt. Das schleppende Schlagwerk, die kraftvollen, kernigen Gitarrenwände und das heißere Gröhlen der bekannten Doommetaller, die im Normalfall als niederdrückend empfunden werden, wirken hier fast so erhebend wie eine Levitation." [Uwe Schneider / African Paper]
africanpaper.com/2015/05/09/kreng-the-summoner/
|
2015 |
€17.00 |
|
|
Cooties |
LP |
"Original Motion Picture Soundtrack by KRENG.
Death Waltz Recording Company is delighted to take you back to the schoolyard for a dose of fun with Kreng's score to COOTIES. A group of elementary teachers – including Elijah Wood, Alison Pill, and Rainn Wilson – up against an army of feral kids infected with a mystery virus, bringing new meaning to the term “playground violence." Produced by Wood's company Spectrevision, COOTIES is already shaping up to be a modern cult classic, not least through its infectious music.
Composed by the avant-garde project Kreng (aka Belgian musician Pepjin Caudron) the score for COOTIES reflects a number of influences, from Bernard Herrmann's work for strings to spaghetti westerns through a trip hop filter set to “extreme foreboding”. Kreng's approach will surprise and intrigue, compared to many scores of its ilk. While it's synth-heavy, there are key roles for haunting vocal effects and violins, mixing both aesthetically beautiful and madcap cues to create waves of emotionally and viscerally powerful tunes. COOTIES stands proud alongside – and in some cases above - the crop of contemporary horror scores. Relax, put the needle on the wax, and let this record infect your ears. You'll be voracious for more."
mondotees.com/collections/deathwaltz/products/cooties-ost
"Oh man, we wanted to see this movie from the second we first heard about it. Kids in a primary school get a wicked case of the 'cooties', which transforms them into zombie like wee beasties, and it's up to the teachers to survive, and if need be (which need very likely does be!) dispatch of the hungry, demonic hordes roaming the playground. The trailer looks ridiculous and over the top (we haven't actually seen it yet), and very much like a grade school version of another awesome horror-school classic, The Faculty. Beyond that just being such an amazing concept for a movie, there's the added bonus of the incredible score by weirdo soundsculptor / dronelord / avant grade composer (and huge aQ fave) Kreng, aka Pepijn Caudron.
Longtime readers of the aQ list are also likely fans of the Miasmah label, which Kreng generally calls home. His releases on Miasmah are moody and murky and minimal, twisted and shadowy, waste and faded and gorgeously mysterious. And while all that sounds like the perfect ingredients for a seriously sinister horror score, since this is not your typical horror movie, Caudron gets to explore WAY out of his usual sonic comfort zone, whether it's long sprawls of DJ Shadow like beat driven grooviness (in one instance, the haunting main theme is played by what sounds like a sitar!), or swirly, symphonic exotica, or hushed, somber shimmer, it's all woven together into a proper album, that is a pretty fantastic listen, even sans the film.
The DJ Shadow comparison is actually pretty apt as beats and breaks surface throughout, but it's in the execution that things get and stay weird, in fact one of the best musical moments is when a loping beat limps along beneath a cacophony of detuned brass. But it is a horror soundtrack, so Carpenterisms abound (reworked in Kreng's inimitable style), there are plenty of tense, driving synth jams, barely there haunted house ambience, darkly delicate pianoscapes, strangely dubby drifts, some deliriously atonal 20th century sounding cacophony and bursts of what sounds like some rad eighties VHS soundtrack, all dayglo distorted, blaring and bombastic.
While not nearly as dark as some of the Miasmah releases, there's an ominous underpinning to the proceedings, even at it's most playful and melodic, it's fun and freaky, and like the best soundtracks, not only is a great listen, but has us wanting to see the movie even more than we already did!" [Aquarius Records]
|
2015 |
€35.00 |
|
|
Camino - Original Soundtrack |
do-LP |
"Kreng ist das Projekt des Belgiers Pepijn Caudron. Dieser erstellt Soundtracks mit Hilfe moderner Sampling-Technologie. Sein Score zum Survival-Film "Camino" besteht aus düstern Soundscapes, die an die Werke von Trent Reznor & Atticus Ross, Aphex Twin, Cliff Martinez ("Drive") und Mogwai erinnern. Die Doppel-Vinyl-Edition ist 140g schwer, auf durchsichtigem Vinyl aufgelegt und in ein Gatefold-Cover verpackt. Zudem liegt der Auflage eine Download-Karte bei. Das Cover sowie ein zwölfseitiges Booklet wurden von John Bergin gestaltet, der auch schon die Vinyl-Auflagen von "Drive" und "Hannibal" mit seinen Designs versehen hat.
Invada - das Label von Portisheads Geoff Barrow - entdeckten Kreng nach der Veröffentlichung des Soundtracks zu 'Cooties', der zu ihren favorisierten Scores gehört.
"Camino" begleitet eine Fotojournalistin (gespielt von Zoe Bell - bekannt aus Tarantinos "Death Proof") in den Dschungel von Kolumbien, wo sie zur falschen Zeit am falschen Ort die Aufnahme eines Sektenführers macht. Dieser Schnappschuss bringt sie in den Tiefen des Dschungels in Lebensgefahr."
www.invada.co.uk
|
2016 |
€28.00 |
|
| |
Lowlife |
LP |
Nach "Camino" veröffentlicht Kreng seinen nächsten Soundtrack auf dem britischen Label Invada. Kreng ist das Projekt des Belgiers Pepijn Caudron. Dieser erstellt Soundtracks mit der Hilfe moderner Sampling- Technologie. Seine Scores bestehen zumeist aus düstern Klanglandschaften, die an die Werke von Trent Reznor & Atticus Ross, Cliff Martinez („Drive“) und Mogwai erinnern. „Lowlife“ ist das Spielfilm-Debüt des Regisseurs Ryan Prows, der die Handlung in der Subkultur Los Angeles ansiedelt. Sein Thriller bringt schräge Charaktere, absurden Humor sowie harte Action zusammen und ist zugleich ein kritischer Kommentar zu dem modernen Amerika.
Lowlife is the berserk, blood-spattered, and wickedly entertaining feature debut from Ryan Prows. Set amidst the seedy underbelly of Los Angeles, Lowlife zigzags back and forth in time as it charts how fate—and a ruthless crime boss—connects three down-and-out reprobates mixed up in an organ harvesting scheme that goes from bad to worse to off-the-rails insane.
The score is pressed on purple coloured vinyl and housed in a deluxe sleeve with digital download card included.
Kreng is known for his previous score to CAMINO (also released on Invada Records), and for his score to Cooties, released on Deathwaltz Media Group/Milan Records.
As well as this, Kreng is also known for his critically acclaimed L’Autopsie Phénoménale de Dieu (2009), Grimoire (2011), and the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007-2011 (2012).
www.invada.co.uk/products/kreng-lowlife-original-motion-picture-soundtrack |
2018 |
€26.00 |
|
| KRIEGER, ULRICH |
Fathom |
CD |
"NEW SERIES FRAMEWORK: is an extension of our CONCRETE ELECTRONICS NOISE, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers. 40 minutes of music, 1 photograph and a geometric form. Limited to 700 copies.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Ulrich Krieger studied classical saxophone, composition, electronic music and musicology at the Manhattan School of Music (New York), the Universität der Künste (Berlin) and the Freie Universität (Berlin). Since the late 1980s he became more and more interested in American music and its different approaches (chance music, process music, just intonation,
multi-stylistic, minimalism, drone). In 1991 he moved to New York. In the 'Cage of Saxophones' series Krieger recorded the complete saxophone
and any-instrument works of John Cage for Mode Records.The first one focuses on drone music (Cage, Tenney, Niblock), while the second focuses on pattern music (Reich, Glass, Riley)
In the early 1990s he started working on a more electronic approach. He began developing an original amplification for the saxophone and various live-electronic signal processing set-ups. In the electronic experimental field he collaborated with rock, noise and ambient artists like Karkowski, Merzbow, Koener, Toeplitz. He also worked with the Berlin ensemble "zeitkratzer" for which he transcribed
Lou Reed's Metal Machine Music.
Text of Light is a 2001 founded formation with Lee Ranaldo and Alan Licht, performing along with films of experimental film maker Stan Brakhage (1933-2003).
Metal Machine Trio began in 2008 together with Lou Reed and Sarth Calhoun as an experimental free rock project." [label info]
www.subrosa.net
|
2010 |
€13.00 |
|
| KRIWET, FERDINAND |
Hörtexte / Radiotexts |
3 x pic-LP-Box |
"Sechs Hörtexte von Ferdinand Kriwet (*1942) in einer edel gestalteten 3-LP-Picture-Disc Luxus-Box.
Ferdinand Kriwet (*1942) begann seine Radioarbeit 1961 mit dem Sprechtext "Offen". Es folgten "Sehtexte", die das traditionelle Medium Buch verließen und in Ausstellungen und auf Plakatwänden veröffentlicht wurden. Parallel dazu entwickelte Kriwet theoretische Manifestationen zur akustischen Literatur, die zur Grundlage für seine Radioarbeiten wurden. Bild und Ton komponierte er zu "Textfilmen", die in Mixed-Media-Shows in Kunsthallen, Kirchen und Kinos gezeigt wurden. Für seine vielfältigen Aktivitäten wurde er mit internationalen Preisen ausgezeichnet. Das Klangmaterial für seine "Hörtexte" entstammt hauptsächlich Rundfunk und Fernsehen, einem Sound-Pool, der uns auf allen Wellen ständig umgibt. Organisiert nach semantischen und musikalisch-rhythmischen Gesichtspunkten, fügen sich die Medienzitate zu eindrucksvollen auditiven Collagen. Die hier präsentierten Hörstücke verarbeiten die massenmedialen Repräsentationen der ersten bemannten Mondlandung (1969) und der amerikanischen Präsidentschaftswahlen 1973, Fragmente aus Sportreportagen und weiteres Sprach- und Klangmaterial aus dem Rundfunk.
Mit "Voice of America", "Apollo America", "Campaign", "Ball", "Radioball" (Karl-Sczuka-Preis 1975) und "Radio" werden hier sechs seiner legendärer Radioarbeiten erstmals auf Tonträger veröffentlicht; auf den sechs Picture-Disc-LPs sind sechs seiner legendäre "Sehtexte" reproduziert." [Verlagsbeschreibung] |
2007 |
€58.00 |
|
| |
Hörtexte 2 |
2x-pic-LP |
"Ferdinand Kriwet schrieb als Jugendlicher zwischen 1959 und 1960 ein Buch ohne Ende oder Anfang, ein Einstieg gelingt an jeder Stelle, der Titel: ROTOR. Kriwets Radioarbeit begann 1961 mit dem Sprechtext Offen. Es folgten Sehtexte, die das traditionelle Medium Buch verließen und in Ausstellungen und auf Plakatwänden veröffentlicht wurden.
Parallel dazu entwickelte Kriwet theoretische Manifeste zur akustischen Literatur, die zur Grundlage für seine Radioarbeiten wurden. Bild und Ton komponierte er zu Textfilmen, die in Mixed-Media-Shows in Kunsthallen, Kirchen und Kinos gezeigt wurden.
Ferdinand Kriwet (1942, Düsselldorf) is a German visual and audio artist who has produced films and sound works for radio and television, in particular throughout the 1960's and 1970's. As a sound artist, Kriwet is more known for his Hörspiele (radioplays) serie named 'Hörtexte' (radiotexts) produced for German public radio stations and composed with edited sound bites taken from mass media broadcasts. This is a very nice double picture disc set with booklet in slipcase.
TRACKS:
01. Offen (1961/'62)
02. Hörtext I (1963)
03. Rotoradio (2012)"
[label info]
www.edition-rz.de
|
2014 |
€36.00 |
|
| KRÜSI, HANS |
ExHK |
LP |
While preparing a new edition of Anton Bruhin works in 2008, Alga Marghen discovered some mysterious tapes by Hans Krüsi. Fascinated by the raw and brute contents of those sounds, mixing field recordings of insects, sheep, and distant bells with primitive chanting, percussive noises, and distorted radio folk songs, Alga Marghen started to conceive one of the most obscure editions in the catalog, an LP to be issued in collaboration with the Swiss Kunstmuseum des Kantons Thurgau (the repository of the artist's estate), published on the occasion of Alga Marghen's invitation to the Artist's Record Pavilion at Art Basel 2008 in an edition of 200 copies and instantly sold out. The Swiss-born, self-taught painter Hans Krüsi (1920-1995) was a wiry man who eked out an existence on the margins of society. Even among outsider-art experts, his work is less well known than that of his Swiss compatriot Adolf Wölfli, who died in 1930 and whose richly patterned drawings have become treasures of classic European art brute, or raw art, made by untrained, visionary artists. Krüsi was orphaned as an infant and brought up on a farm in northeastern Switzerland by foster parents who largely ignored him. He scraped by with odd jobs (including gardening work) and eventually settled in the city of St. Gallen. There, Krüsi lived in run-down buildings. In his late 20s, he began commuting by train almost daily to Zurich, to the west, where he sold flowers and, later, his artworks, on the Bahnhofstrasse, one of the most luxurious shopping streets in Europe. Among the wall-to-wall clutter of Krüsi's ramshackle lodgings, where pigeons flew in and perched, evidence of an unexpectedly experimental spirit abounded, including Krüsi's old cameras and the second-hand tape recorders with which he liked to capture the sounds of birds, insects and church bells. The artist's inventiveness and fertile imagination seemed to contrast sharply with his humble way of life. Krüsi took subjects from the agrarian world that he knew: alpine farmhouses, forested mountains, cows, birds, rabbits and cats. In his varied oeuvre, the folkloric and the psychedelic often appear to converge. Some works are even hallucinatory, with bright, brushy passages of acid green, lemon yellow or Pepto-Bismol pink in which watchful, lounging cats, clusters of dithering birds or watery human figures huddle or writhe. After being out-of-stock for 15 years and following the many solicitations over the past decade, Alga Marghen decided to do a new edition to be included as the first record of the new Musique Brut series. Edition of 150.
|
2023 |
€23.50 |
|
| KTL |
IV |
do-12 |
Japanische Luxus-Vinyl-Edition des vierten KTL-Studio-Albums, Gatefold-Cover mit Bonus-Single & bedruckten Innenhüllen..
"... Aller Dienste und Fesseln ledig, entfaltet sich da etwas zu voller Pracht und Größe, dass dem ähnelt, das Yeats einst in einer Vision gen Bethlehem schlumpen sah. Etwas prosaischer gesagt, lässt O‘Malley urige Bassriffs grollen und Gitarren sich durch jeden Widerstand fräsen, während Rehberg Synthie- & Orgelsound ballt, wie - ohne Pathos lässt sich das nicht beschreiben - wie Goyas Koloss seine Faust. Als ob er den ganzen Kongo darin zerquetschen wollte und damit den letzten schwarzen Blutstropfen aus dem Herz der Finsternis. Die Wucht und Düsternis, die hier sich vorüber wälzt, lässt sich mit Namen wie Fushitsusha, Nadja oder SunnO))) nur so ungefähr andeuten. Der Auftakt ‚Paraug‘ ist erst noch ein ominöses Rumoren, Rauschen und melodiöses Riffen, bei ‚Paratrooper‘ setzt sich das knurrige Biest dann ganz langsam in Bewegung, mit schwerem Tritt, den der Boris-Drummer Atsuo wie mit Taikotrommel als dumpfes Trauermarschbumbumbum schlägt, und ein Chor machtloser Engel stöhnt dazu ein ewig langgezogenes Oooooooooooo. Diese gut 21 Min. sind ein Prachtstück an erhabener Erschütterung der Sinne, in der Wirkung vergleichbar mit Guapos Aztekenkult. Im schnellen Marathontrott hetzt dann ‚Wicked Way‘ dahin wie ein barfüßiger Unglücksbote, denn jetzt folgt mit ‚Benbbet‘ eine weitere Viertelstunde von infamer Poesie, die erst noch liebkost, was sie zerstören wird, und dann Tritt für Tritt, nun fast schon mutwillig, einen knirschenden Tanz der Vernichtung übt. ‚Eternal Winter‘ überzieht die Spuren auf Shivas Tanzboden mit Eiskristallen, bis ‚Eternal Trouble‘ mit aufsteigenden elektronischen Molekülketten, einzelnen dunklen, monoton aushallenden Gitarrentönen und gedongtem Gong (erneut Atsuo) beharrlich Indizien der Unverwüstlichkeit liefert - der Trouble geht weiter. Produziert hat diese Dystopie übrigens Rehbergs einstiger FennO‘Berg-Partner, der unverwüstliche Jim O‘Rourke." [Bad Alchemy]
"Recorded and mixed at Studio GOK Sound, Tokyo, September 2008. Mastered at Pietthapraxis, Köln, October 2008. Stephen O'Malley: guitar. Peter Rehberg: computer & synthetizer. Atsuo: drums on 2 and gong on 6. Produced by Jim O'Rourke. Special Edition double 12 in gatefold tip on sleeve, with obi, mounted 7, and printed innersleeves. Japanese pressing, cut at 45 rpm." [label info]
www.inoxia-rec.com
|
2009 |
€49.00 |
|
| KUBISCH, CHRISTINA |
Five Electrical Walks |
CD |
"Christina Kubisch präsentiert mit »Five Electrical Walks« (Important Records) eine Musik, welche aus einem Fundus an Bestandteilen komponiert wurde, die sich zum einen praktisch selbst generieren. Abhängig sind sie zum anderen jedoch um so stärker vom neugierigen Empfinden der Menschen, die hier im Prozess der Klanggewinnung jeweils als Medium fungieren. Um elektromagnetische Felder hörbar zu machen, hat Kubisch bereits 1981 einen speziellen Kopfhörer entworfen, der hörbar macht, was sich den Sinneseindrücken üblicherweise vollkommen verschließt: Wer ihn auf den Ohren trägt, hört, was zweifellos da ist, aber was augenblicklich kein anderer mit seinen Sinnen erfasst.
Das Artwork zu den fünf Spaziergängen dieser Sorte wurde nun zum einen recht sachlich bis ansehnlich gehalten und zum anderen an manchen Rändern unscheinbar verziert von einigen der bemerkenswerten Zeichnungen, die Kubisch ebenfalls aus den elektromagnetischen Feldern gewinnt. Diesen haftet stets etwas sonderbar Geordnetes an, das sich in Reih und Glied auftürmt, um letztendlich doch nur eine vage, kantige Ahnung zu hinterlassen von dem, was sich in dieser durchdringenden Musik so geisterhaft und doch auch so förmig manifestiert. Die Klangskulpturen, die ihrerseits mal schlängeln, mal pulsieren, sind hierbei zu einigen Anteilen strikt ortsgebunden und beflügeln durch diesen individuellen Charakter die Sehnsucht nach einer eigenen Begegnung mit diesen Räumen und Plätzen, auf den Punkt gebracht durch die eigenen Worte von Kubisch zur Beschreibung von »Night Shift«, einer wunderbar finsteren Collage, die in verschiedenen Bahnhöfen und Flughäfen aufgenommen wurde: »What you see and what you hear seems to create a new, unknown reality.«
Man mag dieses Album als eine Dokumentation einer durch und durch künstlichen Addition zum menschlichen Wahrnehmungs-instrumentarium betrachten. Erfassen aber lässt es sich beispielhaft leicht und intuitiv: »Five Electrical Walks« ist ein wahrhaft inspirierendes Projekt, das den kindlich ungetrübten Synästheten in seiner Hörerschaft anspricht. Überhäuft wird man mit einer Vorstellungsverknüpfung nach der anderen, ohne jemals Kontrolle über das bunte, in einen zeitgemäßen Elektronik-Sound gekleidete Treiben zu erlangen: Die musikalischen Resultate, die sich durch einen sauber ausgearbeiteten Filter manifestieren, sind von einer zuweilen recht spröden, aufwühlenden Qualität, die dem Effekt der angesprochenen Grafiken recht deutlich entgegensteht. Ein noch größerer Kontrast im Rahmen einer Präsentation, die beide Ausdrucksweisen zu gleichen Teilen berücksichtigt, könnte die eindrucksvollsten Aspekte dieser Arbeit womöglich deutlich vertiefen." [Kai Ginkel / SPEX]
"Christina Kubisch is a first generation sound artist of the highest order. Kubisch has been working with electrical induction since the late seventies and in 2003 she began her Electrical Walk installations. Listeners wear specially built headphones that reveal electro-magnetic radiation emanating from the technological world around us. Five Electrical Walks is her first collection of compositions utilizing material recorded during Electrical Walks." [label info]
www.importantrecords.com
|
2007 |
€14.00 |
|
| KUBISCH, CHRISTINA & ECKEHARD GÜTHER |
Mosaique Mosaic |
CD |
"My first visit to Cameroon in summer 2010 occurred thanks to an invitation by the Goethe-Institut Yaoundé and the independent art organization Doual’Art.
During my residency I prepared a sound installation for a festival in Douala in December. I also conducted a workshop, together with Eckehard Güther, for young local musicians and artists on the theme of field recordings. Field recordings?
In the cities people are surrounded by distorted sound systems playing lo-fi illegal copies of Cameroonian as well as international pop music. The sounds from church services, instruments and voices are all amplified as well – the louder the better. A lot of what you hear comes from speakers.
The workshop held surprises for everybody, most of all for us: the participants led us to many hidden places with sounds they thought would be of interest to us. And we noticed that we were mistaken in our prejudice of sounds which might be unheeded: these people did listen, they had the most musical ears, they knew a lot about their “field”. But so far they had not felt any necessity to store these sounds. So we started our exchange: they got the recording facilities and we got a little bit of their ears.
Cameroon is a noisy country with unexpected and subtle soundscapes. We were brought to places we never would have discovered ourselves. This was the basis for a “sound diary” which was continued during a long trip into the North of the country and as well during our second visit in and around Douala in the winter time.
Music is one of the most important forms of communication in Cameroon, a country with hundreds of different languages and ethnic groups, it is a link which binds them all together. I am glad that we could participate in this sonic experience with the help of many local people. The places we recorded were not arranged in advance, we just happened to be there and sometimes the recordings were made with quite simple equipment. Listening was the most important experience and hopefully some of this personal experience will shine through in this release.
All the field recordings are unprocessed, but parts of them are assembled and mixed together." [Christina Kubisch]
www.gruenrekorder.de
"Our journey starts in Africa, Cameroon to be precise, which is, according to Christina Kubisch a noisy country 'with unexpected and subtle soundscapes'. In 2010 she visited the country for the first time and did an installation and a workshop on field recordings. I've never been to Cameroon, (nor, spoiler, any of the other places on these three new Gruenrekorder) releases, but I can imagine the sounds of a busy city, with lots of music, old and rusty cars, people talking, call for prayer service, but also quiet recordings from the country side, in the 'National Park Waza'. The titles of the pieces explain what we are hearing and it makes up a great audio journey to Cameroon, and a fine balance between nature sounds and human interference." [FdW/Vital Weekly] |
2013 |
€13.00 |
|
| KURBONSHO |
Vahan Songs |
CD |
"The disc contains unique ethnographic field recordings made by Andrey Komarov (Vishudha Kali), during an expedition to the Pamirs in 2004. One of the goals of this expedition was to study the musical traditions of the Pamir highlands. Here he discovered the most outstanding poet and musician, Kurbonsho. The village in which he lived is a wild place on Vakhania (Afghan gap) with no electricity and extremely difficult access. Although local residents claimed that he was unlikely to agree to sing, Andrey still managed to record his primordial folklore music, which is represented on this disc. Kurbonsho died in 2008. Beautiful lyrical melodies (sung in Devanagari) with smooth transitions and flowing vocals - the music is clear and unprepared for the European organic ear. Ltd x 700 copies in a 20-page A5 digibook." [label info]
www.myrkr.org
|
2011 |
€13.00 |
|
| KUUPUU |
Lumen Thäden |
LP |
Das neue Album der Finnin KUUPUU erscheint auf dem renommierten TIME-LAG RECORDS, im übergrossen & laminierten Gatefold-Cover.
Ihr gespenstischer "low fi wyrd Folk" (das Label nennt das "Pränatal-Folk) erinnert an eine schräge Version von JESSICA BAILIFF oder GROUPER, ähnlich zerbrechlich ertönen ihr elfenhafter Gesang und die sparsame Instrumentierung, zusätzlich aber haftet dem ganzen etwas "schamanistisch-beschwörendes" an... really strange stoff !!
"Although Finlander Jonna Karanka has been slowly leaking out little Kuupuu jewels for six years now, somehow it's taken just that long to materialize her first 'proper' album. Maybe it has something to do with the time she's devoted to her beautiful artwork, or her time spent in a highly impressive string of other bands, including Hertta Lussu Assa (with Islaja and Lau Nau), Anaksimandos, Avarus, and many others. But, you know, I always figured Kuupuu music didn't have much to do with 'time' anyway. It's music from another reality, to put it bluntly. A beautiful place no doubt, but somehow totally other. You could call this music a lot of things, all without really saying much. Post-everything? Pre-birth folk? Bedtime acid-art? Naive avant-garde loop witchcraft? Maybe something like a thousand memories & vague images folded into each other and spooled out infinitely like a sloppy film loop. The sound of tiny bioluminescent insects systematically devouring an urban cityscape in hyper-speed, while just as quickly slithering neon flora entwine the metallic gray remains, only to then be gobbled themselves by a leaderless army of pulsating micro-robots. Got that? Now play backwards in slow motion. Surreal might just be an understatement. Packaged in a stunning ultra-heavy laminated full color gatefold cover with full color art labels, all created by Jonna. Pressed on audiophile 180gm vinyl. Limited edition of 750 copies." [label info]
"Kuupuu is a bit like a Finnish Grouper, her songs are murky and mysterious, the sounds feel disembodied and otherworldly, her vocals are ghostlike and gauzy, but those Grouper-like sounds are filtered through her Finnish folk filter, having spent time in Avarus, Anaksimandros and a handful of other big time aQ faves. Nearly half the record is made up of hushed intimate lo-fi ballads, muted and muddy and almost underwater sounding, her voice and musical accompaniment bleeding into each other until it's sometimes almost impossible to tell which is which, but those stretches of bleary eyed balladic drift and muffled shimmery dreamdrone are peppered with chucks of weird soft noise, abstract rhythmic workouts and some strange very Finnish sounding bursts of what-the-fuck chaos: plenty of clattery tribal percussion, detuned guitars, demented music box melodies, field recordings and found sounds, tape manipulation, gongs and bells and birdcalls, looped acoustic guitars, super lo-fi tape recorded voices, swooping backwards melodies, and the occasional jagged shard of feedback or streak of fractured crunch, but somehow Kuupuu manages to tie it all together into something much more cohesive and lovely than you might imagine.
Definitely for fans of all things Finnish and foresty and folky and freaky: Avarus, Islaja, Anaksimandros, Kemialliset Ystavat, Kiila, Shogun Kunitoki, Es, etc. And adventurous fans of Grouper might give this a try, if they're not averse to some weirdo noisemaking with their moody melancholia." [Aquarius Records]
www.time-lagrecords.com
|
2009 |
€23.50 |
|
| KYMATIK |
Dar-as-sulh vol. 1 |
CD |
Nach einem mini-Album jetzt die erste CD eines vielversprechenden Experimental-Projekts aus England, welche 3 Jahre Soundforschung zusammenfasst. Hinter KYMATICs Musik stehen hochinteressante physikalische Konzepte und Experimente (das erinnert an früher HAFLER TRIO-Arbeiten),so bezieht sich der Projektname auf grch. KYMA - ein Begriff, den der Schweizer Physiker Hans Jenny für seine Akustikexperimente einführte. „the musical styles range from the use of dense rhythmic patterns to subtle shimmerings and a pure tone piece that sounds like nothing I’ve heard before. The short environmental recordings are spaced between the compositions and offer some light relief from the intensity of these works..”[Clive Graham, Paradigm]. A great sound-research-album, definitely one of the highlights of this year!! Nice digipack with lots of infos..
PARADIGM
|
2001 |
€13.50 |
|
| KÖRPERWELTEN |
Avatars of Rape and Rage |
CD |
Ein gemeinsames Projekt von NAVICON TORTURE TECHNOLOGIES und NORDVARGR welches mehrere Jahre in Arbeit war und die extremen Grenzgebiete von sexuellem Begehren & Ohnmacht, Sadismus & Perversion bis hin zur Todessehnsucht & Mord thematisiert. Pulsierende Noisescapes werden langsam aufgebaut und explodieren im richtigen Moment, unheimliche rasselnde, atmende Geräusche sind präsent sowie schleppende untergründige Pulses, Einsatz von gepeinigten Stimmen, Geschrei in einer Lärmwand, Sirenensounds, etc.. mit das Unheimlichste was es im Bereich "Industrial" in der letzten Zeit gab, das unangenehme Gefühl schleicht sich quasi von hinten an, da hier lange Spannungsbögen erzeugt werden. Es entsteht ein wahrer Trip in die Abgründe der menschlichen Seele, ein Album dass einen nicht kält lässt, das (in Verbindung mit der Artwork) tatsächlich noch schockieren kann, wie das Psychogramm eines Triebtäters, erdrückend intensiv!
"Having started the process way back in 2002, this collaborative project between Swedish powerhouse Nordvargr and US apocalyptic
industrialists Navicon Torture Technoloies finally sees the light (so to speak) in 2008, having been re-worked and re-structured as a
perilous 40 minute plunge into a black hole of sound. Waves of grim, doom filled atmospheric sludge crossbred with buzzing black drones,
grinding distortion, and a seething underbelly of rhythmic pulsations, ultimately delivering everything you might expect from these two acts. In 6 panel digipak, with extreme and controversial, Jonathan Canady (http://art.malsonus.com/) designed artwork sure to be banned if it falls into the wrong hands." [label notes]
www.malignantrecords.com
|
2008 |
€13.00 |
|
| KÖTTER, DANIEL & HANNES SEIDL |
Stadt (Land Fluss) - A Radio Play |
CD + BOOK |
Ein Hörstück über den Klang der Großstadt. Bulldozer planieren die Brache, Wohnviertel werden eingezäunt, Stromkabel durchziehen das Bauland, eine Menschenmenge besetzt den Mittelstreifen. „Stadt (Land Fluss)“ macht die radikal vernetzte Stadt hörbar und die Auswirkungen ihrer permanenten Veränderung sinnlich erfahrbar. Welche soziale Dimension hat die Klanglichkeit einer Stadt? Wie klingt die Stadt, wie könnte sie klingen? Wer hat das Recht, den Stadtraum zu gestalten und seine Grenzen zu definieren? Stadt [Land Fluss] ist auf der Grundlage des gleichnamigen Musiktheaterstücks entstanden.
Komposition / Produktion: Daniel Kötter / Hannes Seidl
Electromagnetische Klänge: Christina Kubisch Musik: Sebastian Berweck, Martin Lorenz, Andrea Neumann
Text: Daniel Kötter / Hannes Seidl nach Zitaten von David Harvey, Kathrin Wildner, Thorsten Fausch und anderen
Photos: Nara Silva das Virgens Merlitz Graphik Design: Nafiseh Fathollahzadeh
https://www.gruenrekorder.de/?page_id=18530
Das Morgen im Heute
Zum Hörspiel „Stadt [Land Fluss]“ von Daniel Kötter und Hannes Seidl
Ist unser Planet bereits vollständig kartographiert? Unzählige im Weltall kreisende GPS-Satelliten, die jeden Millimeter der Erde abgemessen haben dürften, drängen uns förmlich ein entschiedenes Ja auf. Dennoch: Wäre die Welt ein Gemälde, stünde die Sichtbarkeit aller Farbtupfer nicht zwingend für das Erkennen und Begreifen ihrer Zusammenhänge. Genauso verhält es sich im Kleinen mit der (Groß-)Stadt, diesem paradigmatischen modernen Mikrokosmos. Gebäude, Straßen, Parks, Kanalisationssysteme, Lichtsignalanlagen stellen eine visuelle und haptische Ordnung her, die ein schier endloser, aus Stimmen, Hupen und Sirenen geknüpfter Geräuschteppich ergänzt, hinterfragt und bisweilen wieder aufhebt. Und mittendrin: das Individuum.
„ … It always seemed to me that we should pay much more attention to the question of who produces and reproduces urban life…“: Nach einer Minute mit elektroakustischen Klängen, rufenden Kindern und einem vorbeirauschenden Flugzeug spricht eine Männerstimme über die Produktion und Reproduktion des urbanen Lebens. Wer zeigt sich dafür verantwortlich? Und wie? So beginnt das 2020 realisierte Hörspiel „Stadt [Land Fluss]“ von Daniel Kötter und Hannes Seidl nach dem gleichnamigen, abendfüllenden Musiktheaterstück von 2017. Im Werkkommentar zu letzterem fragt der Komponist Seidl konkret nach den akustischen Eigenschaften einer Stadt als gesellschaftlichem Raum: „In STADT (LAND FLUSS) spüren wir der sozialen Dimension der Klanglichkeit einer Stadt nach, die noch immer von Stadtplanern und Architekten vernachlässigt wird. Wie klingt die Stadt, wie könnte sie klingen? Wer hat das Recht, den Stadtraum zu gestalten und seine Grenzen zu definieren?“ Der erste Teil einer Trilogie – es folgten „Land [Stadt Fluss]“ (2018) und „Fluss [Stadt Land]“ (2019) – nimmt unterschiedliche Perspektiven ein und durchschreitet buchstäblich verschiedene Räume, um „die radikal vernetzte Stadt hörbar und die Auswirkungen ihrer permanenten Veränderung sinnlich erfahrbar“ zu machen. Die Bühne wird begehbar, diegetische Räume und deren Grenzen werden ausschließlich durch Trennwände angedeutet, während sich das ,wahre‘ urbane Leben draußen abzuspielen scheint. Eindrücke davon erhalten die Zuschauenden lediglich per Smartphone-Videos, so dass der stets im Wandel begriffene Organismus Stadt sich als imaginäres Gebilde entpuppt; ein Umstand, der in der Hörspielfassung besonders zum Tragen kommt.
Hier knistert es. Dem pausenlosen Rauschen und Knacken wohnt eine ungeduldige, auf den nächsten Augenblick lauernde Stimmung inne, in der sich Zukunft und Veränderung manifestieren. Für (An-)Spannung sorgen vorrangig die Klänge elektromagnetischer Felder, deren sonst unhörbare Schwingungen Christina Kubisch mittels Induktionsspulenkopfhörer hörbar macht. Im übertragenen Sinne wird das Aufdecken vorhandener, aber nicht vernehmbarer Klänge zu einer Handlungsmaxime: Im Heute liegt bereits das Morgen verborgen, den Zukunftsschlüssel haben wir gegenwärtig in der Hand. Und die Stadt? „Bulldozer planieren die Wüste, Wohnviertel werden eingezäunt, Strom durchzieht das Informelle, eine Menschenmenge besetzt den Mittelstreifen“, heißt es im Werkkommentar weiter. Wie sang die Band „Fehlfarben“ vor vierzig Jahren? „Keine Atempause. Geschichte wird gemacht. Es geht voran.“ Dass Einzelne bei aller Zielstrebigkeit auf der Strecke bleiben beziehungsweise aus der Spur geraten, findet in „Stadt [Land Fluss]“ eine musikalische Entsprechung, wenn Sebastian Berweck die Nadel seines Plattenspielers kleinschrittig über kreisende Rillen flanieren lässt. Gewissermaßen als Nebenprodukt entstehen dabei – zusammen mit den akustischen Beiträgen von Martin Lorenz und Andrea Neumann – flirrende Klangbilder, die der Idee von Soundscape bewusst widersprechen. Mit konkreten Objekten generieren Musikerin und Musiker wiederum eine abstrakte Klangwelt.
Und die gesprochenen Passagen? Sie erzählen von urbanen Problemen und Herausforderungen, etwa in der Hamburger HafenCity rund um die Elbphilharmonie. Das von Hannes Seidl und Filmemacher/Theaterregisseur Daniel Kötter nach Zitaten unterschiedlicher Provenienz erarbeitete, mitabgedruckte Skript fragt nach Chancen und Entwicklungen einer modernen, klimaneutralen, gerechten Stadt. Vieles scheint möglich. Alles bleibt offen – worauf die durchdachte, nachhaltige Aufmachung der beim Frankfurter Label Gruenrekorder veröffentlichte Compact Disc bereits hinweist: Undefinierte, voneinander nicht abgegrenzte, nur rudimentär kartographierte Räume künden von Freiheit. Was zunächst nach übertriebenem Pathos klingt, ist jedoch Programm. Alle können, dürfen, sollen mitdiskutieren, mitplanen, mitarbeiten. Es müssen Entscheidungen getroffen werden. Und genau darin liegen Vor- und Nachteil der Hörspielfassung gegenüber dem Musiktheater „Stadt [Land Fluss]“. Lässt letzteres durch seine interaktive Faktur noch eine Vielzahl an Versionen zu, zieht erstere als festgelegter Parcours tönende Mauern hoch, baut akustische Straßen und Parkanlagen, denkt klanglich über Mobilität nach. Die Entscheidung für eine Stadt ist notwendig – in einem Traumschloss lässt sich nämlich schlecht überwintern –, gibt aber zugleich andere Optionen preis. So könnte es also sein. Oder doch ganz anders?
Eine konstant anschwellende Spannung, die sich der oben erwähnten Klangerzeugung verdankt, drängt einerseits unaufhörlich nach vorne, während ihre kontinuierliche Wandlung andererseits für ein kontemplatives Moment sorgt. Zwischen Minute achtzehn und neunzehn findet eine ebenso geradlinige wie richtungslose klangliche Verdichtung statt, die sich im gesprochenen Text spiegelt: „Eine Unkontrolliertheit oder eine Informalität zu planen, ist eben schwierig. Planning the unplanned. Wie geht das?“, heißt es aus dem Off. Diese vordergründig mittels Sprache artikulierte Planbarkeit weicht allmählich einer um sich greifenden Klanglandschaft, die jeden Gedanken zu überwuchern scheint. In den letzten vierzehn Minuten dominieren Rauschen, Surren und Flirren – stoisch und doch voller Überraschungen. Die von Seidl geforderte soziale Dimension von Klanglichkeit gewinnt schließlich die Oberhand. Mit diesem konsequenten und überzeugenden Kunstgriff wird das gesprochene Wort ,denkende‘ Musik: „So, there’s a lot of power which resides it seems to me in thinking about the urban as a place to organise and as a place to come back together […].“ Gemeinsam eine Stadt erbauen. Für alle. Neben Ideen, Mörtel und Strom ist ein weiterer Aspekt entscheidend: zuhören. „Stadt [Land Fluss]“ redet nicht nur darüber, sondern macht es direkt vor." [Gerardo Scheige | MusikTexte 168]
A radio play on the sound of the city. Bulldozers flatten the desert, neighbourhoods are fenced in, electricity pervades the informal, crowds of people occupy the middle land. What does, what could the city of the future sound like? In “Stadt (Land Fluss)”, composer Hannes Seidl and media artist Daniel Kötter expand the discourse on the right to the city. The highly interconnected city and the radical effects of the permanent battle over its modification are turned into an acoustic experience. Stadt [Land Fluss] is based on the eponymous music theatre piece by Daniel Kötter / Hannes Seidl.
Composition / Production: Daniel Kötter / Hannes Seidl
Electromagnetic sounds: Christina Kubisch
Music: Sebastian Berweck, Martin Lorenz, Andrea Neumann
Text: Daniel Kötter / Hannes Seidl after quotes by David Harvey, Kathrin Wildner, Thorsten Fausch and others
Photos: Nara Silva das Virgens Merlitz
Graphic Design: Nafiseh Fathollahzadeh
|
2020 |
€14.00 |
|
| LA CASA, ERIC |
L'Inspir du rivage pt. 2 & 3 |
7inch |
"Ex-SYLLYK Eric La Casa präsentiert field recordings in Form von Adria-Meerwasser, welches auf Küstenbefestigungssteine trifft. To get INSIDE the sounds! Wer Wassersounds mag, sollte hier zugreifen!" [old Drone Rec. info] |
1999 |
€10.00 |
|
| |
Zone Sensible 2 / Dundee 2 |
CD |
Wer jemals selbst versucht hat, brauchbare 'field recordings' zu hervorzubringen, dürfte wissen wie schwer es ist, Störgeräusche auszuschalten, die gewünschte Klangquelle laut genug hörbar zu machen und überhaupt den "richtigen Moment" zu treffen... denn der Zufall spielt hierbei eine gewichtige Rolle, die Unkontrollierbarkeit der Klänge macht demütig...
Einer der absoluten Meister des Fieldrecording und deren Verarbeitung ist ERIC LA CASA, von dem hier 2 Stücke präsentiert werden, die sowohl gekonnteste Feldaufnahmen zeigen als auch die brilliante Transformation in eine Art naturale musique concrete:
ZONE SENSIBLE 2 benutzt Aufnahmen von Bienen, deren summender Chor oft gewaltig anschwellt und sich mit sirrenden, elektronisch wirkenden mechano-Drones vermischt, ein Stück voller Dynamik und Brüchen, welches am Ende wie ein einziger atmender Klangorganismus wirkt, epische 26:30 min lang.
Auf DUNDEE 2 dagegen entwirft er aus 30 verschiedenen Orts-Aufnahmen eine Art unterbewussten Klangspiegel der schottischen Stadt Dundee, wobei v.a. die stets vorhandenen, aber kaum jemals bewusst wahrgenommenen Sounds von Maschinen (Ventilatoren, Aufzüge, Sirenen, Kühlschränke) eine grosse Rolle spielen..
das soghafte Rauschen einer Stadt verläuft hier in langen auf- und abschwellenden Bahnen.
Fazit: Zwei geniale Kompositionen für das Kino im Kopf !
"For the best part of a decade, Éric La Casa's attention to sonic phenomena has resulted in some of the finest contemporary Musique Concréte to come out of France. A listener of the highest order, La Casa's methodology for sound recording allows for a versatile examination of both urban and natural environments and it is these interests which are captured on this new edition for Room40. With an ability to find unique perspectives on his sound subjects La Casa's site specific works 'Zone Sensible' and 'Dundee' seek to draw a detailed focus and expose unfamiliar, incidental and previously unheard sound worlds. Zone Sensible, exclusively composed from recordings of bees in the Olivier Darné's hives, located in the Saint Denis suburb of Paris, reveals a chaotic, frenetic microcosm that speaks to the density of the real, whilst hinting at our ears to experience a dance of oscillations - wings beating with boundless energy. As a contrast to this microcosm, Dundee, composed with recordings of Dundee city (during a 10 days residency at DCA museum), sees La Casa turn his microphones outward. Rendering a captivating sound map of sorts, Dundee' was developed in collaboration with USA Film experimentalist Ken Jacobs' 'nervous magic lantern', on a 6 channels device. From these recordings La Casa composed variations and movements in interaction with Ken Jacobs' processing - a contemplation from the real to abstracted life." [label info]
www.room40.org
"Two new works by Eric LaCasa, the active composer of musique concrete. By now he has a long list of releases under his belt, and on this CD he presents two new works. 'Dundee 2' is in three parts, while 'Zone Sensible 2' is one work. That one was commissioned by Les Instants Chavires (France) for a festival and uses solely the sounds of bees, recorded in a beehive. It starts out with the sound of bees, but soon starts to move about in some electronic after life. Or so it seems. Until now I always thought, but perhaps wrongly, that LaCasa only works with pure sound, always recorded in the fields (agricultural and urban), and never used that much sound processing, but perhaps I was wrong. Here its a much more electronic work that depicts the chaos of the beehive very well. Buzzing with life, sounds crawl about and its hard to figure out what is going on - except of course if you are a bee yourself. A work full of life.
'Dundee' was commissioned by Arika for 'Kill Your Timid Notion in 2007 and uses sounds of that Scottish city, which was played back on a six channel system, devised along with Ken Jacobs, an American film maker. Here we have the 'empty' spaces that resonates, sometimes interrupted by voices ('what are you doing in the parking, recording spaces'?, or station announcements) or by events we can longer trace back to its origin. Here it seems to me LaCasa uses no electronic processing, but the pure sound phenomena as captured on tape. A powerful work, even if you don't know the city of Dundee (at least I don't). What sets LaCasa aside from his colleagues in the same field, is that he composes with the material, rather than presenting them (for instance works like this on the German Gruenrekorder label), and that makes them all the more engaging to hear. I am not sure why 'Dundee 2' has been cut into three separate pieces, but like 'Zone Sensible 2', these are excellent pieces. LaCasa is
one of the true masters of working with field recordings." [FdW / Vital Weekly]
|
2010 |
€13.00 |
|
| LA CASA, ERIC & CEDRIC PEYRONNET |
La Creuse |
CD |
LA CREUSE ist eine höchst gelungene Field Recording-Reise mit hohem Abstraktionsfaktor. Die Psychogeographie des französischen Departments LA CREUSE soll dadurch (sub)sonisch "verkörpert" und sinnlich erfahrbar werden, das Material wurde mit einem speziellen Remix- / Bearbeitungskonzept für jedes Stück konzeptualisiert. "Intelligente" Geräuschmusik aus einmaligen Klängen der Umgebung & Natur, fantastisch arrangiert !
"Our project is defined by its aim: to represent in sonic terms, and in duo, a particular environment – a triangular area in the north of the Creuse département in central France. In the first place, based on cartographic representations, we set about breaking down the chosen territory, an area between the Petite Creuse and Grande Creuse rivers, into specific sites. Secondly, we placed the map ‘under surveillance’, as it were, conducting sonic surveys in the selected sites. These surveys led us to a geophonic approach, each based on a development of specific auscultatory techniques, in which the wealth of sounds collected nourished our research into (sonic) territoriality.
The aim of the project was not to replace image with sound but to give that which surrounds us a (sonic) body; to give landscape a sonic corporeality. It might be that, being unrelated to notions of admiration that go hand in hand with seeing, a sonic evaluation can go some way towards confounding our a priori notions of landscape. Thirdly, the resulting data gave rise to an ensemble of exchanges/interactions, enabling formal variations. For one of these formalisations, musical composition, we chose the following protocol: each site was given a musical interpretation by a composer, his work being based on the site’s specific sound-bank. The composer then sent his piece to a second who, with recourse to his own bank of sounds, responded to the first interpretation. The second composer redefined the composition, adding his own sounds also. The final interpretation, therefore, is based as much on the layered listenings and recordings formed at the site itself as the musical conceptions of each individual." [label notes]
"As far as I remember I've never been to the area where Cedric Peyronnet (also better known as Toy Bizarre) and Eric La Casa recorded their work, the Creuse department in central France - maybe I saw it today when watching the Tour de France. However there is a booklet with this CD with pictures of the area, and in each picture there is a pair of microphones to be spotted. This is as close as you can make field recordings visual I guess. A pity that the booklet, a diary it seems, is all in French, with some general English translation on the cover. The area was divided into several specific sites which were recorded by one, and then sent to the other to work on it, to interpret the place. And vice versa of course. Each piece is started by one, finished by the other. Its not easy to hear who did what, but I think that the pieces finished by Peyronnet have a minimal subtle electronic manipulations, and that La Casa's pieces are entirely made with field recordings. I might be wrong however and no electronic processing took place. We hear rain, wind, footsteps and sounds from water, objects and other sonic events which are hard to be placed somewhere in terms of what one could recognize. Even when this is divided into nine pieces, it's best enjoyed as a complete picture: listen from start until the end, sit back and transport yourself through time and space - time is the length of the CD and the place is La Creuse. This rural and forest area is pictured quite well before your very eyes. A very refined work." [FdW / Vital Weekly ]
www.herbalinternational.tk
|
2008 |
€13.50 |
|
| LA STPO (La Société des Timides à la Parade des Oiseaux) |
Les Liquidateurs |
LP |
"La Société Timides à la Parade des Oiseaux (roughly translated to Shy Society at the Bird Parade) is a French band from Rennes, founded in 1984.
'A tribute for all the men and women who gave their life, an homage to what they felt, what they lived, what they had to endure during the rescue mission of the accidented nuclear reactor of Chernobyl. The history mentioned here is about a young liquidator from Armenia. It is freely adapted form the movie 'The Battle of Chernobyl' directed by Thomas Johnson.
The musical composition is divided in 6 parts, separated by 'fragments' describing the impact of the radioactivity on (the nearby town) Pipriat's daily life, ignoring the deathly danger.
The chronology includes the alarm and liquidator mobilisation's stage, the listening of the instructions given by the chiefs, the rush to the reactor, the hesitation of the president in charge (Gorbatchev), the absolute horror on the roof of the reactor until the death of the liquidator. We precisely follow the story of a young armenian liquidator, lost into his lack of understanding of the russian instructions, with fear in his stomach, and his extraordinary sense of duty. By sacrifying himself like hundreds of thousands of his comrades, he's going to save humanity.'
The disc is a 33rpm's vinyl record (12") of about 35 min 's duration, with an album cover by Pakito Bolino from Le Dernier Cri."
[label info]
http://inpolysons.free.fr
|
2015 |
€26.00 |
|
|
L'Empreinte |
CD |
Gatefold card case with 8 page inner booklet
Les Liquidateurs : dedicated to the liquidators of Chernobyl and Fukushima
Armenian translation : Alice Godjikian
Obsküre Mag : 4/1/2019 - Max Lachaud
"Un nouvel album de La Société des Timides à la Parade des Oiseaux est toujours une joie : la promesse d’une plongée dans un univers inventif, délirant et poétique."
A new release from La STPO is always a joy : the promise of a dive into an inventive, delusional and poetic universe.
"Comme d’habitude, la production est impeccable, les graphismes inspirés et les textes toujours aussi énigmatiques. Un très bon cru, donc, et un des plus apocalyptiques."
As usual, the production is impeccable, the graphics inspired and the texts always as enigmatic. A very good vintage and one of the most apocalyptic.
https://lastpo.bandcamp.com/album/lempreinte
"Heimlich, still und leise haben La Société des Timides à la Parade des Oiseaux im Herbst 2018 doch tatsächlich ein neues Studioalbum veröffentlicht. Allerdings haben die auf "L'Empreinte" zu findenden Aufnahmen schon ein paar Jährchen auf dem Buckel. Die vier Tracks waren nämlich schon im Herbst 2012 fertig abgemischt, und sollten eigentlich zeitnah auf CD veröffentlicht werden. Allerdings gab es dann Probleme mit der Plattenfirma (Beta-lactam Ring Records), und das Material landete erst einmal in der Schublade. Ein Teil davon, das lange "Les Liquidateurs", erschien dann 2015 auf LP (parallel zur inzwischen eingespielten nächsten CD "L'imparfait multiple de dieu").
Drei Jahre später haben es La STPO dann mit Hilfe von Azafran Media doch noch geschafft das gesamte Album zu veröffentlichen. "L'Empreinte" kommt in einem platzsparenden, im typischen Stil der Band bunt bedruckten Pappklappcover, in dessen einer Seite die CD steckt. Dieselbe sollte man allerdings vorsichtig herausziehen, um Kratzer zu vermeiden, was sich als gar nicht so einfach erweist.
Gut 60 Minuten an Musik ist auf "L'Empreinte" zu finden, wobei das schon erwähnte "Les Liquidateurs" die Hälfte der Spielzeit ausmacht. Dasselbe, zum Entstehungszeitpunk das längste und ambitionierteste Stück der Formation, ist den Liquidatoren von Tschernobyl und Fukushima gewidmet, also den Arbeitern, die bei beiden Reaktorkatastrophen in vorderster Front in den stark verstrahlen Gebäudeteilen gearbeitet und aufräumt haben. Viele von denselben haben ihren Einsatz mit dem Leben bezahlt. Die meisten leiden bis heute an den gesundheitlichen Folgen. Im Zentrum des Stücks steht ein junger armenischer Liquidator, und anhand seines Schicksals werden die Ereignisse von Tschernobyl klanglich (und textlich) nachgezeichnet. Mehr Informationen findet der interessierte Leser hier.
Ein dichtes Gemenge an Klang arbeitet sich hier suitenartig aus den Boxen, beginnend mit von einem Cello erzeugten Alarmheulen, hektisch und schräg, bedrohlich brodelnd, sehr abwechslungsreich und farbig, gehalten natürlich im typischen multiinstrumentalen, punkig-sperrigen RIO-Avant-Stil, den La STPO auch sonst pflegen. Dazu gibt es allerlei Text und Gesang, in Englisch, Französisch und offenbar Armenisch. Das Ergebnis wirkt ein wenig wie ein Theaterstück, oder eine Avantprog-Oper (wobei der Gesang natürlich kaum etwas opernartiges an sich hat). Zumindest könnte ich mir das gut in einem multimedialen Gewand bei einer Aufführung vorstellen, als Spectacle (wie man in Französisch sagen würde), begleitet von allerlei Filmmaterial, Projektionen und entsprechenden Kostümen.
Die drei kürzeren Nummern bieten musikalisch-stilistisch Ähnliches, kommen aber trotz der auch hier zu findenden exaltierten Vokaldarbietungen Godjikians etwas weniger theatralisch daher. Die für die Band typische, wild-deftige bis klangmalend-hallende Musik wird geboten, bestimmt von der schräg jaulenden Gitarre, umfangreichem Tastenwerk, der kraftvollen Rhythmusabteilung, und verschiedenen weiteren instrumentalen Ergänzungen (Blechgebläse, Klarinettenklänge, Celloeinlagen und allerlei Perkussives). Gegen Ende von "Offre Spéciale de Lancement de la Chute" kommt sogar fast mediävale Stimmung auf, wenn Godjikian madrigal-artig seine Stimme erklingen lässt.
"30000 Fois" ist offenbar die älteste Nummer der Sammlung, ist hier doch noch Benoît Delaune an Bass und Cello zu hören, der La STPO 2008 verlassen hat. Mein Lieblingsstück ist aber "La Vallée des Empreintes", das auf beeindruckende Art und Weise zwischen fast lyrischem Klangschweben und heftigen Ausbrüchen hin- und herwechselt.
"L'Empreinte" ist ein weiteres hervorragendes Album der Société des Timides à la Parade des Oiseaux, welches allen RIO-Avantprog-Freaks, so sie denn keine Aversionen gegen bisweilen exaltierte menschliche Lautäußerungen haben, sehr viel Spaß machen sollte. Fazit: Besser spät als nie!" [Achim Breiling/Babyblaue Seiten]
|
2018 |
€15.00 |
|
| |
Romanciel |
CD |
"At last, more than three years after the magnificent “L’ Empreinte” here is the new album from my favorite Society: “Romanciel“. The first impression concerns the artistic creativity of the group: it’s astonishing how high it has been maintained throughout an almost forty-year career. In fact, I can say it right away, “Romanciel” is one of the best albums of theirs, in the field of a discography that is filled with beautiful works. Then comes the great pleasure to find again all the elements that make their style unique, immediately recognizable and, at once, new and fresh every time: Pascal Godjikian‘s extraordinary expressiveness and vocal skills, JimB‘s sharp metallic electric guitar, Patrice Babin‘s stormy drums and delicate small percussions, Christophe Gautheur‘s versatile keyboards and Sébastien Desloges‘s bass and violin. Fascinating, as well, are the suggestions to which La Stpo‘s world refers: the artistic avant-garde of the twentieth century for instance (Dadaism, Surrealism, Expressionism) or some masters of modern music (King Crimson, Pere Ubu and David Thomas projects are the first names that come to me). The album opens with the twenty minute long “Roman“, and it is the violin of the latest arrival Desloges (he joined the group eleven years ago) that gives an important contribution to the atmosphere of unusual lightness of this first track. Along with it we have soft blows of flute and ethereal openings of keyboards. It reminds me of Kandinsky or Klee’s most abstract paintings. But lightness can easily evaporate and leave the place to gravity and harmony can become dissonance just like a clear sky can suddenly cloud over, tear with lighting and explode with thunder. La Stpo‘s songs are kind of like this, they are changing and surprising. Pascal Godjikian‘s lyrics, that often take inspiration from the dream world, are well suited to the music with their surrealistic, bizarre, non consequential features. They speak a language of their own. Actually, since the very beginning of the story, language has always been a reason of great interest for him, even of experimentation with the creation of neologisms and new ways of combining the letters together. The second track gives us a nice chance to approach a very special “Dictionnaire“.
“La Diminuée” has weird, theatrical tones alternating with tender sounds of twittering and magnificent lyrical breakthroughs. The mood changes drastically in the fourth and last song, “Rien qu’en Ciel“. It’s a twenty-four-minute performance, wonderful and frightening at the same time, that unveils a dramatic scenery, a kind of desperate cry while a higher and higher wall erases the sky. It’s a dark and haunting final but, despite of it, in the silence that follows the end of the music, a little smile finds its way and sweetens the lips and the soul of the listener. This is what happens in front of a work of art or a spectacle of nature. And this music is beautiful, imaginative and free just like a successful picture or like the flight of the birds that paint the sky with their wonderful parade." [Gabriele Carlini}
https://adnrecords.com/la-stpo-romanciel/
"Romanciel (DNN 032 C) beginnt mit ‘Roman‘ und endet mit ‘Rien qu’un Ciel‘, logisch, soweit bei LA STPO je etwas logisch ist. Zwischen die mit knapp 20 und 23 3⁄4 Min. mächtigen Flügel haben JimB – guitar, Patrice Babin – drums, Sébastien Desloges – bass & violin, Christophe Gautheur – keys & reeds und allen voran Pascal Godjikian zwei live schon bekannte Kabinettstückchen platziert: das a capella angestimmte meta-ykegiakische, meta-tidalikische ‘Dictionnaire‘ und ‘La Diminuee‘, das mit verkleinerter Nase die Schwarz-wurzel falsifiziert. Davor bringt Pascal Zeilen aus “Le Tueur Littéral“, einem Roman des Typs R, wie: On a paré tous les états de mort oder Enfin, les 16 décès aux joyeux abois.
Und stellt einen zuletzt vor eine höher und höher wachsende graue Mauer, Mauer, Mauer, die einem die Welt und den Himmel verstellt. Les pédales de la mort korrespondiert mit les états de mort. Aus Literatur werden Daten, Himmel gibt es nur noch auf Screens. JimBs Artwork lässt jedoch die farblose Sterilität eines Lochkartenlabors von Vögeln mit blauer Farbe bekleckern. Und von den ersten zitternden Geigenstrichen, von Pascals ersten irrwitzig artikulierten Sätzen an gibt da auch wieder die extraordinäre, im bad alchemystischen Sinn superlativste Musik ihr Kontra. Artrockistisch komplex, mit wieder Pascals unnachahmlichen Manierismen. Die phantastische Wortwahl und die theatralische, akrobatisch zwischen guttural und falsett springende Performanz suchen in ihrem surrealen, artaudesken Reiz, ihrer grotesken Komik einmal mehr ihresgleichen. Wie launig da wieder Babin mit Stabspiel klimpert oder übers Fell galoppiert, wie die Gitarre zuckt und Gift spuckt, der Kecak-Spaß, der vogelige Abbé Birdeen-Spleen bei ‘La Diminuee‘. Und schließlich das umflimmerte Pizzicato, die Violinrufe, das brachiale Mahl- und Basswerk, der Gitarrenexzess, die melancholischen Vibes, die ultimative, gegurgelte Glossolalie bei ‘…Ciel‘ als hochdramatisch karnevalsgrotesker Menschheitsdämmerung bis hin zu den finalen Paukenwirbeln und stechenden Pfiffen. Unfassbar stark!" [Rigobert Dittmann (Bad Alchemy 114)] |
2022 |
€13.00 |
|
| LA STPO (SOCIETE DES TIMIDES A LA PARADE DES OISEAUX) |
Tranches de temps jete (Slices of thrown time) |
LP |
Für jeden Recommended Records- und „AvantRock“-Fan ein MUSS, das neue Album dieser ungewöhnlichen Band, die auf französisch singen, sprechen und schreien und musikalisch fast schon theatralisch zu nennende „Szenen“ entwerfen, die irgendwo zwischen Geräuschmusik, Filmmusik & Experimental-Rock liegen.... wobei jedes Stück bis ins kleinste Detail ausgearbeit ist !
Nicht nur höchst kurzweilig, sondern auch anspruchsvoll und ästhetisch tönen diese Aufnahmen, die bereits im Jahre 2000 gemacht wurden...
Dies die limitierte Vinyl-Version....
“Ed. of 325 copies. Vol. 3 of Records are not for Baking In the midst of the world's fascination with so-called Electroclash, leave it to the old school to really show what post-punk is really about, while simultaneously turning the concept on its fractured head. LA STPO has the finesse and invention and the je ne c'est quoi to massage its victims into a quiet trance, only to pummel them seconds later. Slices Of Throw Time is like a Van Der Graaf arc between the bombast of Blurt/Ex/Dog Faced Hermans/Contortions/Birthday Party and the subtle, avant-composerly moments of Henry Cow/This Heat/Univers Zero/Faust. The punchy rhythm section, abetted by the squawky horns, makes for a music to which one can truly contort. LA STPO's musical muscle, however, is always backed up by solid jazz/classical informed chops that can and will chop any lesser outfit into nothing more than a pile of over-loud rock and roll dust. LA STPO infuses their punk with dynamics of both volume and texture, producing a slightly zeuhl flavoured post rock, which should, by all rights, land Slices Of Throw Time on many a critic's year end top 10 list. We all know this will not likely happen, but hopefully there is enough room in YOUR top ten list for rock that both rocks and explores.” [label info]
www.blrrecords.com
|
2006 |
€17.00 |
|
| LABELLE, BRANDON |
Shadow of a Shadow |
CD |
"Die Veröffentlichungen von BRANDON LA BELLE aus Los Angeles sind nicht nur soundmäßig immer interessant, sondern auch wegen seinen stets konzeptuellen und musiksoziologischen Begleittexten. Kein Wunder also daß SELEKTION mit Shadow bereits das zweite LABELLE – Werk veröffentlicht. So heißen seine 8 schönen minimal-flächigen Stücke, die auf konkreten Materialien und field-recordings beruhen, auch z.B. „Building are bodies resonating with the conflictual flow of various elements“, oder „The surrounding space is a medium agitated by random bodies“. Regt zum verweilenden Nachdenken an, ausgezeichnet !!" [Drone Rec. 2001]
"...sound is always undermining its own systemization, signifying more than a one to one relation. Rather, a multiplicity of connotations appear with sound and are amplified within its
wave: conversations are set in motion between the sounds I make and the sounds already occuring, between the cultural work and the real, between listening and responding. This conversation fluctuates in the slippery fold of meaning, in the agitated space of the real, making it uncertain where one sound orginates and the others fade out, where public space starts and private impulse ends, where music is heard and interference disrupts." - Brandon Labelle. total playing time 46:31. Leporello with a text by Brandon Labelle. Cardboard sleeve, design Charly Steiger. [press release]
|
2001 |
€13.00 |
|
| |
Site Specific Sound |
Book & CD |
“Wie jede unbedeutende Schlammlawine oder sterbende Hefezelle so rauscht auch jeder Raum im eigenen Format, in eigener Zeit und sowieso immer anders. Kaum ein anderer weiß darüber so dezidiert Auskunft zu geben, wie LaBelle, selbst seit unzähligen Jahren Musiker und Soundinstallateur. Seine Essays über die Abstrakta Building, Music, Walls, Sound Installations etc. sind äußerst schlüßig verfaßt und machen auf genau das aufmerksam, was im Sog des (natürlich immer extrem vereinfachenden) Beats oder der Popmusik immer wieder verschluckt wird. Hier zählt einzig der pure Sound, das unvorhersehbare Ergebnis im Wechselspiel der Schallwellen mit seinem Publikum, seinen Begrenzungen und natürlich seiner zu kurzen Halbwertzeit. Vervollständigt werden alle Theorien und Kommentare mit einer überaus hilfreichen Audio-CD, die Aufnahmen von verschiedenen Soundinstallationen LaBelles zusammenfaßt und somit gekonnt alles Ausgeführte in verführerische Soundbeispiele transformiert. Sehr schön und aehm.. fast sexy.“ [Erik Benndorf / DeBug]
“Site Specific Sound documents a series of sound installations from 1998 to 2002 by sound-artist and writer Brandon LaBelle. Each installation was created as part of the Beyond Music Sound Festival in Los Angeles, an annual festival on sound practice at Beyond Baroque Literary/Arts Center. Functioning site-specifically, and drawing upon the architectural structure of the building, the installations explore the relationship between sound and space by staging social and spatial interventions. In documenting these five installations over the course of five years Site Specific Sound pries open architecture, and the specifics of locality, as a contingent form whose relationship to sound extends well beyond acoustical phenomena. It suggests ways to understand the fabrication of space through sound as a central lens, and architecture as a strategy for the construction of sound events. Including writings by LaBelle, an interview by the Frankfurt-based media-artist Achim Wollscheid, and a Compact Disc of audio work.” [publishing house info]
|
2004 |
€16.00 |
|
| LACHENMANN, HELMUT |
Gran Torso (etc) |
LP |
Geräuschafte Klänge, auf Klavier und Streichern eingespielt, bestimmen das Bild auf den vier hier enthaltenen Stücken. Radikales, ultra-konkretes Material mit ungewöhnlichen Konzepten dahinter (im Beiblatt näher erläutert), die von gängigen Hörgewohnheiten befreien sollen. Alle Kompositionen entstanden zwischen 1969 und 1972. Darunter auch eines der grossen Werke neuerer Streichquartette, das GRAN TORSO.
tracklisting:
Helmut Lachenmann (*1935)
Guero, Pression (2 versions), Gran Torso (original version)
Guero for piano (H. Lachenmann)
Pression for cello solo (W. Taube)
Pression for cello solo (M. Bach)
Gran Torso (original version) for string quartet (Società Cameristica Italiana)
www.edition-rz.de |
1990 |
€16.00 |
|
| LAINHART, RICHARD |
White Night |
CD |
minimal ambience recorded 1974 ! Edition of 500
Ein wunderschön schimmernder, fast 30minütiger Drone von 1974 offenbart sich auf WHITE NIGHT, der aus vier sich umtänzelnden, schwingenden Tönen besteht. Obwohl hierzu Sinus-Töne auf einem MOOG-Synthesizer kreiert wurden, ergeben sich Obertöne und eine "wavende" Räumlichkeit, die das ganze eher nach Gitarrendrones klingen lassen, wie ihn heutzutage STARS OF THE LID oder ULTRASOUND machen...
Erschienen auf dem Label von TOBIAS FISCHER (FEU FOLLET) und MIRKO UHLIG (ex AALFANG MIT PFERDEKOPF).
"Back in 1974, one year before Brian Eno’s first landmark in Ambient-music, some young musician from New York wrote down a fragment of beauty’s hidden story with the minimal vocabulary of sine waves on the young black skin of a Moog synthesizer. The first release on CD features Richard Lainhart’s masterpiece in its original 29-minutes-version. There’s no single second to add, after this time everything is told though nothing has been said. Richard Lainhart about the work’s origin: "White Night" was composed and recorded in the late fall of 1974 at the State University of New York at Albany in the Coordinated Electronic Music Studio (CEMS). CEMS was created by my composition teacher Joel Chadabe with design and custom fabrication by Robert Moog and was, at the time, the largest integrated Moog modular synthesizer studio in the world. The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.
The center tone of "White Night" is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. "White Night" was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, "White Night" lives in its own pitch world.
The title "White Night" came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn't - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it "White Night" to commemorate that evening of wind and snow." [label info]
www.exovo.org
|
2007 |
€12.00 |
|
| LALI PUNA |
Our Inventions |
CD |
"2004 erschien ihr letztes Album "Faking The Books", dennoch ist Lali Punas Einfluss auf die elektronische Popszene immer noch spürbar. Gemeinsam mit The Notwist zeichnet die Band um Valerie Trebeljahr für moderne, experimentell angehauchte Popmusik verantwortlich. Mit "Our Inventions" rücken sie die Grenzen des Genres wieder mal ein Stück weiter. Der Song "Rest Your Head" schlägt eine souveräne Brücke zur vergangenen Bandhistorie. Hier pulsieren die Keyboards in warmen Wellen und begleiten Trebeljahrs Flüstern mit einlullenden Melodien - bis einen der Drumcomputer aus versponnenen Tagträumen reißt. Während das Vorgängeralbum förmlich auf die Bühne strebte, zeugt "Our Inventions" von intensiver, fast schon introvertierter Studioarbeit. Gleichzeitig unterstreichen Songs wie "Remember" und "Everything Is Always", was Lali Puna so besonders macht: überschwängliche Mitsingharmonien mit Feinschliff, die ihre Seele nicht hinter der Technik verstecken. Das Album schließt mit "Out There", Lali Punas Kollaboration mit Yukihiro Takahashi (Yellow Magic Orchestra). //
More than half a decade has elapsed since the release of Faking The Books, Lali Puna's third (and hitherto most recent) long-player, but the band's impact on the climate of electronic rock music remains palpable. Along with sister-group The Notwist, this Weilheim quartet have helped map out the musical landscape for modern, experimentally minded pop music, and Our Inventions finds Lali Puna continuing to push the frontiers of their medium. 'Rest Your Head' serves as a perfectly poised re-introduction to the band and all they've become. Initiated by waves of glassy pulsations and warm, swelling synths, the song has the feel of a reverse-lullaby - gently winding its way through reposeful melodies, guided by the welcoming whisper of Trebeljahr's vocal until the final third kicks in with drum machine hits, and you're wide awake. While Faking The Books, with its vibrant riffs and extrovert tendencies, had the sound of a record begging to be played live, Our Inventions exhibits the hallmarks of an album spun from intensive studio-bound introspection. Two of the most explosive and ebullient songs here - 'Remember' and 'Everything Is Always' - confirm so much of what's special about Lali Puna: all the elements are at once precision engineered and delivered with absolute heartfelt conviction; perhaps never before have such jubilant pop hooks been so meticulously and fastidiously crafted, yet you can always hear the soul behind these machines. This is an album that's made for and about the modern world, concerning itself with the driving forces of progress and technological obsession. Trebeljahr's lyrics are suggestive of alienation and disenfranchisement from nature during the irony-laced title-track: "The birds in the trees/Singing our mobile melodies/What a sweet, sweet world", later stipulating that 'progress' never really gets us anywhere on 'Everything Is Always' ("Nothing new/These days"), while hinting at the ultimate bankruptcy of the all-devouring consumer age during 'Safe Tomorrow': "Never going anywhere/Don't stop by and get to know/Stuff your memory with facts/Save Save Save". The final song on the tracklist is 'Out There', a collaboration with the Yellow Magic Orchestra's Yukihiro Takahashi. The version appearing here is an alternate rendering of the track that appeared on Takahashi's Page By Page album in 2009. Here Trebeljahr addresses the global financial collapse ("Their kingdom's past, their kingdom's gone/Just ruins and plain desert/It's all burnt down, we're left alone"), and sure enough, Our Inventions is a body of work that keenly engages with the concerns of its time, one that confronts the excesses and ever-accelerating pace of modernity. The sublime, virtuoso electronic arrangements of Our Inventions directly lock onto the record's recurrent key themes, depicting a world inundated with technology and consumed by a fixation on progress - simultaneously passing commentary on this state of affairs and overcoming it. When Trebeljahr intones "Things move on/I'm gonna work fast because tomorrow comes quick" it sounds like it's being sung from the perspective of someone who's already there." [label info]
www.morrmusic.com
|
2010 |
€16.00 |
|
| |
Our Inventions |
LP |
"2004 erschien ihr letztes Album "Faking The Books", dennoch ist Lali Punas Einfluss auf die elektronische Popszene immer noch spürbar. Gemeinsam mit The Notwist zeichnet die Band um Valerie Trebeljahr für moderne, experimentell angehauchte Popmusik verantwortlich. Mit "Our Inventions" rücken sie die Grenzen des Genres wieder mal ein Stück weiter. Der Song "Rest Your Head" schlägt eine souveräne Brücke zur vergangenen Bandhistorie. Hier pulsieren die Keyboards in warmen Wellen und begleiten Trebeljahrs Flüstern mit einlullenden Melodien - bis einen der Drumcomputer aus versponnenen Tagträumen reißt. Während das Vorgängeralbum förmlich auf die Bühne strebte, zeugt "Our Inventions" von intensiver, fast schon introvertierter Studioarbeit. Gleichzeitig unterstreichen Songs wie "Remember" und "Everything Is Always", was Lali Puna so besonders macht: überschwängliche Mitsingharmonien mit Feinschliff, die ihre Seele nicht hinter der Technik verstecken. Das Album schließt mit "Out There", Lali Punas Kollaboration mit Yukihiro Takahashi (Yellow Magic Orchestra). //
More than half a decade has elapsed since the release of Faking The Books, Lali Puna's third (and hitherto most recent) long-player, but the band's impact on the climate of electronic rock music remains palpable. Along with sister-group The Notwist, this Weilheim quartet have helped map out the musical landscape for modern, experimentally minded pop music, and Our Inventions finds Lali Puna continuing to push the frontiers of their medium. 'Rest Your Head' serves as a perfectly poised re-introduction to the band and all they've become. Initiated by waves of glassy pulsations and warm, swelling synths, the song has the feel of a reverse-lullaby - gently winding its way through reposeful melodies, guided by the welcoming whisper of Trebeljahr's vocal until the final third kicks in with drum machine hits, and you're wide awake. While Faking The Books, with its vibrant riffs and extrovert tendencies, had the sound of a record begging to be played live, Our Inventions exhibits the hallmarks of an album spun from intensive studio-bound introspection. Two of the most explosive and ebullient songs here - 'Remember' and 'Everything Is Always' - confirm so much of what's special about Lali Puna: all the elements are at once precision engineered and delivered with absolute heartfelt conviction; perhaps never before have such jubilant pop hooks been so meticulously and fastidiously crafted, yet you can always hear the soul behind these machines. This is an album that's made for and about the modern world, concerning itself with the driving forces of progress and technological obsession. Trebeljahr's lyrics are suggestive of alienation and disenfranchisement from nature during the irony-laced title-track: "The birds in the trees/Singing our mobile melodies/What a sweet, sweet world", later stipulating that 'progress' never really gets us anywhere on 'Everything Is Always' ("Nothing new/These days"), while hinting at the ultimate bankruptcy of the all-devouring consumer age during 'Safe Tomorrow': "Never going anywhere/Don't stop by and get to know/Stuff your memory with facts/Save Save Save". The final song on the tracklist is 'Out There', a collaboration with the Yellow Magic Orchestra's Yukihiro Takahashi. The version appearing here is an alternate rendering of the track that appeared on Takahashi's Page By Page album in 2009. Here Trebeljahr addresses the global financial collapse ("Their kingdom's past, their kingdom's gone/Just ruins and plain desert/It's all burnt down, we're left alone"), and sure enough, Our Inventions is a body of work that keenly engages with the concerns of its time, one that confronts the excesses and ever-accelerating pace of modernity. The sublime, virtuoso electronic arrangements of Our Inventions directly lock onto the record's recurrent key themes, depicting a world inundated with technology and consumed by a fixation on progress - simultaneously passing commentary on this state of affairs and overcoming it. When Trebeljahr intones "Things move on/I'm gonna work fast because tomorrow comes quick" it sounds like it's being sung from the perspective of someone who's already there." [label info]
www.morrmusic.com |
2010 |
€16.00 |
|
| LAMINAR |
Manifold |
CD |
Nach der hervorragenden Debut-CD dieses New Yorkers Projekts auf Soleilmoon (“Ante-Chamber“) ist dies das zweite volle Album, wo wieder mikrotonale Soundereignisse der Umwelt aufgenommen und verarbeitet wurden: das Fallen von Blütenpollen auf den Boden, das Flattern von Insektenflügeln, verdunstendes Wasser... bei diesen Transformationen entstehen sehr geräuschhafte, rauschige, tief pulsierende, abwechslungsreiche Geräuschbäder... hier kann man ganz tief eintauchen in surreal-obskure Lauthüllen und Landschaften... erinnert an HAFLER TRIO, ROLAND KAYN, DIMUZIO...
“ Laminar's sound investigations and amplification of everyday life's miniscule sounds might resemble another Soleilmoon project, Alp. But Laminar's agenda is far more malevolent. Inspired by the imperceptible sounds of pollen falling from a flower to the ground, the flutter of insect wings, and the evaporation of water, Laminar has recorded "second order sonoritites" of these sonic phenomena, and expanded them through an aural threshing device. The intense eruption of turbulent noise found on "Sector One" and "Sector Five" from the Ante-Chamber album taps into the physicality of Laminar's investigations. In effect, Laminar fuses these tiny sounds with a radioactive isotope to document violent breakdown at a molecular level.” [press-release]
|
2002 |
€14.00 |
|
| LAMY, PHILIPPE |
Drop Diary |
CD |
"After numerous appearances on various netlabels, collabs with Pleq, and shortly after the publication of his debut solo CD “Slowfast” on Dronarivm, Philippe Lamy confirms all the hopes placed into him… Years of experience as an established painter and teacher in Plastic Arts, as well as his late coming to the music have allowed him to stand back, and feed his soundscapes with an extreme care for textures & densification…
This expert practice lead him to weave intimate bounds between his visual art, and his sound pieces…
With “Drop diary” he pushes everything further, close to some total synesthesia…
Mix of fluids, cross of breaths,
sketch of outlines, a succession of barely visible, furtive worlds…
Lines, strokes, fleeting & penetrating moments,
splinters of night…
Rubbings, drip, measure of time,
a notion of universal, permanent flux…
A way of sticking to it, be within its own heart…
Self ramifications…
Holes, folds, follow-up of curves…
The squeezed in words, dissimulated truths,
swirls, veiled cluster of stars…
So many mute guides…
A necessity of merging into, to understand,
to take on a new lease of our surroundings,
enriched by their own echoes, their murmurs…
Captured sources, origin points,
the calm of the brush, the amplitude of the move, like a gradual obviousness,
an amazing force, till going back up to the primary water, spurt of lives…
“Drop diary” records the vital impulse,
a compendium of emotions, it shows that elusive something, that essential which founds us, yet remains ungraspable…" [label info]
www.mysterysea.net
"The only time, I think, I heard of Philippe Lamy before, was when he did a remix of Pleq (see Vital Weekly 767), but here he comes up with an album of field recordings made in his painting studio and 'some sounds "outside"' as it is said on the cover. Entirely different cake here. Unlike many of the Mystery Sea recordings, the connection with 'water' is not easily made here in the music (except for some dripping in 'Au Revoir', the final piece on this release)å. Perhaps this is because there is a lot of processing applied to the music? Maybe it's because it's all quite soft? The latter for sure: this is indeed all quite soft and no doubt there is a lot of processing here. It makes that the music of Lamy is not easy to decipher. It seems there is an amount of motorized sounds, such as in 'Depot' for instance, but most of the times it's just very hard to know what is going on. The abstract level is very high here, and it results in something that is not always highly original,
but it sounds altogether pretty good and pretty intense. You have to stop doing whatever it is you're doing and listen with all your available senses to the music. You think Main here, or Kassel Jaeger, but then much softer, more pushed away and alienated, and that's mainly due to the soft spoken nature of the music. Maybe this harks back to the time when this sort of quietness was all new and great, but for me, I wouldn't have minded to have all of this a bit louder and more present. I like to play a CD straight away and not first having to fiddle around with my EQ to get the best out of it." [FdW/Vital Weekly]
|
2013 |
€13.00 |
|
| LAND:FIRE |
Shortwave Transmission |
CD |
"Ist es wirklich schon fünf Jahre her seit das letzte Land:Fire-Album "Physical : Mental : Psychological" erschien? Ja, das Herbst9-Nebenprojekt von Henry Emich und Frank Merten hat tatsächlich so lang mit neuem Material auf sich warten lassen. Und trotz der grossen Zeitspanne ist das Thema des Albums ähnlich gewählt, geht es wieder um die Auswirkungen radioaktiver Techbologien. "Physical : Mental : Psychological" beschäftigte sich mit den Auswirkungen von 'Trinity', der ersten Atombombe 1945. Land:Fires neues Album "Shortwave Transmission" steckt den Rahmen etwas anders ab und beschäftigt sich mit dem Einsatz radioaktiver Substanzen in der modernen Kriegsführung, vor allem während der Kriege im Nahen Osten gegen Ende des letzten Jahrhunderts und den daraus resultierenden Folgen.
Das Duo zeichnet ein apokalyptisches Bild der Welt, das wir uns so kaum vorstellen können, waren diese Kriege doch zu weit weg oder sind schon zu lang her. Da erscheint es fast beschämend, wenn einem die Musik aus "Shortwave Transmission" gefällt. Dieses mit Sprachfetzen aus alten Aufnahmen angefüllte Inferno klingt wie der düstere Nachhall einer Menschheit, die sich selbst vernichtet hat und deren auditives Vermächtnis alles ist, was übrig geblieben ist und nun in Radiowellen transformiert durch den Äther schwebt.
Eine verlorene, einsame Melodie hallt knarzend vor sich hin. Bedrohliches Donnern macht Angst, genauso wie starkes, pulsierendes Rauschen. Blubberndes und kratzendes Grollen, von hellen, metallenen Tönen begleitet und mit unkenntlich verzerrten Sprachsamples führt zu einem abrupten Ende. Land:Fires Musik hat aber auch unweigerlich schöne Momente. Trostlosigkeit und Zerstörung sind nicht allumfassend. Der Schrei eines Raubvogels zum Beispiel oder die melancholische aber spärliche Melodie in "Most People Were Silent". Dieses Album ist eine Warnung, eine Aufforderung aufzuhören, bevor uns die Radioaktivität verschlingt. "Shortwave Transmission" ist kein Soundtrack für den Weltuntergang, sondern schon eher ein Nachruf." [Medienkonverter]
"Coming back with an all new album after more than 5 years the Alter Ego of HERBST9 delivers
another outstanding soundtrack about radiological warfare and it´s debris during the last century.
SWT is like a massive energy spike with a surrounding maelstrom of machine noises, rhythms, interferrences and electromagnetic waves. The complex arrangement of technical sounds creates a deadly atmosphere of fallout and devastated landscapes with an apocalyptic aura reflected by dissonant harmonies and deep shimmering ambient scapes. Presented in a 6 panel digipack. Mastered by Andreas Wahnmann." [label info]
www.loki-found.de
"With a title like 'Short Wave Transmissions', you could perhaps easily think that the album of Land:Fire is along that of S.E.T.I. That is only partly true. There is indeed a lot of talking on this record, snippets from the radio, but the music is somewhat different. Land:Fire is an alter-ego of Herbst9, and it has been five years since he last released a record. This is all about radiological warfare, nuclear fall out and other somewhat unpleasant things in life. Here too we have some analogue synthesizers, computerized effects but also rhythm machines, which create a cold clinical and mechanical sound. That may seem like something negative, but its not. The music is very dynamic, moving back and forth between blocks of synthesized sound and soft spoken ambient textures, all spiced up with radio talk. Its not easy to say wether the music really reflects the radiological/nuclear holocaust theme (would you be aware if it wasn't told?), but there is certainly a spooky atmosphere surrounding this record. Excellent soundtrack to an imaginary film about these kind of subjects." [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
| LANDING |
Fade In Fade Out |
maxi-CD |
"Neue Veröffentlichung der “heavenly guitar-spheres”-band, LANDING dringen hier auf 5 Stücken mit Gitarren, Echos und e-bows in endlose Weiten vor, himmelwärts schreitend und auch melancholisch-introvertiert – Bass, Percussion und Gesang erscheinen da schon fast als Beiwerk, fügen sich aber perfekt ein.
beautiful and elegant stuff ! Reminds on SLOWDIVE, LABRADFORD, FLYING SAUCER ATTACK.. 37 min !
New 5-track release, LANDING move with their music into endless heaven-spaces, very uplifting while being melancholic and introspective at the same time !!" [DRone Rec. 2002]
“ In one swoosh, Landing have constructed their finest and most representative achievement to date. Graceful and languid, Fade In/Fade Out sums up every last nuance about this band, rippling forth their detailed drone color splashes and songwriting surrealism from music made absolutely raw and in the moment. Fade In/Fade Out is the foundation to establish Landing as the humble heirs to the new space-gaze sound.” [label description]
label-website: www.strange-attractors.com
|
2002 |
€10.00 |
|
| |
Passages through |
CD |
"Passages Through" ist der vierte Longplayer von LANDING und ein fließendes Songgemälde. Diese Veröffentlichung markiert den Höhepunkt von LANDING in Bezug auf Freundschaft und der Fähigkeit zu musikalischer Kollaboration. Jedes Mitglied konnte seinen/ihren persönliche Note den Aufnahmen aufdrücken, die Instrumente wurden getauscht ohne Rücksicht auf Egomanie, und alle Gedanken konzentrierten sich gemeinsam auf die Musik. Einem Genre oder einer Klassifizierung wurden keine Beachtung geschenkt. Trotzdem kann man den Sound als abgespaceten Drone-Post-Rock bezeichnen. Dieser kommt aus dem Herzen und wird gespielt von vier echten Freunden! Hier ist LANDING in 3D!
[press release - Cargo translation]
www.krecs.com
|
2003 |
€15.00 |
|
| LANE, CATHY |
The Hebrides Suite |
CD |
"How does history – past lives and past events- leave sonic traces and how can we hear them?
The Hebrides Suite is the result of an attempt to answer this question and the culmination of composer Cathy Lane’s three decade long engagement with the Outer Hebrides.
The Outer Hebrides form a 130-mile long archipelago about 40 miles off the north-west coast of Scotland. There are more than 200 islands but only a few are now inhabited. In the 2001 census the total population of the islands was 26,502. The best known of these islands are Barra (1078), Benbecula (1219), Berneray (136), North (1271), South Uist (1818) and Harris and Lewis (combined population 19,918). There has been an overall slow population decline in the islands over the last two hundred years, with peaks and troughs caused by economic and political fluctuations. In the 1840s poverty and famine lead to whole villages being evicted by landowners, often brutally, to make way for the higher profits of sheep farming. During these forced clearances many people took assisted passages to Canada and Australia and as far away as Patagonia and the Falkland Islands. In the twentieth and twenty first centuries much of the island lands are still owned by absentee landlords and the islanders’ struggles for self determination and economic and political control have continued.
The Outer Hebrides are the most strongly coherent Scottish Gaelic (Gàidhlig) speaking area in the world. Gaelic is a Celtic language related to Welsh, Cornish and Breton. In 2001, 61.1% of the population of the Outer Hebrides spoke Gaelic (compared with 1.2% in the whole of Scotland). A handful of Gaelic speakers can be found in the United States, Canada and Australia most of whom are descended from nineteenth century emigrants. There is a strong Gaelic culture.
Religion is also a significant factor in the life of the inhabitants of the islands. The southern islands of Benbecula, South Uist and Barra are predominantly Roman Catholic. In the northern islands, especially Harris and Lewis, the non-conformist Free Church of Scotland and the still more conservative Free Presbyterian Church of Scotland are very influential. There is a tradition of Sabbath observance and few shops or transport services are available on Sunday although this is increasingly contested.
The emigration still continues, particularly among the young, as the islands offer few employment opportunities. Most present day commercial activities concern tourism, including heritage tourism; crofting; fishing and fish farming and weaving including the manufacture of Harris tweed, a cloth that has been handwoven by the islanders in their homes using pure virgin wool that has been dyed and spun in the Outer Hebrides.
Each of the works in The Hebrides Suite uses a mixture of field recordings, interviews and oral history material from existing archives to explore aspects of island life past and present through the medium of composed sound." [label info]
www.gruenrekorder.de
"We cross the Atlantic again but go north, to the Outer Hebrides, a remote '130 mile long archipelago of islands about 40 miles off the north-west coast of Scotland'. Gruenrekorder has the previous two as part of their field recordings series, this one is in the 'soundscape series', so I assume that the material is not presented 'as is', but is used to compose a piece of music with this, with repeating blocks of sounds, mixes of various bits together, but with the overall idea that we stay in one place and we know more of the place. Cathy Lane does that in six pieces, all around nine to twelve minutes and each is about a certain aspect of the Hebrides, the wind, the sheep/the mill, life on the islands and such like. Sometimes, such as in 'Where Once Were Whales', about fishing, we also hear voices, talking about their trade, even when it's not always to understand what they are telling us, partly due to the dialect, partly due to the fact that the voices are layered. It perhaps adds to the mystique of the release? Unlike the other two, which are 'merely' audio travelogues, Lane actually composes with the material and makes some very strong compositions with it. Of the three releases, it's also the one which has the most documentation, explaining in detail what each piece is about. I quite enjoyed all three of these releases, but it was the Cathy Lane release that I especially enjoyed for it's more musical qualities. One to play again and again." [FdW/Vital Weekly]
|
2013 |
€13.00 |
|
| LANG, KLAUS |
Einfalt.Stille |
CD |
Another kind of meditative ZEN-ambience, created totally acoustic / non-electronic with flute, female singing, very subtle percussion and viola. Music that floats, and creates an inner state of silence and stasis at the same time. Very nice and deep, not "new agey" at all!
"Durch hörende Konzentration oder durch Konzentration auf das zu Hörende können wir eintreten in einen Zustand der Einfalt des Geistes, in einen Zustand äußerster innerer Klarheit oder innerer Stille. Anders ausgedrückt: durch die Konzentration auf den Fluß der Musik erreichen wir einen inneren Zustand, nämlich den der inneren Stille, welche also eigentlich die Gleichzeitigkeit von Zustand und Bewegung ist. Dieses Paradox wirft die Frage auf: Fließt die Musik an uns vorbei, durch uns hindurch und löst diesen Zustand aus, oder erleben wir eigentlich gar keinen Zustand: ist es nicht vielmehr so, daß wir es sind, die durch den Klang fließen?
"This paradoxical situation poses the question: Is the flow of music passing us, is music flowing through us evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?" [from the credit notes]
www.edition-rz.de
|
2007 |
€14.00 |
|
| LAPORTE, JEAN-FRANCOIS |
Soundmatters |
CD |
Fünf starke Kompositionen (entstanden 1997-2005) des Kanadiers, die unter Verwendung von Natur-, Umgebungs- und Objektgeräuschen grossflächige Spannungsbögen & Dynamiken aufbauen. So wurden bei "Electro-Prana" nur Wind- bzw. Sturm-Sounds verwendet, während das majestätische "Dans le ventre du dragon" auf Original-Bläserklängen basiert, die in einer riesigen Frachthalle (mit 15 Sekunden natürlichem Hall) aus dem Hafengebiet Montreals stammen.
Laut LAPORTEs Theorie sind wir im post-industriellen Zeitalter permanent von "Mantren" umgeben, womit er v.a. Maschinengeräusche meint, die zyklisch wiederkehren und sich doch in allmählicher Weiter-Entwicklung befinden. Beeindruckend führt er dies exemplarisch in seinem 26minütigen Stück "Mantra" anhand der wunderbaren Vibrationen & Obertöne eines Kompressors von einem Eisstadion vor...
Hier kommen elektro-akustische Klang-Finesse, field-recording Glück & und erhabene Drone-Atmosphären zusammen.
Bei Aquarius Records "Record of the week" im März 2007 ! TIP !!
"....The opening track "Electro-Prana" is a pristine set of field recordings of a wind that ripped through Montreal, when the city was silenced by a winter time blackout. It's a pure, chilling sound of whistling wind overtaking the urban landscape. The next piece is the only digitally rendered composition on Soundmatters, yet Laporte brings his intuitive expressionism to a series of spiraling drones that easily rival those of your favorite minimalist (e.g. Niblock, Chalk, Hafler Trio, Xenakis, etc.). For those of you who have had the pleasure of experiencing Laporte's live concerts, the third piece will certainly be familiar. He's built an instrument with a series of car horns and elongated trumpet bells attached to an air compressor with each of the valves controlled by foot pedals. This instrument can generate infinitely sustainable, blaring drones from each of the horns; and Laporte craftily layers these sounds for incredible, dynamic results. Well, for this recording, Laporte lugged this instrument into the hull of a giant cargo ship and recorded this composition using the massive reverb of that space and the results are simply jaw-dropping. Imagine the most Nordic bellow from a Wagner symphony stretched out into its melancholic, raw sound and allowed to decay in space and time. Wow!
Following this is the aforementioned Mantra; and then Soundmatters' final piece which explores a quiet, yet thoroughly rich
harmonic tapestry produced by a quartet of saxophones that could be Laporte's imagined summit between Evan Parker and Morton Feldman with rasping breaths of sound breaking across a silent event horizon with the ghostly energy of subatomic particles flickering and dissolving
in a cloud chamber before amassing into a delirious swarm of Tony Conrad-esque acoustic dissonance. It's all utterly magnificent and
one of finest collections of 'serious' composition that we've come across." [Aquarius Records]
www.23five.org
|
2007 |
€13.00 |
|
| LAST DOMINION LOST |
Abomination of Desolation |
CD |
"Desolation: total, utter, without remit. Departure, loss, absence, yawning valleys of noise. The overture moans from the terminal ward. The humiliation of the cadaver, the scouring of abandoned houses and rubbish heaps, a planet blasted by the fruits of hubris. The last sigh of bathos: "It is finished“.
Such is the subject matter and sentiment of this follow-up to the much acclaimed albums “Snowdrops From A Curate's Garden“ and „Towers of Silence“ which put Last Dominion Lost firmly on the throne of post-industrial music. “Abomination of Desolation” is consistent with their development into a dark and profound direction, and yet saturated with the noise and feedback that taps deep into the genre’s conscience: Metallic percussion and the screams of terror, ritual chants and anxious atmospheres, all used and abused in order to create the most accurate soundtrack of desolation.
By the fans, “Abomination of Desolation” will be met with mixed feelings – as recordings began with John Murphy in 2015 and through his untimely death that year had to be finished without him, the acknowledged grandsigneur of post-industrial music. The album’s theme and musical approach were originally intended by John for a KRANK release: An electronic album, reflecting on John’s experiences when he was first hospitalized, comatose, and hooked to a breathing machine which was constantly creating bizarre sounds.
The result stands as a brief and concise display of the group’s ability to create an unmistakable old school sound with contemporary production value. The album runs for ten tracks clocking in less than 40 minutes total and features new member Till Brüggemann (Gerechtigkeits Liga), as well as guests Nikolas Schreck, Lori Goldston and John Murphy’s beloved wife Annie Stubbs among others. With a firm electronic/analogue backbone, a delicate contrast of percussions of various origins and uncanny vocals, this is a truly dark affair, and while towards the end of the journey some more aggravating feedback loops crawl in, it never gets upfront aggressive.
With the crisp mastering job of Hunter Barr it is safe to say that “Abomination of Desolation” will not lag behind its predecessors at all, but forge their deserved status as genre icons."
https://epicureanescapism.bandcamp.com/album/abomination-of-desolation
"Nachdem der Name Last Dominion Lost ursprünglich rückwirkend für Aufnahmen verwendet wurde, die John Murphy, Jon Evans und Dominic Guerin Anfang der 90er gemacht hatten, wurde in den letzten Jahren aus Last Dominion Lost eine aus Murphy, Evans sowie Julian Percy bestehende und in Berlin ansässige Band, die eine durchaus an den Ursprüngen des Industrials orientierte Geräuschmusik spielte, aber dem 21. Jahrhundert klanglich angemessen agierte. Über „Tower Of Silence“, das eigentliche Debüt, hieß es dann auch auf diesen Seiten, „dass Last Dominion Lost einen transparenten Klang schätzen, keinen Soundbrei, der vielleicht kurzfristig dem Hörer die Ohren zum Klingen bringt, dessen Effektivität sich aber schnell abnutzt.“ und man kann diese Einschätzung auch bzgl. des Nachfolgers – zwischendurch erschien das 2011 aufgenommene Livealbum „Snowdrops From A Curate’s Garden“ – „Abomination of Desolation“ äußern, denn wenn eine Reihe von Vertretern atonaler Geräuschmusik auf maximale Verzerrung und Statik setzen (am offensichtlichsten bei dem selbst so betitelten Wall Noise), beschreiten Last Dominion Lost einen anderen Weg, bei der statt Statik Dynamik oder besser gesagt: Unruhe herrscht – und das ist bei diesem „uneasy listening“ durchaus als Kompliment zu verstehen.
Mit einem dem Buch Daniel entliehenen Titel, der auch schon Morbid Angel und Clark Ashton Smith inspirierte, macht die Band deutlich, in welche Richtung das Album geht. Von Labelseite heißt es auch: „Desolation: total, utter, without remit. Departure, loss, absence, yawning valleys of noise. The overture moans from the terminal ward. The humiliation of the cadaver, the scouring of abandoned houses and rubbish heaps, a planet blasted by the fruits of hubris. The last sigh of bathos: “It is finished“.” Diese Sätze scheinen nur auf den ersten Blick hyperbolisch, denn natürlich kann bzw. muss man das Album auch vor dem Hintergrund von John Murphys Tod lesen. Murphy hatte Konzept und musikalische Ausrichtung ursprünglich für sein Projekt Krank angedacht, um seine Krankenhauserfahrungen zu verarbeiten. Beendet wurden diese Aufnahmen von Percy, Evans sowie Till Brüggemann von Gerechtigkeits Liga, der seit einiger Zeit festes Mitglied von Last Dominion Lost ist.
Letztlich ist das dystopische Musik, bei auf der der Stimme wenn nicht unbedingt eine zentrale, dann doch nicht zu unterschätzende Rolle zukommt: So etwa die Schreie, die auf „Overture To Desolation“ zu hören sind, während es scheppert und Glas zu zerbrechen scheint. Man hört aggressiv-derangierte Vocals auf „Dimunitive Cruciform“, irrsinnig dämonisches Stimmengewirr auf „Irrumatio Del Mortis“ oder aber im Hintergrund schreiende Personen auf „Bludger’s Kill“. „Devil’s Path, ein fast schon leicht atonales, analoges Ambientstück , wird von Flüstern durchzogen, „Beyond The Valley Of The Flies“ knüpft daran musikalisch an. Auf dem von ritueller Perkussion durchzogenen „Blueprint for Urban Warfare“ erklingen schmerzverzerrte Vocals, die eine psychische wie physische Auflösung zu illustrieren scheinen. Lediglich “Cursed Earth” erinnert vom Gesang an Power Electronics. Das ist vielleicht im positivsten Wortsinn pathologische Musik. In Anlehnung an Throbbing Gristle könnte man auch von einer “Journey through a diseased body” sprechen. Die Landschaften, die hier vor dem Auge des Hörenden entstehen, sind wahrlich (ver)wüst(et).
In Klarkash-Tons Prosagedicht “The Abomination of Desolation” heißt es:„Of this horror, many tales are told, and nearly all of the tales are different. Some say that the thing has neither visible form nor audible voice“, Last Dominion Lost haben dem Grauen eine mehr als adäquate Stimme gegeben." [MG/African Paper] |
2017 |
€12.00 |
|
| LASWELL, BILL |
Lo. Def Pressure |
CD |
"some more bill laswell... yes indeed, with a massive masterpiece called lo def pressure remember the indian project 'city' of light', the drum'n'bass highlited projects oscillations 1 & 2, mix it together and add a massive killer-like dub bass and 70's jazzy fusion keyboard «riffs», you will be close to the final result..? what 'lo def pressure is about: no non-sense, no bullshit, straight devoted to jungle beats pieces respectively from 23 and 24 minutes. two invitations to cyber-ethnics anthems, no time to chill, this is a non-stop hard-kicking fusion for the new millenium. 'lo def pressure'is shurely what you always wanted to ask for ...without daring. from new-york to new delhi, kingston to london this is a virtual trip through space and time. fasten your seat belt, lo def pressure airline wish you a nice more or less 50 minutes fly !" [label info] |
2000 |
€13.50 |
|
| LASWELL, BILL VS. SUBMERGED |
Brutal Calling |
LP |
"Diese Kollaboration von Bass-Master Laswell
mit dem Drum‘n‘Bass-Finsterling und OHM Resistance-Macher Kurt Gluck war 2004 zwischen der Photo Op Before A Long Hard Fuck-Split-10“ (2003) und Todd Bridges On Lockdown (Temulent Remix) / Summery Execution (Corrupt Souls Remix) (2005) als CD beim japanischen Label Avant erschienen und wurde nun durch einen Laswell-Aficionado für Vinyl-Liebhaber neu aufgelegt. Optisch verfinstert mit Totenköpfen Schwarz auf Schwarz, wird nun auch deutlicher sichtbar, dass die beiden New Yorker mit ihren Breakbeats und dem untergründig grollenden Bassbeben einen Nachhall von 9/11 inszeniert hatten. Auf Anschlag, was die Raserei der Beats angeht, hallt in Tracks wie ‚Mass graves‘ oder ‚Decapitation strike‘ Panik wider. Venetian Snares zerrt ähnlich an den Nerven, Brutal Calling greift aber direkter an, durchwegs fiebrig überdreht und bei ‚Lockdown on bridges and tunnels‘ mit einer WahWah-Gitarre, die Hals über Kopf Treppen hinab kreischt und blind nur noch dem Fluchtinstinkt gehorcht. Laswell zeigt hier den zerstörerischen Aspekt Shivas (wie in Chaos Face, Death Cube K, frühe Painkiller, Time Zone), den Crooklyn-Pol der Existenz, zu dem die Deep Vibrations seines Sacred Dub, die Healing Force seiner Ambient-Mantras, Innerrhythms und Space-Psychedelix (Asana, Charged, Divination, Equations Of Eternity, Pete Namlook, Tabla Beat Science, Jah Wobble) die Gegenkraft bilden.
Wobei nach Laswells Philosophie wohl nur unterschiedliche Aspekte der gleichen Kraft ihr Spiel treiben. Seine Basslinien pulsieren nämlich hier wie dort mit der gleich sonoren und souveränen Vitalität und Funkiness. Falls Brutal Calling den Fall der babylonischen Türme
kommentiert, dann jedenfalls nicht larmoyant.
Und wie sehr auch Glucks D’n’BHysterie sarkastisch helterskeltert, durch Laswells Bass werden selbst Kalis Tanzzuckungen auf dem round Zero zu Dynamiken der Transformation." [Bad Alchemy]
www.karlrecords.net
|
2006 |
€20.00 |
|
| LATER DAYS |
InvalidObject Series (do) |
mCD |
Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50
Better priced now, last copies of this absolute compendium of IDM. € 9.50
“ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works.
Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}
|
2000 |
€9.50 |
|
| LE DEPEUPLEUR (Z. KARKOWSKI & KASPAR T. TOEPLITZ) |
Disambiguation |
CD |
"Zbigniew Karkowski (*1958, Krakau) wird vermutlich in die Annalen der Neuen Musik eingegen als derjenige, der die Mikrotonalität von Xenakis kurz geschlossen hat mit Harsh Noise
aus Japan, wo er nach Studienjahren in Gothenburg, Amsterdam, Berlin und Paris seit 1994 seine Wahlheimat gefunden hat. In seinen schwedischen Jahren entstanden schon Werke
(Bad Bye Engine, 1984, Uexkull, 1991), die seinen Weg vorzeichneten, eine Obsession für
Noise, die immer wieder in Kollaborationen (mit John Duncan, H3O, Francisco López oder
Pita), vor allem mit japanischen Krachophilen, sich austobte, mit Tatsuo Furudate (World As
Will, 1998 / 2002), Aube (Mutation, 1999) und natürlich Masami Akita alias Merzbow (Sound
Pressure Level, 1998, Untitled, 2001, In Real Time, 2005). Mit dem virtuellen Senssurround
Orchestra, einer Art MIMEO of Noise, als Quintessenz. Für Disambiguation (aatp15) tat er
sich einmal mehr mit Kaspar T. Toeplitz zusammen, einem französischen Unikum zwischen
New und Noise Music, Senssurround-Mitstreiter und ebenfalls Furudate-Partner, der u. a.
für die Kompositionen für die Boxeroper Battling Siki (2003) und Art Zoyds Le champ des
larmes (2006) verantwortlich zeichnete. Den Kampfnamen LE DÉPEUPLEUR (Entvölkerer)
wählten die beiden nicht umsonst. Schon der erste Schub von Noise, der aus den Boxen
bricht, macht Tabula rasa, um darauf dann 46 Min. lang eine prasselnde Masse aus grauem
Rauschen auszugießen. War Agent Orange ein Florakiller mit Nebenwirkungen, so ist Disambiguation ein Vollspektrum-Bioterminator. Zurück zur Ursuppe, zurück zum Urknall, ZURÜCK
AUF ANFANG, ihr entarteten Amöben!" [Bad Alchemy] |
2006 |
€13.00 |
|
| LEGENDARY PINK DOTS (LPD) |
10 to the Power of 9 - Vol. 1 |
LP |
"Die Kult-Fomation meldet sich mit einem großartigen Konzeptalbum zurück,
erscheinend auf RUSTBLADE als limitierte Colored-Vinyl-Edition (499 Exemplare)!
Selten passt das Attribut legendär so gut wie auf die Gruppe um EDWARD KA-SPEL und
PHIL „THE SILVERMAN“ KNIGHT, die seit nun mehr als drei Dekaden für ihren
unverkennbaren, einzigartigen Soundkosmos verehrt wird, bei dem Psychedelic-Heads,
Dark Waver und Freunde experimenteller (Elektronik-)Klänge gleichermaßen auf ihre Kosten kommen. Mit ihrem neusten Machwerk legen die LEGENDARY PINK DOTS den ersten Teil
einer komplexen Story über Konspirativität, Magie und Spiritualität vor. Minimale Synths,
Gitarren, synkopische Beats, die Verwirrung stiften, psychedelische und transzendentale
Geräusche, welche wie gewohnt von der charakteristischen Stimme KA-SPELs begleitet
werden. „Ten To The Power Of Nine Vol.1 ”ist ein dunkler und außergewöhnlicher Trip in die
musikalische Psyche der LEGENDARY PINK DOTS, die hier wieder einmal ihren Status als
absolut unverkennbare musikalische Ausnahmeerscheinung bestätigen." [label info]
www.rustblade.com
"For more than thirty years I have been following The Legendary Pink Dots, of which maybe twenty years close to the fire. I have written a lot about the Dots; about their music, the various incarnations, the old work versus the new and how some of the new albums released on smaller scale are more experimental than the bigger scale releases. When I was listening to '10 To the Power Of 9' (a culmination of two earlier LP releases under the same name), I was thinking about the latter notion - small/big, experimental or not - and thinking this is perhaps no longer the case. Whereas on the older yet recent works the stomping ground of krautrock was used a bit too much for my taste, the more experimental works were relegated to CDR, but on '10 To The Power Of 9' there is a fine balance between the experiment and the accessibility. A song like 'Malice/Freak Flag' shows this inside one piece: noisy guitars, spacious synthesizers, spacious guitars and mayhem, within these twelve minutes a lot
happen. It seems as if Edward Ka-spel's voice is more 'above' the music, more reciting than singing; the emphasis is more on the poetry than the pure song format. But all of that embedded within the experiment of the music. I quite enjoyed this album for its variation. The more song-like structures of 'Open Season', 'Room For Two' and 'Your Humble Season' or the title piece, but also a psychedelic outing as 'The Elevator', which remind me of the band's various incarnations of the piece 'Premonition'. It seems to me that The Legendary Pink Dots have found their ground better in a work like this. Highly varied, a display of their various incarnations and throughout a hauntingly beautiful release." [FdW/Vital Weekly]
|
2014 |
€23.50 |
|
|
10 to the Power of 9 - Vol. 2 |
LP |
"This is the Second Volume of a complex story about conspiracy, magic, and spirituality. Minimal synths, guitars, syncopated rhythms that are making weird, psychedelic and transcendental noises which are of course accompanied by the distinctive voice of Ka-Spel. Lying on your sofa, pumping up the volume and just dream away on their ethereal sounds. 10 to the Power of 9 is a dark and exceptional trip into their warped and bizarre musical psyche." [label info]
www.rustblade.com
"Die Kult-Fomation meldet sich mit dem zweiten Teil der Konzeptreihe über Konspirativität, Magie und Spiritualität zurück, erscheinend auf RUSTBLADE als limitierte Colored-Vinyl-Edition (499 Exemplare, minzgrünes Vinyl)!
Selten passt das Attribut legendär so gut wie auf die Gruppe um EDWARD KA-SPEL und PHIL „THE SILVERMAN“ KNIGHT, die seit nun mehr als drei Dekaden für ihren unverkennbaren, einzigartigen Soundkosmos verehrt wird, bei dem Psychedelic-
Heads, Dark Waver und Freunde experimenteller (Elektronik-) Klänge gleichermaßen auf ihre Kosten kommen. Vor gut einem Jahr erschien der erste Teil dieser Konzeptserie einer komplexen
Story über Konspirativität, Magie und Spiritualität. Minimale Synths, Gitarren, synkopische Beats, die Verwirrung stiften,
psychedelische und transzendentale Geräusche, welche wie gewohnt von der charakteristischen Stimme KA-SPELs begleitet werden. „Ten To The Power Of Nine Vol.2“ ist abermals ein dunkler
und außergewöhnlicher Trip in die musikalische Psyche der LEGENDARY PINK DOTS, die hier wieder einmal ihren Status als absolut unverkennbare musikalische Ausnahmeerscheinung bestätigen." [Broken Silence info] |
2015 |
€22.50 |
|
| |
10 to the Power of 9 (special ed.) |
2 x CD bag |
"Deluxe limited edition of 99 copies issued with an extra CD in a cardboard sleeve. The album CD is included in a jewel case and compiles both volumes of the vinyl. Issued in a black velvet bag with a glow-in-the-dark pin and a transparent plastic postcard." [label info]
www.rustblade.com
"Endlich als CD und limitierte Box-Edition erhältlich. Die Kult-Fomation meldet sich mit einem großartigen Konzeptalbum zurück,
erscheinend auf RUSTBLADE als CD im Jewelcase und als lim. Box mit Sammlerinhalten.
Selten passt das Attribut legendär so gut wie auf die Gruppe um EDWARD KA-SPEL und PHIL „THE SILVERMAN“ KNIGHT, die seit nun mehr als drei
Dekaden für ihren unverkennbaren, einzigartigen Soundkosmos verehrt wird, bei dem Psychedelic-Heads, Dark Waver und Freunde experimenteller
(Elektronik-)Klänge gleichermaßen auf ihre Kosten kommen. Mit ihrem neusten Machwerk legen die LEGENDARY PINK DOTS den ersten Teil
einer komplexen Story über Konspirativität, Magie und Spiritualität vor. Minimale Synths, Gitarren, synkopische Beats, die Verwirrung stiften, psychedelische und transzendentale Geräusche, welche wie gewohnt von der charakteristischen Stimme KA-SPELs begleitet werden. „Ten To The Power Of Nine Vol.1 „ist ein dunkler und außergewöhnlicher Trip in die musikalische Psyche der LEGENDARY PINK DOTS, die hier wieder einmal ihren Status als absolut unverkennbare musikalische Ausnahmeerscheinung bestätigen.
Die limitierte Box-Edition enthält zustäzlich zur normalen CD noch eine Bonus-CD mit exklusiven Songs, einen Anstecker (leuchtet im Dunkeln) und eine transparente Postkarte, verpackt in einem Samtbeutel." [Broken Silence info]
|
2015 |
€40.00 |
|
| LEPENIK |
Atoll K. |
CD-R |
Tonto-Label-Betreiber ROBERT LEPENIK mit seiner ersten (?) CD-R, auf der orchestrale Arrangements und found sounds sehr schön digital dekonstruiert und prozessuiert werden.. "atoll k" ist der letzte film von stan laurel & oliver hardy, in dem sie stark gealtert und von schwerer krankheit gezeichnet agieren. fernab der kunstfiguren "dick und doof" versuchen die protagonisten ein image ihrerselbst aufrechtzuerhalten, das vom leben schon längst eingeholt wurde. der krasse gegensatz zwischen konstruierten idealbildern und dem davon unbeeindruckten "wirklichen" leben hat mich zu der arbeit an meiner cd "atoll k" inspiriert. das cover zeigt eine fotomontage: stan laurel im film "a chump at oxford" vor dem beinahe 30 jahre später entstandenen kunstwerk "sternenhimmel tuch" vonsigmar polke. ein chump, im film gefangen, in einem flüchtigen anfall von genialität das wahre, wirkliche leben erahnend.“ [label-Beschreibung]
www.tonto.at
|
2000 |
€11.00 |
|
|
Music with Words - Rhythms for Dancing |
CD |
„Das Dortmunder Label Genesungswerk steht für ein überaus konsequent experimentelles Sound-Spektrum. Dass dabei jegliche Pop-Hörgewohnheiten über Bord geworfen werden, mag teilweise anstrengen. Im Falle von Lepenik lohnen sich die Ausflüge.
Klassische Gitarre und darstellende Kunst hat Robert Lepenik studiert. So verwundert es auch wenig, dass die musikalischen Outputs des Österreichers vorwiegend im Kunst-Kontext verwurzelt sind. Dennoch gehörte er lange Zeit zur bekannten Noise-Industrial-Band Fetisch 69, die zwar ebenfalls keine leichte Kost präsentierte, aber insgesamt doch als Rock-Band wahrgenommen wurde. Sein Solo-Album „Music With Words – Rhythms For Dancing“ verwirrt gleich mit dem Namen. Denn die Rhythmik ist weit nach unten gepitcht, gemächlich zieht sie sich durch die achtzehn fragmentarischen Stücke. Ein wenig klingen sie wie Field Recordings, die allerdings nicht auf originalem Tonmaterial beruhen, sondern von verschiedenen Instrumenten nachgeahmt worden. Dadurch entsteht trotz der ständigen Themenwechsel eine gewisse melancholische Musikalität, die einen Zugang in das ganze Album legt. Man muss zuhören, die Langsamkeit zwingt dies auf. Und doch wird man gut unterhalten, sofern man sich darauf einlässt.“ [Jens Wollweber in Tonspion]
“Lepenik jumps with a clear sense of style and breath-taking smoothness through all musical genres. He turns their principles of construction upside down, gives them a good shaking, and brings grotesque creatures to the surface. Sometimes they would crawl up in a familiar way, just to start shaking their deformed limbs with mad flashing eyes all of a sudden. Every now and then a warm and sweet smile would break its path out of a vast playground chaos, so that the listener gets prepared for everything - just to get caught by surprise the very next moment.” [Erich C. Makelaan]
|
2005 |
€10.00 |
|
|
Treatments |
CD-R |
Sinustone-symphonies and intelligently composed collages, in fact these are 17 miniatures / remixes from other TONTO-artists material. Wild combinations of experimental tunes, searching for the NEW, mixed down to the point, very well done !
"...besonders beeindruckt hat mich die enorme kuerze, in der sich Deine stuecke entfalten, ohne je ueberladen zu sein. Du weisst
offensichtlich ziemlich genau, was Du da tust, arbeitest sehr präzise und verfaellst nicht in blinden aktionismus. die rhythmen, die sich oft in schiefen verzerrungen bahn brechen, sorgen - wie auch manches andere - fuer eine verspielte leichtigkeit, die mir das ein oder andere mal ein feistes schmunzeln aufs gesicht brachte.
wirklich, sehr schoen." (Zitat "Kallabris" über "Treatments")
www.tonto.at
|
2002 |
€11.00 |
|
| |
Weibsteufel |
LP |
Musik zu "Der Weibsteufel" in einer Inszenierung von Simon Windisch.
Limited edition of 100 copies. Hand-printed cover. |
2017 |
€20.00 |
|
| LERMAN, RICHARD |
A master of scale and other pieces |
CD |
RICHARD LERMAN erforscht gerne konzeptuell seine akustische Umwelt mit selbstgebauten Instrumenten oder gewagten Installationen. Hier sind 4 seiner Stücke (Zeitraum 1981-1997) mit detaillierten Beschreibungen seiner Arbeitsweise veröffentlicht worden. Hochinteressant & abstrakt..
“ a collection of concert pieces all using self built transducers and other instruments. includes "Entrance Music" (1981 recorded in Utrecht with Richard playing self-build instruments (including a 40 foot long amplified slinky played with a violin bow, an Audubon bird call, an early version of a plinky and others), twelve self built microphones & transducers along with tape delay; "A Matter of Scale" (1986) recorded inside the Houston Astrodome with the players (including the late Jim Pomeroy) placed on various bases
while performing with tiny hand held instruments like the plinky and
amplified drinking straw; "Old Friends with Pitch to MIDI" (1994) recorded in New York as a trio with Tom Hamilton on synthesizer, Bertrand Moon on guitar and Lerman on amplified bicycle, a plinky, a soda straw, amplified tuning forks, plastic cups transduced through harpsichord wire and other object; and "Changing States 6" (1997) which is a duet for percussionist and suspended and amplified metal microphones caused to sound by heating them with a small jeweler's propane torch. Richard Lerman has been active in music since the 1960's and yet only having two previous releases: "Travelon Gamelon" LP on Folkways and "Within Earreach" CD on Artifact Recordings (both sold out from the labels). His work has also been featured on such notable anthologies as "Echo. Images of Sound II" on Het Apollohuis and the book and CD package "Site of Sound: Of Architecture and The Ear". He regularly performs and does installations in the United States and Europe and recently had a selection of his Super 8 films show at MOMA in New York. Richard Lerman currently teaches at ASU in Phoenix, Arizona. "Essential listening for lovers of granular metallic music and spacious twittering." [The Wire]
|
2003 |
€12.00 |
|
| LEVANDER, ERIK |
Jökel |
CD |
Swedish musician Erik Levander gained attention as part of the new wave of young DIY laptop experimentalists arising in the early 2000's. His somewhat eclectic early output has since developed into a unique and vibrant blend of digital, analog and acoustic sounds weaved into epic and powerful atmospherics. Levander has performed his work extensively, including shows at Roskilde Festival, Norberg Festival, Nordic Music Days and Forma Nova Festival. With the release of ‘Jökel´, Levander’s seventh full length album, he continues to break new ground, presenting a conceptual album that may be his most minimalistic, lingering and evocative release to date.
As a result of ignorance, negligence, and a lack of immediate responsible profound political action, there are indications that planet Earth is irreversibly about to leave the relative climate stability we have enjoyed during the Holocene for roughly the last 10,000 years. Some of the most apparent signs of ongoing climate change are found in the continuous reports of sea ice, inland ice, shelf ice and glaciers shrinking at an alarming rate. This album is a homage to the still living glaciers. The album title 'Jökel' means 'Glacier' in Swedish, with roots in the Icelandic word 'Jökull'. The compositions are in particular inspired by Levander’s 2009 visit to the glacier Mýrdalsjökull in Iceland, a glacier famous for covering the active volcano Katla. With imaginary field recordings, barren but vigorous soundscapes, Levander invites the listener to experience this desolate glacier 'in sensu'. Perhaps this awareness, and by appreciating the beauty and importance of these natural wonders, we can somehow in the extension help the survival of the glaciers, and contribute to recover the environmental balance of this planet.
https://glacialmovements.bandcamp.com/album/j-kel
|
2021 |
€15.00 |
|
| LEVEL |
Opale |
CD |
"Die speziellen Spekk-Digibags im Format 12,5 x 16 cm sind jedesmal wieder eine Augenweide. Sie stehen für einen Ästhetizismus, den ich mich scheue, ‚japanisch‘ zu nennen. Nennen wir es daher ‚universalen Feinsinn‘, der sich akustisch manifestiert in einer elektroakustischen Serie von meist minimalistischem Anstrich. Opale (KK016), den Beitrag von LEVEL, das ist Barry G. Nicholas, ziert die Aufnahme des Aderngeflechts eines Blattes, skelettartige Architektur der allerzartesten Bauweise. LEVEL konstruierte dazu 8 Tracks mit gebildeten und feinsinnigen Titeln wie ‚[jeux]‘, ‚[eastre]‘ und '[oriente]', allesamt aus dem dröhnenden Morphing von Pianoklang. Der Zeitfluss, sprich, der Bewegungsablauf, ist jeweils verlangsamt, träumerisch. Nicholas nennt dieses ‚Als ob die Zeit still stünde‘ ‚[a frozen moment]‘, einen ‚gefrorenen Augenblick‘. Von Schopenhauer stammt das poetische Bild von Architektur als ‚gefrorene Musik‘. Umgekehrt wäre Musik dann tauende oder schmelzende Architektur. Genau so klingen Opales Kontrukte. Festes scheint im zähflüssigen Übergang zu Flüssigem. In ‚[mobilus]‘ klingen noch Teile der Binnenverstrebungen rhythmisch zischend an. Dazu sind auch die einzeln und leicht unscharf oder mit Schlagseite dahin driftenden Pianonoten noch halbfeste Kerne in diesem Traumfluss, der durchwegs melancholisch getönt ist. Bei ‚[a frozen moment]‘ kommen Radiosamples und ‚Störungen‘ - wie schleifende Metallteile, Kettenrasseln oder tröpfelnde Geräusche - ins Spiel, den dunkel rumorenden Abschluss taufte Nicholas ‚[il alp]‘. Deutete Freud Alpträume auch als Wunscherfüllung?" [Bad Alchemy]
"OPALE was recorded during a period of personal turmoil, and creative turbulence. I wanted to follow the Level | Cycla release with a fresh perspective, and a new formula. Having created Cycla from piano and keyboard sounds generated using software which I then subjected to various treatments and deformations, I wanted to create something less fractured, less manipulated. I called upon my good friends, Linden Hale, and Keith Berry to provide me with original piano samples to use as source material, which I then fed through the sampler, but this time attempted to keep to the original spirit of the source material, adding my own digital touches and textures as I went along.
Opale represents a singular line of thought, and a singular approach, so I suppose in some sense, all of the tracks actually comprise one piece, broken into several parts. The pieces all represent “the Frozen Moment” …as the hands of time are unrelenting, waiting for no man, I am sure many of us have ached for time to stand still during moments that are particularly poignant, perhaps, or maybe, mourning the loss of a loved one, we could hold on to these precious moments with them for just a little longer. I have experienced these moments on several occasions, and having lived a humdrum, and pressurised existence, sometimes I yearn to be able to stand back, relax, and savour precious moments for much longer than they actually last in order to gain a greater appreciation of their beauty and magnificence. Opale represents these precious moments, and simultaneously worships and mourns their passing.
My deepest thanks and love go to my dear wife, Maura Wallace-Nichols, also Linden Hale, and Keith Berry for their contributions, and these recordings benefitted from their contributions and creativity, and deepest thanks also to Nao at Spekk, and Mike at Smallfish for confidence in my works, and undying support. (August 2008)" [text by Barry G Nicholas / Level]
www.spekk.net
|
2008 |
€15.50 |
|
| LIBEREZ |
Way through Vulnerability |
LP |
Southend-on-Sea experimental outfit Liberez deliver the end result of a year and a half long recording process, an amorphous new line up and advanced studies in sound collage. On ‘Way Through Vulnerability’ new members Reay, Saunders and Ugarteburu channel the projects previous outings on Alter and Night School by conveying the same firm grounding in rhythm, though this time via Flamenco time signatures and eerie, repetitive clapping.
At times sounding indebted to the ‘tribal ambient’ of decades gone by, at times sounding fresh in their approach (‘Here is the Proof’ is of note) the trio manage to export motifs from Italian avant-garde circles, UK industrial and dare we say post-rock all at the same time. The sound design on ‘Derelict Intentions’ makes heavy use of background ambience and bleak, world-weary minimalism to lull us into a false sense of calm before harsh and unexpected blurts of noise break the equilibrium. In doing so they swiftly side-step any preconceptions of ‘easy listening’ and opt instead to drag us deeper down into their own dark waters. At times we almost seem to delve into lost theatre soundtrack territory; fragmented neo-classical elements dance with punchy drum machines (‘Cara En La Foto Pt II’) and things draw to a close with the end credit worthy swansong of the album’s title track. The group repeatedly utilise Basque country language, Hungarian dialect and ancient Russian to lend their compositions a cross-cultural underpinning and eschew any clear geographic origin, a decision which all but adds to the perplexities of their unique brand of electro-acoustic purgatory."
|
2018 |
€18.00 |
|
| LIFE GARDEN |
The Living Room Tapes |
MC |
"LIFE GARDEN formed from the steam and momentum of Industrial, sound sculpture and Dada activity in the early 1990s. Stemming from the experimental projects Maybe Mental and Amnesia Quartet, Life Garden set forth on a stronger esoteric path. The LivingRoom Tapes captures previously unreleased work, including their very first and last recordings. Extensive liner notes by W. David Olyphant describing the nature, working process and history of this legendary group.
Any listener of esoteric, ritual, or the ancient qualities of dungeon-synth look no further, the masters of such recordings have returned.
90 Minute PROTAPE
DAWN RIDE - 2017
wdavidoliphant.bandcamp.com/album/the-living-room-tapes
|
2017 |
€12.00 |
|
| LIGETI, GYÖRGY |
Lux Aeterna. Three Fantasies after Hölderlin |
CD |
Both Ligeti and Heppener belong to the generation born in the 1920s which formed the basis for the post-war avant-garde. Lux Aeterna, used by Stanley Kubrick in his film 2001: A Space Odyssey, marked the installation of a new musical language. The later Sonata for solo viola simultaneously evokes the polyphony of the fourteenth century and certain varieties of ethnic music. Im Gestein, a cycle of lieder to poems by Paul Celan which won Heppener the Matthijs Vermeulen Prize in 1993.
This title was released for the first time in 2008.
György Ligeti [1923-2006]
1 Sonata for solo viola (1991-94).1. Hora lungǎ (1994)
Lento rubato (ma ritmico) 6'21
2 Lux aeterna for sixteen-part mixed choir a cappella
Sostenuto, molto calmo “wie aus der Ferne” 9'50
3 Sonata for solo viola. 3. Facsar (1992)
Andante cantabile ed espressivo, with swing 5'52
Drei Phantasien nach Friedrich Hölderlin
4 I. Hälfte des Lebens 3'43
5 II. Wenn aus der Ferne 5'29
6 III. Abendfantasie 3'34
7 Sonata for solo viola. 2. Loop (1991)
Molto vivace, ritmico 2'31
Robert Heppener
Im Gestein (1992)
A cycle of six choral songs on poems by Paul Celan for mixed choir, percussion and string quintet
8 I. Flügelnacht I 5'07
9 II. Die Halde 2'26
10 III. Nacht 5'00
11 IV. Zuversicht 2'01
12 V. Schneebett 3'03
13 VI. Flügelnacht II 4'50
14 Libera me, Domine (Gregorian repertoire) 4'35
www.harmoniamundi.com |
2016 |
€15.00 |
|
| LIGETI, LUKAS |
Afrikan Machinery |
CD |
"Lukas Ligeti is a young drummer and composer of deep musical lineage who has developed into one of the most interesting compositional voices working today. For his second Tzadik release Lukas focuses on electronics. Using the marimba lumina, a new instrument invented by the legendary electronic pioneer Don Buchla, he fuses electronic, acoustic, traditional, avant-garde, European, American and African influences to create a unique post minimal world of spinning polyrhythms and hypnotic textures. Beautiful and endlessly listenable." [label info]
www.tzadik.com
|
2008 |
€15.00 |
|
| LIGHT OF SHIPWRECK |
From the idle Cylinders |
CD-R |
Kraftvoller Guitar-Drone mit wummernder & stampfender Drum-machine und heftigen Gitarren-Loops, ekstatisch, geisterhaft, nicht von dieser Welt... erinnert an NADJA, klingt für unsere Ohren aber zum Teil auch wie eine Metal-Version von RAPOON !
LIGHT OF SHIPWRECK ist das Solo-Projekt von BEN FLEURY-STEINER, der auch hinter PARADIN und dem GEARS OF SAND-Label steckt, eine echte Überrraschung!
"Light Of Shipwreck is a one-man band operated by Ben Fleury-Steiner, a Deleware-based drone artist and owner of the excellent Gears of Sand Recordings imprint, which has released discs from some of our favorite ambient/drone/drift artists including Encomiast, Cordell Klier, and Aidan Baker. It was actually through Aidan Baker that we found out about Ben's Light Of Shipwreck project; knowing that we're fanatics for "heavy ambient" sound, Light Of Shipwreck was recommended as something we should check out. At first expecting something more along the lines of the kind of floating ambient rumble that marks so much of my favorite Baker solo stuff, I was pleasantly surprised by how percussive the tracks I heard online from LOS were, the dense, ominous feedback drones and heavy rumbling ur-riffs floating freely over a mechanistic tribal-rhythm freakout. We ended up getting in touch with Ben from Light Of Shipwreck and it turned out that he had a nearly hour-long disc that he wanted to have released through our Crucial Bliss imprint, and here we are: a three-track full length of rich, crushing power-ambient, titled From The Idle Cylinders, a reference to the American Objectivist poet George Oppen whose work is a consistent influence on Light Of Shipwreck's imagery, with huge slabs of resonant sheet metal shimmering in an ocean of heavenly feedback and reverberating guitar drone, and surges of droning tribal Krautrock percussion floating along with distorted ambient doom powerchords and washed out vocal cord bliss, each track running upwards of 20 minutes in length. A totally breathtaking piece of music, like Steve Reich, Brian Eno, Can, and Earth swirled together into an austere, hypnotizing heavy-trance masterpiece. This limited edition CD-R of From The Idle Cylinders comes packaged in the signature Crucial Bliss foldover card sleeve with the disc itself attached to the sleeve on a plastic hub and featuring striking photo design, in a print run of 200 copies." [label info]
"Haunting super rhythmic industrial soundscapes laced with a propulsive locomotive shuffle of programmed percussion, keening high end and hissing whirs of smeared almost jazziness, looped and cyclical, some sort of disembodied krautrock/spacerock like a more mechanical Necks jamming in a thick cloud of Birchville Cat Motel fug. A groaning creaking percussive framework beneath a sky full of shimmering black clouds.
All three tracks begin all abstract and drifty, the first "I Rode And Am Riding On An Ocean Of Violent Lights", quickly explodes into a fog of jagged edges and swirling squalls of chaotic percussion and overlapping drones, while the second, "I Watched And Am Watching
A Cold Dead Sun Rise Then Explode" coalesces into a serious chunk of glorious Ur-kraut, a simple stripped down rhythm spread out over a
massive expanse of low end whir and phantom drone drift, gorgeous and mesmerizing, with a dark dreamy melody, both ominous and lovely, think a super mellow druggy Circle, or a slightly more noise rock Necks...
The final track begins with subtle Eastern sounding percussion, before giving way to some Fear Falls Burning massive glacial guitar drone, eventually splintering into glimmering harmonics, the rest of the twenty minute track, a tangle of the two, shuffling skittering rhythms wrapped around slow burning solar flare guitar. So good.
As with all Crucial Bliss releases, the packaging is gorgeous, a dvd sized fold over thick cardstock sleeve, full color inside and
out, the cd attached to a plastic hub affixed to the sleeve... and LIMITED TO ONLY 200 COPIES!!" [{Aquarius ]
www.crucialblast.net
|
2007 |
€10.00 |
|
| LILES, ANDREW |
My long accumulating Discontent |
CD |
LILES ist Meister im Spinnen surrealer, diskomfortabler Ambient-Atmosphären und deren Verquickung mit menschlichen Stimmen, konkreten Elementen, und irgendwie „nostalgisch“ gefärbten found sounds & Quellen. Fremdartige Dimensionen ala NURSE WITH WOUND sind hier nicht weit, aber auch eine bizarre DAVID LYNCH-artige Stimmung verbreitet sich dadurch... und am Ende ein melancholischer Folk-Song....
‘My Long Accumulating Discontent’ is the fourth and certainly the strangest recording from Andrew Liles. This CD is in places more ‘melodic’ than Liles’ previous output and its 17 tracks cover a wide musical territory. Some songs are short and harmonious, other pieces are longer, subtle and contemplative with drifting delicate drones. In places the CD is truly bizarre and defies all conventions. The album doesn’t fit easily into any definable bracket and we feel this oddity belongs in a class all of its own. Traditional English vernacular culture connoisseur Andrew King joins Andrew Liles for one track and Aaron Moore and Nick Mott of Volcano the Bear contribute to several other songs. ‘My Long Accumulating Discontent’ is a distinct and peculiar excursion from the norm.” [press release]
|
2004 |
€13.00 |
|
|
The Dying Submariner |
CD |
THE DYING SUBMARINER besteht, wie es der Subtitel bereits andeutet, aus 4 Stücken hallgeschwängertem Piano – das sind dronig-düstere, melancholisch-sphärische und disharmonisch-verstörende Schwingungen, oft mollgetönt, sein düsterstes und minimalstes Werk bisher.
“Leviathan low end growls belch a hazy pitch into the sea, rendering daylight useless to penetrate the unknown depths. Andrew's concerto for piano and reverb conjures many spirits, including that of wrathful Poseidon. The piece (in 4 movements) also conjures the spirit of nothingness. A sense of complete loneliness prevails in the echoey death throes. The faint scent of forebears fascinated with watery graves and abandon lingers from the wake of such pieces as Gavin Bryars’ The Sinking Of The Titanic and many of Harold Budd's early works, though Liles’ fitful concerto paints his submariner's demise more as a dissonant, prolonged struggle than as a melodic, majestic descent. Spatially, the work tends to build into shifting layers similar to Charlemagne Palestine, Henry Cowell's clusters or La Monte Young's Well Tuned Piano (though Andrew's work is not based on a microtonal system). The ringing resonances sometimes fan out as distinct harmonic phrases, and sometimes the notes simply propagate and clash with the reverb creating ripples of pure metallic sound, even to the point where the piano's strings melt into the sculptural, welling up more like tidal pools alongside Bertoia and Dumitrescu. A beautifully disturbing wet suit suite of sonic sound.“ [label info]
|
2006 |
€13.00 |
|
|
Ouarda (The subtle Art of...) |
do-LP |
Es hat drei Jahre gedauert, bis das neueste Werk 'Ouarda (The Subtle Art Of Phyllorhodomancy)' von ANDREW LILES endlich in den Läden landete, wobei der Entstehungsprozess fast genauso lang dauerte. Aufgenommen in Studios in Paris, London und Sizilien ist ,Ouarda." ein Reisetagebuch, das sich schlicht und einfach weigert, für längere Zeit an einem einzigen Ort zu verharren. Die Musik, die LILES hier versammelt, ist genau so unterschiedlich, wie die musikalischen Gäste, die sich auf ,Ouarda." versammeln. Mit dabei: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, Edward Ka-Spel und Daniel Padden von VOLCANO THE BEAR, die alle einzigartige und absolut atemberaubende Beiträge liefern. Düster, eingängig, unerklärlich und außergewöhnlich ist ,Ouarda..' ein Manifest des Produktionstalents von ANDREW LILES, der ohne Zweifel ein einmaliger Soundzauberer ist.// Limited edition (600 copies) double LP pressed on colored vinyl. UK-based Andrew Liles' (Current 93, Nurse With Wound) latest offering has taken nearly three years to hit the shelves and almost as long to create. Recorded in London, Paris, and Sicily, Ouarda (The Subtle Art Of Phyllorhodomancy) is a travelogue that refuses to stay stuck in any one place for any extended period. The music herein is as diverse as the array of guests involved: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, The Legendary Pink Dots' Edward Ka-Spel and Volcano The Bear's Daniel Padden all bestow unique and stunning contributions that soar along with Liles' unique brand of minimal surrealism. Obscure, accessible, incomprehensible and exceptional, Ouarda (The Subtle Art Of Phyllorhodomancy) is testament to the breathtaking production talents of Andrew Liles -- arguably the most vital and original soundsmith of recent years." [press release / Cargo translation]
www.dirter.co.uk
|
2008 |
€22.50 |
|
|
Somnambulance to Dream General |
CD |
Bevor Mr. LILES v.a. durch die Beteiligung an NURSE WITH WOUND einem grösseren Hörerkreis bekannt wurde, werkelte er jahrelang recht versteckt an seiner bizarr-surrealistischen Soundwelt herum, hier bestehend aus Synth-Drones & sperrigen Elektronoises, Pianosequenzen, Sprachmaterial, traditionelles englischsprachiges Gesangsmaterial (wie Kinderlieder und Abzählreime, die ein nostalgisches Flair verbreiten), melanchronische Instrumentalquellen, wirre found sounds und Versatzstücke aus Jazz, etc. etc.
SOMNAMBULANCE ist eine Neubearbeitung einer CDR-Compilation mit frühem Material - gleich 21 Stücke fanden den Weg auf dieses äusserst kurzweilige Album, schwankend zwischen Düsternis und anregender Exzentrizität. Als Einstieg in LILES recht einzigartige, verschrobene Klangwelt wohl ideal !!
"Somnambulance" is a reworking of an album of odd and obscure tracks that was released in a microscopic edition on CD-R before. For this CD, Mr. Liles has provided his funniest and possibly most controversial artwork as of yet. You get an hour of music of many different styles: Andrew Liles' trademark of eerie and spooky sounds is there; also electronics and a whole range of instruments are placed in between sketches and longer tracks. And if all this weren't enough, you get three bonus tracks that didn't appear on the CDR at all. After a long line of collaborations, finally a new album by Current 93 and Nurse With Wound man Liles himself!" [label info]
www.klanggalerie.com
|
2008 |
€14.00 |
|
|
Aural Anagram |
CD |
"Neues Album des surrealen Briten, der sich hier dem bizarr-erotischen Werke HANS BELLMERS verschrieben hat, und Frauenstimmen collagiert und verfremdet in spannungsgeladene Kompositionen einbaut.." [Drone Rec info 2003]
“This CD was first conceived in 2000 and has taken just under 3 years to record, collate and produce. The recording is based on the erotic works, ideas and obsessions of the artist Hans Bellmer (1902-1975) and is centred around the theme of 'the body as an anagram'.
It features the voices of 18 women, a number of whom have supplied Japanese and Russian translations of some of the core text. 7 of the 9 songs have been constructed, developed and titled after specific Bellmer drawings. The main premise of the recording is to create a restrained yet noticeably unnerving experience through which to view Bellmer's work. To carry the listener to a realm of surrealist eroticism, using bizarre verbal and musical anagrams and arrangements. Razor sharp editing, subtle clicks and snaps, strange resonance's, fragile peculiar melodies, hesitant and sometimes eloquent voices give this CD a unique quality that makes it difficult to bracket into any genre.” [press release]
|
2003 |
€13.00 |
|
|
Anal Aura Gram |
LP + 7inch |
Wiederveröffentlichung einer raren CDR (Bonus zur Aural Anagram CD) von 2003, plus 7" mit Remixen von STEVE SEVERIN! 300 Stück im edlen, massiven Cover. Soon to be rare!
"An edition of 300 copies on 180 gram blue vinyl and packaged in a custom made book bound sleeve. Available late August 2009 (delayed from original release date due to nefarious pressing plant.) Anal Aura Gram” is a vinyl version of the long deleted CDR that came in limited quantities with the 2003 album “Aural Anagram” and also features a bonus 7" disc of two remixes by Steven Severin (Siouxsie & The Banshees, The Glove). How many lives would be saved if every one had an Anal Aura Gram? Andrew does offer a sort of audio high-colonic by flushing unwanted polyps with his unpredictable attacks and decays. Liles has developed a compositional technique that makes individual sonic shifts as compelling as the music itself. The tones arise from submarine-crushing depths into the tails of comets, except when they are suddenly transported into the gut of a mountain. Or into the strangely populated belly of a whale. Harmonicas within crystals within faerie fyre? Inside every out-worldly dream-drone is a debris field of small, lovingly constructed noise stabs which strike like matches or coil like cobras. Fizzling, sighing, groaning under-carriage sounds ping and rattle in and out like the quiet clamour of an old house, next to an old church, built on an ancient Indian burial brothel. It is like listening to a hologram of a black hole devouring radio signals. Finally, time to get Anal!" [label info]
www.blrrecords.com
|
2009 |
€20.00 |
|
|
Miraculous Mechanical Monster |
LP |
"Limitiert auf 500 Stück auf grünem Vinyl in glänzender, dicker und semipornographischer Hülle! "The Miraculous Mechanical Monster" ist der neueste Zugang zur ständig wachsenden und zum Sammeln animierenden "Monster"-Serie von ANDREW LILES. Die LP ist zum Teil ein Konzeptalbum, das die Geschichte von nicht richtig funktionierenden Robotern, Monstern und bizarrem Sex erzählt. Die Geschichte kann der aufmerksame Hörer verfolgen, wenn er den Text auf dem Rücken der LP liest. So wie alle Veröffentlichungen von LILES passt auch diese LP nicht in ein vorgegebenes Genre und ist damit unbestreitbar eine seiner verdrehtesten und exotischsten Aufnahmen. Diese LP wird in dieser Form nie wieder gepresst oder veröffentlicht werden." [label info]
www.myspace.com/andrewowenliles
www.dirter.co.uk
|
2010 |
€16.00 |
|
|
Muldjewangk, Morgawr & other Monsters |
CD |
"Andrew Liles is an incredibly prolific musician working in the same vein as artists like Nurse With Wound and The Hafler Trio, releasing his oblique, idiosyncratic Surrealist sound compositions at a terrific rate to a fanbase who must have a good deal of disposable income. This disc is part of a larger collection of “Monster” themed works by Liles, from more music to wristbands, shirts, guitar picks and so on. This ‘brand’ seems to be presented with a certain sense of humour and a bit of a nod and a wink.
The bestiary to hand on this disc is a curious one, and we scuttle sidelong into it with the excellent digeridoo-drenched tribal oddness of ‘Swamp Thing’, which is surrounded by two more free-form pieces comprising creepy spoken-word stories, children singing and so on. In fact the longer you delve into ‘Muldjewangk, Morgawr & Other Monsters’, the more this becomes an obvious underpinning stylistic theme, the spoken word elements in a dozen languages (all real? I can’t tell) and spooky chanting/singing in children’s voices crops up repeatedly throughout.
Following the slightly helter-skelter opening sequence, things take a murky turn into the spaced-out and strange. ‘Pine Cold Emerald Lights’ is morose and Slavic – lamenting violins lurch around under a male voice imparting something Cyrillic. But then we’re led to meet the monster, more children’s voices intoning ‘followfollowfollow’ over and over, and we’re deep in the jungle.
More and more twists and turns follow, clattering, off kilter drums, sonorous tones and more half-heard narrations, a terrifying diversion into drum & bass, intonations and incantations. It’s all grist to the Andrew Liles mill, a genuine feeling of a confused stagger through a cryptozoological safari park while feeling like it’s all done with a sly grin. Also worth noting is the seeming lack or concealment of overtly electronic sounds or techniques, other than effects. This gives a really organic, earthy feeling, the twists and turns in the composition feeling like a natural shift. The one point where electronics show up – the queasy breakbeat section in ‘Gin Tumbler Landfill’ – it comes in like a radio being tuned to that accidentally and then is abruptly interrupted with a sudden shift to violin and piano, as if switched off in disgust.
I don’t really know much of Andrew Liles’ work away from his collaborations with NWW and Current 93 so this was an interesting listen for me, imagining the crossovers and identifying the stylistic differences. He’s definitely a point on that post-industrial Surrealist continuum, and long may he remain so." [label info]
www.touretterecords.com
|
2011 |
€12.00 |
|
| |
Fast Forward through Time (Illusion Four) |
LP |
"180g Vinyl. Hier kommt der erste Vinylrelease seit 20 Jahren (!) auf United Dairies, dem legendären Label von Steven Stapleton! Die 'Through Time'-Serie gründet sich auf Ideen rund um das Konzept der Zeit - das Verrinnen der Zeit, Zeitreisen - und teilweise auf die Texte von John von Neumann, besonders auf seine Ideen des selbsterneuernden universellen Aufbaus und seine Vorlesung 'The General and Logical Theory of Automata'. Dies ist der vierte und letzte Teil der 'Through Time"-Serie. Die LP ist strenge limitiert auf 500 Stück - keine NURSE WITH WOUND/United Dairies Plattensammlung ist vollständig ohne sie! //
The year 2014 marks the first vinyl release on Steven Stapleton's legendary United Dairies label in over 20 years! The 'Through Time' series is based on ideas around the concept of time, the passage of time, time travel and also in part on the writings of John von Neumann. This LP is the fourth and final part of the 'Through Time' series, and strictly limited to 500 copies. No Nurse With Wound/United Dairies collection is complete without it! The record is pressed on audiophile virgin 180-gram vinyl and the sleeve features beautiful front cover art by Babs Santini (a.k.a. Steven Stapleton)."
[label info]
|
2014 |
€18.00 |
|
| LILES, ANDREW & JEAN-HERVE PERON |
Fini! |
CD |
"Introducing the debut collaborative release from sometime Nurse With Wound/Current 93 member, Andrew Liles and Jean Hervé Peron of Faust. Neither of these artists needs any introduction and all expectations are overtaken with this incredible album. Here is something that sounds like both a Krautrock album and also like nothing else you can imagine. Its twists and turns keep surprising and thrilling you several listens on from the first. The words "classic" and "masterpiece" would not be out of place here. Both Faust and NWW are touring all over the world in 2008, and the profile for both of these legendary acts has never been higher. This release is packaged in a gloss-laminated digipack, with beautiful artwork by Liles." [label info]
"When mayhem artists like Nurse With Wound 's Andrew Liles and Faust 's Jean-Hervé Peron conspire, the result might be described as acousmaniac. Fini! is an arsenal of fun that comes on like a vibra-gun blast to the pineal gland. The glorious studio tomfuckery of "The Drummer is on Valium," Fini!'s opening cut, let's us know in no uncertain terms that Krautrock hasn't stopped mutating after all these decades, nor has it been successfully recycled by the archons of mainstream airwaves. That's one thing that makes Fini! delightful. It comes on like an artifact from an alien culture excavated by reanimated Dadaists from five feet of moon-dust. Touch not the obelisk lest centuries of Germanic gnosis light up your central nervous system like Meister Eckhart's pinball machine. This wanton little orgone-grinder is enhanced with blasts of blago-bung plus multi-lingual spoken word. "Congo Bongo La La La," coming in shy of two minutes, stands out with brilliant eccentricity, teasing us with a slow build up of La La La before the Congo Bongo briefly shakes the bachelor tree house until it disgorges all the monkeys. While most cuts are incredibly brief, leaving the listener a little hungry for more, much more, and seeming to be the disc's connective tissue, "Shake Your Hooves" rises up like a delirious five-minute ethno-pagan evocation of Pan.
A sweet release like this demands its own context, maybe a dainty tea-party of genteel aristocrats at which you, stripped naked with cabalistic signs emblazoned on your shaved body, spin Fini! at maximum ear-bleeding intensity before setting fire to the curtains and riding off on a white ass. You can claim that you did this at the behest of "It's Too Loud," which sounds like it was recorded on a Messerschmitt. If this impromptu circus doesn't result in the New Aeon of Amon Düül IV, all is lost. Out of this world!" [Steve Aydt / Weirdomusic.com]
|
2008 |
€14.50 |
|
| LILES, ANDREW AND KENJI SIRATORI |
Black Paper |
CD |
Erster Teil der wahnwitzigen VORTEX VAULT-Serie, 12 CDs aus ANDREW LILES Archiv, aber auch neues Material wird präsentiert.
Das ganze wiederum in der Beta-Lactam BLACK SERIES, die mit einheitlichen überformatigen schwarze Edel-Cover zu beglücken vermag. BLACK PAPER heisst also der erste Teil, wo LILES mit dem selbsternannten japanischen CYBER-Poeten KENJI SIRATORI kollab(or)iert, der wie's scheint zur Zeit mit jedem in der Experimental-Szene ansässigen Werktätigen eine Zusammenarbeit anstrebt. So hört man hier SIRATORIS Cyber-Gedichte (auf japanisch; auf englisch übersetzt wären übrigens genauso unverständlich - denn er scheint ein spätes Kind der Cut-Up Technik zu sein). Als wäre das nicht schon genug irrlichternder & funkelnder Wahnwitz, so zeigt sich auch LILES in Bestform, wenn er mit Synthklavier und Xylophon und durchdringenden Analog-Noises (=?) bewaffnet die letzten möglicherweise noch vorhandenen Reste gutgläubiger Erwartungshaltung des Hörers vernichtet, hier in irgendeiner Weise 'verstehbare" Musik hören zu dürfen. Genau darin aber, geneigter DRone Records-Kunde, liegt vielleicht die Genialität dieses Albums. Wir können das aber gerade nicht entscheiden und vertagen die Diskussion auf unbestimmte Zeit...
"Black Series 1 - Ed. of 300 numbered and signed copies. 'The Vortex Vault' will be in part a collection of unreleased, unearthed and dusted down material from the vast Andrew Liles archive of unused studio material. 'The Vortex Vault' will also include brand new recordings, conceptual and collaborative pieces, special guests, kraut rock psyche outs, space rock, the odd and unlikely, Norwegian, the obscure and arcane, aircraft, cicadas, the absurd and nonsensical. 'The Vortex Vault' is a platform to release radically different and eclectic material. Expect the unexpected, the minimalist and excessive, the demure and deranged." [label info]
"andrew liles, from the uk, is an experimental sound artist with a pretty diverse output. i'm only familiar with a few of his releases, but they ranged from sound art, to ambient soundscapes, drone, experimental electronics and the occasional foray into noisier directions. some good points of reference, as far as his ambient and drone works are concerned, would be andrew chalk and vidna obmana, two artists he's also happened to work with. kenji siratori is a japanese cyberpunk author who's had a hell of an outpouring of non-paper releases last year. this is mostly because he pimped himself out by "writing to as many industrial, ambient, ebm and goth bands he could find, including "reviews" of them in his idiosyncratic style, and asking to collaborate. (this) scattergun approach proved successful, despite his reviews of non-sequitirs and non-sensical cyberspeak being interchangeable" [discogs.com]. after all was said and done he'd put out fifteen total albums, including three that are on net labels and are availiable to download for free at smell the stench and dystonia. the bulk of them have been in the form of collaborations, most notably with gx jupitter-larsen (the haters), torturing nurse and henrik nordvargr björkk (hh9, folkstorm, mz.412, et al.). i would be surprised if that last one is anything short of amazing. i...must...stop...buying...things... black paper opens up with barometer ii, a beautifully haunting piano piece by liles, which siratori soon begins speaking over. his words are all spoken in japanese. emphasis on spoken. this could be poetry or god knows what, but it sounds great. he's got this gruff sounding voice that immediately made me think of splinter's voice from the teenage mutant ninja turtles movies. i love it. there's some great layering of his vocals near the end, too. vtr is one of the least musical (most experimental) cuts on here. there's a whole mess of noises, electronic bleeps and textures from andrew, and kenji's vocals are affected, in parts, and panned all over. it easily has the most overall stuff going on at once, but it works well, due partly to how andrew progresses it. if that was the album's exercise in maximalism (i think i just made that word up), the title piece is its most rhythmic. half of this piece features with some very catchy xylophone (i'm guessing) playing, the rest focuses on kenji's vocals, manipulated the most here. one of my favorite parts is where its just him with no music, and there's also his sped up vocals shooting back and forth between the speakers. jaguar is black paper's absolute highlight. over liles' sparse backdrop there's a vocal track in the left speaker, a different one in the right, a repetitious one in the center and then another, different track in the center. it's completely hypnotic, wonderful and memorable. then when that piano comes in towards the end, jaguar achieves total brilliance. it all strikes me as being rather noir, while maintaining an underlying sense of beauty. the next two tracks mainly feature andrew doing some nice, slightly stark, experimental electronic work. the closer, barometer iii is vocal less and revises the pianos from barometer ii, but adds some terrific electronic noises over it. there's actually two separate collaborations by kenji siratori with the title black paper, the other is with tardive dyskinesia. that may cause a bit of confusion, but this one is only available from andrew liles' website or beta-lactam ring. it's part of andrew's 12 cd set, the vortex vault, limited to only 300 copies. once those 300 are gone, that's it. no reissues. i think if you get one from andrew it will be signed by him. i'd also recommend his collaboration with gx. while it's not as memorable as this one here, there's some mighty fine noise by him, and who doesn't like mighty fine noise? after hearing all of this from kenji i've definitely become interested in his literary work...at the very least it should be interesting. smooth sailing review " [unknown writer, taken from the Beta-Lactam website]
www.blrrecords.com
|
2006 |
€16.00 |
|
| LINDBLAD, RUNE |
Death of the Moon |
CD |
Obskure historische Aufnahmen von 1953-1960 von diesem sehr unbekannten schwedischen Composer, der ein Pionier war im Gebrauch und Entwickeln von Multimediaeinsatz und –ideen. Seine Musik ist ziemlich strange & surreal, fast unbeschreibbar, field recordings, Radiosounds, Geräusche allerlei Art, ruhige Trompeten, Flöten, geisterhafte Atmos, konkreter Irrsinn...(?) Auf einem Konzert 1957 wurde seine Musik als "pure torture" betitelt. Dies ist eine Wiederöffentlichung einer LP die vorher auf RADIUM erschienen ist.
#############
label-website: www.pogus.com
|
1997 |
€13.00 |
|
| |
Objekt 2 |
CD |
Zweiter Teil der Zusammenstellung, diesmal aus der Zeit von 1962 - 1988. Konkretes Material, Stimmen, eine Menge UAOs [unidentified acoustical objects] von dem außergewöhnlichen Komponisten! Die neueren Aufnahmen sind elektronischer ausgerichtet, zum Teil wild & nervig...
re-issue of the remainder of a long out ot print Radium do-LP. Very unusual & experimental stuff.
###########
www.pogus.com
|
1998 |
€13.00 |
|
| LIQUID SPHERE |
Gizya |
CD-R |
„soundtracks for a free world“.. Französisches ethno-Ambient-noise-Projekt mit zweiter CD-R, wobei hier diverse field-recordings aus Tunesien und dem Iran benutzt werden, die sich mit verzerrter orientalischer Perkussion und elektronischen Klängen vermischen.. recht ungewöhnlich und nicht allzuweit entfernt von MUSLIMGAUZE...
„ LIQUID SPHERE was created in 1995 by laurent guerrier (A SCREW / DIGIT / MEAT MACHINERY / ...). Its sound ranges from isolationist ambient through digital dub to harsh electronic music & more... LS's latest release, "GIZYA", leads us to the Middle East, specifically Tunisia & Iran, mixing field recordings and entrancing, treated rhythms and atmospheres.” [website info]
|
2001 |
€6.00 |
|
| LLYN Y CWN |
Du Y Moroedd |
CD |
"Du Y Moroedd" (Welsh - the black of the sea) is an album of abyssal dark ambient - environmental soundscapes and atmospheres from above, below and beside the ocean; field recordings made onboard vessels at sea; sounds from submerged recording devices deep underwater; recordings from the coasts of North Wales to Greenland and the Arctic Ocean.
"The tracks were created onboard the RV Prince Madog whilst conducting research using multibeam sonar to locate, survey and identify shipwrecks from WW1. The multibeam sonar creates images of the seabed using acoustic reflections. It is quite an experience to watch the sonar reveal an unsurveyed wreck and be the first person to "see" the ship for over 100 years; the vessel sitting at the bottom of the ocean waiting in the dark to be discovered.
Research into the history of each wreck uncovers stories of boats torn in half by torpedoes and mines, U- boats hunted by destroyers and pummelled with depth charges. Many of these sites aren't just wrecks; they are mass war graves. The vital shipping channel to Liverpool passes the North Wales coast, the U boats would sit and wait; listening. When heard from under the water, each ship has its own unique acoustic signature based on the size of the engine, shape of the propeller, curve of the hull, these acoustic tell-tales were used by the U-boats to identify targets. The shipping lane became a shooting gallery of easy pickings and the submarines were able to slip away undetected into the black of the sea.
The album features recordings from the hull of RRS James Clark Ross whilst ploughing through ice fields off Greenland, from a "sound trap" attached to an anchor as it descended through 80m of water to the seabed, and sounds from onboard the RV Prince Madog with its pitched engine drone. There is also a recording of the bell at Trwyn Du lighthouse, Anglesey, that was made in August 2020, days before the bell was removed to be replaced with a modern fog horn - prior to this, the bell had rung every 30 seconds since 1922" (Benjamin Ian Powell).
File next to fellow Welshman Lustmord and Sleep Research Facility.
Presented in a 6-panel digipak with breathtaking photography by the artist.
https://coldspring.bandcamp.com/album/du-y-moroedd-csr302cd |
2022 |
€13.00 |
|
| LOCKWOOD, ANNEA / RUTH ANDERSON |
Sinopah |
CD |
Ein wunderbares field recording-Stück von der Neuseeländerin ANNEA LOCKWOOD gibt es hier zu entdecken - das 45minütige WORLD RHYTHMS (1975) benutzt Sounds als „physische Manifestationen der Energien die uns und unsere Umgebung fortwährend formen“, also der Kräfte, die unsere Körperrhythmen unbewusst beeinflussen. Zu hören gibt es Sounds von vulkanischen Eruptionen, Erdbeben, Pulsar-Radiowellen, Geysiren & Flüssen & Wellen, Feuer, Atem, etc., die sie äußerst feinsinnig und sensibel zusammengesetzt hat..
Als zweites Stück auf der CD (23.30 min) entwirft RUTH ANDERSON ihre ureigenste meditative Sound-Poetry, wo sie aus geflüsterten Vokalen eine geisterhaft-abstrakte, an Atemgeräusche erinnernde Klang-Textur formt.
“ Annea Lockwood's World Rhythms originated as a ten-channel live improvisation in which the audience was surrounded by ten loudpeakers. The recorded sounds include volcanic eruptions, earthquakes, radio waves, geysers and pools and tree frogs. These sounds are a physical manifestation of energies that shape our environment constantly, energies of which we are not always aware, but which powerfully influence and interact with the rhythms of our bodies. Ruth Anderson's i come out of your sleep follows a tradition of sound poetry, or text-sound, begun in part by Kurt Schwitters's Ursonate and expanded by composers such as John Cage, Charles Amirkhanian and Jackson MacLow. The piece is based on the speech vowels in Louise Bogan's poem, Little Lobelia.” [label-info]
###########
Experimental Intermedia label-website:
www.xirecords.org
|
1998 |
€15.00 |
|
| LOCRIAN |
The Crystal World |
do-CD |
"A marked change had come over the forest, as if dusk had begun to fall. Everywhere the glacé sheaths which enveloped the trees and vegetation had become duller and more opaque. The crystal floor underfoot was occluded and gray, turning the needles into spurs of basalt. The brilliant panoply of colored light had gone, and a dim amber glow moved across the trees, shadowing the sequined floor. At the same time it had become considerably colder.
The Crystal World, the third studio album from Locrian, is an epic journey. Titled after JG Ballard’s 1964 novel that tells the story of a physician who specializes in leprosy sent to a remote African outpost to discover a jungle that is slowly crystallizing and encroaching upon everything it touches. Disc one comprises six tracks while disc two consists of one extended piece, Extinction, that picks up on the intensity of disc one and sustains it for close to an hour. On The Crystal World, Terence Hannum, and André Foisy, are joined by Steven Hess (On, Pan American, Ural Umbo) on percussion and electronics. Hess’ contribution pushes Locrian deeper into the abyss of despair rendering a sound that is darker, bleaker, and engulfing than any of the group’s previous releases. Locrian continue the conceptual trajectory of blackened drone that the group initially embarked on during their first studio album Drenched Lands (2009). Masters of layering, The Crystal World finds the group manipulating tones and textures that transport the listener to an apocalyptic wasteland. At times, the layers are serene and somber, at other times they are chaotic.
The Crystal World is Locrian's essential release, finding the band creating a sound all of their own. A sound that evades simplistic analogies to black metal, power-electronics, noise, or other categories. This is the album that will stun fans of the bands previous works with how far the group has come from their early releases. Presented in a Stoughton gatefold sleeve with art by Vberkvlt.
Vinyl edition out on Utech Records in 2011." [label info]
www.utechrecords.com |
2010 |
€19.00 |
|
| |
Return to Annihilation |
CD |
"Ein Kapitel wird geschlossen – ein neues Kapitel aufgeschlagen. Nur wenig scheint so reichhaltig wie die Chroniken LOCRIANs. Nach “The Clearing“ und den Split-Alben mit MAMIFFER und Christoph Heemann folgt nun also “Return To Annihilation“. Eine Herausforderung dieses Albums bestand für die Band darin, dass Terence Hannum mittlerweile viele Kilometer von André Foisy und Steven Hess entfernt wohnt. So tauschte die Band zunächst Ideen via Email aus, bevor sie sich für drei Tage ins Studio einschloss, um das Album aufzunehmen.
Entlang des ersten Durchlaufs fällt auf, dass die Musiker auf “Return To Annihilation“ noch fokussierter gearbeitet haben. Die große räumliche Distanz, mit der die Bandmitglieder umzugehen lernen mussten, scheint doch eher eine nahe Ferne gewesen zu sein. Das Zusammenspiel ist noch konzentrierter, die Improvisationen sind noch besser abgestimmt. Zudem hat man das Gefühl, dass LOCRIAN durch ihre verschiedenen Kollaborationen und Tätigkeiten in den diversen Nebenprojekten Facetten freigelegt und entdeckt haben, die gleichzeitig als eine Art Türöffner für ihre neuen Ideen fungieren. Ihre schöpferischen Ressourcen zeigen sich ideenprall und die Frische sowie die Freude beim Kreieren von Musik sind dem Album deutlich anzuhören.
Das erste Stück “Eternal Return“ eröffnet hymnisch. Verschachtelte Synthesizerspuren, krachendes Schlagwerk, vorpreschende Gitarrensounds und ein bis in die tiefste Innerwelt berührender, fauchender Schreigesang lassen den Kurs des Albums erahnen. Doch jene Richtung führt nicht über vorgebahnte Wege. Es werden Schneisen ins Unterholz geschlagen, die Pfade ins Unbegangene oder hier konkret ins Ungehörte eröffnen. Im Fortlauf folgt “A Visitation From The Wrath Of Heaven“. Mächtige Electronics verrätseln diesen nächsten Gang, dazu rummst Steven Hess mit seiner Herzschlagtrommel, bevor der Gesang das Stück zu einem choralartigen Wunderwerk aufbaut, um kurze Zeit später abrupt abzubrechen. Und bereits hier lässt sich vermuten, dass sich LOCRIAN bei den Aufnahmen gegenseitig noch stärker angetrieben zu haben scheinen als auf den Vorgängerveröffentlichungen. Bei “Two Moons“ werden von Sekunde zu Sekunde andere Aspekte in den Vordergrund gerückt, dadurch entsteht ein dröhnendes Gebilde, welches sich von allen Stücken wohl am stärksten Einhegungsversuchen entzieht. Die Besonderheit dieses Albums liegt neben der Unvorhersehbarkeit auch darin, dass die Amerikaner ihrer Impulsfülle nachgeben, jedoch dabei niemals ihren Wiedererkennungswert verlieren. Der Wechsel von stürmischen und ruhigen Passagen wirkt nicht konstruiert, sondern entwickelt sich natürlich. Das Titelstück “Return To Annihilation“ führt den choralartigen Gesang fort, dazu hämmert ein Bolz-Drum, die Gitarren krachen Gewitter ähnlich. Ein orchestrales, dröhnendes Brausen zeigt dessen Entladung. Das Ambient lastige, rauschhaltige “Exiting The Hall Of Vapor And Light“ zieht hinter diesen Gewitterwolken auf und beruhigt das vorher Aufgewühlte. Dem schließt sich kontrastierend die Krachsinfonie “Panorama Of Mirrors“ an. Den Abschluss bildet das 15minütige “Obsolete Elegies“, welches alle Weggabelungen und Wetterlagen des Albums vereint und final den tiefsten, sich selbst beschleunigenden Wirbel in die eingeschlagene Schneise bricht.
“Return To Annihilation“ ist durchwirkt vom Überraschenden aus dem Dunklen. Es umgürtet die Arbeit der Amerikaner. Hervorgerufen wurde es durch wahre Passion, die sich in der dem Album inhärenten Wucht offenbart. Viele Bands verlieren im Laufe der Jahre die Dunkelheit der Anfangstage und verwalten ihre kreative Ausbleichung. Nicht so LOCRIAN – das Dunkle wird hier nicht abgeschabt, sondern in seinen Stufungen neu ausgeleuchtet. André Foisy sprach davon, dass “Return To Annihilation“ das bisher wichtigste Album in der Bandgeschichte sei. Das schürt Erwartungen. Von einem Höhepunkt, vom Gelungenen kann immer dann gesprochen werden, wenn Erwartungen ihre Einlösung finden. Wenn das Ergebnis übergroße Schatten auf hohe Erwartungen wirft, kann vom Bleibenden gesprochen werden. Dieses Ergebnis wird sich auf die Erwartungen im Vorfeld der nächsten Veröffentlichung aufprägen. Eine Klimax gen Unendlichkeit – oder die nimmer endenden Chroniken LOCRIANs." (D.L./ Blackmagazin]
"For a band so devoted to endings, the noise metallurgists of Locrian are surprisingly keen with beginnings, too. More than a year ago, Relapse Records announced they'd signed the Chicago-and-Baltimore trio. The move seemed surprising at the time, but not because Locrian’s electronics-and-effects-driven approach was at odds with the more orthodox heavy metal roster at Relapse; in fact, the label’s two decades are dotted by momentous dalliances with experimental music. Instead, before signing to Relapse, Locrian released a lot of music, a strategy that worked for a band putting out very limited editions on rather small labels but maybe not one meant for a fringe act now signed to an imprint as large as Relapse. Just how many Locrian eight-tracks or singles could and would Relapse actually handle?
Since the deal, though, Locrian have only issued three titles-- a re-release of one such short-run record bundled with new material, a glacial collaboration with kindred lurkers Mammifer, and a beautiful piece with German sound art veteran Christopher Heemann. After many consecutive years of several albums, splits, and singles each, Locrian went almost silent-- just not behind the scenes. All along, they were sketching, building, and refining Return to Annihilation, their proper Relapse debut and step into a much bigger spotlight. It's an auspicious new phase of their existence: Return to Annihilation is the most provocative and engaging Locrian album to date, a brilliant mystery that evades simplistic definitions by turning their historical din and destruction in on itself and, sometimes, back again.
In initial interviews for Return to Annihilation, Locrian-- multi-instrumentalist André Foisy, vocalist and multi-instrumentalist Terrence Hannum and drummer Steven Hess-- spoke about the influence of Genesis on their new work. It felt to some like trolling, as there was no way the intricate (and sometimes awkward) prog rock of Genesis might have a substantive pull on music so ostensibly moonless and monolithic. But Return to Annihilation is intrinsically elusive, with twists so compelling and layers so deep that each listen reveals a half-dozen new facets. The title track, for instance, is a three-part suite. Locrian begins with the primal, repetitive wallop of Swans, repurposed with industrial accessories. Despite the aggressive delivery, it feels tunefully poppy, beckoning the listener forward just before the song shifts into a cataclysmic drone. Smothering electronics battle with piercing guitars, shaping a stalemate of willpowers. Hess’ drums goad the band forward again, hitting a climax that’s dense but buoyant, like the phosphorescent coda of a melodramatic post-millenial black metal epic. Though this is a triptych of distinct sections, the parts are strangely cohesive, blending into one another as a balance of extremes.
For 50 minutes, Return to Annihilation runs like a whirlwind journey that you must mentally revisit when it’s done playing. Indeed, during the last three months, I’ve listened to this record a few dozen times, and each trip through only seems to solicit more questions about the material itself-- about its balance between corroded metal and coruscated drone, about its strange sense of enveloping atmosphere and unstoppable propulsion, about the completed puzzle and its complex constituent pieces. Sometimes its 15-minute closer, “Obsolete Elegies”, feels like an exhalation of relief, with muted piano and long-tone violin suggesting Pelt plundering the workshop of La Monte Young; other times, the quaking electronics and plodding guitar of the same piece intimate a hangman’s anthem, a steady gaze directed over and over again toward another imminent death.
What’s most rewarding about Return to Annihilation is this sense of narrative and emotional limbo, or the feeling that supposedly staunch binaries-- birth and death, beauty and brutality, triumph and defeat-- function exclusively in interrelated arcs. Sure, there are entire tracks here that feel more nihilistic or uplifting than others. The neon guitars and escalating drum patterns of “Eternal Return” are exultant enough to soundtrack an action movie’s climax, while “Exiting the Hall of Vapor and Light” fashions a great, gray canvas from static and distortion, a diorama of nothingness. But in every instance, defeat and relief seem only to be dissolving through one another, not pushing one another from the frame. The guitars in “Vapor and Light” slink into patterns that don’t resolve, but for an instant, they bubble into the sort of ebullient loop that you might hear on a Dustin Wong record; it’s like glimpsing light at the end of a tunnel that’s so big you didn’t even know you were surrounded. And “Eternal Return” takes shape around bitterly shouted imprecations and swells of background noise so strong they sometimes threaten to push the ascension off track. Return to Annihilation forever demands that you decide for yourself-- or, of course, don’t.
In the past, Locrian albums have seemed to me almost uniformly doomed, with their lyrics about industrial decay and blizzards of irascible tones creating an atmosphere of general oppression. But Return to Annihilation implicitly urged me to revisit those earlier records and to listen for, if not foreshadowing, signs that there’d been more ambiguity and complexity at work than I’d first supposed. And there is: The great Drenched Lands seems more forgiving than I’d perceievd, as if its excoriation of society is more of a way out than a mere self-excommunication. Moments of The Clearing, particularly the electrostatically foreboding “Coprolite”, sound in retrospect as if they are trying to climb out of the dark, even if they don’t succeed. Return to Annihilation, then, feels like a perfect nexus of Locrian’s past and future. This is the rare album that reveals new depth within a catalog that already seemed so deep and ruminative while proclaiming rather unlimited possibilities for a band nearing the end of its first decade. It’s a beginning refashioned from expired endings-- as it turns out, an essential Locrian idea." [Pitchfork]
www.relapse.com
www.relapse.com
|
2013 |
€13.00 |
|
| LOPEZ, FRANCISCO |
A sudden pest of droning pseudoinsects |
4 x 7inch |
SOUNDART pur! Sehr ästhetisch-kunstvolle Veröffentlichung eines neuen spanischen Labels in winziger Auflage von 100 Stück: Vier 7"-Singles in edlem weissem Vinyl in weissem Klappcover - die Aufnahmen wurden von LOPEZ für eine Rotterdamer Klanginstallation bereits 1994 gemacht, zur vollen Entfaltung kommen die Klänge bei gleichzeitigem Einsatz und Mix mit vier Plattenspielern. Auch einzeln abgespielt verschaffen sich mächtig-minimale Microsound-Dronescapes in vier verschiedenen Frequenzbetonungen & Klangfärbungen Raum.
"4x7 set, new release from F.L on Spanish label EOZOÖN editions. 4x7s to be played alone or mixed and re-eq'd with four turntables (highly recommended!!) Sounds cover a large frequency range for maxim effect!! Stunning all white folder with 4 x white vinyl 7s. 'A sudden pest of droning pseudoinsects' was presented as a sound installation in the event '220v Klankpark' at the Museum Park of Rotterdam (Summer 1994), organized by v2_Organisatie. Composed and recorded at Messor Studios (Madrid) in 1994, remastered at Mobile Messor in 2002." [label info]
|
2006 |
€38.00 |
|
|
Wilderness Studio 2005-2019 |
do-CD |
francisco lópez - WILDERNESS STUDIO 2005-2019 / On-site Composition in the Wild
Over the past fifteen years, with the assistance and companionship of some friends, small groups of artists and members of the local communities, I have been directing two consecutive incarnations of an annual residency/workshop at Mamori Lake in the Brazilian Amazon (‘Mamori Sound Project’, 2005-2011) and Mmabolela Reserve in the South African savanna (‘Sonic Mmabolela’, 2013-2019), for composers, audio artists, sound designers and other creative individuals from all over the world. Its focus has been on creative approaches to the work with environmental sound matter, through both recordings and profound listening, by means of an extensive –and I would say iconoclastic– exploration of natural sound environments in those contrasting locations of rainforest and savanna. In a number of different ways –theoretical, practical and experiential– I have been trying to bring in a vigorous questioning of canonical conceptions of so-called ‘field recordings’, a realm of audio creation that has manifested a significant expansion over the past few years but that, in my opinion, has failed to overcome representational clichés and obsolete creative rules. As I see , the main aim of this experience is neither technical nor conceptual, but rather transformative, from both artistic and personal perspectives. At a personal level, these ‘sonic years’ in the Amazon rainforest and the African savanna (two types of environments I had experienced as a biologist many years earlier in Brazil and Senegal) have had a very profound effect on my experience and conception of sound as both a prodigious phenomenological conduit and an ontological entity in its own right, along with –not subservient to– the other creatures of the rainforest and the savanna. This transcendental transformation has had fundamental outcomes for me, such as what I call ‘field listening’ (a post-media non-representational practice of profound listening in the field) and ‘sonogenic composition’ (a creative approach in which sound itself suggests and leads the compositional decisions, structure and nature). Among many other strategies, in this residency/workshop I proposed the participants to create audio pieces while still in the natural environment, and I did myself a few of those as well over the years. The classic super-analytical procedure of listening through all the many hours of recordings before creating anything might not necessarily be the best one, particularly now that the possible amount of recorded time is so vast. There is also an element of immediacy and immersion in the actual environment that I am convinced has a significant and very positive effect in what we can create under those conditions. This ‘on-site composition in the wild’ naturally brings forth challenging, heuristic and fruitful frameworks of audio creation in the form of spontaneity, incomplete knowledge, non-exhaustive observation, emotional probing of materials, un-systematic decisions, persistent presence of the sonic environment, immediate juxtaposition of listened and recorded ‘reality’, and so forth. This double album compilation presents the on-site composition pieces I created with my portable minimal ‘wilderness studio’ during all the past years of this residency/workshop in the Brazilian Amazon and the South African savanna.
------------------------------------------------------------
‘Mamori Sound Project’ at Mamori Lake and ‘Sonic Mmabolela’ at Mmabolela Reserve have materialized as independent projects with virtually no funding, which have been made possible –more often than not against significant odds and through some quite remarkable adventures– by the collective effort of a small group of incredibly dedicated friends, as well as all the international participants:
[120; from Algeria, Australia, Austria, Belarus, Belgium, Brazil, Canada, Colombia, Czech Republic, France, Greece, Germany, Hong Kong, Hungary, Iceland, Iran, Ireland, Israel, Italy, Japan, Mexico, New Zealand, Norway, Poland, Romania, Russia, South Africa, Spain, Sweden, Switzerland, The Netherlands, UK, USA]
Wilderness Studio 2005-2011: BRAZILIAN AMAZON
My sincere gratitude goes to Asier Gogortza, Jorge Llorella, Nacho Martí, and Martín Azúa (of Mamori ArtLab); Slavek Kwi, Jerson and Katia Vieira da Silva, and the entire Mamori Lake community.
Participants in ‘Mamori Sound Project’, 2005-2011:
Aernoudt Jacobs, Alex Massana, Anders K. Landstrand, Andrea Williams, Annie Mahtani, Artur Matamoros, Barbara Ellison, Bernat Cuní, Brice Jeannin, Camilla Hannan, Cécile Martin, Cédric Maridet, Christopher Fleeger, Ciara Moore, Constantine Katsiris, Damien Perollaz, Daniel Blinkhorn, David Drury, David M. Michael, Dionisio Alfaro, Dominik t’Jolle, Els Viaene, Eric Miller, Farahnaz Hatam, Hilary Mullaney, Jaime Rojas, James Webb, Karl Lemieux, Kim Foscato, Laurent Wermenlinger, Lawrence English, Leah Barclay, Lindenberg Munroe, Linn Halvorsrød, Luca Forcucci, Ludger Kisters, Marc Behrens, Marcelo Nakata, Marta López-Briones, Mathias Janssens, Matt Shoemaker, Michael Trommer, Mikel Nieto, Nicholas McConaghy, Nimalan Yoganathan, Olof Dreijer, Perri Lynch, Rebecca English, Ruben García, Sam Hamilton, Sam Ripault, Samuel E. Dunscombe, Scott Konzelmann,Simon Whetham, Slavek Kwi, Stefano Tedesco, Suzanne Wehmer, Thanassis Kaproulias,Thelmo Cristovam, Todd Shalom,Tom Lane, Tulipa Ruiz, Vanessa Michelis, Victoria Soanes.
Wilderness Studio 2013-2019: SOUTH AFRICAN SAVANNA
My sincere gratitude goes to Mark and Lesley Berry (owners of Mmabolela Estates), James Webb, Barbara Ellison, Neil Lowe, Paulo Ghiglione, Mabig Frans Meela, Bolpetse William Mosima, Madikana Johannes Malobela, Maria Mokgadi Mosima ‘Khani’, Tamaries Lettah Tebodi, Malebogo Queen Molele, and the entire staff
community at Mmabolela Estates.
Participants in ‘Sonic Mmabolela’, 2013-2019:
Aernoudt Jacobs, Alex Davies, Alexandra Spence, Andy Martin, Angélica Castelló, Barbara Ellison, Bethan Parkes, Brigitte Hart, Brydon Bolton, Cara Stacey, Cédric Maridet, Christina Kubish, Christopher Fleeger, Clinton Watkins, Craig Wells, Daan Hendriks, Daniel Lea, Dave Phillips, David M. Michael, Dimitrios Bakas, Dmitry Gelfand, Eric Mattson, Ernesto Coba, Evelina Domnitch, George Vlad Cancea, Gregory Kramer, Hanan Benammar, Hannah Gilmour, Harm Roché van Tiddens, Herbert Baioco Vasconcelos, Iddo Aharony, Jean-Baptiste Masson, Jeremy Hegge, Jesús de la Peña, Josten Myburgh, Jun Mizumachi, Kate Carr, Kim Foscato, Ksersti G. Andvig, Luca Forcucci, Lucille Calmel, Luke Pearson, Matthew Aidekman, Michael Clemow, Michał Jacaszek, Mike Vernusky, Niketa Sheth, Peter Terner, Robert Kellough, Robert Schwartz, Robyn Farah, Ruben García, Sara Retallick, Scott Konzelmann, Slavek Kwi, Steve Ashby, Steve Norton, Stijn Demeulenaere, Thomas Voyce, Thóranna Björnsdóttir, Tim Bruniges, Tristan Horton, Ulf A. S. Holbrook, Vicki Hallett, Yvonne Freckmann.
------------------------------------------------------------
First released on 2xCD ('nowhere') in September 2020 - Edition 300 copies.
(c) francisco lópez 2005-2020 – www.franciscolopez.net
https://franciscolopez.bandcamp.com/album/wilderness-studio-2005-2019-brazilian-amazon-south-african-savanna-on-site-composition-in-the-wild
|
2020 |
€19.50 |
|
| |
Belu (Environmental sound matter from Myanmar [Burma]) |
CD |
BELU
Environmental sound matter from Myanmar (Burma)
The Epoché Collection - vol. 5
“In the representational culture the subject is in a different world than things. In the technological culture the subject is in the world with things. Previously existing transcendence and dualism is displaced by the immanence, monism. There are two dualisms at stake here. One between the subject [...] and the cultural entity s/he encounters. The other is between this cultural entity and the reality it more or less fully represents. Relationships between all three of these elements –subject, cultural object and real object– are distanciated in the representational culture. In the technological culture, all three are in the same world, in the same immanent world.”
Scott Lash – ‘Critique of Information’
Original environmental sound matter recorded in
2010 at locations in Myanmar (Burma): Ywapu,
Nyaungshwe, Sagaing, Bagan, Mount Popa
and Ngwe Saung..
Edited, composed and mastered at ‘mobile messor’
(Troy, Cape Town, Geneva, Den Haag), 2015.
Many thanks to: Dana Bar Magen, Maung Saw Tin
and Daw Mya Aye.
First published on CD ('nowhere') in November 2015 - Edition 300 copies.
(c) francisco lópez 2015 - www.franciscolopez.net
Immaterial reissue by nowhere [worldwide] 2018
https://franciscolopez.bandcamp.com/album/belu-environmental-sound-matter-from-myanmar-burma |
2015 |
€13.00 |
|
| LOPEZ, FRANCISCO & LAWRENCE ENGLISH |
HB |
CD |
"Fieldrecordings und ihre Transformation ins Ungewisse: Den Arbeitsweisen von López/English entsprechend, wurden von beiden Seiten Fieldrecordings aus Costa Rica bzw. Australien angefertigt und gegeneinander unter Musique-Concrète-Prämissen in den Jahren 2005-2008 gemischt. »HB« ist ein recht typischer Release für die beiden Soundkünstler, in dem sich Soundkartografien aus den hinteren Winkeln des Planeten durch die heimischen Boxen schlängeln. Irgendwo tauchen Geräusche aus der Stille auf, verdichten sich zu einem unbestimmten Rauschen, ob aus der Stadt oder aus dem Dschungel, wer weiß das schon genau? Einmal mehr werden hier sonische Cluster aufgezogen, deren Paradigma Ambivalenz sind und zum Hineinkippen in diesen komplexen Klangkosmos zwingen. Stille wird zum pädagogischen Tool: Denn dort, wo nichts zu hören ist, beginnt man, sich selbst zu hören." [Heinrich Deisl / SKUG]
"Francisco López - the most mysterious sound artist ever, the man who has elevated aural enigma and sonic displacement to artform status - joins forces with Lawrence English, the leading figure of the Australian experimental music scene, for a puzzling cd. What is 'HB'? 'It's two quite unusual found sound pieces and two musique concrète works based on each other's works', explains English. In other words, López and English each submitted to the other a field recording piece, then composed a new piece from the other guy's field recording. The result is resolutely sombre going on obscurantist: occulted birdsongs, unidentified tremors, delicate but disquieting sounds from a jungle that could be either of the wild or urban kind. This soundworld lies somewhere between mystery and mystification. Francisco López is globally acknowledged as one of experimental music's main creative forces. Relying on a deep listening of the world around us, his music translates into a physical experience of hearing and sound. Also an installation artist and theoretician, he performs all over the world. At his concerts, the audience is usually blindfolded. Lawrence English is a sound and visual artist, composer, critic, festival organizer, record producer (Tujiko Noriko, Tenniscoats, The Rational Academy) and label head (Room40). He explores the limits of perception and the relationship between sound and structure. His recent CD 'Kiri No Oto' (Touch, 2008) has garnered critical acclaim. 'HB' is his second release on Baskaru, following 'For Varying Degrees of Winter' in 2007." [press release]
www.baskaru.com
|
2008 |
€13.00 |
|
| LOTUS EATERS |
Mind Control for Infants |
CD |
Sehnsüchtig erwartete (nach der tollen 12” und der überaus gefragten 7” auf Drone) erste CD des US-Dronepsychfolk-Trios von Aaron Turner, Stephen O’Malley und James Plotkin. Auf sechs unbetitelten Stücken entwerfen sie fragile tagträumerische Kompositionen mit vielen Akustikgitarrensounds im Vordergrund und diversen verhaltenen Background-Eruptionen.. hat eine ganz eigene hypnotische Note... first CD by this wonderful experimental dronepsych-trio, six daydreaming compositions with many acoustic guitar sounds and more strange background-eruptions.. has a very own hypnotic note..
“..Contemplative as it is calming, Mind Control for Infants nonetheless demands mood-altering interaction and mind-controlling attention. Sparse and spaceless they may be, but much like contemporaries/labelmates Tribes of Neurot, the Lotus Eaters are far from "easy listening." In the LE world, low-end gurgles co-exist with (delicately treated) strums of the guitar and sub-aquatic plunges of reverb, the result mountainous as it is minimal, without genre as it is without boundary.” [from the label description]
label-website: www.neurotrecordings.com
|
2002 |
€13.00 |
|
| LT. CARAMEL |
Early tape works |
do-CD |
"Pierre Blanchard aka Felipe Caramelos, der 1961 geborene Bäckersohn aus Annecy, und sein Projekt LIEUTENANT CARAMEL ist ein schönes Beispiel für einen Elektroakustiker, der trotz der Anerkennung, die er auch im Establishment der Geräuschkunst fand, seinen Reiz und seine Glaubwürdigkeit als Artiste maudit im Patchwork der Minderheiten nicht verlor. Early Tape Works (mv08, 2 x CD) greift zurück in seine Kassettentäterjahre und versammelt als ‚Après les horreurs...‘ und ‚Suit naturellement la beauté‘ Stoff, der ursprünglich bei den Tapelabels Audiofile (L‘Odyssee Du Lieutenant Caramel, 1985), SPH (Et Ca Vole!, 1993), Acteon (Du Plomp plein les siles, 1985, Je ne veux plus voir le ciel, 1988) und Old Europe Cafe (Les Bonnes archives du Dimanche, 1986) erschienen war. Die beiden Halbzeilen des Titels scheinen eine direkte Umkehrung von Rilkes Zeilen aus der Ersten Duineser Elegie zu sein: Denn das Schöne ist nichts / als des Schrecklichen Anfang, [den wir noch grade ertragen, / und wir bewundern es so, weil es gelassen verschmäht, / uns zu zerstören. Ein jeder Engel ist schrecklich.] Überhaupt scheut Blanchard nicht vor literarischen und philosophischen Bezügen zurück, stellte sich schon als Kurator des Festivals Bruit de la Neige in die Tradition Russolos und der Dadaisten, zitiert Debord, wenn er Russisches Roulette den Spektakeln des Kapitalismus vorzieht, und wenn er auf die unheilbare Freiheit ohne Gott pocht, schwingt darin das Ni Dieu ni maître sowohl des Anarchisten Auguste Blanqui wie auch des Chansoniers Leo Ferrer mit. Bereits in den 80ern inszenierte er als Ministrant der unheiligen Dreifaltigkeit Lautreamont - Jary - Breton sein Cinema pour l‘oreille als Theater der Seltsamkeit, aus Lärm- und Stimmfetzen surreal collagiert und geloopt. Hier bietet es sich dem Zahn der Zeit als harte Nuss." [Bad Alchemy]
"Lieutenant Caramel is the musician and film director at the same time, he shoot movies for ears with microphone. The continuous search for poetic images, frantic interchange of subjects, twisted and broken mosaic of fuzzy elements, the breathtaking incoherence of perception, the mark of primitive life, the total absence of organization and rational thoughts. All this breathes, moves, obtains the voice and gradually becomes meaningful. Theatrical view of musique concrète, humorous and surrealistic collection of masterpieces recorded in the ten years. Release date is 30th December 2006. Limited edition of 500 copies in jewelcase" [label info]
www.monochromevision.ru
|
2006 |
€16.50 |
|
| LUASA RAELON |
The Enigma of Fatality |
CD-R |
Neuentdeckung auf dem englischen CDR-Label IMMANENCE (die bis vor kurzem noch FLESHMADEWORD hiessen). LUASA RAELON nennt sich dieses Projekt, hier werden analog-noises mit dunklen soundscapes & Samples verbunden, insgesamt sehr dynamisch-krachig mit atmosphärischen Parts, think of TELEPHERIQUE, or CONTAGIOUS ORGASM.
“ This is the latest release from the talented hands of David Reed of Luasa Raelon. Building upon the noisier elements more prominent in his earlier work, The Enigma Of Fatality takes Luasa Raelon along a slightly different path, which is darker and less immediate in its presentation. The harshness has been augmented with rich fields of sounds, adding great longevity and depth to this powerful, yet often subtle album.” [label description]
|
2003 |
€10.00 |
|
| LUCIER, ALVIN |
Music on a long thin wire |
CD |
Bei diesen Aufnahmen von 1979 erzeugte der kreative Konzept-Minimalist ALVIN LUCIER stehende Sounds mit einem langen, aufgespannten Metalldraht, einem Elektromagneten und einem audio oscillator (genaue Beschreibung im Booklet), Die Sounds entwickeln sich in unvorhersagbarer Weise und sind reich an Obertönen und Feedbacks..
“A 50-foot length of taut wire passes through the poles of a large magnet and is driven by an oscillator; the vibrations of the wire are miked at either end, amplified and broadcast in stereo. The thin wire is set vibrating four times at four different frequencies; what results is not the low drone one might expect from a long, vibrating wire, but a complexity of evocative, ethereal chords. First released on Lovely Music in 1980, Music on a Long Thin Wire is a classic example of Alvin Lucier's investigations into the physics of sound and the sonic properties of natural processes.” [label notes]
www.lovely.com
|
1992 |
€13.00 |
|
| LUNAR ABYSS DEUS ORGANUM |
Atanimonni Aitnatsbus |
10inch |
"Behind LUNAR ABYSS DEUS ORGANUM (= also known as LUNAR ABYSS QUARTET or just LUNAR ABYSS) we find Russian artist EVGENY [Biosonar] SAVENKO from the vivid St. Petersburg experimental & post-industrial scene. Since more than a decade he's producing a unique style of music combining elements of droning ambient industrial, traditional folklore and electronic, tribal/trancy psychedelism, adding pure sound-experiments often based on field recordings. A strong DIY-attitude (self-released albums usually have handmade covers with ornamental drawings & paintings) is connected with a shamanistic and pan-religious philosophy. Meditation, Trance, the wish to explore the own unconscious areas by ecstatic experiences and a deep connection with nature are his main characteristics.
The two pieces "Atanimonni" and "Aitnatsbus" were especially recorded for our 10"-series and give a wonderful example of the typical L.A.D.O.-style: two long tracks (total 23+ min.) of stunning multi-layered compositions, using lots of detail-sounds from domestic and wild animals, mountain winds and brooks, forest shelters and a destroyed missile garrison, soviet analog synths, north saami female voices / singings, subtle (neo) classic harmonies, bells & gongs... hyper-dense & fluid at the same time! Both tracks end up in endless grooves (water & fire) to symbolize the connection to timeless energies. Lim. 500 with artwork by ARTYOM OSTAPCHUK (KRYPTOGEN RUNDFUNK / ZHELEZOBETON label), comes on sky-blue, crystal & white mixed vinyl.
"Recordings of field recordind sounds were made in the summer of 2009 in the Carpathian mountains and the land of lakes in Karelia, during a miraculous journey, full of joyful inspiration. Party of analog synthesizers recorded by sound-poet Lesnaya Pogan during a cold winter 2010 in Moscow." [Evgeny Savenko]
[label info]
www.substantia-innominata.de
"lunar abyss deus organum hat mit „brusnika“ auf der dr-77 in der früheren 7“ serie von drone-records einen der teile herausgebracht, der mir von allen 100 beiträgen der serie am besten gefällt. nun ist das projekt mit „atanimonni / aitnatsbus“ als sub-16 auch auf der substantia innominata 10“ serie vertreten.
lunar abyss deus organum ist dabei alles andere als ein projekt, das auf lang durchlaufende schichtungen, melodiebögen oder ähnliches setzt oder im gegenzug (bearbeitete) fieldrecordings oder konkretere musikschnipsel in den eindeutigen vordergrund der arbeit stellt. im ersten eindruck sind viele der arbeiten von lunar abyss deus organum vielmehr eine zunächst undurchschaubare collage aus all diesen elementen; eine collage, die aber nie übervoll erscheint, der es sogar gelingt, trotz manchmal fast wie brüche wirkender betonungen nie die stimmung und atmosphäre zu gefährden und so drones aufzubauen, die durch fast überraschende wendungen immer wieder neue bilder aufbauen können.
auch „atanimonni“ folgt dieser tradition und wiegt die hörer dabei über sehr lange zeit in der trügerischen sicherheit, der schaukelnde, wellenartige bassdrone mit dem das stück auch beginnt, könnte, wenn schon nicht ewig, dann aber zumindest für die dauer der seite begleiter bleiben. und natürlich, gerade, wenn man vergessen hat, dass es jemals anders sein könnte, wachsen dessen rauere begleiter über sich selbst und den bassdrone hinaus, bauen eine geräuschhafte kakophonie auf, brechen wie urplötzlich ab und münden in einem nur ganz leise hörbaren, durch die rille auf analoge art geloopten wassersample. zumindest hier dann also das erhören derer, die sich eine derartige musik mit noch viel längeren laufzeiten wünschen...
„aitnatsbus“ geht, in gewissen sinne, einen umgekehrten weg: die geräuschhaften komponenten stehen hier zu beginn fast ganz frei (wenn auch nicht so laut wie kurz vor ende von „atanimonni“) und fangen sich erst allmählich über zunächst bassigen dann knurrenden drones und fast unhörbar schleicht sich eine weibliche stimme hinein, die, auf ähnlich verführerischer art wie schon auf der „brusnika“ 7“, einen schnipsel aus einer dieser typischen melancholischen osteuropäischen volksmusikmelodien immer und immer wieder wiederholt. perfekter dynamischer aufbau und eigentlich unmöglich erscheinender kontrast zwischen den wälzenden drones mit ihren geräuschhüllen und der sehnsuchtsvollen stimme. eigentlich. und am ende verweht nur noch der gesang und was bleibt ist das (wiederum analog geloopte) feuer..." [Hellmut Neidhardt / N]
|
2012 |
€12.00 |
|
| LUNAR ABYSS QUARTET |
Hyperborean |
10 |
Erster Vinyl-Release des sphärisch-mystischen Duos (Katerina Baryatinskaya & Evgeny Savenko) aus St.Petersburg - hier enthalten sind 4 Stücke feinster, osteuropäisch geprägter experimental-drone-ambient, bei dem die menschliche Stimme die zentrale Rolle spielt; so gibt es religiös anmutende Gesänge, geloopte Stimmen-Samples und perkussive Strukturen zu hören, oder wie beim zweiten Stück elfenhafte Sirengesänge, die sich mit Meeresbrandung durchmischen...
Strong first vinyl-release of this russian duo, where the human voice (looped, chorals) plays a central role..
“ The fifth release in well-acclaimed Prometheus series is a new work of Lunar Abyss Quartet, a very interesting newcomer from St. Petersburg that have played on last year’s Heilige Feuer III festival. It is their first vinyl after a few self-released CDRs and “Zheleznaya Voda” CD. This 4-trx 10” is a mysterious travel into the heart of ancient Baltia, where the cold lakes and moss-covered stones in the pine-woods still keeping the secrets of the times long forgotten… Chants, ambient layers and delicate percussion together with some sound effects shroud the listener in the mist of the Hidden… It could be described as a kind of a mix between first TMLHBAC with some Werkbund tracks but with absolutely unique feel. Their best work to date, very recommended! The release is limited to 300 copies and comes in a usual PROMETHEUS series package with a silver embossed back cover and silver-on-black printed front cover.” [press release]
|
2003 |
€12.00 |
|
|
Zeleznaya Voda |
CD |
"Die neue mystic Industrial-Hoffnung aus Russland mit ihrer ersten (?) „echten“ CD, wahrhaft archaische Klänge aus Loops & konkreten Instrumenten- & Geräuschquellen erfüllen den Raum.. zwischen monumental-ambient Noise und eher dunkel-erhabenenen Sphären...
First „real“ CD from this great mystic Industrial project from Russia.. deeply archaic sounds between monumental ambient Noise and more dark-elationed spheres.." [Drone Rec.info 2003]
”Brilliant archival live recordings from this Russian ritualistic droning ambient act, here presenting recordings from live performances and sessions made during 1998-2002. Wonderfully evolving soundscapes of sonorous drones and echoes blending together with ritualistic rhythms and voices as well as some more industrial elements. Stylish special silver/black digipak sleeve with real photos included.” [kaos kontrol]
|
2002 |
€13.00 |
|
| |
8 |
CD-R |
Kleine handgemachte Re-Edition des allerersten Album der Schamano-Elektro-Experimental Russen, hier noch sehr low-fi & mit brüchiger Ausführung, aber mit umso mehr authentischer Atmosphäre und somnabulen Drone-Passagen. Tundra-Ambient.
"Re-edition of the very first album recorded in 1996-98 and released by 8th Moon Art in 1998. Atmospheric dark drone ambient with old school approach and vague analogue sound and cold atmosphere. Music of northern woods and tundra. Outstanding sound-processing techniques dilute the seriousness of content with a dashing smile, and lecture about discovering the Transbaikalian copper deposits in 1949 may be cognitive in self-educational sense, dear comrades." [Zhezelobeton] |
2007 |
€9.00 |
|
| LUNDVALL, TOR |
Yule |
LP |
"Upstate New York artist Tor Lundvall's music often evokes a sense of soft-focus autumnal melancholia but nowhere is this atmosphere more explicit and evocative than his self-released 2006 holiday album, Yule, newly reissued by Dais Records. Inspired by childhood memories of "cold, dark evenings" waiting for his mother outside shops and supermarkets while seasonal songs drifted faintly on the frozen air, the collection feels appropriately hushed and hypnagogic, half-remembered melodies heard through falling snow. Steady muted rhythmic pulses wind through wintry landscapes of icy synthetic textures, glass bells, and distant metallic echoes, occasionally framed by Lundvall's soft, dazed vocals, narrating scenes of "slushy, illuminated train stations" and "the lonely trees of January, still entangled with blue lights long after the season has ended." It's a music of barren branches, crescent moons, and willowy figures shuffling and shivering on their way somewhere, viewed from a fogged window passing by, or high above. As with Lundvall's signature oil paintings, Yule's sonic vignettes are works of observation, poetic glimpses rendered in gradients of color and quiet. He has referred to his music in the past as "ghost ambient" and, although his songwriting here skews more foreground than background, the phrase aptly captures the haunted, half-light quality of these fragile tracks. 10 miniatures of wreathed streets and silent woods, of twinkling store windows seen from a distance, the sensation of being outside of life looking in - the sentiments that seeded Lundvall's vision remain undimmed: "There was a special melancholic beauty about these moments that has never left me."
https://torlundvall.bandcamp.com/album/yule
"Das damals noch über World Serpent vertriebene Minilabel des in Neuengland ansässigen Malers und Musikers, auf dem seine frühen Aufnahmen erschienen, trug im Namen schon die Jahreszeit, die am ehesten die von Musik und Bildern Lundvalls hervorgerufene Atmosphäre zu illustrieren schien: Eternal Autumn Editions. Seine visuellen wie auch akustischen Arbeiten strahlten nämlich immer eine gewisse Melancholie aus und auch eine seltsame (un)heimliche Atmosphäre, in der Absenz und Präsenz, „the weird and the eerie“, zusammenkamen. Lundvall selbst sprach vor Jahren einmal von „Ghost Ambient“ zur Beschreibung seiner Musik.
„Yule“ erschien ursprünglich 2006 auf dem kurzlebigen nordamerikanischen Label Strange Fortune. Eigentlich eine EP, wurde diese Veröffentlichung schon damals durch die Langversion von „The Falling Snow“ (gekürzt in einer 4-minütigen Version auf dem Eisteddfod-Sampler des französischen Labels Cynfeirdd erschienen) ergänzt.
Bezogen auf „Yule“ sagt Lundvall, er habe die „special, melancholic beauty“ der Zeit abseits des Weihnachtsstresses zum Ausdruck bringen wollen (und – möchte man ergänzen – abseits des exzessiven Konsumrausches, der Batailles Überlegungen zum Potlatsch fast ad absurdum führt).
Auf „Yule“ finden sich instrumentale Tracks wie „Busy Station“ aus Rauschen, vereinzelten Pianotupfern und seltsamen Geräuschen oder „The Train Home“ mit seinem gedämpften Pulsieren. Auf „12AM“ erklingt perkussives Rasseln, „Snowy Morning“ ist eine verrauschte melodische Fläche und Glocken scheinen zu läuten. Auf „Fading Light“ meint man irgehdwo eine Stimme zu hören. „White On Grey“ klingt fast wie Radiorauschen und ist vielleicht das ambienteste Stück. Es gibt auch Stücke mit Vocals wie „Christmas Eve“: ein Pusieren wie Schritte durch den Schnee, verhallte entfernte Geräusche und eine aus ein paar Tönen bestehende Painomelodie. Dann singt Lundvall mit fragiler Stimme über ein Mädchen „staring at the moon/candle light fills her room“. Auf „Yule Song“ ist die Stadt still und leer. „January“ enthält entrückte Vocal/Choral-Samples und dann heißt es: „Darkness falls early now/The city’s tired“. Zum Schluss bietet dann “The Falling Snow” noch einmal 20 Minuten, die einen tatsächlich glauben lassen, man gehe durch eine schneebedeckte Landschaft, in der schemenhafte Entitäten irgendwo die Tasten eines einsamen Klaviers drücken." [MG/African Paper]
|
2020 |
€24.00 |
|
| |
Yule |
LP |
"Upstate New York artist Tor Lundvall's music often evokes a sense of soft-focus autumnal melancholia but nowhere is this atmosphere more explicit and evocative than his self-released 2006 holiday album, Yule, newly reissued by Dais Records. Inspired by childhood memories of "cold, dark evenings" waiting for his mother outside shops and supermarkets while seasonal songs drifted faintly on the frozen air, the collection feels appropriately hushed and hypnagogic, half-remembered melodies heard through falling snow. Steady muted rhythmic pulses wind through wintry landscapes of icy synthetic textures, glass bells, and distant metallic echoes, occasionally framed by Lundvall's soft, dazed vocals, narrating scenes of "slushy, illuminated train stations" and "the lonely trees of January, still entangled with blue lights long after the season has ended." It's a music of barren branches, crescent moons, and willowy figures shuffling and shivering on their way somewhere, viewed from a fogged window passing by, or high above. As with Lundvall's signature oil paintings, Yule's sonic vignettes are works of observation, poetic glimpses rendered in gradients of color and quiet. He has referred to his music in the past as "ghost ambient" and, although his songwriting here skews more foreground than background, the phrase aptly captures the haunted, half-light quality of these fragile tracks. 10 miniatures of wreathed streets and silent woods, of twinkling store windows seen from a distance, the sensation of being outside of life looking in - the sentiments that seeded Lundvall's vision remain undimmed: "There was a special melancholic beauty about these moments that has never left me."
https://torlundvall.bandcamp.com/album/yule
"Das damals noch über World Serpent vertriebene Minilabel des in Neuengland ansässigen Malers und Musikers, auf dem seine frühen Aufnahmen erschienen, trug im Namen schon die Jahreszeit, die am ehesten die von Musik und Bildern Lundvalls hervorgerufene Atmosphäre zu illustrieren schien: Eternal Autumn Editions. Seine visuellen wie auch akustischen Arbeiten strahlten nämlich immer eine gewisse Melancholie aus und auch eine seltsame (un)heimliche Atmosphäre, in der Absenz und Präsenz, „the weird and the eerie“, zusammenkamen. Lundvall selbst sprach vor Jahren einmal von „Ghost Ambient“ zur Beschreibung seiner Musik.
„Yule“ erschien ursprünglich 2006 auf dem kurzlebigen nordamerikanischen Label Strange Fortune. Eigentlich eine EP, wurde diese Veröffentlichung schon damals durch die Langversion von „The Falling Snow“ (gekürzt in einer 4-minütigen Version auf dem Eisteddfod-Sampler des französischen Labels Cynfeirdd erschienen) ergänzt.
Bezogen auf „Yule“ sagt Lundvall, er habe die „special, melancholic beauty“ der Zeit abseits des Weihnachtsstresses zum Ausdruck bringen wollen (und – möchte man ergänzen – abseits des exzessiven Konsumrausches, der Batailles Überlegungen zum Potlatsch fast ad absurdum führt).
Auf „Yule“ finden sich instrumentale Tracks wie „Busy Station“ aus Rauschen, vereinzelten Pianotupfern und seltsamen Geräuschen oder „The Train Home“ mit seinem gedämpften Pulsieren. Auf „12AM“ erklingt perkussives Rasseln, „Snowy Morning“ ist eine verrauschte melodische Fläche und Glocken scheinen zu läuten. Auf „Fading Light“ meint man irgehdwo eine Stimme zu hören. „White On Grey“ klingt fast wie Radiorauschen und ist vielleicht das ambienteste Stück. Es gibt auch Stücke mit Vocals wie „Christmas Eve“: ein Pusieren wie Schritte durch den Schnee, verhallte entfernte Geräusche und eine aus ein paar Tönen bestehende Painomelodie. Dann singt Lundvall mit fragiler Stimme über ein Mädchen „staring at the moon/candle light fills her room“. Auf „Yule Song“ ist die Stadt still und leer. „January“ enthält entrückte Vocal/Choral-Samples und dann heißt es: „Darkness falls early now/The city’s tired“. Zum Schluss bietet dann “The Falling Snow” noch einmal 20 Minuten, die einen tatsächlich glauben lassen, man gehe durch eine schneebedeckte Landschaft, in der schemenhafte Entitäten irgendwo die Tasten eines einsamen Klaviers drücken." [MG/African Paper]
|
2020 |
€22.00 |
|
| LUSTMORD |
Much Unseen is also here (col. vinyl) |
do-LP |
Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen. Other Woes Are Yet To Come Edition (single colored (pink) vinyl, ltd to 220 copies ww)
"Im Vorfeld der Veröffentlichung des neuen Abums von Brian Williams wurde ein Vergleich zu dem 1989 erschienenen Album „Heresy“ gezogen: „[Much Unseen Is Also Here“] continues the legacy established by ‘Heresy’ and echoes its enthralling narrative arc“. Das ist natürlich eine ziemliche Ansage, ist doch „Heresy“ der Höhepunkt der prädigitalen Ära Lustmords. Dabei trugen zur (mehr als berechtigten) Auratisierung des Werks sicher auch das apokalyptische das Cover zierende John Martin-Gemälde (das sich jeder Londonbesucher einmal in der Tate ansehen sollte) und vor allem auch die Aufnahmeorte bei: So hieß es doch auf der Rückseite, das Album „utilises subterranean location recordings originated within crypts, caverns, mines, deep shelters and catacombs together with meterial of a seismic and volcanic origin“. Diese Art des Aufnehmens ist lange vorbei und Brian Williams zeigte kurz noch auf seiner Instagramseite ein Bild seiner Soundbibliothek, das deutlich machte, dass für die nächsten Jahrzehnte mehr als genug zu bearbeitendes Material vorhanden ist.
In den letzten Jahren gab es das 2016 bei Touch veröffentlichte „Dark Matter“, ein überaus reduziertes Album, “70 Minuten tiefster Schwärzer“ aus den Tiefen des Alls, es erschien mit dem leider nur als Download verfügbaren „Trinity“ Williams’ Auseinandersetzung mit der Atombombe, es gab seinen Soundtrack zu Paul Schraders „First Reformed“ sowie die Kollaborationen mit Karin Park („Alter“) und mit dem Pianisten Nicolas Horvath (das recht atypische „The Fall“). Zuletzt konnte man ihn als Komponisten für das von den Bildern H. R. Gigers inspirierte Horroradventure “Scorn” erleben und hören, wie auf “The Others [Lustmord Deconstructed]” zahlreiche Künstler sich des Albums “[Other]” annahmen.
Verglichen mit „Dark Matter“ ist „Much Unseen Is Also Here“ wesentlich opulenter ausgefallen. Der Opener „Behold The Voice Of Thunder“ ist durchzogen von diesem so typischen tiefschwarzen Brummen, dunke, „donnernde“ Schläge sind zu hören. Dann entwickeln sich nach und nach melodische Passagen, die entfernt an Momente auf „The Monstrous Soul“ erinnern. Hier ist fortwährend die Antizipation der (Be-)Drohung, die dann kommen mag. Ein wenig erinnert mich das Ende des Stücks an Simon Boswells Score zu Richard Stanleys „Hardware“. „An Angel Dissected“ ist eine dunkel-melancholische Klage mit einem wellenartigen An- und Abschwellen, vielleicht in etwa so, als habe Williams Steven Stapletons Dronemeisterwerk „Salt Marie Celeste“ geremixt. Auf „A Shadow Cast Upon The Deep“ meint man, die dunklen Drones habe Williams aus Stimmen geschmiedet. „Invocation Of The Nameless One“ beginnt mit melodischen, an ein Blasinstrument erinnernen Sounds, auf „Their Souls Asunder“ meint man, dunkel singende Stimmen zu hören, die dem Stück einen fast sakralen Charakter geben. Die Sounds am Ende lassen dann an „Heresy“ denken. „Hence Shall They Be Devoured All Of Them“ wird mit Glockenläuten eingeleitet, dann klingt es so, als habe ein Cello als Soundquelle gedient. Schließlich lässt „Other Woes Are Yet To Come“ das Album mit einem mehr als wahren Titel enden.
Das ist vielleicht das melodischste Lustmord-Album seit langem. Wer aufgrund der Titelgebung und Covergestaltung mit dem aus Wayne Barlowes „Hell“-Serie stammenden Bild „Saragatanas Before The Behemoths“ meint, hier sei ein dunkler Metaphysiker am Werk, dem sei gesagt, dass im Innern des Albums eines der berühmtesten Zitate Epikurs zu finden ist, in dem das Epikureische Paradoxon formuliert wird, das die berühmte Frage nach dem Verhältnis von Güte und Allmächtigkeit von Göttern stellt. Auf einem vor etlichen Jahren erschienen Lustmord-T-Shirt hieß es dann auch passenderweise „The only good god is a dead god“." [MG/African Paper]
|
2024 |
€37.50 |
|
| |
Much Unseen is also here |
CD |
Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor
Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen.
Dark ambient pioneer, Stygian drone legend and near-mythical entity LUSTMORD pierces the veil once more with ‘Much Unseen Is Also Here’; the artist’s latest, solo full-length release in a formidable, 40-year creative career at the forefront of industrial music.
Urged by Cosey Fanni Tutti and Chris Carter of Throbbing Gristle to make music that captured his distinctive aura, Brian Williams assumed the mantle of Lustmord in 1980 and began working with sound because the music he wanted to listen to simply didn’t exist. Nine years of field-recording experimentation and near-constant collaboration later, Lustmord released his third album, ‘Heresy’, which became a milestone in the industrial scene and is now universally regarded as the origin of the dark ambient genre.
35 years later, ‘Much Unseen Is Also Here’ continues the legacy established by ‘Heresy’ and echoes its enthralling narrative arc. Sequenced in three distinct parts; ‘Much Unseen Is Also Here’ is meant to be listened to in a single, uninterrupted sitting; transporting listeners away to an uncompromising parallel world that only exists within the music, before casting them back out at the end, forever changed.
Opening piece, ‘Behold A Voice As Thunder’, is an ominous droning fog that conceals something unspeakable. Glacial strings, a zither-like dirge and manipulated found sounds are cut short by a gargantuan pounding presence, whether looming footsteps or a colossal heartbeat; the choice is left entirely to the listener’s imagination. Elsewhere, ‘Their Souls Asunder’ appears centred on a chorus of voices; a vital glimpse of humanity. However, as the piece continues, these voices wane, wither and warp until we’re left with something akin to the cries of a wounded animal, which begs the question: ‘were the voices we followed blindly into the darkness ever human at all?’
This sense of uncertainty and the terrifying unknown is an important and recurring theme within Lustmord’s work; “I chose to let the sound talk for me” says Brian. “My music is not meant to be explained - only listened to as a means of exposing the sheer insignificance of our primitive thoughts and actions within the vast scale of the cosmos - a scale which we as a species are ill equipped to comprehend.”
It should come as no surprise by now that the captivating narrative precedent of ‘Heresy’ was also the catalyst for an incredible career in production work and sound design. Alongside a plethora of solo albums at Lustmord, Williams has worked with artists and outfits including Tool, Isis, Jarboe, Coil’s John Balance, SWANS, Mortiis and Melvins; with his most recent release, 2021’s ‘ALTER’, being a collaborative record with award-winning singer-songwriter and Årabrot member, Karin Park.
Based in L.A. since 1994, Lustmord has also contributed as composer and sound designer to the music for iconic film and television properties including ‘The Crow’, ‘Strange Days’, ‘From Dusk Till Dawn’, ‘Underworld’ and more recently, FX’s ‘Fear The Walking Dead’ series and ‘Taxi Driver’ writer Paul Schrader’s 2017 film ‘First Reformed’. Still determined to push at the boundaries of sound, genre and media; Lustmord has also contributed to the soundscapes of video games such as Assassin’s Creed, League of Legends and, quite fittingly, 2022’s H.R. Geiger-inspired, survival-horror game, Scorn.
With so many strings to his bow and even more collaborations in the works, ‘Much Unseen Is Also Here’ serves as both a triumphant, retrospective gateway to Lustmord’s groundbreaking dark ambient origins as well as a tantalising taste of what he is capable of now; what is still yet to come. Having performed live just 39 times across his 43-year career, maybe Lustmord is ready to share the cosmic secrets hidden within ‘Much Unseen Is Also Here’ in the flesh, atop his inimitable, timeless concoction of earth-shaking sub bass, spine-tingling ritualism and inescapable, existentialist dread.
https://lustmord.bandcamp.com/album/much-unseen-is-also-here
|
2024 |
€16.00 |
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| LUTZ SCHRIDDE |
Troum Dreams |
consiliis animum fatigas? |
Troum dreams
quid aeternis minorem
consiliis animum fatigas?
Cur non sub alta vel platano, vel hac
pinu iacentes ....
(Horatius, carm. 2,11,13)
Why lying on dying, never we'll be
with eternity,
Hear no evil, no bad under this tree,
Lay, see and be, here, no worry
with me.
About Horatius we read in Nietzsche's "Götzen-Dämmerung" that in his poetry we find 'sound', 'position', 'term', what is with the words (Klang, Ort, Begriff) . This German romantic appreciated the artistry and effectivity, and he considered his own wording equal. Today, I feel free to take 'sound, position, term' to put compositions of Troum into the context of romanisation of German language what informed the romantic metaphor of music as a language. The challenge of translating Horatius into other languages, as Nietzsche had accentuated, is not to fail such artistry and effectivity. What I want to say is that compositions of Troum are more than romantic translations, beyond music as a language. Troum is sound, yes, and then listening is navigating, and listening then is without translation.
The German romantics claimed art to be not of purpose, no, art were autonomous and a value in itself, so were a genius. Does that mean the compositions of Troum – when not dubbing it romantic – have a purpose? Troum's navigations are taking the listener beyond such question. It is not about purpose or autonomy, Troum is two composers together, Stefan Knappe and Martin Gitschel. Their collaborative compositions is band-work, there is no solo. Like technical stereo-navigation of pilots in early airplanes, their navigations are even not communicating questions or answers. Following and listening here is about sharing their state of navigation, their state of mind.
Stefan contacted me in 1997 and told me about the end of Maeror Tri and a new project he had no name for at the time. I had collected most of Maeror Tri and contributed liner notes once. Moreover, Stefan was irritated how I could identify his hidden solo compositions on my own. Actually, after my time as a connoisseur of music I entered the sphere of musique concrete and drones for sort of cultivating my mind. I had already learned about the righthandedness of European music, had even read Wolfgang Scherer's dissertation "Babellogik" on the matter. Maeror Tri always seemed a soundtrack to my search for a new vantage point. Stefan liked my approach to revaluate the implicit morale of music, himself a lefthanded. When he told me Maeror Tri was disbanding and the new project needed a name, that occured right in time to jump to the new vantage point.
Musique concrete and post-punk creativity had affected me, and Maeror Tri all that time reminded me of the restrictions of surreal or psychogeograhic composition some people like to dub the French and British accomplishments. Maeror Tri - cassette by cassette since 1988 - shed some sound on that fashion, sometimes ambient, sometimes industrial, sometimes drone. To me, the fascination came through a sense of game and improvisation, often leaving any boundaries of the genres behind. Some of their early cassettes seemed informed even by the very wish to stay beyond boundaries, an approach to go for a change of any game before. Reading the reviews in Vital Weekly, I find a similar appreciation with the editor. Such exploration of composition may have resulted in new awareness and reflection then in 1997, disbanding Maeror Tri and a new project may explain itself. And as I see it today, the new project went on to explore and navigate beyond any boundaries of genres.
Changing games is a skill of the lefthanded. And again, Stefan was surprised watching me identifying his hidden solo compositions. I am righthanded, touched by surreal music and post-punk creativity, I am not a composer. And I will not out his solo compositions here, no. Nietzsche was a lefthanded, his skills surfaced in writing, and he was seemingly not selfaware of this natural skill and tending to curious vanity. His opinion about Horatius shows that in particular. Nietzsche never learned about the giveness of his skill when running his revaluation of all values. He was with the German romantic tradition all the time. And he had a certain selectivity who he liked to value, all were lefthanded (Goethe, Ceasar, Bismarck, Napoleon), all game changers, very skilled. In romantic music, Beethoven and Mozart were skilled brilliantly as such. In visual art, we may call Paul Klee an example. When Stefan needed a name for the new project, I was ready to try.
I said "Traum". In English, dream. By 1997, my search for a new way of composition beyond the genres of 'improvised', 'free jazz', 'world music', 'industrial', 'ambient', 'noise', 'drone', 'musique concrete' and else had already ended in sort of disappointment. I was sure, that the romantic tradition and its relative surrealism encompassed my search well, but at the time I had little in hand. My short essay "Noise Culture" in Vital Weekly Supplement in 1996 was a result of my search. Then talking with Stefan, and by intuition I avoided consideration of material or procedure what is behind the genre division. During that talk I threw myself out of that and looked for the location in musical anthropology. I looked for the essence of the genres and opened gain. So it became "Traum".
Stefan liked that immediately. He made it "Troum", just as if he knew the game change behind. To be clear, Troum is no music for Nietzscheans. And I am not a Nietzschean, although I have mastered in philosophy and know about him. His approach is restricted to values and valuation, in his case furthermore to the 'game' the values are framed by. That spoke to his nature and his romantic vanity. It happened, that I decided to leave Germany and I am teaching in China for eight years now. Here, musical anthropology is still a vantage point, and I am listening to Troum in Xian at the eastern end of the Silk Road.
Troum had done great things, I like the long-trackers "Sen" and "Mare Idiophonica". The Tjukurrpa-trilogy is also with me here, and allow me to highlight the collaboration with Martyn Bates and raison d'être. My current favorite of Troum is "Acouasme".
And if you know Horatius, yes, then you may be the right one to try Troum. It is sound, navigation and prior to translation. Here is abroad.
Lutz Schridde, Xian, China, April 1st 2018
Horatius in German:
Wozu, da er doch nicht gewachsen ist Ewigkeitsgedanken,
willst du deinen Geist damit plagen?
Warum wollen wir nicht unter der hohen Platane oder
unter dieser Pinie liegen sorgenlos, ....
This German translation is taken from Bernhard Kytzler, Horaz. Eine Einführung, Stuttgart 1996, page 176, on Nietzsche and Horatius see same page.
The English version above is mine.
|
2018 |
€ |
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| M.B. / COALMINER + ALLIES |
Antimateria |
LP |
Allies:
GNAW THEIR TONGUES (Netherlands);
RICHARD RAMIREZ (USA, founder of Black Leather Jesus); TORTURING NURSE (China)
ZENABI (Philippines);
GRODOCK (Germany);
TOSHIJI MIKAWA (Japan, founder of Incapacitants);
MANY BLESSINGS (USA; with Ethan Lee of Primitive Man);
UNSIGNIFIED DEATH (Thailand)
MAURIZIO BIANCHI is one of the founders of early industrial and noise music and should be familiar to the most. For ANTIMATERIA he contributed two brand new, merging pieces in which he approaches the theme through sounds of iluminescent and rushing keyboard clusters. COALMINER establishes several harshnoise tracks, for which they collaborated with the most diverse artists of the genre, from different countries. in the next few days, the various supporters will be presented here.
Art by: Paul van Trigt, M.B. and Bruno Erber
https://grubenwehrfreiburg.bandcamp.com/album/antimateria
"Schon vor etlichen Jahren haben Kernphysiker verschiedene Untersuchungen zu den Klängen von Antimaterieteilchen durchgeführt. Die Ergebnisse sind mittlerweile vermutlich Legion und mir weitgehend unbekannt. Wenn im Zuge dessen allerdings so etwas wie der Sound auf der vor einigen Monaten erschienenen Compilation “Antimateria” möglich ist, dann wäre ich prinzipiell dafür.
Auf der LP “Antimateria”, die wenn man genau sein will ein zwischen Kollaboration, Compilation und Split-Release angesideltes Objekt darstellt, arbeitet auf der ersten Seite das hierzulande hoffentlich bald wesentlich bekanntere philippinische Harsh Noise-Duo Coalminer mit einer Reihe an Acts zusammen, die trivial formuliert fast wie ein Who is Who internationaler Lärmkünste anmuten. Die Resultate offenbaren einen starken verbindenden Rahmen, unterscheiden sich aber im Detail sowohl in der klanglichen Beschaffenheit (Rauheit versus relativ glatte Politur, oder besser leicht abgemilderte Rauheit) als auch in der Struktur (Fluss versus Stakkato und alle Zwischenstufen).
Den Auftakt bildet ein Track, den die beiden (wie vermutlich in fast allen Stücken) in Mail Art-Manier zusammen mit der ursprünglich mal als Band gegründeten und heute von Junkie im Alleingang betriebenen Shanghaier Institution Torturing Nurse und dem deutschen Noise- und Experimental-Act Grodock aufgenommen haben. Nach wenigen brummenden Sekunden bricht eine Lawine aus Schutt und Geschrei auf die Ohren nieder, und was anfangs noch eher wie im Fluss wirkt, in welchem man die Schreie von Kindern und Schmerzgeplagten hört, wird irgendwann von einem ohrenbetäubenden Donnern und Rattern und Rumpeln zerstampft. Anschließend geht es in Zusammenarbeit mit Richard Ramirez und dem Landsmann Zenabi zunächst etwas zurückgenommener zur Sache, man hört verhaltenes Brodeln und Kratzen, bei dem sich zum einen die vielzitierte Noise-Wall mit rauer Tapete abzeichnet, aber auch das, was ungeübte Ohren gerne einen “Kaputte Boxen-Effekt” nennen. Das ist aber nur die Kulisse, auf der sich viele andere zum Teil entgrenzte Dinge wie schwindelerregender Drehungen oder höllisches Gekeife aus einem riesigen Mund ereignen.
Die qualvollen Schreie zeigen sich am eindrücklichsten in dem Track, den Coalminer zusammen mit dem aus dem experimentellen Black Metal stammenden niederländischen Projekt Gnaw Their Tongues und dem Amerikaner Ethan Lee McCarthy alias Many Blessings aufgenommen hat. Hier mischen sich die Todesschreie in ein furioses ambientes Rauschen, das mit der Zeit immer mehr zu einem kleinteiligen, schnellen Flickerbild mutiert. Zusammen mit Toshiji Mikawa (seines Zeichens Mitgründer der Incapacitants) und dem von Bangkok aus operierenden Polwach Beokhaimook alias Unsignified Death schließt die erste Seite mit einem Track, in welchem eine anfangs fast noch angenehm klingende Wall durch hochtönendes Feedback, beängstigendes Lachen und herausgekotzte Vocals zum Einsturz gebracht wird. So wird Antimaterie zu einem Fest für die Ohren.
Zu einem kompletten Tapetenwechsel (ohne Raufaser, pun intended) kommt es beim Auflegen der zweiten Seite, denn die beiden jeweils rund zehnminütigen Stücke, die Maurizio Bianchi hier unter seinem Kürzel M.B. abliefert, könnten zum bisher gehörten kaum eindrucksvoller kontrastieren. Was vom Label als “sounds of iluminescent and rushing keyboard clusters” beschrieben wird, erweist sich als Labsal von flirrender ambienter Struktur, deren helle, obertonreiche Gestalt immer in Bewegung bleibt. Im Verlauf der beiden Stücke entfalten sich – beim zweiten “Yangnay” mehr noch als beim eröffnenden “Gnayang” – leisere und lautere Abschnitte, in denen kleine Unregelmäßigkeiten, die manchmal wie Tonstörungen anmuten, für eine im besten Sinne unspektakuläre Dynamik sorgen. Und durchgehend sorgt eine sonnengeblendete Flimmerästhetik für ein fast nostalgisches Deja-Vu zu klassischen Synthesizer-Kompositionen besserer Zeiten.
Weit davon entfernt den Veröffentlichungsturnus v.a. im Harsh Noise zu überblicken schätze ich, dass “Antimateria” zu den herausragenden Releases in diesem Bereich zählt. Das betrifft natürlich primär die Coalminer und seinen Kollegen gewidmete Seite, aber auch in dem hier adressierte Dunstkreis tut ein Blick über den Tellerrand, hinter dem Bianchi seine sanften Keyboardsounds spielt, sicher ganz gut. Tolle Platte, die hoffentlich nochmal neu aufgelegt werden wird." [U.S./African Paper]
"First off, this album has six different vinyl versions, ranging from 10 copies in pristine white to 90 copies in red/brown flamed. Some are with additional CDs, some without, but Grubenwehr really put some effort into this release. I give compliments to you guys; your effort and energy paid off.
The two sides of this album are unrelated to each other. With this, I mean, it's not artists remixing each other or collaborative work using each other's sounds or so. It's 20 minutes per artist, and I think I have never had a better opportunity to present two fully different definitions of noise music in the same review to you, the reader. First of all, Side A: Coalminer. A duo from Manilla. Philippines, on their four tracks, work together with friends from all over the world. How about (and it's just half of them) Torturing Nurse, Richard Ramirez, Gnaw Their Tongues and Unsignified Death? And the music
is so intense!!! I couldn't tell you the content of the lyrics, but the titles kinda imply it. "Dissection", "Gaping Crevice", "Decomposition" and "Electrocution". I mean ... It's probably all lullabies for the sick and twisted (pun intended).
The reverse side contains two 10-minute pieces by M.B., a.k .a. Maurizio Bianchi. M.B. started working on his art in 1979 using pre-recorded sounds and, in 1980, worked more with the generation of his own sounds. He is absolutely one of the pioneers of early industrial and noise, and on the two pieces presented here - "Gnayang" and "Yangnay" - he approaches the theme of "Antimateria" through sounds of luminescent and rushing keyboard clusters. How does that translate to sound? Two lengthy pieces in which not much happens but where a lot happens. It sounded like a combination of organs and vocoders and was never-ending, always moving. I had a few moments where I was drawn into the atmosphere of Wendy Carlos works, but then more of a static/non-static drone. IF M.B.'s interpretation of the subject was that while nothing happens, a lot happens, and at the same time, because a lot happens, nothing happens, then he succeeded cum laude. Beautiful works, but in all honesty, It's an acquired taste." [BW/Vital Weekly]
|
2023 |
€20.00 |
|
| M.B.(MAURIZIO BIANCHI) / LAND USE |
Psychoneurose |
CD |
Collaboration der wiedererstarkten Industrial-Legende mit LAND USE, einem neuen Projekt aus NL.... zu hören gibt es hier rauhe, ratternde Klang-Emanationen, die sich in immer neuen Verformungen in den Äther wälzen.... Licht-verschluckend und zähflüssig wie schwarzer Teer....unser definitiver Favorit unter den neuen MB-Veröffentlichungen der letzten Zeit !
“Italian Avant-Noise legend M.B. and Land Use collaborate on dramatic, subterranean wall-of-noise constructions and swirling textural storms, dense and complex arrangements, shifting and shimmering tones barely under control, streaming toward some distant and indefineable precipice. Not noisy, but way too tense and corrosive to be called ambient. These vibrant monoliths of sound shift the listeners pysche into a restless sort of zen, a blissful chaos - truly mind and mood-altering. Bianchi released early records on Whitehouse's Come Org. label and has been active since the 1970's. And a recent and conspicuous absence from the experimental music world has been broken by several recent releases of surprising freshness and relevance. It is unclear where MB leaves off and Land Use begins but Psychoneurose is definitely a clear and brilliant return to early MB techniques with several refinements in delivery and focus. Psychoneurose will be the clear weapon of choice for those who prefer their ambience with teeth and their Power-Electronics with more of the deep, vaster textures than violence.” [label description]
“....Thank God, we gave Psychoneurose a listen, as this record is so spectacular that perhaps we will be searching out some of those other records to see if they are as good as they were claimed to be! .....in returning to the all-encompassing, utterly blackened, subterraneanly frigid, nightmarishly grim, soul-crushingly bleak, death-shroud ambience that Bianchi had produced back in the day. Expansive, Frankensteinian drones constanly broadcast a black energy, marred with tactile corrosive noises and synthetic twitches which could only be made by the same anaglog technology of Bianchi's classic recordings. So until those aforementioned albums come back in print yet again, Psychoneurose holds its own as a worthy substitute.” [Aquarius]
|
2005 |
€13.00 |
|
| |
TSE-K |
LP |
Nach der schönen "Psychoneurose" schon die zweite Zusammenarbeit von LAND USE mit BIANCHI. Zwei lange dark-drone Stücke, sanft walllende sub-marine akustische Massen in denen sich alles verliert: Stimmen, Sirentöne, Klackern, tauchen am Rande der Wahrnehmung auf um in endlosen Weiten wieder zu verschwinden...
"Maurizio Bianchi is back on vinyl! A new special limited edition from Small Voices and the father of Italian industrial music, together with Land Use from Holland in this new chapter of his legendary career. An oppressive meditative obscure early-industrial symphony based on two monolithic pieces of thick throbbing stuff. A long deep trip into the darker meanderings of the human mind... good luck!" [label notes]
"...Let's be honest, we have no idea what any of that means, but it is clouded in mystery, and in that way definitely represents the sounds contained on TSE-K, which at its very core is a minimal drone record, a gorgeous one at that. nothing really harsh or heavy, more dark and soothing and dreamy, but within the swirling low end tones and softly whirring rumbles lurk all manner of melody, and of texture, overtones create strange rhythmic pulses, the sounds occasionally coalesce into
thick shimmering throbs, before slipping back into the drifting blackness below. In the case of TSE-K, headphones are most definitely like a diving bell, letting the listener sink into the inky blackness, and observe the various sonic elements and subtle melodic activities that are all tangled up in the blackened layers of warm ominous murk. The flip side offers up more of the same, but the drone element is a bit more subtle, more of a backdrop for slivers of feedback, and grinding bits of textural buzz, more colors, the shades of black bleeding into browns and reds, not quite as abject and cold, streaks of glowing warmth shooting through a wide open expanse of greyed ambience and abstract post industrial minimalist drift." [Aquarius Records]
www.smallvoices.it
|
2007 |
€14.50 |
|
| M.BRYO + D.M.T. |
Things I was due to forget (1979-2005) |
do-LP |
"M.BRYO + DMT is one of the musical projects of the Antwerpen based multimedia artist Mark BURGHGRAEVE.
In the late seventies Mark followed Art school and from young age tempered with electronics. He formed M.BRYO + DMT, his first full synthetic band that time with some fellow students.
time.
M.BRYO + DMT played from 1982 till 1984 in clubs, cultural centers, chappels and exhibitions sometimes complete with the D.M.T. band, sometimes solo.
Among (lots) of other things, Mark constructed the original KLINIK with Marc Verhaeghen and collaborated with the (in)famous theatre director Jan FABRE...
"Things I was due to forget" is a compilation of songs that appeared on K7 and vynils or came from M.BRYO's personal archives of unreleased tapes all remastered by the artist especially for the release.
This timeless jewel is now available as double LP in a run of 439 copies."
https://somnambulist-mbryo.bandcamp.com/album/things-i-was-due-to-forget-part-1
|
2019 |
€25.00 |
|
| MACHINEFABRIEK |
Daas |
CD |
"The tracks on "Daas" have been carefully picked to form a provoking, haunting journey. What the tracks have in common is a sense of nostalgic graininess. As with the music of Philip Jeck, The Caretaker or William Basinski, these tracks are full of degrading melodies and dusty ambience. 'Daas' is the previously unreleased opening track of the album, and features contributions by the great Richard Skelton. 'Flotter', 'Koploop' and 'Grom' were previously available on small run self released EPs, while 'Onkruid' was a track previously released on 'A Room Forever', as an expensive and extremely limited 12" boxset. All are now brought to a wider audience. Presented in a matt laminate digipak." [label info]
"Next album comes from a project that also saw the daylight in 2004 just like aforementioned from Fire In The Head, though this is one of the few things in common between those two projects. Expressively we move right to the opposite side of the sound spectre here. Machinefabriek is a Dutch project from the Rotterdam-based sound artist Rutger Zuydervelt. The composer began his sonic explorations as a young boy taking lessons in piano and guitar but after that he went to the Art Academy of Arnhem, probably giving him the artistic and abstract approach to composing. Machinefabriek's music combines elements of ambient, modern classical, drone, noise and field recordings. His latest album titled "Daas" is an excellent piece of experimental ambient. There is a trend in the ambient world to combine the sound of ambience with modern classical, but in many cases the two styles do not melt and therefore doesn't float as one whole. Machinefabriek manage to integrate the acoustic elements into the digital spheres with a hauntingly beautiful end-result. Everyone interested in ambient music should keep an eye on this one." [NM/Vital Weekly]
|
2010 |
€12.00 |
|
|
Veldwerk |
CD |
"Sublime drone music and field recordings by Rutger Zuydervelt. 'Slovensko I & II' are best seen as a travel diary, recorded in Slovakia. RZ made 'sound snapshots' with a small digital recorder. A major influence both while recording and assembling the tracks was Chinese sound artist Yan Jun. 'Rusland' is a sound collage comprising field recordings and sections of live performances made in Russia. An incredible adventure and culture shock with long train journeys, bizarre venues and amazing people. 'The Breaking Water' can be heard as a sonic portrait of Rotterdam's famous Erasmus bridge. It includes recordings taken from both on and beneath the bridge, along with further sounds from the river that it crosses, the Nieuwe Maas. 'Floor & Radio' is a contrast to the outdoor pieces recorded for the the installation 'Licthung' in Radolfzell, Germany. Contrasted against the outdoor silence was the squeaking floor in the guest house and the distorted signal and static from the radio. Sometimes there's music in everything. Makino Takashi asked RZ to perform a score for his film 'In Your Star'. After a screening in Tokyo, a studio version was recorded. The result is 'Apollo', a sonic journey to space and beyond. Digipak." [label info]
www.coldspring.co.uk
" 'Field work' is the translation of this 'new' CD by Machinefabriek. It has pieces of music that deal, one way or another, with field recordings from various travels Machinefabriek made and I put the word new between '' because all but one of this pieces were released before, mostly by Rutger Zuydervelt himself as 3"CDRs but 'Slovensko' as a 7" by Champion Version. I am not sure, but I seem to have reviewed them all, so in the same spirit of this CD, I'll re-run my reviews.
(Vital Weekly 651): Recently Machinefabriek played in Russia four concerts as part of the Dutch Punch festival. Everything was duly recorded, but not released as such. The 3"CDR 'Rusland' is an extensive re-edit of all the concerts plus some additional home recording. The guitar plays the all important role here, like in more of Machinefabriek's recent work Soft tinkling, with slowly enveloping pedal work. On top there is a bit of cracks and pops and with sparsely orchestrated field recordings. A thoroughly relaxing piece of music, but one in which there is more sound than in 'Drawn'. Nice release and on the website there is another twenty-five minute piece waiting for you.
(Vital Weekly 714): For 'The Breathing Bridge' he uses sounds taped at the Erasmus Bridge and the river Nieuwe Maas, both in Rotterdam and creates two pieces of music with that, although it wasn't easy to see the distinction between both. As with many of his recent outings, Zuydervelt is all about atmospheric music, but arrives there from different ends. Sometimes with musical instruments and sometimes with field recordings, such as in this case. For the most part the music humms at a low, bass end level, until it bursts out somewhere halfway through the second piece, after which things die out again.
(Vital Weekly 709): Despite a plethora of releases, Rutger Zuydervelt never ceases to surprise. Not always I must admit, as there is a distinct style of his own, but sometimes he does something out of the ordinary. 'Slovensko' is such a thing. In September 2010 he went on holiday to Slovakia, armed with his camera (he is a designer after all) and these days also with a digital recorder. He collected a bunch of field recordings which he, back home, edited into the two parts of 'Slovensko'. No guitars this time here, but pure field recordings, edited, cut, mixed together into two lovely collages of sound. Motor sounds, dogs, voices, fences and metal gates and some more obscured sounds are put together in quite a cinematic manner. Not just a continuing ambient sound but a wonderful play of various sounds. This may very well be the first time that Zuydervelt worked so solely with field recordings. And with some fine result.
(Vital Weekly 756): This work contains excerpts of an audio-visual installation which you can actually still visit, up to December 5th at the Galerie Vayhinger, Radolfzeil, Germany. The work is a collaborative effort of Rutger Zuydervelt and Steve Roden, both responsible for the music an Sabina Burger, who did the visual component for this work. The later shows reflection of trees in water, or rain drops falling in water. The music is a duet between Roden and Zuydervelt and seems to be combining the best of both ends: the acoustic sounds of Roden (chimes, bells, cups) and Zuydervelt's careful electronic manipulation thereof. The music and film go together really well, I'd say. Poetic, silent and light. An excellent three way combination. (FdW)
(Vital Weekly 768): When I opened this up in Itunes it gave the correct title and as 'genre' it read 'soundtrack', which is quite funny. Apollo and soundtrack: how can be not avoid thinking of Brian Eno? Rutger Zuydervelt is not Brian Eno, simply because the theory side of things lack in his work (so far!), but music wise he is probably quite close to the work of the master of ambient. In this case he presents an 'alternate' edit of the soundtrack for Makino Takashi's film 'In Your Star', which I haven't seen, but its based on the Nasa flight control samples at the beginning and some highly atmospheric music, but with a slight edge to it. There are at times some piercing sounds, a glitch like rhythm here and there and it is strong atmospheric music of great stellar quality. Spacious, to stick with the theme of space travel, like the processed sound of a rocket flying over low. A particular strong work with a slight change of sound, which proofs that Zuydervelt is on the move again.
Great package too.
For all of you who missed out on these limited releases or who think CDRs suck (or vinyl for that matter) now in glorious 'ever-lasting' CD format. An excellent choice of pieces that really fit together very well." [FdW/Vital Weekly]
|
2011 |
€12.00 |
|
|
Stroomtoon |
CD |
" 'Stroomtoon can be translated as 'the sound of electricity'. The album was constructed with hours of material I recorded while experimenting with a new live setup, using an analogue tone generator and some looper pedals. The pure sines of the generator and the static and crackling sounds of that old and dusty machine gave me a nice myriad of sounds to work with, creating endless loops and textures. The original idea was to use parts of these recordings in unedited form, but playing around with these soundfiles was so much fun, and gave me so much possibilities that the end result became much more layered and detailed, while still keeping the raw energy of the original material intact. Hopefully you, the listener, will find this an electrifying album.' Rutger Zuydervelt was born on 28 July 1978 in Apeldoorn (The Netherlands), but now resides in Rotterdam. He started working as Machinefabriek in 2004. The name (meaning 'machine factory') was on the façade of a building Rutger passed everytime he went shopping for groceries. Except for a few piano and guitar lessons when he was young, Rutger didn't study music. Instead, he graduated as a graphic designer. The sleeves of his releases are practically always designer by Rutger himself, being a crucial part of the music." [label info]
www.nuun-records.com
"A full on new release by Machinefabriek, solo and in the conventional format of a real CD. It seemed a rarity recently. Rutger Zuydervelt uses his trusted set of effect pedals, field recordings, mixer, computer but leaves away the guitar in favor of an analogue tone generator, radio and korg monotron, which you see everywhere these days. With this relatively easy set up Zuydervelt creates fine electronic mood music. I would like to add 'as only he can do' but that's not the case. He creates fine electronic mood music as various people can do, and Zuydervelt belongs to the top league of the genre. That much I can say, and this new album, with four shorter pieces and one long one (LP length, perhaps a LP version is imminent somewhere?) is a pretty strong affair. Moving away from the ambient atmospheres of his earlier work, he now has some very nice pieces of sustaining tones, crackles, hiss, static and puts them together in a lovely collage of sound. Not through rapid editing, but slow
fading into new worlds all the time. These five pieces flow in natural way into each other, especially since the first piece is the longest, and already moving through various phases here. Altogether a great album, and surely one of the best of Machinefabriek in recent times. Changing the menu slightly, which is always good in my book, while staying close to what he normally does. Excellent all around." [FdW/Vital Weekly]
|
2012 |
€13.00 |
|
| |
Wendingen |
CD |
"A selection of my favorite remixes made between 2005 and 2015. Great to have these copmiled on one disc!
Most of these reworking have been released elsewhere, but used here with kind permission."
www.zoharum.com
"Mit „Wendingen“, wobei ich einmal vermute, dass sich der Name auf das Kunst-Magazin bezieht, das von 1918 bis 1932 in den Niederlanden erschienen ist, veröffentlicht RUTGER ZUYDERVELT unter seinem Projektnamen MACHINEFABRIEK eine Zusammenstellung von Remixen, die er zwischen 2005 und 2015 aus dem Material anderer Künstler angefertigt hat. Die vorgelegte Sammlung macht dabei vor allem auch deshalb Sinn, weil die einzelnen Remixe teilweise nur als Download oder auf Tape oder CD-R veröffentlicht wurden. Die ge-remixten Künstler entstammen zumeist dem experimentellen Musikspektrum, wobei einige Künstler dabei sind, mit denen ZUYDERVELT auch bereits direkt zusammengearbeitet hat, wie DAG ROSENQVIST von DE LA MANCHA oder GARETH HARDWICK. Bekanntere Namen dürften zudem noch AMON TOBIN und DJIVAN GASPARYAN, der an einigen bekannten Soundtracks (u.a. „Gladiator“ und „The Last Temptation Of Christ“) mitgearbeitet hat, sein.
Deutlicher Pluspunkt der Zusammenstellung ist die Homogenität des dargereichten Ergebnisses, so dass „Wendingen“ glatt als reguläres Album des Niederländers durchgehen könnte. Gegenüber einem gewöhnlichen MACHINEFABRIEK-Album, das in der Regel stark durchkonzeptioniert ist, zeigen sich hier allerdings größere Spielräume, was den Klang und die jeweilige Herangehensweise an ein Stück betreffen. Von knackiger Elektronik, melodischer Electronica, über schwebende, surrende Drones bis hin zu akustischen Momenten zieht sich dieses Klangbild und doch verbindet ZUYDERVELT diese Elemente atmosphärisch zu einem Gesamtbild, das in sich überraschend stimmig ist und dennoch angenehm abwechslungsreich erscheint. Dabei verzichtet man vor allem auch auf die übliche Sitte, bei einem Remix möglichst alles unter Dance-Beats zu begraben und eine Tanzflächenkompatibilität herzustellen. Lediglich bei dem Remix des AMON TOBIN-Materials sind industrielle Rhythmuselemente vorhanden, die aber auch schon so ähnlich im Original zu finden sind. Somit ist „Wendingen“ ein recht rundes und soundtechnisch spannendes Album, das den originären MACHIENFABRIEK-Veröffentlichungen in nichts nachsteht." [Tony F. für nonpop.de]
|
2016 |
€12.00 |
|
| MACHINERY DIRECTIVE / HYPNOSKULL |
Lobotomy Springs / Vier Geschichten |
CD |
Limited split-release on EE Tapes: cassette EE43CS / CD EE43.
A collaboration between 3 gents residing in the same (home) town of Sint-Niklaas (Saint-Nix), representing 3 different generations!
From old to young:
EE TAPES - curator / editor
HYPNOSKULL - a veteran that needs no introduction after nearly 30 years of media terror!
MACHINERY DIRECTIVE - a brand new noise project by our youngest comrade who prefers to remain anonymous! so be it, but we know who UR!
Physical release comes packaged very oldschoolish and is quite limited! Moreover, please welcome the first cassette on EE Tapes since 22 years!
Available for sale as:
- cassette => pro-copied C54 with on-body print (100 copies) EE43CS
- CD => fabric-pressed CD (100 copies) EE43
- DL
contact: info@eetapes.be
May the noise be with you!
video:
www.youtube.com/watch?v=kKsuvBgzhqg |
2021 |
€13.00 |
|
| |
Lobotomy Springs / Vier Geschichten |
MC |
Limited split-release on EE Tapes: cassette EE43CS / CD EE43.
A collaboration between 3 gents residing in the same (home) town of Sint-Niklaas (Saint-Nix), representing 3 different generations!
From old to young:
EE TAPES - curator / editor
HYPNOSKULL - a veteran that needs no introduction after nearly 30 years of media terror!
MACHINERY DIRECTIVE - a brand new noise project by our youngest comrade who prefers to remain anonymous! so be it, but we know who UR!
Physical release comes packaged very oldschoolish and is quite limited! Moreover, please welcome the first cassette on EE Tapes since 22 years!
Available for sale as:
- cassette => pro-copied C54 with on-body print (100 copies) EE43CS
- CD => fabric-pressed CD (100 copies) EE43
- DL
contact: info@eetapes.be
May the noise be with you!
video:
www.youtube.com/watch?v=kKsuvBgzhqg
https://eetapes.bandcamp.com/album/lobotomy-springs-vier-geschichten-split-release
|
2021 |
€12.00 |
|
| MAEROR TRI |
Meditamentum |
CD |
Endlich die Wiederveröffentlichung der zweiten MAEROR TRI–CD von 1994, die eine Zusammenstellung von frühem Cassettenmaterial ist (1989 bis 1992). Kommt mit bestickter Stoff-Banderole und Reproduktion des Original-Inlays mit Text von Lutz Schridde.
“The masterful german drone-guitar trio is now just a memory. But by culling the best tarnished gems from cassettes and compilations, Meditamentum I becomes a seamless, darkly grand proclamation of the wordless beauty and sorrow that was Maeror Tri. Prequel to the first manifold release; Meditamentum II, this one reaches even further back, putting in order pieces that were too good to languish unheard on a few hundred copies of cassettes. This compilation is probably the more ambient of any Maeror Tri compilation, going for more textural guitar and drift than the rumbling, backwards-chord sound. Comes in an amazing brown artboard case and embroidered cloth sleeve, four-page booklet inside inspired by rough layouts of cassette-years past gives plenty of text to absorb with the sounds. Amazing sounds demand amazing packages and we wanted to make sure this would be a treasure for all who were ever interested in Maeror Tri.” [press release]
|
2005 |
€10.00 |
|
|
Yearning for the Secret(s) of Nature |
CD |
"Dass die Aufnahmen dieses in einer 300er Auflage wiederveröffentlichten Tapes schon fast zwanzig Jahre auf dem Buckel haben, hört man in keiner Sekunde! Da hat jemand eine wirklich sehr gute und feinfühlige Re-Mastering-Arbeit abgeliefert.
MAEROR TRI sind ja immer noch in reduzierter Besetzung als TROUM unterwegs und Herr Knappe betreibt das allgemein bekannte Drone-Label mit angegliederten Vertrieb. MAEROR TRI waren sicher damals eine der interessantesten und auch aktivsten Industrial-Bands der Kassettenszene, die schnell den Sprung auf Vinyl und später auch auf CD vollzogen und hervorragend gemeistert haben.
Ihre Musik ist sehr spirituell, meditativ und extrem fließend. Nicht wirklich Ambient, dafür gibt es einfach zu viele krachige Eruptionen, noch nicht Drone, was man heute darunter versteht, sondern eine Art psychedelisches Ritual, das positiv, neugierig und befreiend wirkt und in keinster Weise destruktiv oder mystisch verklärt ist, wie es ja seinerzeit sehr beliebt war.
MAEROR TRI sind sicher eine der Wiederentdeckungen dieser Zeit und heute noch genauso spannend und unberechenbar wie damals. Vielleicht auch die einzigen legitimen Nachfahren des Krautrocks? Leider auch schon wieder lange Geschichte ... Wunderbar ..."
[Carsten Vollmer, OX-Fanzine]
"Born as an obscure cassette on Fool's Paradise (London 1993), this exclusive and essential work by Maeror Tri made a brief appearance earlier as a CD-r on EE Tapes (Saint Nix 2001) before it quickly vanished into oblivion.
Due to popular demand it has finally been made available again as a limited CD release!
Repolished in sound and housed in a new designed jacket, 'Yearning....' has now
become of full value between such masterpieces as 'Myein' or 'Language of flames and sound'.
Don't miss it this time.......
Restoring/remastering work by Anders Peterson @ghostsounds.net
Art design by Alan McClelland @eyelyft.blogspot.com"
[label info]
www.myspace.com/eetapes
|
2009 |
€13.00 |
|
|
Hypnobasia |
CD |
"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings.
Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
One of these two tape albums is "Hypnobasia" originally released in 1992 by the Italian label Old Europa Cafe. It was the fifth tape in the discography of Maeror Tri. The following rerelease is expanded with 3 additional tracks lifted from various artists compilations from 1989-1992. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info]
www.zoharum.com
"MAEROR TRI war ein Trio, das vom Ende der 80er-Jahre bis zum Jahr 1997 aktiv war. Nach einer Reihe von Veröffentlichungen, die sich in dem Rahmen Dark-Ambient, Industrial, Drone, Experimental einordnen lassen, war mit dem 1997er-Album „Emotional Engramm“ jedenfalls Schluss. Zwei Mitglieder, MARTIN GITSCHEL und STEFAN KNAPPE, machten danach mit TROUM weiter; HELGE SIEHL veröffentlichte in den Folgejahren als 1000SCHOEN.
Gerade zu Beginn der Existenz von MAEROR TRI wurden eine Reihe von Tapes veröffentlicht, von denen einige bereits auf CD wiederveröffentlicht wurden. Die noch vorhandenen Lücken möchte nun das polnische ZOHARUM-Label schließen, indem es zum einen „Sensuum Mendacia / Somnia“ und zum anderen „Hypnobasia“ wiederveröffentlicht. „Sensuum Mendacia / Somnia“ umfasst dabei das „Sensuum Mendacia“ Tape und die MAEROR TRI-Stücke des „Somnia Et Expergisci“ Split-Tapes, das damals zusammen mit NOSTALGIE ÉTERNELLE veröffentlicht wurde. „Hypnobasia“ wurde noch um drei Tape-Compilation-Stücke aus der Zeit ergänzt.
Gemeinsam ist beiden Veröffentlichungen, dass die Gitarre prägendes aber nicht wahrnehmbar dominierendes Element ist, wobei das Klangspektrum von Drones und Noise bis hin zu Akkorden und melancholischem Einzelanschlag der Saiten reicht. Die zupackendere, Richtung Industrial und Noise tendierende Seite von MAEROR TRI deckt hier definitiv „Hypnobasia“ ab, hier wird mit rhythmischen Elementen, Noise und bearbeiteten Stimmen gearbeitet. Ruhiger, flächiger, klanglich weitläufiger und auch melancholischer erscheint dagegen „Sensuum Mendacia / Somnia“. Der Klang erscheint bei beiden Veröffentlichungen als organisches, mit vielen Unebenheiten und Wendungen ausgestattetes Gebilde. Hochgezüchtete, digitale Soundwälle oder gar symphonische Elemente sucht man hier jedenfalls vergeblich. Im Klangbild mag man hier und da vielleicht den Staub der 90er-Jahre und die vielleicht noch nicht ganz ausgereifte technische Ausstattung erkennen; dennoch haftet dem Sound eine gewisse Zeitlosigkeit an, die das Wirken von MAEROR TRI auch aus heutiger Sicht als spannend erscheinen lassen kann." [Tony F. für nonpop.de]
|
2016 |
€12.50 |
|
|
Venenum / Timeless Transcension |
CD / DVD |
This is Infinite Fog's 4th step in reissues of Maeror Tri albums. 'Venenum' is a peaceful drone album recorded between 1989 and 1991. 'Venenum' was released in 1992 as a tape and reissued on limited 200 copies CD in 1999 by the short-lived French label ÜNE (r)ecords. This version is carefully remastered and packed in a deluxe hardcover digibook with booklet. Besides the CD, there is also a great surprise for all fans: a bonus DVD with 'Timeless Transcension', an experimental video created and released by the band in the 1992 year on VHS.
The outstanding artwork was created especially for the album by a young painter and designer from Saint-Petersburg, Anton Bogdanov, who did a great job for the 'Peak Experience' and 'Mind Reversal' reissues before.
https://infinitefog.bandcamp.com/album/maeror-tri-venenum
|
2018 |
€22.00 |
|
| |
The Singles |
CD |
Reissue of MAËROR TRI(...)'s full vinyl singles / EP's recorded from 1993-1996 (except for their first one, "Saltatrix" on Drone Records - DR01)
"Am Tag, als die Stil- und Genrebildung geprägt wurde, waren drei Nordlichter besonders aktiv. Unter der Bezeichnung Maeror Tri revolutionierten sie fortan Sound- und Hörerfahrungen. Zielgruppe der drei war stets die rechte Hirnhälfte. Wundervolle Edelsteine aus dem tiefen Ozean wurden fortan geborgen, auf 7“ gepresst und sind heute nur noch schwer erhältlich. So ist es im äußersten Maße begrüßenswert, dass den Hörern nun dies wieder zugänglich wird. Bleibt zweierlei festzuhalten. Zunächst steht unverrückbar, dass sämtliche in der Folge schier unzählige Epigonen lieber ihr Bestreben nach Ausdruck auf den Hobbykeller bzw. auf die Untermalung des letzten Urlaubsvideos richten sollten. Zweitens steht ebenso unumstößlich fest, dass Maeror Tri eine Ausnahmeerscheinung und somit eigentlich unvergleichlich waren!" [Leonie D./ TAUCHER Nr. 02]
What can I say? They were my fave Drone/Industrial unit in the nineties and when this came out 15 years ago, it didn't last for too long until it was completely sold out...
So by popular demand, here's the reissue, no more no less !!
May the Force be with You !!
Photography (unknown location) by Jan Kees Helms
Mastering at Illlektrik Toolz by Herman Klapholz
Design by Jan Van den Broeke
Tags: Drone - Industrial - Experimental
www.eetapes.be
"Probably there is only one group that started as a cassette only band, who will successfully release their entire back-catalogue on real CDs (not CDRs) and that is Maeror Tri. They started out in the late eighties as a three piece ambient industrial group, and released a whole bunch of cassettes and subsequently also 7"s and CDs. In the late nineties one of the three band-members left and the name was changed to Troum. Their 7"s are now collected on this CD, for the first time and complete as such (so the originals can go to Ebay now, although I have no idea how well sought there). One 7" is missing and that's the one that they released on their own label, Drone Records (which started the label) and which will be re-issued soon. It's good to see this released as last, as the music of Maeror Tri can best be enjoyed in the digital format, away from the scratchy, hissy vinyl, of which the duration was sometimes also too long for a 7". This collection starts out with quite a raw Maeror Tri, with metallic banging but as the CD progresses, some of the more classic Maeror Tri appear: dark and dense and intense, with much layering of sound effects, percussive sounds and many obscure sound-sources (I once saw them playing an accordion on stage, feeding it through a whole line of sound effects). These singles, three 7"s and one 10", can easily be classified among the best they ever did and with the enhanced quality of the CD, this is a much wanted item. Time to plunder their cassette releases and release those on CD. Do I hear the word 'boxset', anyone?" [Fdw/Vital Weekly - original review to the first ed. 2005] |
2020 |
€10.00 |
|
| MAGGI, PHIL |
Blue Fields in Paramount |
CD |
Nach der schönen IDIOSCAPES-Compilation die zweite Veröffentlichung für das belgische Label aus Gent. PHIL MAGGI ist Mitglied diverser Bands (z.B. ULTRAPHALLUS) und legt nach zwei CDRs seine erste "fabrikgepresste" CD vor. Seine subtilen wie ätherischen Drones werden mit field recordings aus Zagreb angereichert (Akkordeon-Folk eines Strassenmusikers, Sounds in einer Kirche), immer wieder sind im weiteren Verlauf effektierte Echo-Gitarren oder Rückwarts-Harmonien eingesetzt, die dem ganzen einen verträumt-sehnsüchtigen Anstrich geben... sehr schön, to discover !
"Blue Fields in Paramount is a very personal and fascinating opus, a beautiful introduction to the style of this talented artist, that could be qualified as 'dark psychedelia for daydream believers'. It has been mastered by James Plotkin (Khlyst, Khanate, Old, Phantom) and is out now as a limited to 300 copies ekopack release with a fantastic artwork by czech artist Jan Karpisek." [label info]
"The album contains a 39 minutes track that is formed by totally different mini suites made with loops, fields recordings (he did his sessions in a church and in the streets of Zagreb) and sampled contemporary classical music. The track starts with a dark ambient drone mood with tones inserts and follows with Zagreb sounds mixed with backward classical music. Suddenly anxious atmospheres take a hold thanks to synth sounds coupled with an orchestration of sampled/treated breaths. The tracks changes skins different times and each one is renewing like a phoenix born from its ashes and Phil succeeds into keeping the listener's attention high thanks to interesting sounds, light melodies and tension. I liked it..."" [Maurizio Pustianaz, CHAIN D.L.K.]
www.idiosyncratics.net
|
2009 |
€12.00 |
|
| MAIDA, CLARA |
In Corpore Vili |
CD |
1. Composer:
Clara Maida
2. Title:
in corpore vili
3. Performers (Studios):
Ensemble Resonanz,
Kammerensemble Neue Musik Berlin,
Ensemble Orchestral Contemporain,
Arditti String Quartet,
Heather O’Donnel
(Elektronisches Studio der Technischen Universität Berlin;
Studio für Elektroakustische Musik der Akademie der Künste, Berlin)
4. Format:
Audio CD, Digisleeve, Booklet German/English
5. Total time:
67:28
6. Catalogue #:
ed. RZ 10017
7. EAN Code:
4029455100178
8. Release date:
30. January 2010
9. Tracklist:
(1)
1. Mutatis mutandis (2008)
2. Psyché-Cité/Transversales (2005/06)
(2)
1- Fluctuatio (in)animi (2006)
(3) 2- Ipso facto (2006)
(4) 3- Via rupta (2005)
(5) 3. ...who holds the strings... (2003)
(6) 4. Doppelklänger (2008)
Eine ko-produktion zwischen Berliner Künstler Programm des DAAD, edition-rz und Deutschlandradio Kultur
"In den ersten Jahren zielten meine kompositorischen Forschungen darauf, die unbewussten, psychischen Energieflüsse, die zum Werk führen, samt ihrer Strukturen nachzuzeichnen. Parallel zu einem analytischen Ansatz, der den Zugang zu diesen unbewussten Aktivitäten begünstigt, studierte ich psychoanalytische Literatur, um mir ein musikalisches Denken zu erarbeiten, das einer psychischen Komplexität gerecht würde, die sich nur in gewissen Handlungen und unwillentlichen Äußerungen oder in Phantasien und Träumen äußert. Aus diesen Studien entstand ein strukturelles und formales Potential für eine Musik, die noch zu schreiben war, da allein die Plastizität der Klangwelt in der Lage schien, die Beweglichkeit und Instabilität heraufzubeschwören, welche die Gestaltung der Elemente des Unbewussten unablässig verändern.
During the first years of my compositional research, my goal was to mark out, in my music, the flux of the psychic energy at work in the unconscious and its underlying structure. At the time, I was going through an analytical process favouring access to this unconscious activity, and my readings in the field of psychoanalysis were helping me in the effort to elaborate a musical thinking likely to account for this psychic complexity, which only appears through unintentional acts and words, or in fantasies and dreams. A whole structural and formal model for a potential music was emerging then, since only the plasticity of the world of sound seemed to be able to suggest this mobility and instability, which endlessly alter the configurations of the components of the unconscious." [credits / label info]
www.edition-rz.de
www.edition-rz.de
|
2010 |
€15.50 |
|
| MALANGA, GERARD |
Up from the Archives |
CD |
"GERARD MALANGA: HIS LEGACY
New York poet, photograph, performer with the Velvet Underground, Gerard Malanga, was Andy Warhol's close friend and his first assistant in the golden age of the 60' Factory (paintings: Red Jackie, Brillo Box, Mao, Flowers... all the films - including Sleep, Empire, Chelsea Girls... - the Velvet Underground era...).
What we present here is really his unique legacy.
FROM WARHOL TO BURROUGHS...
First hand documents from the personal archives of Malanga - it contains rare documents with voices of Andy Warhol, Allen Ginsberg, the American poet Gregory Corso, Jack Kérouac, Willard Maas ...
Some come from unknown documents recorded by Malanga himself during the shooting of Warhol 's films...
Other great document: Gerard Malanga, poetry reading at Leo Castelli Gallery, l964... for the first exhibition of Warhol's famous "Flowers"
All begin with a conversation between William Burroughs and Malanga, about "dreams"...
UNPUBLISHED MUSIC FOR GERARD
This record also contains unpublished music by Angus MacLise (... Velvet Underground before Velvet Underground and La Monte Young Orchestra with John Cale and Tony Conrad) and new pieces by Iggy Pop and Thurston Moore (Sonic Youth). It ends with Gerard and dj Olive, live at the 'Cooler' of New York, last year...
the loop is looped." [label info]
www.subrosa.net
|
2000 |
€13.00 |
|
| MALONE, KALI |
Does Spring Hide its Joy |
3 x CD |
»Does Spring Hide Its Joy« is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.
»Does Spring Hide Its Joy« follows Malone’s critically acclaimed records. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music.
»Does Spring Hide Its Joy« is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.
»Does Spring Hide Its Joy« was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for »Does Spring Hide Its Joy«.
In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.”
»Does Spring Hide Its Joy« has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London.
In addition to live concerts, the Funkhaus recordings of »Does Spring Hide Its Joy« have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork.
»Does Spring Hide Its Joy« is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
Does Spring Hide Its Joy ist ein immersives Stück der Komponistin Kali Malone mit Stephen O'Malley an der E-Gitarre, Lucy Railton am Cello und Malone selbst an gestimmten Sinusoszillatoren. Die Musik ist eine Studie über Obertöne und nichtlineare Komposition mit besonderem Augenmerk auf gerechter Intonation und schlagenden Interferenzmustern. Malones Erfahrungen mit der Stimmung von Pfeifenorgeln, der Harmonielehre und langer Kompositionen sind wichtige Ausgangspunkte für dieses Werk. Ihr nuancierter Minimalismus entfaltet eine erstaunliche Tiefenschärfe und eröffnet kontemplative Räume in der Aufmerksamkeit des Zuhörers. Does Spring Hide Its Joy ist eine Dauererfahrung von variabler Länge, die einer sich langsam entwickelnden Harmonie und Klangfarbe zwischen Cello, Sinuswellen und E-Gitarre folgt. Für den Hörer ist der Übergang zwischen den einzelnen Abschnitten oft schwer auszumachen. Das gesättigte Timbre der E-Gitarre vermischt sich mit der reichen Periodizität des Cellos, während die sich verschiebenden Oberton-Rückkopplungen Interferenzmuster mit den präzisen Sinuswellen entwickeln. |
2023 |
€23.50 |
|
|
All Life Long |
do-LP |
Kali Malones mit Spannung erwartetes neues Album »All Life Long« ist eine Sammlung von Musik für Pfeifenorgel, Chor und Blechbläserquintett, komponiert von Kali Malone zwischen 2020 und 2023.
Chormusik, aufgeführt vom Macadam Ensemble unter der Leitung von Etienne Ferschaud in der Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Musik für Blechbläserquintett, aufgeführt von Anima Brass im Bunker Studio in New York City. Die Orgelmusik wurde gespielt von Kali Malone und Stephen O'Malley auf den historischen, temperierten Pfeifenorgeln der Église Saint-François in Lausanne, des Orgelparks in Amsterdam und des Malmö Konstmuseums in Schweden.
Kali Malone komponiert mit einer seltenen Klarheit. Ihre Musik ist geduldig und fokussiert und baut auf einem Fundament sich entwickelnder harmonischer Zyklen auf, die verborgene emotionale Resonanzen hervorrufen.
Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.
Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.
Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.
All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.
The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.
This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.
https://kalimalone.bandcamp.com/album/all-life-long
|
2024 |
€32.50 |
|
| |
All Life Long |
CD |
Kali Malones mit Spannung erwartetes neues Album »All Life Long« ist eine Sammlung von Musik für Pfeifenorgel, Chor und Blechbläserquintett, komponiert von Kali Malone zwischen 2020 und 2023.
Chormusik, aufgeführt vom Macadam Ensemble unter der Leitung von Etienne Ferschaud in der Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Musik für Blechbläserquintett, aufgeführt von Anima Brass im Bunker Studio in New York City. Die Orgelmusik wurde gespielt von Kali Malone und Stephen O'Malley auf den historischen, temperierten Pfeifenorgeln der Église Saint-François in Lausanne, des Orgelparks in Amsterdam und des Malmö Konstmuseums in Schweden.
Kali Malone komponiert mit einer seltenen Klarheit. Ihre Musik ist geduldig und fokussiert und baut auf einem Fundament sich entwickelnder harmonischer Zyklen auf, die verborgene emotionale Resonanzen hervorrufen.
Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.
Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.
Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.
All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.
The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.
This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.
https://kalimalone.bandcamp.com/album/all-life-long
|
2024 |
€16.00 |
|
| MALONE, KALI (FEATURING STEPHEN O'MALLEY & LUCY RAILTON) |
Does Spring Hide its Joy |
3 x LP |
»Does Spring Hide Its Joy« is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.
»Does Spring Hide Its Joy« follows Malone’s critically acclaimed records. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music.
»Does Spring Hide Its Joy« is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.
»Does Spring Hide Its Joy« was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for »Does Spring Hide Its Joy«.
In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.”
»Does Spring Hide Its Joy« has since been performed live on many European stages, in durations of sixty and ninety minutes. Including at the Schauspielhaus in Zürich, the Bozar in Brussels, Haus Der Kunst in Munich, and the Munch Museum in Oslo. Concerts are forthcoming at Unsound Festival in Krakow, Mira Festival in Barcelona, the Venice Biennale, and the Purcell Room at the Southbank Center in London.
In addition to live concerts, the Funkhaus recordings of »Does Spring Hide Its Joy« have evolved in parallel as a site-specific sound installation. Malone has also invited the video artist Nika Milano to create a custom analog video work that interprets and accompanies the musical score as a fourth player, creating a visual atmosphere inspired by the sonic principles of the composition. Eight sequential video stills from Milano’s work are featured in the album artwork.
»Does Spring Hide Its Joy« is packaged in a heavyweight laminated jacket with full-color printed inner sleeves with artwork by Nika Milano. Mastered by Stephan Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
Does Spring Hide Its Joy ist ein immersives Stück der Komponistin Kali Malone mit Stephen O'Malley an der E-Gitarre, Lucy Railton am Cello und Malone selbst an gestimmten Sinusoszillatoren. Die Musik ist eine Studie über Obertöne und nichtlineare Komposition mit besonderem Augenmerk auf gerechter Intonation und schlagenden Interferenzmustern. Malones Erfahrungen mit der Stimmung von Pfeifenorgeln, der Harmonielehre und langer Kompositionen sind wichtige Ausgangspunkte für dieses Werk. Ihr nuancierter Minimalismus entfaltet eine erstaunliche Tiefenschärfe und eröffnet kontemplative Räume in der Aufmerksamkeit des Zuhörers. Does Spring Hide Its Joy ist eine Dauererfahrung von variabler Länge, die einer sich langsam entwickelnden Harmonie und Klangfarbe zwischen Cello, Sinuswellen und E-Gitarre folgt. Für den Hörer ist der Übergang zwischen den einzelnen Abschnitten oft schwer auszumachen. Das gesättigte Timbre der E-Gitarre vermischt sich mit der reichen Periodizität des Cellos, während die sich verschiebenden Oberton-Rückkopplungen Interferenzmuster mit den präzisen Sinuswellen entwickeln.
https://kalimalone.bandcamp.com/album/does-spring-hide-its-joy
|
2023 |
€49.50 |
|
| MANDELBROT SET |
All our Actions are constantly... |
CD |
Irgendwo zwischen GODFLESH YOU BLACK EMPOROR, MOGWAI, SLOWDIVE und MY BLOODY VALENTINE liegt der epische Sphären-Instrumental-Rock von MANDELBROT SET....
"MANDELBROT SET sind eine laute Band, sie lieben dröhnende Bässe, benutzen Samples und wechseln die Instrumente während der Songs, hauptsächlich sind sie aber gerne einfach nur laut. Gegründet von Ex-HENTAI Keung, komplettiert von Drummer Simon und Multiinstrumentalistin Melisa, vereinigen die drei ihre Liebe zum Constellation Label mit elektronischem Equipment, Live Sampling und Effekten, mit einer aggressiven Rhythmik im Stile von SHELLAC und mit melodischem, epischem Krach (der sogar Kevin Shields neidisch machen könnte), zu einer gewaltigen, kreativen Energie, die man auf "All Our Actions Are Constantly..." um die Ohren geschleudert bekommt." [Cargo / press release]
“Mandelbrot Set are a loud band. They like their drones and their converse-gazing, they like to use sample pedals and to change instruments during sets, but mainly they like to be loud, and they like to do it differently. Formed by Keung, from the ashes of his previous band, Hentai, of whom Drowned In Sound remarked "It's a relief to know that not all angsty teenagers listen to Radiohead and spend the rest of their adolescence trying to emulate Muse. Some of them stick Boards Of Canada stickers on their guitars, acquire DD-5 sample pedals and violin bows, and proceed to work the Mogwai-esque quiet / loud / louder / apocalyptic dynamic till their ears bleed." Mandelbrot Set take their love of all things on the Constellation label, their penchant for electronics, effects pedals and live sampling, their Shellac-esque rhythmic aggression, and combine it all into a wall of noise, melody and epic structure that would make Kevin Shields envious. Joined by Simon on drums and multi-instrumentalist Melisa, the disparate influences and creative energies of the three combine to create a inspired palette of sound and texture, a dense cloud of harmonic resonance, yet timed with enough space and clarity for all the individual elements to shine through.” [press release]
|
2007 |
€10.00 |
|
| MANKOWSKI, ADAM |
Dzwieki z Offu |
CD |
Music, word, murmur - stratified and contrasted with the sound naturalism obligatory in Polish cinema, gave rise to a completely new path of film acoustics development, which ceased to be only a sincere mirror and became a conscious element in the creation of psychic reality. The musical material contained in the album is an attempt to subjectively interpret the huge wealth of experience brought by the film debut of Grzegorz Królikiewicz - the movie Na Wylot. Movie has never belonged to the favorites of critics, and all analyzes and reviews - which took place after the premiere and for the next decades - focused almost on the problems of the moral work. The artistic layer of the film remains underestimated and still overlooked, as well as the potential of the techniques used to assemble and execute the sound, which allowed to significantly extend the psychological portrait of the main characters of the drama. The overriding aim of the process of creating this musical material was the desire to evoke the creative spirit accompanying the director and his composers - Henryk Kuzniak and Jerzy Hajdun. The creators responsible for the sound layer, dared to break with the contemporary tradition and departing from naturalism, created a sound space that is a kind of deformation of reality in which the lost and deformed sound often reaches us from outside the frame.
The basic assumption of the project "Dzwieki z Offu" is to bring the audience to the figure of Grzegorz Królikiewicz - director, screenwriter and professor of film arts associated with Lodz. The film debut of the author, made at the WFDiF Film Laboratory in Lodz, was an absolute sensation at the time of the premiere on the background of Polish cinematography. This was due to the use of innovative techniques for the implementation and assembly of sound, as well as artistic experiments in combining the sound layer with the image.
Adam Mankowski - born in 1985, lives and works in Lodz. A sound artist, improviser, independent music journalist and photography enthusiast. An insightful observer of newly emerging music phenomena of an avant-garde character. Since 2006 he has been continuing his solo music activity under the name - Limited Liability Sounds. He moves in the genere of improvised, experimental and intermedia music. He co-founded the experimental duo Scindite (2014-2015) and the ambient project Insomnia (2005-2012). Winner of this year's artistic scholarship, Mayor of the City of Lodz.
llsnoise@gmail.com
www.llsnoise.pl
www.facebook.com/llsnoise
"ADAM MANKOWSKI in Lódz ist in den Kreisen, in denen er sich seit 2006 bewegt, besser bekannt als Limited Liability Sounds oder auch mit Scindite. Als LLS hat er zwischen Re-Drum und Emerge auch schon bei Attenuation Circuit angedockt, mit genug Anspruch und Courage, sich an "An Hommage to Luciano Berio" (2017) und gar an "Music for Philosophers" (2018) zu wagen. Dzwieki z Offu [Klänge aus dem Off] (ACU 1013) dreht sich nun lokalpatriotisch um Grzegorz Królikiewicz (1939-2017), den durch etwa "Wieczne pretensje" [Ewige Nörgelei] (1974), "Zabicie ciotki" [Die Tante erschlagen] (1984), "Der Fall Pekosinski" (1993) oder "Sasiady - Neighborhooders" (2014) bekannten Altmeister der polnischen Filmkunst in Lódz. Und insbesondere um dessen preisgekröntes und kontroverses Debut "Na wylot" (dt. Durch und durch, 1972) und die Filmmusik dazu von Henryk Kuzniak & Janusz Hajdun. Mankowski nähert sich dem an durch nicht unharmonische Drones und perkussive Geräusche und Ansätze von Rhythmik, durchsetzt mit Samples. Als Metasoundscape, durch den Alltagsgeräusche und Instrumentalklänge geistern, Fetzen eines Kinderchors. eine Handvoll Pianonoten, angerührte Strings, von allem nur Tupfer, Schlieren, ein Anhauch, wie ein melancholisch eingetrübter Schleier, gewebt aus Erinnerungen und durchhuscht von Mäusen, die im Oberstübchen daran nagen, betropft von Tropfen und müden Schlägen, mit vagen oder klimpernden Griffen in die Tasten, von Glocken bebimmelt, von Vögeln bezwitschert. Dumpf verzerrte Klänge kehren wieder, Geräusche kreisen und malen unrund und schleifend, das knarzende Gefüge scheint zu träumen. So vieles ist wie im Traum und durch den Lauf der Dinge unscharf geworden: die Festung Przemysl von "Fort 13" (1984) nicht weniger als der Totschlag und die "Na wylot"-Liebe von Jan & Maria oder "Die Kostbarkeit des freien Gewissens", wie Królikiewicz 1981 seine Mahnung vor dem religiösen (ideologischen) Bürgerkrieg überschrieb, und wie es in Polen weitergeht, nachdem wieder das Messer gezückt wurde." [Bad Alchemy] |
2018 |
€12.00 |
|
| MARANHA, DAVID |
Piano Suspenso |
CD |
"OSSO EXOTICO-Mitglied DAVID MARANHA auf Solopfaden: a single piece of beauty for about 71 minutes! Piano strings excited by four motors and violin, recorded in N.Y. at the electronic arts performance series. In allen Frequenzen ausschweifende, majestätische Drones, mit ständigen Interferenzen & Überlagerungen & Obertönen, ein Meer von Drones sozusagen, in das man hinabtauchen kann!!!" [old Drone Rec. info] BACK IN STOCK !!
"Reissue of this 1999 release and out of print since a long time. Some reviews at the time of release : ' After a tentative opening consisting of damp harmonic scrapes, the piece takes off like a single-engined light aircraft when maranha kickstarts his four-motored piano effect and then starts to tease single notes from the bubbling background with his bow. This is a great and physically affecting slab of sound, where the slightest minimal shift causes tectonic plates to groan. It's gravy train stuff for fans of Maryanne Amacher, Arnold Dreyblatt and Ð perhaps maranha's major influence Ð Phill Niblock. ' david Keenan - The wire (aug. 99) ' david maranha, one third of Osso Exotico, recorded a hauntingely beautiful piece in New York, using four motors and a violin bow to play the grandpiano. The motors create rich textures of overtones that slowly go in and out of phase and make unknown harmonies audible. The bow plays something like the melody off and on. There is a very special thanks to Phill Niblock and if you know his music, then you know what to expect as it fits his tradition of minimal music very well." ' Frans de Waard - Vital weekly " [press release]
|
1999 |
€10.00 |
|
| MARANHA, DAVID & HELENA ESPVALL |
Sombras Incendiadas |
LP |
"Helena Espvall first met David Maranha in 2006 when her band Espers played a show in Lisbon. They played two gigs the following year, and Espvall contributed to Maranha's Marches of the New World. Since then they always had the intention of working together more extensively and once Espvall moved to Lisbon two years ago they had no more excuses. Sombras Incendiadas ('Exploding Shadows') features Espvall on amplified cello and Maranha on electric organ and amplified violin. Espvall has an amazing cello sound, kind of Velvet Underground, while David Maranha is in the vein of La Monte Young or Tony Conrad. As a duo, they create heavy drones with delicate harmonics behind the wall of sound. The textures are raw, the compositions are minimalistic, and the riffs are heady. The repetitive patterns played very loudly create a monolithic, hypnotic, and time stopping album. Sombras Incendiadas is available on LP (with a download coupon) and digitally. David Maranha, violin, electric organ. Helena Espvall, cello. Recorded in Violente do Céu by David Maranha between december 2012 and march 2013."
www.three-four.net
"Over the course of many years I have been enjoying the music from David Maranha a lot. First when he was playing with Osso Exotico, a group with among others his brother Andre, and later on solo or in collaboration with others. One could easily say, with any exaggeration, that Maranha represents minimal music in Portugal, more so than say Rafael Toral who is more the 'drone' master (before he started being interested in jazz). Here he teams up with Helena Espvall from Sweden, who lives in Philadelphia, where she is part of the psychedelic and free-folk scene. In 2006 they met for the first time, when Espvall played in Lisbon and since Espvall lives in that city for two years it's only natural they would work together. There are three instruments on this record: Espvall's amplified cello and Maranha playing electric organ and amplified violin. The music reminds the more informed listener of the drone/noise/minimalism of the sixties; think Tony Conrad (especially him) or a heavily
amplified and drugged out LaMonte Young or maybe The Velvet Underground in their normal habitat, less any drums. It's busy as hell, with these loud, repetitive moves that sound like a menace and it's nowhere mechanical. This is a heavy record, I must say. It's not for the weak of hearth and mind: it goes right into your brain and sticks like thick knitting needle; it goes under your skin and never leaves. This is not the kind of drone aiming to please the listener, but make him sit upright and listens carefully. Play loud is not something I would say easily, but in this case: yes, absolutely play very loud and don't engage yourself in any other activity, other than listening and be fully immersed." [FdW/Vital Weekly]
|
2015 |
€14.00 |
|
| MARANHA, DAVID / FERRANDINI, GABRIEL |
A Fonte de Aretusa |
LP |
"A fonte de Aretusa is the convergence between the legendary organist David Maranha and the free-form young revelation drummer Gabriel Ferrandini. Based in Lisbon, Portugal this duo started in 2010, with regular rehearsals and concerts that lead to this first album that captures a bloody free live act where the music is pulsing and vibrating over a droning flow of sound. 42 minutes (here divided in two, due to vinyl restrictions) of a massive attack to the listener among free percussive frames and brutal organic drone merging together into a powerful and permanent movement of vivid music captured in one of their first live performances at ZDB venue. 150g LP, 400 gr carton cover with black inner sleeve." [label info]
www.mazagran.org
|
2011 |
€17.50 |
|
| MARC WANNABE |
Things don't last very long |
CD |
Schwülstig-obskure rhythmische Elektronik, oder wie soll man das nennen, was MAREK WANTZECK hier produziert hat? Rollend abgefederte Beats werden mit allerlei vokalen Geräusch-emissionen verwurstet, der Effekt ist (jedenfalls bei mir und einigen von meinen 1000 selfs), dass man verwirrt das Tanzbein schwingen muss. Filed under: Mind-fuck-Techno!
“After 3 years the third rumbling album by Marc Wannabe finally is released! A journey through 12 crackling & grooving tracks, based mainly on the sounding sputum of throat & mouth. 60 minutes of straight & oblique rhythms, pulsating basses & energetic transfers. Old friends showing up, leaving breathes, noises & voices, and also the well known old pleated robots can be found somewhere... Marek Wantzéck (aka Marc Wannabe) explains the conceptual background of this album:
"How to handle that professional music as we know it? Well, the construction, you see, really made me start to use situations and transistors radios. And that became an image of the piece what was happening around me. And the title really came after the piece and is like a silent protest. So there was a strong connection there with things don´t last very long." That may answering a lot - but not everything. To get the full spectrum of possible answers: Listen to this CD!” [press release]
"Cultureclash. Kampf der Genres. Audiogebrösel aus dem kollektiven Musikgedächtnis der letzten Jahre. Hip-Hop, Grime, Dub, Experimentelles und abstrahiertes Rhythmusgefühl. Random Music, bizarres Audiotheater für Leute, die unter ihre Achim Wollscheid-MP3s einen Technobeat mischen.
Marc Wannabe präsentiert mit »Things Don't Last Very Long« fucked up Jazz, Knödelpop, dümmliche Hip-Hop Etüden und breites Verständnis für jegliche Form von öffentlichkeitsfern entstandenen Schülerhandyaufnahmen getreu dem Motto: mach mir die Sau für 1 Minute Schulhofimpression. Alles aufgezeichnet. Da darf es auch mal grunzen oder spastische Vokalverrenkungen geben. Mach dich zum Horst verdammt noch mal.
Wannabe darf alles, erlaubt sich alles und zieht auch noch andere mit hinein. Column One sind dabei und dürfen Wannebe auditiv abkanzeln und ihn in der Karzer schicken, während Stea Andreasson ihn wieder aus der Ecke zieht um ihm mit rotem Lolitamund die Leviten zu lesen. Andreassons filmisches Zitateschnippeln aus der Krimiserie Der Alte mag da als pädagogisches Anschauungsmaterial dienen.
Das braucht es dann auch mal. Alle Register werden hier gezogen. Und wer das alles nicht versteht, sollte die CD mal vor der Schule in der Cliquenraucherecke abspielen. Damit bist du einer von allen bei soviel stilistischer Vielfalt." [Thorsten Soltau / AEMAG] |
2005 |
€10.00 |
|
| MARCHETTI, LIONEL |
Knud un Nom de Serpent |
CD |
Wiederveröffentlichung des erfolgreichen MARCHETTI-Albums von 1999 (soweit wir wissen sein erstes full-length Solo-Album), ein in höchstem Maße forderndes Collagen-Werk mit Aufnahmen von schamanistischen Ritualen & ritueller Musik, inspiriert von MIRCEA ELIADE.
"Having seen Marchetti perform live with Jerome Noetinger, this CD comes as somewhat of a surprise. Starting with African music, followed by part of a French chanson and parts of spoken word, this work obviously needs a different approach. After reading the press release, things become clearer: Marchetti has a strong interest in shamanism and tries 'to make the listener live with my mythology, more aware of the world's potential forces'. Collage seems to be the method to achieve this goal. All tracks consist of numerous citations from music from all over the world and all over the times. The result is a work that one can listen to over and over again, because of the richness of its ingredients. Others can probably not stand the complexity..." [Roel Meelkop, Vital Weekly]
"Back by popular demand ! Lionel Marchetti's classic album of harrowing tape music from 1999, Knud un Nom de Serpent (Le Cercle des Entrailles), was published by Intransitive in 1999, quickly sold out, and remains the most requested title to be resurrected from our back catalog. We're thrilled to make Knud available again, now with a striking new cover design and an appreciative essay by Bhob Rainey (nmperign, The BSC). The gripping drama of Knud un Nom de Serpent illustrates Marchetti's idea of popular music as Shamanic ritual, a gateway to ecstatic altered states. Armed with fierce wit and a razor blade, he smashes together sounds from all over the world into a hallucinatory cyclone of Jamaican reggae, French chanson, American avant-garde vocalists, Thai pop songs, nature recordings, spoken text, and more. The result is a chilling work of furious, obliquely narrative tape-collage and tense, frightening scenes. As Marchetti explained to The Wire magazine, 'I've always been interested in the idea of the medicine man. Someone who by sheer force of imagination transports you into another world, part artist, part healer. Maybe that's what a composer is.' Lionel Marchetti (France, 1967) is a self-taught composer of musique concrète. He has built his own recording studio, and has composed in the Groupe de Recherches Musicales in Paris since 1993. Marchetti also performs improvised music with microphones and loudspeakers as a duo with Jérôme Noetinger, as part of the group quintetAvant, and with the collective Le Cube, which performs live music and interactive film. Marchetti's book La Musique Concrète De Michel Chion was published by Éditions Metamkine in 1998. Also available: int031 Lionel Marchetti & Seijiro Murayama 'Hatali Atseli (L'Echange des Yeux)' CD." [label info]
|
2008 |
€12.00 |
|
| MAREGIANO, ANNE |
CHARLEMAGNE PALESTINE, THE GOLDEN SOUND |
DVD |
"Born in New York City, composer, performer, and visual artist Charlemagne Palestine was a contemporary of Steve Reich and Phillip Glass in the avantgarde classical music scene of the 1960s and 1970s. On stages filled with his own home-made stuffed animals, Palestine performs his trance-like strumming music. He is often referred to as a minimal composer, but rejects that in favour of maximalism. Anne Maregiano's documentary about Palestine, The Golden Sound (2011), allows the artist to tell his own story while putting his music and performance, in long, unedited takes, at the centre of the film' - Michael Garrad, (Close Up) Bonus Films: 'The Red Suitcase' by Anne Maregiano (2011). 'Body Music 'by Charlemagne Palestine (1975). 'Charlemagne 2 : Piltzer' by Pip Chodorov (2002). 'Sound Recording: March 7, 1975' by Charlemagne Palestine. Book (44 pages) with texts written by Ingram Marshall, Roland Spekle, Pip Chodorov and Anne Maregiano. Photos by Kathleen Agnoli, Elaine Hartnett, James Lapine, Charlemagne Palestine. English with French subtitles." [label info]
"Il est 19h30 au Louvre le 6 mars 2001. Charlemagne Palestine descend les marches du grand auditorium avec sa valise en toile rouge. Il porte un grand chapeau Weston, plusieurs écharpes bariolées, un pantalon orange et des chaussures rouges. Il pose sa valise devant le majestueux piano Bösendorfer et en sort une grenouille, un petit singe, un ours, un perroquet… quelques peluches rescapées des poubelles de l’histoire. Charlemagne débute son concert devant une salle pleine. Il ne faut pas plus de cinq minutes de Strumming Music pour qu’un spectateur se lève et crie au scandale. Le concert s’interrompt, Charlemagne lui suggère de quitter la salle. Après un échange musclé, l’homme à lunettes se rassoit. A la fin du concert, je revois la même personne félicitant Charlemagne de sa performance. Que s’est-il passé ? Qu’est-ce qu’il lui a fait changer d’avis : l’origine ukrainienne de l’artiste, son appartenance à l’avant-garde new-yorkaise au début des années 70 (Tony Conrad, La Monte Young, John Cale, Taylor Mead, Terry Riley...), son expérimentation électro-acoustique à Los Angeles (Morton Subotnick, Ingram Marshall), son art vidéo (Nam June Paik), ses accointances avec le cinéma expérimental (Stan Brakkage) ou son exil vers l’Europe. Le film vient de commencer… » Sous la forme d’une confession intime et sur fond d’archives d’époque (vidéos, photos et musiques inédites), Charlemagne nous livre sa quête de « l’or sonore". [Anne Maregiano] |
2013 |
€23.00 |
|
| MARGOLIS, AL / IF, BWANA |
REX XHU PING |
CD |
Mehr Musik aus AL MARGOLIS Genre-losen experimentellen Zwischenreich, hier auf sechs Stücken in verschiedensten Besetzungen solo oder in Interaktion, meist in ruhigen, fast meditativen Sphären, z.B. das wunderbare zweite Stück FROG FIELD, das auf klangvollen Xylophon-Loops basiert. Aber eine gewisse Bizarrheit (Instrumentierung, Sprache) ist immer präsent... vielleicht das bisher ausgereifteste und zugänglichste Werk des legendären Cassetten-Täters (SOUND OF PIG)......
“New Al Margolis release features Margolis¹s compositions for tapes, electronics, voice, drones. Rex Xhu Ping (pronounced rex shoe ping) features Margolis (tapes, electronics, clarinet, and sundries), Laura Biagi (vocals), Dan Andreana (speaker, tapes), Detta Andreana (tapes, bowed cymbals), and Orchestre de Fou.
A recent review of Margolis¹s work says: "Let it be declared that Al Margolis/If, Bwana is some sort of evil genius working with raw materials which are never adapted to a genre or a context, because they create one in that very moment. Those sources are radically altered up to an utterly unrecognizable state, anarchic manifestations moving in compact determination." (Massimo Ricci, Touching Extremes)
[label description]
|
2005 |
€12.00 |
|
| |
An Innocent, Abroad |
CD |
Zwei grossartige neue Stücke von IF BWANA aka AL MARGOLIS, der im Frühjahr 2008 auch endlich mal in Euopa live zu sehen war (z.B. im Hamburger B-MOVIE). AN INNOCENT ABROAD lässt sich als höchst strange & surreale Geräuschmusik charakterisieren, basierend auf der Stimme von LISA BARNARD und Flöteneinspielungen, in einer NURSE WITH WOUND-ähnlichen Machart bearbeitet und collagiert.
"The new Al Margolis/If, Bwana cd is comprised of Issue, for electronics and multi-tracked voice, and An Innocent, Abroad, a 40 plus minute work for electronics, vocals, and flutes. An Innocent, Abroad can be best described as a Sonic Oratorio: an assemblage, a construction of an event that never happened or will happen. A live installation for radio, perhaps. There is no "meaning" to the text. All parts were drawn or are inter-related to the original vocal track, recorded by Lisa Barnard, which is no longer present. The text/voice part has been multi-tracked and now represents five "separate entities". The electronic parts have been extracted and processed from the original vocal track. The five flute parts were performed by Jane Rigler and Jacqueline Martelle, and was be improvised by them. They recorded to the separate voice tracks. None of the performers heard the entire piece that they worked on. Lisa Barnard is a vocalist and performance artist. Most noted work is her interpretations of her dreams into original performances for Deep Listening Institute's annual Dream Festivals. Jacqueline Martelle is a flutist and arts administrator, living in New York City since 1996. She performs new music and has recorded on the Mode and Centaur record labels. Jane Rigler, flutist, composer, educator and producer is an active featured performer in contemporary music festivals throughout the U.S. and Europe as a soloist as well as within chamber ensembles
Al Margolis was one of the prime movers in the cassette underground scene of the 1980s (between 1984 and 1991 his Sound Of Pig label released over 300 cassettes of music by the likes of Merzbow, Costes, Amy Denio, John Hudak and Jim O'Rourke) and is the éminence grise behind twenty-three years of music under the name If, Bwana. He is the man behind the Pogus label, as well as label manager for Deep Listening, XI Records, and Mutable Music." [label info]
"The resulting texture sounds more like a Horatiu Radulescu piece performed by Morphogenesis." [DW]
www.pogus.com
|
2007 |
€13.00 |
|
| MARHAUG / ASHEIM |
Grand Mutation |
CD |
"Orgelspiel trifft Laptop-Electronica - spannende Ambientkompositionen im Stil von Johann Johannsson. Hat sich das britische Touch Label mit der Spire"-Serie schon absolute Kompetenz in zeitgenössischer Orgelmusik erworben, so setzen sie mit "Grand Mutation" einen vorläufigen Höhepunkt. Die beiden Schweden Lasse Marhaug und Henrik Assheim nutzen zwei konträre Klangquellen zur Umsetzung ihrer Kunst: Henrik Assheim spielt auf einer großen Kirchenorgel, während Lasse Marhaug mit elektronischen Equipment diese Sounds manipuliert. Das Resultat ist mehr als die Summe der einzelenen Teile. Eine Mischung aus erhabener Ambientmusik, Neo-Klassik und Soundtrack arbeiten die fünf langen Stücke mit dem Raumklang und dem Volumen der Töne. Ein spannendes Hörerlebnis der modernen Avantgarde und Electronica!" [Cargo]
"Lasse Marhaug and Nils Henrik Asheim started their collaboration in 2004 at the All Ears festival in Oslo, Norway. This turned out as a fruitful meeting between two musicians of very different backgrounds. Marhaug's feedback to Asheim's organ sounds in the Oslo concert started to reflect how the work was to develop. Asheim is working with half-stops and subtle playing techniques that create multiple layers of sound with a vibrating or fluctuating character, as well as with the power of the full organ. Marhaug's tools belong to the world of sine wave oscillators and noise generators. The aim was to set a sonic frame into which they could both gradually tune. The two musicians met again in June 2006 just before Oslo Cathedral (which contains Asheim's favourite instrument) closed down for a few years of renovation work. One day of soundcheck and musical work and one night of recording produced an improvised flow of one hour, afterwards structured into five tracks. The recording was made in a live setup on the organ loft. Nils Henrik Asheim was sitting at the organ console and Lasse Marhaug right behind, playing his electronics through a loudspeaker system in order to make the electronics and the acoustic organ sound blend as close to each other as possible. Sound engineer Thomas Hukkelberg used two custom-built condenser mics for the organ, two Shure KSM 44 for the electronics and two Neumann U87 by the altar for the ambience. He used a Millennia Media HV-3 preamp and an Apogee AD-16X converter. The recordings were made at night to avoid unwanted ambient city sounds. The final mix was made by Marhaug in January 2007." [press release]
www.touchmusic.org.uk
|
2007 |
€15.00 |
|
| MARHAUG, LASSE |
Context |
LP |
"Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets
Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.
The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.
Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal."
"Bursts of harsh noise, slivers of angular static, rumbles of punishing bass: Though the sounds here are every bit as intense as Marhaug’s past might lead us to expect, his patience and appreciation of space mean the results are newly delicate, the fragile skeleton of a once-formidable beast." - Pitchfork
https://marhaug.bandcamp.com/album/context
|
2022 |
€28.50 |
|
| MARIACHI AZTECA PRINCIPAL |
performs The KREV Underwater National Anthem # 2 |
7 |
Die "Nationalhymne" des Königreichs Elgaland-Vargaland (KREV) in der mexikanischen Version! Der von LEIF ELGGREN und CM VON HAUSSWOLFF 1992 in Stockholm gegründete Staat besteht aus allen Grenzgebieten / Niemandslanden zwischen anderen Staaten, sowie besonderen Bewusstseinszuständen wie dem hypnagogen Zustand, dem Traum, dem "Territorium der Eskapisten" oder dem virtuellen digitalen Raum. Natürlich braucht so ein Staat auch eine Hymne, und auf dieser 7" finden sich gleich 4 Versionen, eingespielt in typisch mexikanischer Weise auf schwungvoller Trompete & Akustikgitarre bei der Eröffnung der "mexikanischen Botschaft" des Königreichs in Mexiko City im August 2002.
"These recordings were made during the inauguration of The Embassy of The Kingdoms of Elgaland-Vargaland in Mexico City on August 30, 2002 in the presence of the Krev Ambassador Magalí Arriola and invited guests at Colima 244, Colonia Roma, Mexico City." [label info]
www.ashinternational.com
|
2007 |
€7.50 |
|
| MARK SCHAUB |
Damaged Future |
CD |
https://anomala.bandcamp.com/album/damaged-future
"Unlike the electro-acoustic suite “Combustion” which inaugurated the catalog of Anomala Soundscapes in the split album together with Daniele Pecorelli, Mark Schaub’s new work develops on various levels articulating between very dissimilar styles and sounds. The trait d’union between these short compositions is the attempt to recreate the apocalyptic scenarios of BALLARD in music, an author so dear to a certain industrial culture that here once again he returns to the center of speech in a series of sounding rooms that, as in the story narrated in “Condominium” by the English author, they seem to overlap in a complex structure regulated by the forces of evil. To accomplish this paradoxical “ascension into hell”, Schaub therefore relies on disparate means, from the ghostly setting of “Misty Rain” to string instruments that reverberate in the distance in “Old Paths” while a television on seems to be the only sign of life still perceptible, from the liquefied and radioactive lounge music of “A Crossroads Overhead” to the abstract and futuristic electro-jazz of “Collide”, up to the glacial desolation of “Rests of a Damaged Future”, a purifying and definitive showdown.is extinct." [Massimiliano Busti Blow Up Magazine]
|
2019 |
€13.00 |
|
| MAROW |
+-0 |
CD |
"... Yes, this album has tracks with a 4/4 beat, but it is still far from being commercial or club music. However, the subtle melodies, the distinct Marow sound and the crystal-clear production make +-0 (pronounced: "Plus Minus Null") a pleasure to listen to even for advanced listeners. Mille Plateaux's A&R Marcus Gabler continues to follow his idea of "more substance by more musicality." A must for Yagya, Monolake or Thinner label fans." [label info]
"Intrigue in subtlety: A pendulum between active and passive listening.
Plus Minus Null, he newest album by the Berlin-based electronic group Marow is the sort of perfectly chilled-out fare that accompanies late solitary evenings or a post-club car ride home. Glossy synth pads swell over minimalist, glitch-y electronic beats. Old school hip-hop samples chirp around four-to-the-floor house beats and lounge-y keyboard figures. Clicking metallic rhythms and digital blips move antiphonally around slowly oscillating space-age synth sounds. While the record’s quiet subtleties make for ideal mood music, its depth of color and texture bring you back for repeated listens.
Plus Minus Null is first and foremost atmosphere music. There’s little in the way of melody or harmonic motion over the course of the record’s thirteen songs. Instead, the music is built on meditative repetitions and stripped down production touches that occasionally touch on classical minimalism à la Steve Reich. That’s not to say that there’s nothing going on here—rather, the music’s intrigue is in its subtlety: the faint vocal samples in “präfix,” the simulated mallet percussion of “schweif,” the huffing synth pops of “substrativ.” “eis (long)” is an intoxicating cloud of windchimes and floating keyboard pulses. Repeated listens to the mesmerizing “e.coli (rmx)” reveal ever-emerging layers and sonic colors.
Plus Minus Null is best ingested as a whole. The songs flow seamlessly into one another, making for a meditative suite that pendulums the listener between active and passive listening. At some points, the music seeps so far into the background that it’s easy to forget it’s even there. But then or a subtle shift in texture or rhythm brings you back to reveal a new, quietly engaging element of depth and color." [Hannis Brown / Tokafi]
|
2011 |
€13.00 |
|
| MARSEN JULES |
Golden |
CD |
"Den Sommer begrüßt das Genesungswerk friedlich mit diesem Album von Marsen Jules. Auf GOLDEN treffen sich Gitarre, Piano und Elektronik zu einer harmonischen ménage à trois. Gelegentlich unterstützt von Ziehharmonika, Flöte und Geige finden sie sich nach einer Winterwanderung vor dem Kamin ein. Leise knisternd entzündet sich ein Feuer und vertreibt die Kälte aus unseren Gehörgängen. Akustikgitarre und Piano zeichnen die melodischen Linien, während sich die Elektronik einfühlend der Klangfarbe des Interieurs annimmt. GOLDEN ist wahrlich ein treffender Titel , funkeln und glimmen doch bei allen sieben Stücken die Klänge, ohne ihre Hörer je zu blenden. Sehr intim, sehr nah, zugleich klar und transparent taucht die Schönheit der Instrumente den Sommer in ein neues Licht." [label info]
Electronica-Ambience reminding at times of newer ULTRA MILKMAIDS or a more poppy WILLIAM BASINSKI...
"Close followers of these pages will already be intimately familiar with the work of Marsen Jules, responsible as he is for two of the loveliest albums we've had the pleasure of stocking these last few years. His debut album "Herbstlaub" strolled into an autumnal tundra of layered strings and neo-classical arrangements that best brought to mind the work of Arvo Part, attaining both critical and commercial acclaim from all quarters of the music scene. His dense follow-up "Les Fleurs" approached similar terrain but with a more colourful sound-pallette, creating an aural bloom of dense orchestral reductions that kept the minimal composure intact despite the rays of aural sunlight allowed to seep into Jules' unique, inspiring studio. This long awaited new album "Golden" takes little time in declaring its place as a worthy successor to both its predecessors - it's a breathtaking collection of pieces that begin from the same neo-classical starting point and unfurl in different directions, taking in acoustic guitar, barely audible electronic pulses, dense orchestral reductions and heavy filtering along the way. You'd find it difficult to get past the album's incredible opening track "Birkengefluster" without finding yourself incredibly moved by what's in front of you - another shimmering weave of elongated midnight strings and subliminal melodies consorting to force you to abandon all resistance in the face of its relentless beauty. By the time second track "Wharend" wheezes into life with its prepared piano passages and other-worldly washes of sound, you'll be unable to acknowledge anything else in your surroundings bar the music. Marsen Jules is just one of those rare artists who manages to achieve so much with such limited material at his disposal - it's both the simplicity and timeless quality of the 7 long tracks here that make "Golden" not only one of the most beautiful albums you'll hear this summer, but also one that you'll find hard to let go of come autumn. Sublime music - essential listening.'' [Boomkat]
www.genesungswerk.de
|
2007 |
€10.00 |
|
| MARTUSCIELLO, ELIO |
Unoccupied Areas |
CD |
Grossartige neue Experimentalmusik von diesem italienischen Komponisten (auch mit OSSATURA aktiv), die noch am ehesten der Elektro-Akustik zuzurechnen ist. Soundschnipsel z.B. von der „answering machine Solution“ CD (Staalplaat) und von vielen anderen kontemporären Musike(r)n werden von ihm äusserst sorgfältig und so gut wie ohne Wiedererkennungswert der Originalquellen neu bearbeitet und zusammengesetzt, so dass hochdynamische, klanglich perfekt aufeinander abgestimmte Collagen entstehen. Es gibt absolut keine Wiederholungen, jeder auftauchende Klang ist „neu“, jede Sekunde für eine Überraschung gut. Das Zuhören erfordert ein wachsames, aufmerksames Bewusstsein, das Gegenteil von meditativer Musik ! TIP!
"This is a quiet masterpiece. Five tightly focused electroacoustic compositions that are austere, rich, strange and brilliantly executed. Elio has an ear like a bat and a serious antipathy toward cliché, and he never relies on repetition for structure; these pieces seem rather to grow out of themselves in surprising but somehow logical ways like perfect exotic blooms. His is also a music of extremes, never theoretical but always grounded in the grain of the sounds themselves. Working with sounds taken directly from the world -- in 'A@travero', the electronic world: disembodied voices from answering machines, radio, Television, CDs, cinema and the internet; in 'Proiezioni', the cinematic world of machines: cameras, projectors, empty film spools, and so on for each piece which starts with the collection of similarly connected materials. The final track, a hommage to Pierre Schaeffer, draws directly on Schaeffer's own captured recordings, taking, as concrete music does, already cooked materials as just another kind of raw ingredient. The sources may be quotidian, but they are not mundane. And they have been refined and polished and stretched and squashed and buffed and etherised to the point where they are like polished steel, reflecting something in a distorted plane, resembling something as a Brancusi might, but unfamiliar, transfigured." [press release]
|
2005 |
€14.00 |
|
| MASSTHISHADDHU |
Shekinah |
CD |
Re-Edition of a rare cult album first out on Steven Stapleton's (NWW) own label UNITED DAIRIES in 1988. Plus as bonus for this special re-issue, a never heard, unreleased track of 30 minutes!
Masstishaddhu members were Sean Breadin, Mike Watson and Richard Rupenus, all of whom were also members of METGUMBNERBONE; Richard is also a member of TNB...
Tribal & Droning Psychedelia from over three decades ago - a very special album to be re-discovered.
Mastered from the original tapes by Colin Potter (NWW).
Shekinah comprises two side-long slabs of highly experimental music in the early Coil / Current 93 / Organum vein with touches of Eastern (or is it North American?) mysticism thrown in for good measure.
‘For The Dead & Unborn’ is a wild, chilling and uninhibited chant-cum-invocation featuring wordless vocals set against a hypnotic backdrop of percussion and bowed instruments.
‘Angels Gather Here Between Purity Of Heart and Hopeless Despair’ is taken at a much slower pace with far less accent on the chanting and more emphasis on the bowed strings and singing / ringing percussion and at times had me glancing nervously over my shoulder!
- AUDION
Shekinah could be described as very dark Gothic Ritual Folk with a sprinkling of occult allure.
The title, cover and music all suggest bloodied altars, unfathomable rituals and mystical learning.
The low and buzzing drone underscores a lava flow of chants, cellos and percussion.
Whatever words are spoken during this procession of yearning melodies and utterly ethereal voices is perhaps best left for the Gods.
Whatever secrets the music holds, they are simultaneously a fountain of spiritual beauty and unknowable terror.
It's as if its character changed with my dispositions: if I was feeling fear then fear is what I heard.
If I was feeling joyous, then the joy of the Gods shone down upon me and relaxed every fibre of my being.
- BRAINWASHED
In the ‘80s underground, Ritual Ambient and Tribal Ambient were both coming to fruition and although they had a rough framework there wasn't yet a concrete basis for how the genres were set to develop.
Masstishaddhu exploited this potential to create a music that sounds like a well-executed modern Free Folk album - in 1988, a good decade before the New Weird America scene (spearheaded by the likes of Sunburned Hand Of The Man) began revolutionizing the idea of Folk music operating under rhythmic constraints.
In this sense Shekinah is undoubtedly unique, perpetuating the 'ritual' side of ambient through disconcerting vocalizations and chants.
It is deeply embedded within the Folk influence that uses atmosphere to sculpt instrumental improvisations, again, much like well-executed modern Free Folk does.
- A TERTIARY SOURCE
"Wiederveröffentlichung des Masstishaddhu-Albums Shekinah auf Old Europa Café
Veröffentlicht am 11. Januar 2021 von Michael
Old Europa Cafe bringt das ursprünglich auf Steven Stapletons Label United Dairies 1988 veröffentlichte Album „Shekinah“ von dem Metgumbnerbone-Seitenprojekt Masstishaddhu, bei dem auch Richard Rupenus von den New Blockaders mitwirkte, auf CD neu heraus. Mit den teils perkussiv-tribalen Momenten, seltsamen Blasinstrumenten und merkwürdigen Stimmen, die zwischen Kehlkopfgesang und Delirium changieren, lässt sich das Album in die Tradition industrieller Ritual-Musik einordnen.
Shekinah“ klingt in Passagen, als sei der Nekrophile-Records Backkatalog (der im Laufe des Jahres von Vinyl-On-Demand wiederveröffentlicht werden wird) von David Jackman neu abgemischt worden. Neben den zwei ursprünglich enthaltenen je eine Albenseite füllenden Tracks enthält die CD ein bisher unveröffentlichtes 30-minütiges Bonusstück, das einen stärkeren Free Folk-Charakter zu haben scheint." [African Paper] |
2021 |
€13.00 |
|
| MATH / ZEININGER |
Tempest |
CD-R |
Non-easy-listening electronics with interesting post-modern concept – all sounds have been derived from visuals and the creation of electromagnetic fields, in order to build a non-commercial, de-materialized anti-product with ambiguous meanings. Listen to pure electronic anti-structures & structures that materialize only in your interpreting mind.
“In der Sendung "Kunst Heute" vom 8.1.1978 spricht Ernst Caramelle über das Audiokassetten-Multiple "SOUND.Multiple Nr.6", eine Edition mit Beiträgen von ihm selbst und von Freunden. Er verwendet das Medium Tonbandkassette als Mittel zur "Verweigerung der Vermarktbarkeit" - die Arbeiten werden abseits von kommerziellen Institutionen verbreitet und publiziert. Die Verweigerung der Vermarktbarkeit, die Verweigerung eines verkaufbaren Endproduktes und somit die Entmaterialisierung sei eine Taktik zur Erhaltung der künstlerischen Autonomie - einer der vielen Wege, wie sie im Dada, im Fluxus etc. gegangen wurden. Der Weg in die Entmaterialisierung führt immer wieder durch verschiedene Metamorphosen (vom Objekt zum Klang, in den radiophonen Raum, zur Aktion, in den elektronischen Raum, in den Cyberspace), als wäre er ein Fluchtweg. TEMPEST ist ein neuerlicher Versuch der Entmaterialisierung. Das Mittel dazu ist die Übersetzung von Bild in Klang. Alle hörbaren Ereignisse sind aus visuellen Objekten - in diesem Fall Computergraphiken - entstanden. Zur Übersetzung wendeten wir verschiedene Techniken an: Einerseits eine direkte Ausgabe der Bitmuster über die Soundkarte (dem Computer ist es egal, ob er es mit Bildern oder Klängen zu tun hat, es ist nur eine Frage der Ein- und Ausgabe, somit der Interpretation), andererseits durch das "Abhören" der Datenströme und der durch diese produzierten elektromagnetischen Felder um Computer und Monitor durch ein Mittelwellen-Radio. Jeder elektronische Datenstrom produziert ein elektromagnetisches Feld, das mit geeigneten Mitteln auch für Dritte abhörbar ist. Dieses Phänomen wird auch als Abhörtechnik ("TEMPEST") in der Spionage genutzt. Unsere Aufmerksamkeit richtet sich nicht darauf, Codes zu entziffern, d.h. eine eindeutige Bedeutung dieser Codes festzulegen, sondern sie in ihrer
Vieldeutigkeit bzw. Undeutbarkeit zu belassen - die Hörerin bekommt keine Bilder bzw. Lösungen, sondern erzeugt sich diese Bilder selbst. Das Produkt ist nicht das Klangereignis an sich, sondern die Ereignisse, die beim Hören als synästhetische Artefakte im Bewusstsein entstehen: Multimedia ist hier nicht die einmalige, bzw. eindeutige Koppelung von Bild- und Klangereignissen (wie im Film, Musikvideo oder auf CD-ROM). Der Klang wird vielmehr zum Träger von optischen Ereignissen. Das Radio wird zum Bilderzeuger, definiert sich also neu als visuell/akustisches Medium.“ [norbert math / ludwig zeininger, 2001]
www.tonto.at
|
2002 |
€11.00 |
|
| MATHES, JEREMIE |
Oiarzun |
mCD-R |
"the work of french artist jérémie mathes is based on captation and manipulation of vibrant matters of acoustic origins through various field recording techniques and the use of music instruments as sound generators.
this 3" is only his fourth published work, after two albums on mystery sea and another one on the sadly defunct basses frequences imprint." [label info]
www.taalem.com
"Perhaps it was indeed some time ago since we last saw new releases by Taleem, who excuse themselves for the recent 'long pause'. In their series of mini ambient albums it's time for two that can be classified as musique concrete meeting ambient. The first is by Jeremie Mathes, who previous work was released on Mystery Sea and Basses Frequences, and who uses recordings here from an abandoned farmhouse and inside 'le semaphore de calleloungue', which is in the national park of the calanques. There are water sounds, which run through more of this work (pun intended), sonic debris, crackling of leaves and all of that some highly dark and mysterious sounds that lurk underneath. Slow approaching violence, perhaps. It's all quite dark and highly atmospheric. Just like pretty much all of his work so far, which is of a consistent highly quality." [FdW/Vital Weekly]
|
2013 |
€5.00 |
|
| MATHIEU, STEPHAN |
Radioland |
CD |
“Radioland is Stephan Mathieu’s long awaited 5th full length studio work, following his acclaimed The Sad Mac cd from 2004. Exclusively based on real-time processed shortwave radio signals, Radioland takes the listener on a carpet ride across endless, majestic shimmering landscapes. Radioland is a mesmerizing reflection on the bubble of information thats all around us, all the time, by one of the truly unique minds in today's abstract digitalia.” [label info]
"Mathieu solo. Maybe the 'The Sad Mac' was the last one? I honestly don't recall. But of course things haven't been quiet for him. In the recent years he toured quite a bit with his 'Radioland' work. Here he plays with real time processed shortwave signals. Picking up from a simple receiver, feeding it into his self-built max-msp patches and transforming the signals into what is best described as 'Mathieu music'. Stephan Mathieu, whom I like to regard as one of the true masters of ambient glitch music, produces music here that is once again of absolute great beauty and expands beyond the 'softer' side of ambient music and goes into a bit more louder area, working with overtones created through multi-layering of such sounds. However, don't expect this to be harsh music or in fact static music. Mathieu knows how to move stuff around, finding small details in the music, amplifying them, lifting them out of the music and giving them life on their own. The minimalism of the godfathers of this kind of music (LaMonte Young, Palestine and Niblock) resonate through the computerized (but oh so warm!) version of Mathieu. What a great CD! And what a lovely package. A continuing peak in quality." [FdW / Vital Weekly]
www.die-schachtel.com
|
2009 |
€14.00 |
|
| MATHIEU, STEPHAN & EKKEHARD EHLERS |
Heroin |
LP + 12inch |
"Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.
17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.
Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.
Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul. Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.
Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.
Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.
And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.
The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.
Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.
Remastered by Stephan Mathieu, March 2020. Vinyl cut by Lupo @ Loop_O. Design by Caro Mikalef for Cabina."
https://schwebung.bandcamp.com/album/heroin
|
2020 |
€26.00 |
|
| MATTHEWS, KAFFE |
Cecile |
CD |
Madame Matthews mit ihrer dritten eigenen Veröffentlichung in bester Geräuschform, live-Aufnahmen aus London, Chicago und Oslo 1998 & 1999.
“ Live convertor kaffe matthews on the case in Oslo, Chicago and London. 70 minutes worth.
Featuring: contact c - Strike, London, February 1999. my love gave me a blue plastic watch - the Empty Bottle, Chicago, December 1998.
skagerrak - made at Blå, Oslo, January 1999.” [website info]
|
1999 |
€15.50 |
|
| MAXIMIN, BERANGERE |
Land of Waves |
do-LP |
On her 6th album, the French electroacoustic composer BÉRANGÈRE MAXIMIN explores the idea of a kaleidoscopic world - a sonic aggregation of living creatures, plants, minerals, nature and buildings, using various sound objects, small percussions, synths, electric gui-tar, voice and electronics.
Working out of her private studio since 2008, BÉRANGÈRE MAXIMIN has developed her own ap-proach to sound art and electronic music, composing dense, immersive pieces with immediate im-pact. On five albums – released to critical acclaim on TZADIK, SUB ROSA, CRAMMED DISCS and CRAIG LEON’s ATLAS REALISATIONS label - she has revealed a taste for mixing disparate sounds together with a sense of detail, effusive, lyrical playings with the digital material and tight nuanced writing. BÉRANGÈRE MAXIMIN’s music engages the listener in consideration of space and textures, the sound ambivalence and its independence from its original source being at the center of her work.
During her career, the French composer has obtained commissions and residencies in National Music Research Centres such as Paris' Ina-GRM, Stockholm's EMS and received a grant from the ‘Villa Medicis Hors Les Murs’ program in New York City (Cultures France). She has performed in notable festivals, venues and concert halls from Paris’ Présences Electronique festival, London’s Hayward gallery, NYC’s Roulette, Hamburg’s Elbphilharmonie’s e-Phil series to major international festivals in Eastern Europe. Beside her solo performances, she also regularly shares the stage in duo with FRED FRITH.
“Land of Waves”: three words evoking territories of plains and curves connected with each other by canals, footpaths, tunnels. The four parts of the album lead the listener into a hybrid land where the jungle meets the city … a succession of reliefs, surfaces, textures, layers create a large mosaic as if on a concrete wall which seems solid and definitive but is in fact penetrable, alterable.
For “Land of Waves”, BÉRANGÈRE MAXIMIN took inspiration from recordings she did in various city parks, abandoned properties and limits with the suburbs during her travels in Europe, the di-versity of sources, the variations of events and the contrasts between day and night they offered, and reinterpreted them in the studio.
Recorded, composed, arranged, mixed and produced by Bérangère Maximin at the Home Sweet Home Studio/BM and Studio Polyphone, France, 2019/2020.
Sound objects, small percussions, analog and digital synths, guitar, digital chimeras, voice.
* Recomposed and mixed by B.M. featuring Fred Frith (electric guitar) and B.M, Colin Johnco, Kirikoo Des and Roméo Poirier as Swibekico Quartet (electronics).
Mastered by Kassian Troyer at D&M, Berlin, 2020.
https://karlrecords.bandcamp.com/album/land-of-waves
|
2020 |
€25.00 |
|
| MAXWELL, JULES |
Cycles / Nocturnes |
do-LP |
"Cycles is the latest album of work by Irish composer Jules Maxwell whose music has featured at London's National Theatre, The Royal Opera House, Shakespeare's Globe Theatre and The Roundhouse. Most recently he has been working with the band Dead Can Dance and in 2021 he released an album entitled Burn with singer Lisa Gerrard. Cycles is an exquisite album of meditative instrumental music. It is quiet and circular in nature but deeply atmospheric and dramatic at moments. Cycles will be released on Friday 25th March on Berlin based label Ghost Palace. A limited double vinyl edition will also be available featuring the Cycles album and its predecessor Nocturnes."
"Heute morgen, kurz nach fünf, kurz nach Wecker klingeln. Noch ist es verdächtig ruhig und entgegen meiner Gewohnheit, eines jahrelang antrainierten Automatismus folgend, schalte ich nicht erst den Wasserkocher und dann Deutschlandfunk ein. Sondern ich lege, während der Tee vor sich hin zieht, „Cycles“ von Jules Maxwell auf. Genauer gesagt, die erste der Doppel-LPs.
Mit dem Opener „Deeper Sleeper“ in den Tag zu starten ist ungewohnt entspannt, denn sogar noisy Kinder und Jugendliche verstummen mit einem „Ohhh“ und bewegen sich auf einmal fast lautlos. Wer hätte das gedacht. Warum ich das jetzt in einer Review erwähne? Weil diese Szene vermutlich am besten beschreibt, was Jules Maxwell auf dieser Platte für eine Stimmung erzeugt. „Cycles“ ist ein ruhiges, meditatives Instrumental-Album, welches mit den ersten Tönen den Pulsschlag entschleunigt. Dennoch schafft es Maxwell Spannung aufzubauen. So, dass der*die Hörer*in ganz bei und in der Musik bleibt.
In „A Rose On The Road“ führt ein Klavier, wie ein langsamer, rhythmischer Glockenschlag in den Song ein, im Hintergrund bauen sich sphärische Klänge auf, werden intensiver, dringlicher und bauen eine Dramatik auf, die ab rund dreieinhalb Minuten von einer Geige (oder ist es eine Bratsche, ich tue mich schwer damit das rauszuhören) aufgenommen wird. Nach rund fünfeinhalb Minuten haben sich die Klänge, die Töne, vereint und lösen sich auf, so dass ein sanfter Übergang zum nächsten Song geschaffen wurde.
Und das, was ich hier für diesen Song beschrieben und versucht habe in Worte zu fassen, ist exemplarisch und findet auch in den anderen Songs statt. Immer anders, aber dennoch ist das Album eine Einheit und als solches zu hören. Zu hören ist Jules Maxwell zur Zeit auch Live. Er tourt mit Dead Can Dance. Termine findet ihr hier.
Doch kommen wir zur zweiten LP, die sich im Gatefoldcover befindet. Hierbei handelt es sich um die, digital schon im März vergangenen Jahres erschienene LP „Nocturnes“. Jetzt auf Vinyl sind „Nocturnes“ und „Cycles“ vereint und auch musikalisch bilden sie eine Einheit. Eventuell ist „Nocturnes“ stellenweise ein wenig verspielter, zum Beispiel in „April 1964“ oder auch „Virgin Territory“ wird im Laufe des Songs verspielter. Grundsätzlich wird aber die Stimmung, die Jules Maxwell auf „Nocturnes“ kreiert hat, in „Cycles“ aufgenommen und intensiviert.
Und wer jetzt bei den Stichwörtern meditativ und ruhig denkt, es wäre sicherlich nicht so seine*ihre Musik, dem*der empfehle ich mal reinzuhören. Denn die Platte berührt, egal ob man jetzt vorwiegend Progressiv Rock, Metal oder Radio-Pop hört. Wer’s nicht glaubt, spule nochmal zurück zum zweiten Absatz, oder hört halt mal rein.
Erschienen ist das Vinyl auf dem Label Ghost Palace und liegt mir als Testpressung in schwarzem Vinyl vor. [Vinyl Keks]
|
2022 |
€26.50 |
|
| MAZK: MASAMI AKITA & ZBIGNIEW KARKOWSKI |
In Real Time |
CD |
Alles andere als harsh noisig beginnt dieser one-tracker von 67 Minuten Länge, der aus live-Mitschnitten von Venedig & Frankfurt-performances zusammengebraut wurde. Ganz allmählich wird aus tief-frequenten Brummen und Summen eine das ganze Frequenzband auslotende Geräuschkomposition, bei der v.a. die starken Stereo-Kontraste und collagierten, abgehackten Sounds auffallen, zwischendurch gibt es sehr ruhige Parts und die stetigen Wechsel machen dies zu einer kurzweiligen Klangerfahrung. IN REAL TIME ist ein überraschend ausgewogenes und feingliedriges Stück, bei dem es nicht nur auf die Fresse gibt ! Dies müsste schon das dritte Album als MAZK sein, wenn wir noch bis drei zählen können nach diesem hirnvernebelnden Synapsen-Killer !
„Recorded in Venice, Italy, and Frankfurt Am Main, Germany Reedited and mastered at Compound Studios, San Francisco Artwork by Felix Rosier Released in May 2005.” [credits]
|
2005 |
€13.00 |
|
| MCGUIRE, JOHN |
Works for Instruments |
do-CD |
Fünf Stücke des US-Komponisten (der Schüler von PENDERECKI und STOCKHAUSEN war) aus verschiedenen Perioden (das älteste, DECAY entstand 1967-1970) in neuen Einspielungen. Klassisch instrumentierte Minimal-Music, die interessante strukturelle Merkmale aufweist (Überlagerungen, Verdichtungen und Wellenbewegungen von Tönen, Akkorden & musikalischen Themen) und entsprechende psychoakustische Wirkungen (mehrdeutiges Hören, unendliche Kreis- und Zirkelbewegungen...). CADENCE MUSIC, EXCHANGES, DECAY, FRIEZE, und MUSIC FOR HORNS, PIANOS & CYMBALS.
" 1. Composer:
John McGuire
2. Title:
Works for Instruments
3. Performers:
Ensemble Modern • Julia Rempe Sopran • Pellegrini-Quartett:
Antonio Pellegrini, Thomas Hofer Violine • Fabio Marano Viola •
Helmut Menzler Violoncello
musikFabrik: Hermann Kretzschmar, Paulo Alvarez, Irmela
Roelcke, Eun-Ju Kim,
Ulrich Löffler, Jürgen Kruse Klaviere • Christine Chapman,
Jodie Lawson, Charles Putnam,
Rohan Richards Hörner • Dirk Rothbrust, Carlos Tarcha Schlagzeug
4. Format:
Audio CD, Digisleeve, Booklet German/English
5. Total time:
CD1 44:33 • CD2 58:46 • T: 103:20
6. Catalogue #:
ed. RZ 20003¬4
7. EAN Code:
4029455200038
8. Release date:
December 4, 2008
9. Information / Press Release:
Jede der Kompositionen des amerikanischen Komponisten John McGuire beschreibt auf ihre Weise einen mehrdimensionalen Klangraum, in dem der Hörer verschiedene Blickwinkel einnehmen,
mithin ein und denselben Klang in verschiedenen Gestalten wahrnehmen kann.
Each of the compositions of American composer John McGuire describes, in its own way,
a multi-dimensional sonic space which the listener can take in from various vantage points and, in so doing, experience the very same sound in different guises." [label info]
www.edition-rz.de
|
2008 |
€21.50 |
|
| MEELKOP, ROEL |
5[zwischenfälle] |
CD |
"5(zwischenfaelle) is the latest release by dutch electronic musician ROEL MELLKOP. It is a special release in Meelkop’s catalogue because it is consist of five piece that were originally used in the context of sound installations running over a certain period of time in specific special surroundings. For 5(zwischenfaelle) Meelkop has set himself the task to compress these soundscapes into five dense and still minimal audio pieces that could work outside the context of the original installations. 5(zwischenfaelle) is focussed on single sound events and stark beautiful dynamic movements in a certain area of sound and does not have the bruitistic research-like feel of other solo works by Meelkop. 5(zwischenfaelle) makes for concentrated unpolished ultra minimal listening with maximum effect. For all friends of Bernhard Günter, Francisco Lopez, Joe Colley/Crawl Unit or Marc Behrens this is a definite work!
Roel Meelkop (Tegelen, NL, 1963) studied sculpture and painting at Academie van Beeldende Kunsten in Rotterdam, NL. He graduated in 1990 and in the years after that he concentrated mainly on painting. Five years later, he decided to expand his views on art and philosophy and applied for a postgraduate course at the same academy. He graduated from this course in 1997. By then, Meelkop had abandoned painting altogether in favour of working with sound. Before this he had already been working with THU20 on experimental sound collages and electronic music. This practice was extended and now includes sound installations and performances as well.
Nowadays, Meelkop regularly plays live performances around the world, either solo, or with one of the three musical projects he is involved with: THU20 (musique concrete), Kapotte Muziek (electro-acoustic music) or GOEM (electronic music). His solo music is a unique combination of the aforementioned styles. Besides his live activities, Meelkop has a long list of releases to show for his creativity and productivity in the studio. Another area of interest for Meelkop is sound in space. The relation between space and sound and the unique artistic possibilities this offers have urged him to create several installations, not only in exhibition spaces, but also in public spaces. Most of these installations are created specifically for the spaces that will hold them and are based on Meelkop’s impressions from these spaces. In most cases the work is not visual but auditory, thus expanding the existing space in a way that visual art will never achieve. Central issue in these installations is the experience of space and time at a specific place and time. Aside from his artistic activities, Meelkop is also active as organiser, curator and programmer of contemporary sound art and electronic music in Rotterdam, NL and as a reviewer for the email magazine Vital Weerkly." [label info]
"ROEL MEELKOP ist als Soundtüftler und inzwischen auch Kurator für zeitgenössische
elektronische Musik in Rotterdam nicht ohne
Vergangenheit in der niederländischen Szene.
Seit 1986 arbeitet er in dem Audio-Art-Kollektiv
THU 20, seit 1995 tritt er regelmäßgig mit Kapotte Muziek auf und veröffentlicht desweiteren seit 1997 mit Frans de Waard und Peter Duimelinks als GOEM sowie Arbeiten unter seinem Namen und seinem dubbigen minimalacid-
elektro Alter Ego slo-fi. Zu 5 (Zwischenfälle)
(AATP18, digipak ltd. 500) selbst ist zu
sagen, dass er hier Stücke aus spezifischen
Soundinstallationen aus dem Zeitraum 2005-
2006 überarbeitet und damit aus dem eigentlichen
Kontext gerissen hat. Allesamt unbetitelt,
werden 4 längere Tracks jeweils von einer
kleinen Präambel ein- und ausgeläutet. Das
räumliche Element fließt hier dennoch erfolgreich ein, durch Pausen wie auch durch überraschende Klangkontraste. Die Abstraktion
des eigentlichen Ausgangspunktes nimmt
fluchtartig zu, aber so, dass die Statik des Raumes nicht gefährdet wird. Verhallende Geräusche vielschichtig arrangiert, unerwartete
Klänge, undurchsichtige Hintergrund-lautmalereien. "Zwischenfälle" ist hier ein sehr gut gewählter Untertitel, da eine beruhigende Wirkung nicht von diesen Aufnahmen ausgeht." [cs / Bad Alchemy]
|
2007 |
€13.00 |
|
| MEESE / MAMA BAER / HJULER |
Alaska Kid jagt Dr. No |
CD |
Catalog-Nr.: Plus 107
Format: CD, Album, Digipack
Country: Germany
Release date: November 2019
Genre: Fluxus
Tracklist
01 Jobeuysseph (9)
02 Osten
03 Melancholie
04 Süden
05 The Island
06 Westen
07 Alcoholisme-brut Nr. 1
08 Norden
09 In fremdem Herbst (1)
10 Meese_Trumpy
11 Khmerzen (4)
Notes
Jonathan Robin Meese (* 23. Januar 1970 in Tokio) ist ein deutscher Künstler. Seine Werke umfassen Malerei, Skulpturen, Installationen, Performances, Collagen, Videokunst und Theaterarbeiten. Dabei thematisiert er überwiegend Persönlichkeiten der Weltgeschichte, Ur-Mythen und Heldensagen. Jonathan Meese lebt und arbeitet in Ahrensburg und Berlin.
Mama Baer (* 29. Oktober 1981 in Niebüll als Andrea Katharina Ingeborg Göthling, verheiratete Hjuler) und Kommissar Hjuler (* 30. Juni 1967 in Flensburg als Detlev Hjuler) sind ein deutsches Künstlerduo. Sie arbeiten seit 1999 gemeinsam in den Bereichen Musik, Malerei, Assemblage, Collage, Installation, Performance, Experimentalfilm und Konzeptkunst. Sie sind Vertreter der jüngsten Fluxus-Bewegung und seit 2009 feste Mitglieder der NO!art-Movementjobeuysseph.
www.molokoplusrecords.de/finder.php?folder=Label&content=79
|
2019 |
€13.00 |
|
| MEESE X HELL |
Hab keine Angst, hab keine Angst, ich bin Deine Angst (special edition) |
do-LP & BOOK |
Limitiertes Hardcoverbook + 2 LP + 24-Seiten Künstlerbuch und Poster! Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des "Parsifal" 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album "House Music Box" gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: "Mir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient." Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: "Ich bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte." |
2021 |
€40.00 |
|
| MEISSNER / SLAVIN / SACHS |
Into the Void |
CD |
Eine Art "Hör-Film" dreier Audio & Video-Künstler aus Israel & Österreich basierend auf einer Spurensuche im jüdischen Viertel in Krakau... besonders das 11teilige "Into the Void" von SEBASTIAN MEISSNER ist sehr hörenswert: field recordings & Erzählungen werden verwebt mit dunklen Drones, Piano-tunes, Klezmer-Fragmenten, teils in langen sphärischen Stücken, teils cut-up mässig...
RAN SLAVINS "Segments from the Snow" klingt Electronica-lastiger, aber auch bedrückend atmosphärisch & voller interessanter Sound-Arrangements & stakkatohaft-mechanischer Samples & Volksmusikverfremdungen...
ERAN SACHS (u.a. Mitglied bei LIETTERSCHPICH) schafft mit "Memory Gaps" einen geräuschaft-melancholischen Raum, basierend auf zwei traditionellen jüdischen Klarinetten-Stücken, field recordings & Interviewfetzen...
kommt mit Booklet und ausführlichen Liner-Notes....
"presence/absence:::into the void is a reflection upon the history and the recent changes in the krakovian neighbourhood of Kazimierz. The center of this meditation is the seemingly contradictory development of the last few years, which is showing that the attempts to re-animate jewish culture. The piece is working on the basis of an attempt of reversing the seasons: from summer to winter the 700-year-old Jewish district of Krakow. What struck Meissner at first sight, was the glaring contrast between the rich though often neglected presence of the material culture and the dreadful absence of the community exterminated during the Nazi days.
Four months later, on 26 June 2003, at Krowoderska52 club in Krakow, Sebastian Meissner, Ran Slavin and Eran Sachs offered the final effects of their research in the form of series of pieces. They carefully crafted crunchy steps, freezing wind, cracking ice and conversations into a mesmerising film for ears’. The imaginative power of the music was reinforced by Slavin's video impressions — equally apt in conjuring up desolate though meaningful a digital environment referring
to Nowa Huta —the empty large defunct metal industry zone....
Sebastian Meissner: works as music composer, sound designer and photographer in Vienna. Over the years his audio-visual works has been presented by curators of prestigious festivals and exhibited in international galleries
such as Transmediale, Sonic Square, Podewil, Portikus Frankfurt, Schirn Kunsthalle Frankfurt, Goethe Institute Buenos Aires, Kulturhuset Stockholm and Forsythe Ballet. His music and sound compositions -
as Random Inc. - are released on music labels Mille Plateaux, Ritornell, Kompakt, Crónica and Beta Bodega.
Ran Slavin: Works as film-maker and as audio-visual artist from Tel Aviv. His last opus in video is one of the most brilliant films that came from Israel during the last years : INSOMNIAC CITY. Premiering with the first part at the Venice Biennial of Architecture in 2004 and continuing with part 3 at the Tel Aviv Cinematheque and international venues. Working with experimental cinema, digital and acoustic music, video art and live video/sound performances. Operating between contemporary art and new music, his visual work has been described as intense urban surrealism. His audio visual work is a culmination of balanced relations between sound and video, their interconnections. His work has been shown at the Pompidou, Jeu De Paum, Transmediale, Istanbul Biennial, Cinematheques in Israel and Paris, festivals in Berlin, Slovenia, Amsterdam, Austria, New York, China, Israel, London, Ukraine. His music and videos released on the music-media labels Mille Plateaux, Cronica, Sub Rosa. www.ranslavin.com
Eran Sachs: works as composer, improviser, sound-artist and curator in Jerusalem. He plays this machine regularily in the Doom-Dub-Noise outfit Lietterschpich and John Zorn's "Cobra" improvising ensemble in Israel. His works have been released on Mille Plateaux and various labels in Israel. As a sound-artist his works tend fuse the sonic with the political, as in the case of "Yannun Yannun", which portrays the harrasment of Palestinian villagers by fanatic settlers. He founded and managed the Yad-Vashem bookstore - the only holocaust dedicated bookstore in Israel." [press release]
|
2006 |
€13.50 |
|
| MEIZTER, K |
Travelling Light |
CD |
Solo-Album des B.S.E.-Mitglieds, der hier neue Wege einschlägt, wie immer bei HORUS in exquisiter Cover-Aufmachung.. "Auch wenn die erkleckliche Verbindung von Dark Ambient und Rhythmus keine Erfindung von K. MEIZTER ist, deuten Tracks wie Play It As It Lays in eine mir bisher unbekannte, aber recht interessante Dark Trip Hop Richtung und vielleicht ist ja auch der Titel Teil des Programms, dass man sich nicht um Genregrenzen scheren soll. Irgendwie wird hier das Kunststück zelebriert, dunkle Soundscapes mit Rhythmen zu versetzen, ohne diesen ihre düstere Spannung zu nehmen, denn die Befürchtung, Dark Ambient mit falsch eingesetzter Rhythmik zu verhunzen ist wohl nachvollziehbar. Stellenweise geht das Ganze dann sogar etwas in Richtung Industrial, wobei dies vor allem an den verwendeten Samples liegt und z.B. bei The Local Group nach einer guten Minute unterbunden wird, um wieder mehr loungetauglichen Klängen und Rhythmen Platz zu machen. Überhaupt hängt es auch auf diesem Album zum Großteil von den verwendeten Samples ab, in welche Richtung die Atmosphäre geht, wobei man hierzu sagen muss, dass ebenso wie Drumcomputer und Bass auch die Samples gut platziert eingesetzt worden sind. Travelling Light erschafft so ziemlich neuartige Klangkonstruktionen, die man sich eventuell ausmalen kann, wenn man sich ein Remix-Wars Album von GOLDFRAPP und HERBST9 vorstellt, bei dem der BRYN JONES der Baghdad -Ära auch irgendwie seine Finger im Spiel hatte. Travelling Light klingt genauso, nur eben ganz anders. Am besten anhören! Wegen seines außergewöhnlich ruhigen Charakters ist das schöne Some Battles On vielleicht nicht der repräsentativste Anspieltipp, also sollte man auch zumindest noch Honesty Through Paranoia sein Gehör leihen." [KMF]
"K. Meizter makes his solo debut with Travelling Light after five successful years in BEYOND SENSORY EXPERIENCE. Still lurking in the realms of dark ambient, K. Meizter now sets foot towards more experimental grounds focusing on melancholy melodies and twisted rhythms.
Travelling Light takes you on an intriguing journey through the Universe of Mind and comes
with elegant and thought-provoking artwork
presented in a special hand-numbered oversized booklet. The album has been mastered by
Mika Goedrijk (of This Morn’ Omina) at Atomic Studios and in some parts it would remind best times of this ritual group! References: Hybryds, 4th Sign of the Apocalypse, TMO." [label info]
www.horus.cz
|
2006 |
€15.00 |
|
| MELANCHOHOLICS |
Solar Cafe |
LP |
By combining found noises and field-recorded nature with minimal fragile surfer-tone post-rock-guitars, drones and fuzzy low-end bass-lines, Melanchoholics create mad extensive soundscapes and almost cinematic soundtracks to psychotic euphoria and intoxicated wastelands.
After releasing on Drone Records, MNDR and deafborn, Solar Café is their final low-end manifesto for low-end connoisseurs.
Vinyl 12" contains download code including CD only Track "Nuclear Welfare" + bonus material "Postnovoletna Depresija" and "Disgusting however fascinating"
Solar Café is the third and final chapter within the discography of MELANCHOHOLICS. It was recorded and mixed by MELANCHOHOLICS between 2006 and 2010. The Cover Artwork as of Solar Café was done by Derek Roczen. It's based on a series of stunning photos Benedikt shot during research for a documentary on the long waiting period for the summer solstice in the village of Flateyri situated in Iceland's Westfjords. Hence the album title “Solar Café”. Almost one year later Benedikt died of cancer at the age of 32. Melanchoholics managed to complete the album shortly before Benedikts departure. The album is released on 29.12.2014 via Eibon Records (CD) and Deafborn Records (12” 180g Vinyl). The vinyl-version of Solar Café is limited to 400 hand numbered copies. The album was mastered separately for CD and Vinyl by Michael Schwabe @ Monoposto.
Sound of Solar Café
On Solar Café Melanchoholics once again have set their attention directly to the lurid sides of human personalities: desperate internal fears. Simplistic structures and melodies fleshed out well with subtle textures and voices. The feeling is one of lamentation and dreariness as the sounds trudge along. Yet there is a warmth and smokiness to it as well. There is a colourful darkness before that day comes... the moment to celebrate the return of sunlight.
www.melanchoholics.de
"It's been a long, long time since I reviewed 'A Single Act Of Carelessness' by the German band Melanchoholics (see Vital Weekly 530). This trio was Benedikt on guitars, Philip on bass and Lutz on electronics; was, because the band no longer exists, so it seems, following the passing of Benedikt Bjarnason a few years ago. The music on 'Solar Cafe' was recorded from 2006 to 2010 and then it took some more time to finish the release. But the result is certainly great. With their previous release I compared it with the old ambient industrial music that was en vogue in the late 80s, when bands started to play guitars with cello bows, adding bits of conversations, made it all more atmospheric, but at the same time also with that dark, noisy undercurrent never far away. Music like passing dark clouds over an abandoned industrial lot, but Melanchoholics add more spacious guitars to the recipe, owing a bit to the world of post-rock. In 'Presence of Absence' they depict with the guitars vast
open territories while the steady slow beat is like an oilrig. Get my drift? It's music that I quite like actually. It's both abstract and musical; it's both atmospheric and noisy - from time to time. It has that great cinematic quality to it. It's experimental music just the way I like it; like very much, actually. Perhaps one could argue there is not a lot of difference between this and the previous release, but with such as small output: who cares? One could care however about the fact that this band is no more and the musical development has come to an end. That's perhaps the saddest conclusion one could draw from this release. Sad but beautiful that's how it ends here with the final piece, 'Minus 1 One'." [FdW/Vital Weekly]
"Drittes und letztes Album der Melanchoholics. In der Besetzung Gitarre, Bass und Elektronic / Fieldre-cording hatte das Trio seit 2003 zwei CDs, eine 7″ und verschiedene Soundtracks veröffentlicht, verbunden mit europaweiten Touren, abrupt beendet durch den plötzlichen, krankheitsbedingten Tod von Gitarrist Benedikt Kristofer Bjarnason in 2010, mitten in der Arbeit an der nun vorliegenden Veröffentli-chung, damals erst gut zur Hälfte fertiggestellt. Die Arbeit an der Veröffentlichung blieb liegen, der Veröffentlichungsdeal mit einem US-Label platzte und erst mit der Erkenntnis, trotz des Verlustes weitermachen zu wollen (bezeichnenderweise als Minus1one), beschlossen Bassist Phillip und Elektroniker Lutz, “Solar Cafe” als Vermächtnis der bisheri-gen Bandgeschichte zu vollenden und zu veröffentlichen. Wohl wissend, dass es Veröffentlichungen von Bands, die es gar nicht mehr gibt unterhalb eines bestimmten Bekanntheitsgrades und zwangs-weise ohne Live-Support definitiv schwer haben.
Aber, trotz dieser Widrigkeiten, es hat sich definitiv gelohnt, diesen Schritt zu tun: “Solar Cafe” zeigt die Fähigkeiten der damaligen Melanchoholics gegenüber den bisherigen Platten auf einem neuen Stand; die bandeigene Art der Komposition, gleichzeitig wie auf dem Sprung befindlicher wie in der Zeit erstarrter Tracks zu komponieren, die zudem viel von tatsächlichen Songs zu haben scheinen oh-ne wirklich welche zu sein, ist auf “Solar Cafe” zu neuer Perfektion gereift. Und über allem eine Atmo-sphäre, die nicht trefflicher als durch den Bandnamen zu beschreiben ist: keine gefühlte oder gar auf-gesetzte Düsternis, vielmehr eine Art von wehmütiger Melancholie, die möglicherweise am stärksten durch die irgendwo zwischen Arpeggio und Anschlag changierenden Gitarren und die immer wieder präsenten, funkspruchartigen Fieldrecordings verursacht wird, unterlegt durch Flächen und Bassschü-be im Untergrund. “Solar Cafe” ist damit auch in seinen ruhigsten Abschnitten keine flächenartig ange-legte Musik wie die so vieler Anderer, die im Feld der experimentellen Musik ohne Schlagzeug bzw. Drumprogrammierung arbeiten: der paradoxerweise wie erstarrte Fluss dauernder Bewegung bleibt stets bestimmendes Moment.
Rein musikalisch betrachtet, den ohnehin nicht zu beziffernden menschlichen Verlust bewusst ausge-klammert, definitiv ein herber Verlust, dass nach diesem Höhepunkt, passenderweise auf zwei Formaten veröffentlicht (Vinyl + CD), in dieser Form nichts mehr zu erwarten ist. Was bleibt ist diese wirklich gelungene Platte und die Chance, dass das Nachfolgeprojekt Minus1one vielleicht andere, aber ebenso interessante Wege verfolgen wird. Und jetzt: ihr." [Hellmut Neidhardt / Black mag] |
2015 |
€16.00 |
|
| MENACE RUINE |
Alight in Ashes |
CD |
"The Canadian duo Menace Ruine began in 2006 by S. De La Moth and Genevieve. The Montreal entity create music of a very harsh and hypnotizing blend of martial ambient and neo-folk mixed with elements of experimental music and black metal.
The music would then be laced with the enchanting and mesmerizing vocals of Genevieve which would make Menace Ruine a band unlike anything in the genre.
Alight In Ashes is MENACE RUINEs fourth album. Having already worked with such labels as the respected Canadian experimental label Alien8 and experimental UK label Aurora Borealis, and having played live with such artists as Nadja, Daniel Menche, Wolf Eyes, Watain, along with doing a European tour with Frances Aluk Todolo which led MENACE RUINE in playing the prestigious Roadburn Festival where they were personally invited by Sunn 0))) to play on said bands curated day, the duo decided it was time to take it to the next level by working with Profound Lore Records.
With Alight In Ashes, MENACE RUINE have returned to their more melodic side that was found on their second album The Die Is Cast, and in turn have delivered their most intriguing, unnerving, and most beautifully crafted album to date.
With the constructed and meticulously crafted music (think Burzums Filosofem meets Merzbow, Nico, and The Moon Lay Hidden Beneath A Cloud) that compliments Genevieves powerful vocals, Alight In Ashes is a trance-like masterpiece that will ultimately cast a spell that grabs you by the throat while at the same time envelopes you.
The band also have touring plans in the works, by doing some U.S. touring with their now label-mates ASH BORER and planning tour jaunts with MAMIFFER likewise ++ MENACE RUINE are known as one of the more respected dark ambient/experimental bands today.
The duo combine a mesmerizing trance-enducing mix of martial ambient, industrial, noise, neo folk, and black metal into their entrancing mix.
For fans of Nico, Merzbow, Death In June, The Moon Lay Hidden Beneath A Cloud, and Burzum.
MENACE RUINE plan on hitting the live circuit in support of Alight In Ashes, first off with label-mates ASH BORER and plan on touring Europe with MAMIFFER likewise.
The duo of MENACE RUINE have had some notable live experiences throughout the course of their career, most notably the band being invited by Sunn 0))) to play their curated day of 2011s Roadburn Festival." [label info]
www.profoundlorerecords.com
"Dass wir MENACE RUINE hier schon vorgestellt haben, ist untertrieben. 'Gefeiert' wäre treffender. Nur wenige Projekte haben einen so einzigartigen, sofort wieder erkennbaren Sound, der zugleich so schwer zu definieren ist. Black Metal-Wurzeln sind spürbar, allerdings mehr atmosphärisch denn klanglich. Das Zerren erinnert an Noise, die Stimme (mich) an eine weniger ätherische Version von DEAD CAN DANCE und und und. Mit "Alight In Ashes" ist nun das vierte offizielle Album des seit 2007 bestehenden Duos erschienen, wie auch alle anderen Werke der beiden Frankokanadier in ihrer Heimat Montreal komponiert und eingespielt. GENEVIÈVE ist die Stimme, SERPENT DE LA MOTH der Mann an den Tasten. Diese 'Tasten' sind umso erstaunlicher, weil die Klangwand sehr stark nach E-Gitarren tönt, aber angeblich ohne eine einzige echte Gitarre entsteht.
Für mich persönlich kamen die Alben nach "The Die Is Cast" (2008, Besprechung) nie ganz an diesen großen, riesigen Wurf heran, was aber sicher auch mit der Wucht des Erstkontaktes zu tun hat. "Alight In Ashes" ist allerdings nah dran. Generell scheint das neue Album nicht ganz so wütend zu sein wie die Vorgänger, (noch) mehr nach innen gerichtet, dabei auch weniger verzerrt und sehr melodiös.
Sofort ist er da, dieser sägende, in der Luft stehende, vibrierende Sound, der dieses Mal tatsächlich etwas weniger nach Gitarre klingt. Eine an- und absteigende, orgelnde Melodie bestimmt "Set Water To Flames" (01), die Percussion ist überraschend deutlich vernehmbar. Dann setzt die einzigartige, einschneidende Stimme von GENEVIÈVE ein, entrückt, nicht von dieser Welt. Sie offenbart ihr Innenleben, singt ihre eigene Beschwörung. Im Einklang mit der sich immer wiederholenden Hintergrundmelodie tönt die Stimme ungeheuer hypnotisch. Der Gesang ist klarer als früher, deutlicher und wesentlich ausgereifter. Zwischendrin stehen krachende, wühlende Instrumentalpassagen, und wirklich auffällig bleiben die Drums, teilweise fast militärisch getaktet. Ein Mahlstrom aus Emotionen und Sound.
Auch "Salamandra" (02) weist sehr differenzierte Klänge auf, wirklich nah an DEAD CAN DANCE. Wie die Strukturen aller Songs setzt auch dieser auf die Wiederholung von wenigen Tönen, was besonders beschwörend wirkt. Die Vocals kommen auf diesem Album eindeutig am besten zur Geltung, wirken sicher und umfassen mehrere Oktaven, wie klassisch ausgebildet. Eine sägende, kurbelnde Melodie, darin perfekt eingebettet die Stimme, begleitet von einer dunklen Trommel.
"Burnt Offerings" (03) klingt nach mehreren verzerrten Gitarren, die versuchen, in Einklang zu kommen und eine Bestattungshymne zu spielen. Verschiedene Lagen mischen sich dazu, das Stück bleibt rein instrumental.
Im Verlauf von "Arsenikon" (04) bekommt die Stimme Hall, wird spaciger, die Musik dazu noch 'gitarriger' und verzerrter. Sehr reduziert, ein Anschlagen von einzelnen Tönen, so dass erneut GENEVIÈVE im Vordergrund steht, gedoppelt mit sich selbst. Ein sakrales, persönliches Duett, berührend und verzweifelt, weil (für MENACE RUINE-Verhältnisse) zurückhaltend. Ab der Mitte scheint das Stück durch Verzerrung und schräge Töne, durch industrielles Scheppern aus dem Ruder zu laufen, bleibt aber immer noch melodisch.
"Disease Of Fear" (05) beginnt wie die "Toccata" von BACH, gespielt auf einer singenden Säge. Wiederum eine sehr einfache, sich wiederholende Melodie, zu der spät und überraschend das klare Organ einsetzt, welches die Lücken dieser ineinander walzenden Zahnräder ausfüllt, dabei die Töne mit einem Vibrato versieht und unglaublich lange hält. Auf einem Scheiterhaufen aus Klängen singt die Frankokanadierin unbeeindruckt um ihr Leben. Aufgrund der Intensität ist die Länge der Songs übrigens trotz der sich wiederholenden Strukturen nie spürbar.
"Cup Of Oblivion" (06) erweckt ganz besonders den Eindruck eines Kirchenliedes, unterstützt von mahlenden, schweren Trommeln. Sehr majestätisch und der mächtigste der sechs Songs, der lange ohne Vocals auskommt, bis diese nach vier Minuten dann doch hymnisch, schmetternd dazustoßen und bis an die Grenze zur Verzerrung gehen.
MENACE RUINE ruhen sich auf ihrem Sound nicht aus, sondern entwickeln ihn weiter. Sie bleiben erdig, dröhnen etwas dezenter als früher, wirken häufig sehr andächtig und sakral; rituelle Lieder zu einer virtuellen Beerdigung. Viele Melodien scheinen aus klassischen Epochen abgeleitet zu sein. Überraschend ist die Varianz der Percussion, aber überstrahlt wird ohnehin alles vom gewaltigen und kosmischen Gesang. Mit Abstand das vielfältigste und kompletteste Album der beiden Kanadier, die übrigens momentan auf Tour durch Europa sind. Termine siehe News und Konzertdatenbank. CD kaufen, Konzert besuchen!" [Michael We. /NON-POP]
|
2012 |
€14.50 |
|
| MENCHE, DANIEL |
Incineration |
CD |
Re-Release der ersten genialen MENCHE – CD!! Unglaublich dicht & spannend!
“ Somatic sound sources, organic materials and tortured electronics were documented, mutated and treated during 1992 and 1993. No samples or musical instruments were used..”
|
1999 |
€13.00 |
|
|
Radiant Blood (SOLD OUT) |
10inch |
SUBSTANTIA INNOMINATA ist eine neue 10”-Vinyl-Serie von Drone Records mit neuem Konzept. Mit “Unbenannter Substanz” ist das “Unbekannte, Un-erkennbare, Unergründliche, Un-Identifizierbare“ gemeint, das hier als Inspiration und Themenfokus für die Künstler (akustisch wie visuell) dienen soll. Das, was über unsere Wahrnehmung hinausgeht oder vielleicht nur unbewusst wahrgenommen werden kann. Das was man nicht denken kann. Das Unbekannte in uns und ausserhalb unser erkennbaren, gewohnten Welt.
DANIEL MENCHE macht den Anfang mit zwei Stücken: Komprimierte Energie. Dichte. Antreibende Kraft. Spannung. Pulsierendes Blut. Das Unbekannte als Teil einer grossen Energie, die auch in der Musik steckt?
Die grossartige ARTWORK für die SUB-01 stammt von ROBERT SCHALINSKI (COLUMN ONE). Braun-schwarz marmoriertes Vinyl in einer Erstauflage von 500 Stück.
“Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD.
This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”.
The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.” [Basic Concept]
DANIEL MENCHE begins the series with two pieces: Compressed energy. Density. Driving force. Tension. Pulsating Blood. The Unknown as part of a bigger energy, that is also part of the music?
The great artwork for SUB-01 was made by ROBERT SCHALINSK (COLUMN ONE). Brown-black marmorized vinyl in a first ed. of 500 copies.
OUT 15. DECEMBER 2005 !
Note: this 10" plays on 45 rpm !
|
2005 |
€12.00 |
|
|
Scattered Remains:Early Remixes |
do-CD |
Zusammenstellung von frühen & raren Material, meist von nicht mehr erhältlichen Compilations, alles von 1994-1999. Der oft noch eher „noisige“, rauhe, mit mehr konkretem Touch arbeitende MENCHE.... Nice priced, alles re-mastered!
“Keeping track of the musical output of Daniel Menche has never been easy. Besides his numerous albums and singles, released by an
eclectic range of labels, he has contributed countless tracks to compilations, many of which reached only the smallest of audiences.
Scattered Remains tracks his progress from 1995 through 1999, collecting the best of these pieces, now fully remastered, onto two full-length CDs. With the passing of time it has become nearly impossible to find many the original releases these tracks came on,
making this rarities collection a must have for long-time fans and new converts alike. Besides the material culled from CD compilations, three tracks previously only available on vinyl appear in digital form for the first time ever. The list of labels involved reads like a who’s who of cutting edge music in the 90s: Banned Productions, Ash International, 23five, Noise Museum, Self Abuse, Isomorphic, KAON, Shirocoal, Suterfuge, G.M.B.H. and of course, Soleilmoon. Best of all, it’s a great value: Two CDs for the price of one. What’s
not to love?” [press release]
|
2005 |
€13.00 |
|
|
Soundtrack for the Film HOPE AND PREY |
mCD |
Soundtrack zur Film-Installation “Hope and Prey” von VANESSA RENWICK, nur 250 Stück gibt es über mailorder weltweit, der Rest wird bei den seltenen Aufführungen verkauft !!!!!
“.. As with all of his recordings, “Hope and Prey” offers an intensely powerful and beautiful listening experience. Surprisingly, Daniel Menche’s work has rarely been heard in film or television productions. Although his compositions have been used in short films, this is the first time he was commissioned to create the sound for a new film, in this case, “Hope and Prey” by Vanessa Renwick. The soundtrack, presented here, is a 20 minute composition of powerful and graceful music that richly captures the ferocious nature of Vanessa Renwick’s film. Both artists are based in Portland, Oregon, and are individually very active in the underground art scene. Their collaboration is an engrossing fusion of visceral sonics and powerful ethereal imagery that has been performed in live situations as well as gallery installations. “Hope and Prey” will never be officially released as a film since it is an installation for 3 projectors and can only be experienced in the environment it was designed for. Yet this soundtrack release is available in a limited edition of 500. Half of the pressing will be sold wherever Hope and Prey is presented, and the other half will be offered through normal distribution channels. With an extensive discography and a long record of highly regarded performances nationally and internationally, Daniel Menche’s music has reached a wide spectrum of listeners across many genres.” [press release]
|
2004 |
€7.50 |
|
|
The Face of Vehemence |
CD |
"Neues Werk von MENCHE, 67½ Minuten sehr abwechslungsreiche, z.T. für ihn ungewöhnliche Klänge... er klingt elektronischer, beginnt sehr dronend-soft (und erinnert fast an MNORTHAM), bevor er sich in expressivere Bereiche fortbewegt und auch tiefe Subbasse & sirrende Sounds einsetzt und konkreter wird (wir denken an JOHN DUNCAN, F. LOPEZ..).
Wieder genial. Sounds die süchtig machen.
Outer space monumental drones at its best, with many development & breaks, but always with a tendency to overwhelm you with pure sonic vehemence.. 4 tracks on 67½ minutes." [Drone Records info 2002]
“ vehemence (ve'he*mence)
1. Characterized by intensity or forcefulness of expression or intensity of emotion or conviction; impetuous force; impetuosity; violence; fury; violent ardor; fervid: a vehement denial.
2. Marked by or full of vigor or energy; strong: a vehement storm.” [press-release]
|
2002 |
€12.00 |
|
|
Bleeding Heavens |
CD |
Liest man sich das Konzept von GIANCINTO SCELSI durch mit seiner Herausarbeitung von Klangfarben und Atmosphären, Mikrobewegungen einzelner Tonhöhen, der intuitiven Arbeitsweise, etc., so erscheint ein "Drone-Monumentalist" aus der nicht-akademischen Noise-Szene wie DANIEL MENCHE fast wie ein später Jünger des italienischen Klangmystikers. Auch MENCHE's neuere Stücke basieren gewöhnlich letztlich auf einzelnen Tönen oder Geräusch-Drones, bei denen eine ungeheure Fülle von feinen Details "sichtbar" werden, die sich in einem Klangstrom bewegen in den man komplett eintauchen kann. BLEEDING HEAVENS basiert auf "Orgel- und Trompeten-Destruktion", welche MENCHE in 4 lange 'movements' presst, die oftmals eine vibrierend-vibratohafte, flackernde Form annehmen. Filed under: Süchtigmachende Strudelmusik ! Wer MENCHE noch nicht kennt: Die ultimative Empfehlung und Einstiegsmöglichkeit !
"Brand new studio compositions from Portland's corporal sound purveyor, Daniel Menche. Comprised of deconstructed organ and trumpets. Recorded from 2006 to 2007 at House of Menche." [credits]
www.blossomingnoise.com
|
2007 |
€13.50 |
|
|
Guts |
CD |
"More voraciously bestial soundwork coming from Daniel Menche -- this time, his chosen theme is the piano, in which he attacks, investigates and dissects with the precision of an autopsy surgeon, adding a whole new meaning to the concept of prepared piano, or should we say, unprepared piano, for an all-out assault. Guts lays out quite possibly some of the finest slabs of Menchian sonic mayhem to date. Slightly different track sequence over CD and vinyl formats due to time constraints. Mastered in the analog domain at Stereophonic Mastering, Portland Oregon. X-rays from a Chihuahua dog named Arrow." [label info]
www.editionsmego.com
"Ohne wirklich ermessen zu können, wie hier der Einfluss nachträglicher Manipulation am Rechner aussieht: Menches Arbeit an den Eingeweiden eines Pianos präsentiert sich auf erhellende Weise komplett anders als die Reinhold Friedls. Menche hat sich schon immer in einer dynamischen Traverse bewegt, die Ambient und Noise in eins setzt, in der Intensität in lineare Verbindung mit “Volume” tritt. So wild-martialisch wie Titel und offizielle Beschreibung klingen, geht es hier nämlich gar nicht zu. Stattdessen scheinen Menches rohe Fieldrecordings (auf Soundcloud) von Wetterphänomenen, Stürmen und Regen, Wind in Wäldern, in den vier vinylseitenlangen Tracks (der letzte auf CD gekürzt und vorangestellt) durch: in unmerklich morphenden Prasseltexturen (Two), mal mit subtil-verblüffender Saitenresonanz (Three), immer busy, groß und raumgreifend, davor mit sirrendem Bohrgeräusch, das zu einem flackernd-schepperstotternden Schiffsbauch mutiert, die am elektronischsten wirkende Arbeit (One), um schließlich durch die Hintertür (Four bzw. 2×4) doch noch bei Friedls schabender Metallverdauung anzukommen, ohne je dessen Fingernagel-auf-Tafel-Effekt anzustoßen. Entspannend!" [Multipara/de:bug]
|
2012 |
€10.00 |
|
|
Guts |
do-LP |
"More voraciously bestial soundwork coming from Daniel Menche -- this time, his chosen theme is the piano, in which he attacks, investigates and dissects with the precision of an autopsy surgeon, adding a whole new meaning to the concept of prepared piano, or should we say, unprepared piano, for an all-out assault. Guts lays out quite possibly some of the finest slabs of Menchian sonic mayhem to date. Slightly different track sequence over CD and vinyl formats due to time constraints. Mastered in the analog domain at Stereophonic Mastering, Portland Oregon. X-rays from a Chihuahua dog named Arrow." [label info]
www.editionsmego.com
"Ohne wirklich ermessen zu können, wie hier der Einfluss nachträglicher Manipulation am Rechner aussieht: Menches Arbeit an den Eingeweiden eines Pianos präsentiert sich auf erhellende Weise komplett anders als die Reinhold Friedls. Menche hat sich schon immer in einer dynamischen Traverse bewegt, die Ambient und Noise in eins setzt, in der Intensität in lineare Verbindung mit “Volume” tritt. So wild-martialisch wie Titel und offizielle Beschreibung klingen, geht es hier nämlich gar nicht zu. Stattdessen scheinen Menches rohe Fieldrecordings (auf Soundcloud) von Wetterphänomenen, Stürmen und Regen, Wind in Wäldern, in den vier vinylseitenlangen Tracks (der letzte auf CD gekürzt und vorangestellt) durch: in unmerklich morphenden Prasseltexturen (Two), mal mit subtil-verblüffender Saitenresonanz (Three), immer busy, groß und raumgreifend, davor mit sirrendem Bohrgeräusch, das zu einem flackernd-schepperstotternden Schiffsbauch mutiert, die am elektronischsten wirkende Arbeit (One), um schließlich durch die Hintertür (Four bzw. 2×4) doch noch bei Friedls schabender Metallverdauung anzukommen, ohne je dessen Fingernagel-auf-Tafel-Effekt anzustoßen. Entspannend!" [Multipara/de:bug]
"Daniel Menche? Mensch, ja, DANIEL MENCHE, lange nicht gehört. Was fast ein
Kunststück war, angesichts seiner Kollaborationen mit A. Liles, Z. Karkowski
und A. Courtis und kontinuierlichen Releases auf Blossoming Noise, Important,
Sub Rosa, Utech etc. Guts (eMEGO 138) bringt wieder essentiellen Menche-
Stoff. Das Überraschende ist hier aber doch die Klangquelle - ein Piano, genauer,
die Eingeweide eines Pianos. In vier ausgedehnten Variationen wühlt der
Mann aus Portland in den drahtigen Innereien des Lieblingsspielzeugs der Lang
Langs, Jarretts und all der anderen Edelfinger und Tastensimpel. Hier klingt das
Piano, mit Schlägen und allen möglichen Handgriffen, Blechdeckeln und Präparationen
traktiert und zudem motorisch aufgewühlt, wie ein geknüppelter,
flatternd federnder Drahtverhau, wie von einem Steinschlag mitgerissen, wie
ein nicht enden wollendes Erdbeben oder ein anschwellender Sturm. Allenfalls
bei legendären Fluxusattacken oder bei Charlemagne Palestine hat ein Piano je
so ähnlich gescheppert und mit den Zähnen geklappert, so ähnlich, aber nicht
so. Sehr passend ist die Scheibe verpackt in Röntgenaufnahmen eines Hundes.
Menche seziert das Piano nicht bloß, er scheint in seine molekulare Beschaffenheit
einzudringen, es nicht bloß zu schreddern, vielmehr es bis aufs letzte
Fitzelchen zu pulverisieren. Wie ein Alchimist scheint er in allem, was er so
auspresst, den Lebenssaft zu suchen, den Geist, die Kraft im Innersten des
Stoffes. Das Doppelalbum enthält die vollständige Fassung, der CD fehlen 8:20." [Bad Alchemy]
|
2012 |
€20.00 |
|
| |
Sleeper |
3 x CD |
"Daniel Menche is best known for his assemblages of visceral, industrial-strength noise. In such head-rinsing recordings as Vilké (2013), Deluge (2003), and Fields of Skin (1997), Menche's compositional directives instigate and exacerbate the physiological properties of anxiety -- increased blood pressure, blurred vision, claustrophobia, panic, disorientation, etc. In the hands of a talented composer such as Menche, noise can be demonstrative, cathartic and even communal. But after three decades of intense relentlessness, Menche posed the internal question: "Why the hell do I gravitate to compositions that stresses people out?" In re-evaluating his own compositional strategies and philosophical stances, Menche worked out the ideas through sound. Out of that research came the makings an ambient record that he could fall asleep to. These recordings seek to amplify the re-imagined traces of light and dark across the inner eyelid of the dreamer caught in that crepuscular moment between wake and sleep.
To peg this album as merely an ambient record is to do Sleeper a gross disservice. This a MENCHE ambient record. Feckless new age drivel, this is not. While seeking a graceful tranquility and placid states of mind, Menche's compositional tools remain the sonic equivalent of a chainsaw. Rough edges and bold gestures are steadfast reminders that Menche is at the helm. In Sleeper, Menche plunges into the harmonic dissonance and glassine minimalism found in the historical works of La Monte Young and Charlemagne Palestine. Never one to be static, Menche drapes his ephemerally half-melodic loops and unfurled sonic tapestries onto a distant, iron-clad thump as a rhythmic spine. The ghostly frequencies that flare out of from his drones almost always evolve into sharp and blinding coronas of sound, embruing the album with an unnerving tension.
Menche's Sleeper is a monumental album of colossal driftwork clocking in well over three hours."
sigerecords.blogspot.de
|
2017 |
€22.00 |
|
| MENUCK, EFRIM MANUEL |
Pissing Stars |
LP |
"Constellation Records beginnt das Jahr 2018 mit dem zweiten Soloalbum des GODSPEED YOU! BLACK EMPEROR und THEE SILVER MT. ZION Gründers EFRIM MANUEL MENUCK. „Pissing Stars“ ist der großartig intensive Nachfolger von „Plays High Gospel“ und das erste neue Material mit EFRIM als zentralem Songwriter und Sänger seit „Fuck Off Get Free We Pout Light On Everything“ seiner Chamber-Punk Band THEE SILVER MT. ZION von 2014. MENUCK genießt unter den Fans politischen Punks, Post-Rock und Avant-Noise-Anhängern Kultstatus und feiert mit „Pissing Stars“ ein Vierteljahrhundert musikalischen Ausdrucks ohne Kompromisse. Auf „Pissing Stars“ verschleudert MENUCK Giftpfeile, leidenschaftliche Salven und zerbrechliche Blüten und formt das Ganze zu noiselastigen Songs, die sich um maximalistische Electronics und Drones ranken, die von Synthie oder Gitarre umgesetzt und von klagendem, oft verfremdeten Gesang durchzogen werden. Das passende Narrativ kann nur jemand wie MENUCK liefern: „‘Pissing Stars‘ gründet sich auf die kurze Affäre der amerikanischen TV-Moderatorin Mary Hart mit Mohammed Khashoggy, dem Sohn eines saudischen Waffenhändlers. Ich weiß nicht, wie lange sie zusammen waren, ich erinnere mich daran, wie ich als verzweifelter Teenager darüber las. Ich wohnte zusammen mit zwei anderen verwahrlosten Kids und einem Haufen wilder Kätzchen in einem überfluteten Keller und hatte nichts zu essen. Diese seltsame Union – die blonde Frau aus dem Fernsehen und der reiche Saudi-Sohn mit seinem mörderischen Vater – blieb bei mir und beschäftigte mich drei Jahrzehnte lang. Diese Sprösslinge aus Tod und Selbstentfremdung – und Liebe. Dieses Album beschäftigt sich mit dem Ende ihrer Beziehung und der Art und Weise, wie bestimmte eigensinnige Lichter einfach weiterleuchten. Das Album wurde in den dunklen Ecken zwischen 2016 und 2017 aufgenommen, in verschiedenen Stadien der Ungemütlichkeit, mit einem porösen Herzen und einer klaren Mission. So, als würde man mit zwei Messern in den Händen auf einen Abgrund zulaufen und manisch lachen. Besiegt und voller Freude zugleich. Hier geht es um das Ende der Liebe und den Anfang der Liebe. Um das Ende des Staates und wie wir alle darunter gefangen sind."
This is an audiophile 180gram pressing in midnight ultra-black vinyl from Optimal (Germany) that comes in a 350gsm jacket with printed inner dust sleeve and 12"x19" art poster, all printed on uncoated matte papers and boards, all artwork by Menuc
efrimmanuelmenuck.bandcamp.com/album/pissing-stars
PISSING STARS is inspired by the brief romance of american television presenter MARY HART and MOHAMMED KHASHOGGI, the son of a saudi arms dealer. i don’t know how long their union endured, but i remember reading about them when i was a desperate teenager – there was something about their pairing that got caught in my head. i was living in a flooded basement with two other lost kids and a litter of feral kittens. we were all unfed. this strange intersection – the televisual blonde and the rich saudi kid with the murderous father; it got stuck in me like a mystery, like an illumination- this vulgar pairing that was also love. these privileged scions of death and self-alienation, but also love. i’ve carried it in me for 3 decades now, this obscure memory, and i return to it often, tracing its edges like a worn talisman. this record is about the dissolution of their relationship, and the way that certain stubborn lights endure. this record was made in dark corners between 2016 and 2017. a very rough pair of years, shot thru with fatigue, depression, despair, and too many cigarettes and too much booze. but also = the giddiness of enervation, and the strange liberation of being emptied – borne aloft and carried by the drift. the world continues its eternal collapsing, fires everywhere and everything drained of meaning. this record was made in various states of unease, with a brittle heart and a clear intent. like running towards a cliff with 2 swinging knives, roaring with an idiot grin. overcome and overjoyed. this record is about the end of love and the beginning of love. this record is about the dissolution of the state, and all of us trapped beneath, and the way that certain stubborn lights endure. – ExMxMx
|
2018 |
€23.00 |
|
| |
High Gospel |
LP + CD |
180g Vinyl inklusive CD + limited edition Poster! EFRIM MANUEL MENUCK ist am besten als Mitbegründer von GODSPEED YOU! BLACK EMPEROR, als Mastermind der Kammerpunk Gruppe THEE SILVER MT. ZION und als Mitglied der VIC CHESNUTT BAND bekannt. Mit dieser Band hat er insgesamt 13 Alben aufgenommen. Dazu hat er das Montrealer Hotel2Tango Studio mitgegründet und mit so verschiedenen Künstlern wie BRITISH SEA POWER, CARLA BOZULICH'S EVANGELISTA, WOLF PARADE und GRANT HART gearbeitet. Fans von MENUCK kennen sich mit seinem höchst eigenständigen und ständig weiter entwickelnden Zugang zur elektrischen Gitarre aus - eine einzigartige Kombination aus kurzen und langen Analogdelays, krasser Kompression und Wolken aus Pink Noise Verzerrung. Entstanden sind die Songs in den letzten anderthalb Jahren und lassen einen tiefen Blick zu in die Seele des Mannes, der nie versucht hat, persönliches, privates Leben von künstlerischer Äußerung zu trennen. Tief beeinflusst von den Emotionen, die ihn während und nach der Geburt seines Sohnes Ezra begleitet haben und geprägt von seiner Liebe zu Jessica Moss (die bei ASMZ auch Violine spielt) pendeln die Stücke zwischen experimenteller Klangentdeckung und Verneigung vor Melodien hin und her. Ein wunderbares Album! 180g Vinyl includes limited edition poster + CD Efrim
Manuel Menuck is best known as co-founder of Godspeed You! Black Emperor, leader of agit-chamber-punk group Thee Silver Mt. Zion, and member of the Vic Chesnutt Band (2007-2009); he has a combined thirteen albums under his belt with these three groups. He is also co-founder of Montreal's Hotel2Tango recording studio, with dozens of recording, arranging and guest playing credits to his name, for a list of artists as diverse as British Sea Power, Carla Bozulich's Evangelista, Wolf Parade and Grant Hart. Fans of Menuck will be well versed in his highly original and constantly evolving approach to the sound of the electric guitar - a unique combination of short and long analog delays, biting compression and blown-out clouds of pink noise distortion. His recasting of various folkways through the lens of uncompromising punk-rock is also well-documented in the discography of Thee Silver Mt. Zion, with that band's use of poetically political group singing set against a hybrid of damaged blues, waltz, klezmer and folk instrumental tropes. Perhaps less appreciated is Menuck's work as an inventive signal-bender and soundsculptor, with an overriding commitment to analog processing, tape manipulations, reamping and other iterative strategies. Efrim's aesthetic and techniques remain about as diametrically opposite to the dominant Pro-Tools and DSP culture as it gets for someone working in contemporary multi-tracked rock composition and production.
https://efrimmanuelmenuck.bandcamp.com/album/plays-high-gospel
|
2011 |
€23.50 |
|
| MENUCK, EFRIM MANUEL & KEVIN DORIA |
Are Sing Sinck, Sing |
LP |
Efrim Manuel Menuck – founding member of Godspeed You! Black Emperor and Thee Silver Mt. Zion – and Kevin Doria from Growing and Total Life, are now officially a duo. Menuck recruited Doria to help him translate his acclaimed 2018 album Pissing Stars from the studio to the stage, and the pair have been touring under the Efrim Manuel Menuck moniker for the past year (often with Doria’s latest solo project KGD opening the proceedings). They’ve also been co-writing piles of new material, diving deeper into whirling maximalist electronics, still shot through with Menuck’s incantatory singing awash in plaintive distortion and hope.
Efrim Manuel Menuck & Kevin Doria are “SING SINCK, SING” presents the first volume of songs forged from this febrile and fertile merger: an antifascist poetics of sound that unspools across five crushing, keening tracks driven by thick sweeping drones and ostinatos, battered by inscrutably searching, ricocheting vocals. Anguish, yearning, and desperate conviction combine in these saturated survivalist electro-hymns, for as long as the power stays on to overload the amplifiers.
WE STARTED PLAYING TOGETHER IN THE DARK WINTER OF 2017. 6 OSCILLATORS AND 3 LARGE AMPLIFIERS. DROVE THRU HELLA BLIZZARDS AND/OR HEATWAVES JUST TO LAND IN SMALL ROOMS, VIBRATING. A SERIES OF SHORT TOURS, A PROCESS OF FIGURING OUT WHILE EXHAUSTED WHILE HURTLING WHILE WORRIED. EVERYTHING ILLUMINATED EVERYTHING DESTROYED. WE LANDED IN MEXICO CITY LAST FALL, WROTE THIS RECORD QUICKLY WHILE THE POLICE DROVE ROUND AND ROUND. FIRST SONG IS SELF-EXPLANATORY. 2ND SONG A STATEMENT OF INTENT. THIRD SONG IS AN EMPTY SPACE BETWEEN TWO HIGHWAYS. FOURTH SONG IS ABOUT A MURDERED FOREST. FIFTH SONG INSISTS THAT WE WILL WIN. HOLD ON. THO THESE TIMES ARE DARK TIMES. HOLD ON. – E.M.M./K.G.D (SING, SINCK SING)
As the title suggests this is also an interstitial album of sorts, an identity-bridge that leads away from Menuck as ‘solo’ artist and towards SING, SINCK SING which will be the new band name for future work by the duo. Thanks for listening.
Recorded in Mexico City and in Montréal, autumn 2018.
Mastered by Harris Newman at Greymarket, Montréal.
Intro vocals on “Do The Police Embrace?” sung by Johanna and Ezra.
Additional vocals on “Do The Police Embrace?” and “Joy Is On Her Mount And Death Is At Her Side” by Robin Wattie.
“Fight The Good Fight” lyrics by Michele Fiedler-Fuentes & E.M.M.
Dedicated to Dirk Hugsam, last of the sad german outlaws
https://singsincksing.bandcamp.com/album/are-sing-sinck-sing
############################
180 g Vinyl inklusiver kunstvoller Innenhülle + 4" Farbaufkleber + MP3-Download. Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion) und Kevin Doria (Growing, Total Life) sind nun offiziell ein Duo und präsentieren dieses neue Set von wirbelnder, maximalistischer Antifa-Elektronik-Noise, durchdrungen von Menucks markantem Beschwörungsgesang, der in klagende Verzerrung und Hoffnung taucht. WIR BEGANNEN IM DUNKLEN WINTER 2017 ZUSAMMEN ZU SPIELEN. 6 OSZILLATOREN UND 3 GROßE VERSTÄRKER. FUHREN DURCH HÖLLISCHE BLIZZARDS UND/ODER HITZEWELLEN, NUR UM IN KLEINEN VIBRIERENDEN RÄUMEN ZU LANDEN. EINE REIHE VON KURZEN TOURNEEN, EIN FINDUNGSPROZESS, WÄHREND MAN ERSCHÖPFT IST, WÄHREND MAN SICH BEEILT, WÄHREND MAN SICH SORGEN MACHT. ALLES ERHELLTE ALLES ZERSTÖRTE. WIR SIND IM LETZTEN HERBST IN MEXIKO CITY GELANDET, HABEN DIESE PLATTE SCHNELL GESCHRIEBEN, WÄHREND DIE POLIZEI IMMER WIEDER RUNDHERUMFUHR. DER ERSTE SONG IST SELBSTERKLÄREND. DER ZWEITE SONG EINE ABSICHTSERKLÄRUNG. DER DRITTE SONG IST EIN LEERER RAUM ZWISCHEN ZWEI AUTOBAHNEN. DER VIERTE SONG HANDELT VON EINEM ERMORDETEN WALD. DER FÜNFTE SONG BESTEHT DARAUF, DASS WIR GEWINNEN WERDEN. HALTET DURCH. DENN DIESE ZEITEN SIND DUNKLE ZEITEN. HALTET DURCH. - E.M.M./K.G.D. (SING, SINCK, SING)
|
2019 |
€21.00 |
|
| MERZBOW |
Dead Leaves |
CD |
"... Sein Harsh Noise ist längst zum Urban Blues für Noisophile geworden, die sich ohne zu zucken die Federn bei lebendigem Leib rupfen lassen. Im auf~und~ab~kurvenden Weißen Rauschen nicht nur Rosarot, sondern alle Farben des Regenbogens oder eines Kathedralenfensters aufleuchten zu sehen im dritten Auge, zu hören mit der ganzen Haut und gesträubten Haaren, das ist immer wieder guter Grund, in den donnernden Wasserfall des Japaners als Jungbrunnen einzutauchen. Wie unter einem Sandstrahl vom Durchmesser eines Tunnelbohrgerätes verschwinden unter Akitas zischender, brausender, schrillender, jaulender, pulsierend stoßender, gründlicher Dusche die Mückenschisse des Trivialen. Wie runderneuert und neugeboren, wie ein in Drachenblut verhornter Siegfried, kann man sich danach wieder der Dreckschleuderei des Alltags stellen. Nur weiß Akita offenbar ganz gut, dass es mehr Lindenbäume als Lindwürmer gibt. Seine ‚toten Blätter‘ sind ein verkapptes Memento Mori." [Bad Alchemy]
www.licht-ung.de
|
2008 |
€12.00 |
|
| |
Zara |
10inch |
"... Its been some time since I last heard Merzbow too actually, and perhaps for the very same reason as I didn't hear post rock or ambient house: maybe after a while you heard it. And believe me, I heard a lot of Merzbow. Now that hear this 10", I realize I missed that too, but perhaps that is due to the fact that there is something about this record which reminded me of some older Merzbow, the 'SCUM' double LP. On that LP Masami Akita cuts up his own old work and re-assembles it. The a-side starts out with similar cut-ups, before going into what seems to be an improvised guitar recording, filtered through the EMS Synthi-A. On the b-side drumming pops up, reminding the listener of the fact that Akita started out as a drummer, and did also play the drums on his 'Live In Khabarovsk' LP. Akita is on both sides in a totally free improvisation mode, and his tools of the trade - noise - is apparent, but not the main driving force of this record. It appears here, in the middle of his free play of improvised playing. Here too its a call out to play more, old, Merzbow. Said records for instance, and then 'Zara' again." [FdW/Vital Weekly]
www.licht-ung.de
|
2010 |
€15.00 |
|
| MERZBOW & THE HATERS |
same |
CD |
Wiederveröffentlichung der wohl bisher einzigen Collaboration dieser beiden Noise-Legenden, die 1987 als MC erschien! 3 lange Stücke elektro-statisch aufgeheizter Lärm mit Kaskaden und Schichten von Feedback und schlingernden Krach-Effekten, tiefbassigen Dröhn- und Sirenen-attacken und auftauchenden obskuren found sounds. Wahnwitzige Loops bilden quasi-rhythmische Elemente, geschredderte Sprach-schnipsel drängen nach vorn. Absolut kurzweilig und ungewöhnlich, eine eigene Sprache aus reinen Geräuschen.
Listen with new ears, create your own new neurons !
"First released on cassette in 1987 it became a noise classic. out of print for almost 10 years it is now been resurrected to it's full digital glory by john wiese. featuring a remixed version of jopa by gx and using all the original artwork from the cassette" [label info]
|
2006 |
€12.00 |
|
| METAORGANISM |
I:Baphomet |
CD-R |
Neues Projekt mit der finnischen Experimental / Elektronik- Legende NIKO SKORPIO; Sinustongeneratoren, Oszillatoren, Feedback, in spezieller Schaltung "systemisch" verbunden...
"Metaorganism was conceived — or discovered — in Kuuskulma studio while conducting various experiments with sinewaves, oscillators and feedback.
Metaorganism is based on — or communicates through — a network of digital and analog devices transmitting information to each other, back and forth. In the system, a minor change in a supposedly insignificant parameter may unexpectedly change the overall course of the sound. Everything affects everything — as above, so below...
At some point of its development, the system will reach a state of balance where it seems to become self-reliant — independent, evolving — and in a sense a communicating entity which becomes conscious of itself. The Manifestation occurs, through sound.
A series of recording sessions were held, with the attempt to experiment with the system to serve certain 'hermetic' purposes, to influence the nature of Manifestation, ie. what exactly is invoked in/through the sound.
I:Baphomet is the first in what is being planned as a series of Metaorganism audio documents." [label info]
www.someplaceelse.net
|
2008 |
€6.00 |
|
| METEK (FEAT. VMOOD AND PYTHAGORA) |
Psychedelic Noise |
CD-R |
"The title of this album gives a pretty accurate description of its musical contents. Starting from a long “montage” of hissing noise textures, it very gradually unfolds into ever more diversified sounds, occassionally including voices, but only slightly brushing the boundaries of conventional musical structures. And in the end, everything dissolves again into the background noise of the universe.
What sets this album apart from most other noise music is the fact that it avoids any aggressive, confrontative, “harsh” postures. Instead, it often operates at a very quiet sound level, prompting the listener to actively listen out for signals embedded in the noisescape. This is precisely what creates the ‘psychedelic’ aspect of the music, where the listener’s brain imagines (to avoid the word: hallucinates) potential musical structures from the raw data fed into the ear by Metek and their two collaborators.
File under: noise, sound art" [label info]
www.attenuationcircuit.de
"METEK konnte man in den letzten Jahren immer wieder mal am Lieferanteneingang von Shit Noise Records rumlungern sehen, entsprach aber zu wenig der dort geschätzten pupertären Pornophilie. Auch mit Psychedelic Noise (ACLE 1017, CD-R), das auch wieder Beiträge seiner alten Gesinnungsgenossen Dan Pålsson (aka PYTHAGORA) und VMOOD enthält, stillt Fredrik Nilsson einmal mehr nur bereits etwas sublimiertere Bedürfnisse. Etwa die Lust, in Noiselandschaften Abenteuerurlaub zu machen. Was eine gehörige Widerstandsfähigkeit voraussetzt hinsichtlich rauer Winde und Elektronenstürme, dröhnender Wetterumschwünge und unwegsamer Wege, die sich nur knurschend bewältigen lassen. Dazu ist garstiger Regen quasi garantiert, sonnige Idyllen dagegen fast schon ein Grund, das Reisebüro zu verklagen. Der Grund des Hierseins sind schließlich brausende Impulse und lärmige Verwerfungen, in denen Pressluftgehämmer, Sandstrahl, sausende Motoren und allerhand industrialer Ohrenfraß widerhallen, als eine Art wetterwendische Natur höherer Ordnung. In der hagelt es Katzen, knattern Nattern, plinken Bluesgitarrensaiten wie rostiger Draht, kauen Kobolde Schwedenhappen, zerreißen schartige Partikel die Luft. Als hätte unser erklärtermaßen anime- und mangabegeisterter Schwede eine japanische Gebrauchsanweisung zur Hand für seine naturburschikose Blockhüttenpercussion und vogelbezwitscherten, kochlöffelklapprigen Kochkünste." [Bad Alchemy]
|
2015 |
€7.50 |
|
| MGR (MUSTARD GAS AND ROSES) |
Nova Lux |
LP |
Solo-Album des ISIS-Gitarristen M. GALLAGER auf dem neuen Berliner Label VIVA HATE, dies ist die lim. Vinyl-Version der bereits auf NEUROT erschienenen CD ! Wenn man MGR zuhört, weiss man wer für die melancholischen Stimmungen bei ISIS zuständig ist. Sehr reduzierte, rein instrumentelle Gitarren-Klänge, die
unglaubliche Einsamkeit & Trauer ausstrahlen....
„MUSTARD GAS AND ROSES (kurz MGR) ist das Solo Projekt von ISIS Gitarrist Mike Gallagher, der sich durch den Bandnamen auf Kurt Vonneguts semiautobiographischen Roman ,Slaughterhouse Five" bezieht. Das Album umfasst fünf unbetitelte Stücke mit einer Spielzeit von 52 Minuten. Gallagher wurde bei Track#1 von Greg Burns (RED SPAROWES) am Pedal Steel und bei Track 4 von Octopus (DÄLEK) durch dessen geniale Sampletüftelei unterstützt. ,Nova Lux" schifft sich, nicht untypisch für Neurot, durch eher ruhige Ambient-Post-Rock Gewässer und steht dabei ISIS sehr nahe. Gallagher generiert majestätische Atmosphäre mit telekinetischer Kraft, die auf Gitarrenarbeit basierenden Songs lassen in Verbindung mit Homerecording-Electronica Landschaften erwachsen, die deutlich greifbar auftauchen und sich dann doch wieder in unscharfer Formlosigkeit verlieren...“ [Cargo]
"...Okay we blew it. We did. We let this MGR record slip right under our radar. And we regret it. We do. As we've said before, the only thing better than discovering some new record that totally kicks your ass, is discovering some record you ignored or missed for some reason, only to have your ass kicked retroactively. Such is the case with MGR. And to prove just how sorry we are, not only are we listing this disc (a few months late) but we also got a super limited cd-r direct from the band reviewed elsewhere on this list.
Not sure why we didn't give this a listen when it first came out, our defense, as flimsy as it may seem, is that we thought MGR was the abbreviation for manager, so we just sort of figured, that was kind of a dumb name so why bother. MGR actually stands for Mustard Gas And Roses and is the work of one M. Gallagher from postrock metal heavyweights Isis, and is actually quite amazing.
Imagine Isis with all the bombast stripped away, all traces of metal removed, leaving only sinewy minor key guitars to drift over vast expanses of droning shimmer, skeletal but incredibly lush. Dark, moody, melancholy soundscapes, the background a warm swirl of sound, guitars drifting in the fuzzy haze above, unfurling gorgeously melancholic melodies, while all around huge swaths of sound shimmer and shift. There's some lap steel, but it's just another gauzy layer of sound, there are beats here and there, but those already minimal rhythms are processed into indistinct throbs and minimal shuffles and buried way down in the murk, making those tracks sound like some sort of post rock Gas. So good." [Aquarius Records]
|
2006 |
€15.00 |
|
|
Nova Lux |
CD |
Wenn man MGR zuhört, weiss man wer für die melancholischen Stimmungen bei ISIS zuständig ist. Sehr reduzierte, rein instrumentelle Gitarren-Klänge, die unglaubliche Einsamkeit & Trauer ausstrahlen....
„MUSTARD GAS AND ROSES (kurz MGR) ist das Solo Projekt von ISIS Gitarrist Mike Gallagher, der sich durch den Bandnamen auf Kurt Vonneguts semiautobiographischen Roman ,Slaughterhouse Five" bezieht. Das Album umfasst fünf unbetitelte Stücke mit einer Spielzeit von 52 Minuten. Gallagher wurde bei Track#1 von Greg Burns (RED SPAROWES) am Pedal Steel und bei Track 4 von Octopus (DÄLEK) durch dessen geniale Sampletüftelei unterstützt. ,Nova Lux" schifft sich, nicht untypisch für Neurot, durch eher ruhige Ambient-Post-Rock Gewässer und steht dabei ISIS sehr nahe. Gallagher generiert majestätische Atmosphäre mit telekinetischer Kraft, die auf Gitarrenarbeit basierenden Songs lassen in Verbindung mit Homerecording-Electronica Landschaften erwachsen, die deutlich greifbar auftauchen und sich dann doch wieder in unscharfer Fomlosigkeit verlieren...“ [Cargo]
“With Mustard Gas & Roses, guitarist Mike Gallagher (of renowned dirge architects ISIS) unveils a compendium of sparse ruminations culled from years of underground musical experience. An artistic—and entirely instrumental—departure from band-based disseminations, Gallagher’s solo debut is nonetheless in accord with the general aesthetic of ISIS, exploring the same telekinetic atmosphere via more personal and austere means. “ [label info]
|
2006 |
€15.50 |
|
| |
Wavering on the Cresting Heft |
LP |
"Nach "Nova Lux" und der letztjährigen "Impromptu"-Kollaboration mit SirDSS nun das nächste Soloalbum von Michael Gallagher von Isis. Gleich vorweg, es gefällt mir ausgesprochen gut und weit besser wie das Debut-Album. Gallagher schafft es diesmal, die 6 enthaltenen Stücke homogen, kompakt und natürlich aussehen zu lassen, was sicher daran liegt, dass er nicht mehr zwanghaft versucht, die Verbindung zu Isis zu negieren bzw. ganz rauszuhalten. Klar, die Grundstruktur und Herangehensweise ist immer noch die gleiche wie auf "Nova Lux", allerdings lässt Mike Gallagher diesmal auch die Einflüsse von seiner Arbeit bei Isis zu. Auch die streckenweise härtere, direktere Gangart auf "Wavering On The Cresting Heft" tut gut. Den Grundton bilden immer noch sanfte, weit ausufernde und tragende Dronen, mit Mikes hellem, wie ein Lichtblick über der ganzen einsamen Melancholie liegenden, akustischem Gitarrenspiel. Also, insgesamt eine Weiterentwicklung zu mehr tonaler Struktur mit stärkeren Verzerrungen hin und wieder. Anstatt epischem Dauer-Ambient Geplänkel, sind die Stücke auf "Wavering On The Cresting Heft" strukturell klarer und wirken mehr wie einzelne, in sich geschlossene Songs. Das Artwork ist unspektakulär-melancholisch. Alle Fotografien stammen von Gallagher selbst." [Creative-Eclipse]
www.conspiracyrecords.com
|
2008 |
€13.00 |
|
| MICO NONET |
The Marmalade Balloon |
CD |
Das fünfköpfige Ensemble um JOSHUA LEE KRAMER verbindet Kammer-Musik-artigen Wohlklang (Viola, Cello, Horn, Oboe) mit vorsichtig eingesetzten elektronischen Sounds - rein instrumental, Filmmusik-mäßig, athmosphärisch, luftig, melancholisch, aber nicht düster oder aufdringlich. Auf den 13 Stücken bewegen sich vor allen Dingen Streicher im Vordergrund, es sind nicht die "grossen" Melodien die hier im Zentrum stehen, sondern eher die allgemeine Stimmung die erzeugt wird, zeitlos und irgendwie "zwischen den Welten"....
Anklänge an JOHANN JOHANNSSON, RACHELS, OPION SOMNIUM.
"The five musicians at work here all have day jobs with symphony orchestra's, all over the world: from Berlin, Richmond, Baltimore to Philadelphia. Only their leader, one Joshua Lee Kramer (who is a member of Matt Pond PA) is not, and he's also the only one who plays synthesizer. He describes Mico Nonet as 'ambient chamber music' and quite right it seems to me. French horn, oboe, cello and viola are the other instruments and they play quiet chamber music that you could easily define as ambient. 'The Marmalade Balloon' is their debut album with thirteen relatively short pieces that glide by like a cold winter, sun-covered day. It's cold outside, warm inside, and this music is the perfect soundtrack for such a day. Sustained tones, glissando and pianissimo
with the synthesizer very much pushed to the background, producing an overall color, rather than adding sound. Highly atmospheric music that could come straight out of the Cold Blue Music catalogue. Peaceful music, without being a cliche or new age...[FdW, Vital Weekly]
"The Marmalade Balloon is the year's ultimate flirtation with subtlety and seductiveness. Existing somewhere between the neo-classical and the ambient, Mico Nonet fashion a world that is hazy and succinct, at times dark and haunting and others playful and inspiring, but always open to personal interpretation. The balance between musicians is gracefully maintained, where neither the electronics nor the strings are ever overly pronounced as to withdraw the listener from the intoxicating, spellbinding trance which The Marmalade Balloon invokes. The future will certainly take this musical act on a variety of different presentations, but with their strong understanding of musical space and development, we're confident that they'll be a favorite for years to come. " [Jordan Volz, The Silent Ballet]
www.micononet.com
|
2007 |
€12.00 |
|
| MICRO:MEGA |
Where we go we don't need it anymore |
CD |
„Hinter MICRO:MEGA stecken Männer mit beeindruckendem musikalischem Background: Frederic Luneau, einer der Gründer der LÖBE RADIANT DUB SYSTEM, der lange Jahre das Projekt WEBCAM betrieb und Sylvain Chauveau, der als Mitglied von THE WATERMELON CLUB auftrat und eine steile Solokarriere hinlegte. Sein 2000er Debüt-Album begeisterte die Kritiker und auch der Nachfolger bekam großartige Kritiken. Nach dem Release der MCD "Un Autre Decembre" eröffnete er 2003 für SIGUR ROS auf deren Europatour. Sein letztes Album ist schließlich als Soundtrack für den in Cannes gezeigten Festivalbeitrag "Des plumes dans la tete" verwendet worden. Parallel arbeitete Chauveau zusammen mit Joan Cambon an seinem Projekt ARCA und mit Steven Hess an ON. Diese Vielfalt an Arbeiten macht es verständlich, woher die musikalische Reichhaltigkeit des MICRO:MEGA Universums stammt. Durch die verschiedenen Einflüsse und Erfahrungen der beiden Musiker werden vielfältige Materialien und Instrumente verarbeitet, die geschickt vermischte Sound-Schichten ergeben. Dadurch kann das Duo elektronische und organische Elemente paaren und so ein Bindeglied zwischen LABRAFORD, PAN AMERICA, AUTECHRE, Yann Tiersen und PAN SONIC herstellen. "Where We Go We Don't Need It Anymore" ist weniger melancholisch als die oben genannten Bands, ein Album das offen und weniger introspektiv ist. Damit besetzen MICRO:MEGA eine einzigartige Nische in der französischen Elektro-Szene.“
“...Already endowed with very different sensibilities, the two musicians have drawn from their different experiences a marked taste for the use of a variety of materials and instruments and a great deftness in the mixing of multiple sound strata. Thanks to that, the pair can smoothly conjugate electronic and organic and establish links between LABRAFORD and PAN AMERICAN's America, AUTECHRE's England, Yann Tiersen's Brittany and PAN SONIC's Finland, without ever forgetting what melody means. Less melancholic than its predecessors "Where we go we don't need it anymore" is also perhaps less introspective, more open. While keeping a definitely unique place on the French electronic scene, MICRO:MEGA seem to have reached a kind of fullness that we are happy to share with them.” [press release]
|
2004 |
€13.00 |
|
| MIEVILLE, EMMANUEL & ERIC CORDIER |
Dispositif: Canal Saint-Martin |
CD |
Ähnlich wie auf der "INSCAPE" CD von ERIC LA CASA und J.-L-GUIONNET werden auf DISPOSITIF "Orts-spezifische Aufnahmen" von den akustischen "Aktivitäten" eines grossen Gebäudes in Echtzeit zusammengeführt (mit 30 Mikrophonen, die an verschiedenen Plätzen eines Kulturzentrums in Paris befestigt waren). Daraus entstehen unglaublich komplexe und vielschichtige Field Recordings, vom reinen Objektknirschen bis hin zu menschlichen Lautäusserungen und herüberwallenden Proberaum-Klängen, das ganze wird zudem auch noch bearbeitet & effektiert...
"Many individuals are unable to properly listen. Dissecting noise until harmonic components are found and deployed, detecting a logic in whatsuperficially amounts to sheer din, elaborating contrasting messages and different impulses until their core is reached. Sound artists Mieville and Cordier tend a helping hand to those who want to learn a bit about the process of active listening with this project, a real-time composition that took its form in 2005 at the Centre d'animation Jemmapes in Paris' City Hall. Placing thirty microphones all over the place, which comprises various halls and offices plus "several floors of rehearsal rooms for dance, music, theatre", the two authors originated a sketchy yet efficient acousmatic pieceinterspersed with laptop-triggered "sonic objects" and movements from the surrounding life and activities, with emphasis on the urban landscape and a pretty evident human participation. To this, a few sounds captured in Normandy were also added. We hear people chatting, singing and whistling. In the background, a marching band or the wheezing currents of familiar hullabaloo filtered by a ventilation duct appear, rendering the whole as a flanged reproduction of the buzzing bustle of a large amount of beings whom we can't distinguish singularly but all contribute to the final patchwork. The work is a valid example of what can be achieved through the exploitation of subjective approaches to perception and, although a tad predictable in some of its parts, deserves careful consideration." [Massimo Ricci]
www.xingwurecs.com
|
2007 |
€13.00 |
|
| MILLIS, ROBERT |
Relief |
LP |
"Our man Millis is a Climax Golden Twin and a noted curator of globe trotting / time traveling esoterica, amongst other accolades. In the former category, Millis and Jeffery Taylor steadily release some of the most headscratching amalgamations of avant-rock, decontextualized temple music, heightened-state minimalism, and collaged field recordings this side of the Sun City Girls (including the soundtrack to the cult film Session Nine); and in the latter, Millis has published a number of acclaimed anthologies for Sublime Frequencies (Scattered Melodies, This World is Unreal Like a Snake in a Rope, Phi Ta Khon, The Crying Princess, etc.) and Dust-To-Digital (our personal favorite, aptly titled Victrola Favorites). With his fingers in so many jars of jam, it can seem like an uncommon occurrence for Millis to release solo work although he is one to smear his sticky hands all over himself in performance, installation, and collaboration. Thus, The Helen Scarsdale Agency is delighted in presenting his latest opus, Relief.
A fever dream of blurred harmonics and ethnomusicological spelunking, Relief repeatedly returns to variations on a peculiar yet beautifully serpentine drone, whose twinkling acoustic properties meld the hallucinatory mouth-music of the Bangladeshi Murung people and the curved air hypnosis of Terry Riley. Millis bookends and interrupts his mysterious miasma with comedic interludes snatched from his lauded collection of antique 78s, maudlin piano tone-clusters, and teleported crescendos of spectral ballroom waltzes. More Nurse With Wound than The Caretaker, this polyglot raga-drone of daytime somnambulism and psychedelic slipperiness speaks to the uneasy borders at psychological, cultural, and geophysical states of being. Oh, to be a human on this planet." [label info]
www.helenscarsdale.com
"Polyglot might be just the right word to describe what Robert Millis and his Climax Golden Twins have been up to for the past two decades or so. An album might be a ramshackle collage of blisterfuck noise-rock, another might be a graceful set of murder ballads, and yet another might hypnotize the listener through an alpha-state minimalism. And then, there's Millis' acclaimed collections of olde-timey '78s and raw field recordings of indigenous folk songs, much of which has been released through those tasty labels Sublime Frequencies and Dust-To-Digital. The solo work from Millis tends more toward the dronemuzik and hallucinatory collage axis of CGT's multi-headed agenda, although he has been known to strum out a sadsack blues number that might straddle the worlds of Alan Bishop and Roscoe Holcomb; but here on the impeccable new album Relief, Millis tunes in and drops out with a blearily psychedelic album of forgotten sounds, ghostly fragments, and Pacific Ocean drones. The album begins with a comedic outburst from one of Millis' 78s with a helpful direction to "hear the secret sentence played out on the talking typewriter" followed by a jaunty clatter of a manual typewriter all wrapped in scratchy-vinyl, crackling goodness. Immediately, the album delves into a swarming tone-float of harmonic overtones pecked with trilling glissandos. The source for this sound has got to be a plung - a Bangladeshi mouth-organ used specifically by the Murung peoples living deep in the rainforest, as this sound is uniquely atonal and wrigglingly eerie in its wavering notes. Millis furthers this wooziness by rarifying these sounds into the holy minimalism conjured by LaMonte Young, Angus Maclise, and company. After swimming here in these golden pools for a good five or six minutes, Millis drops the needle on a dramatic orchestral swell that would be the envy of the Caretaker's sunken ballroom recordings. A couple of hip-swaying recombinations of temple music rhythms and Les Baxter exotica glide in and out of Millis' glassy-eyed shimmeriness and post-Eno piano constellations. The album's finale is an impressionistic driftscape of languid, temple bell & gong tones stretched into a gorgeous, expansive cloud of lush harmonics giving way to a metronomic wooden rhythm that leads to a set of solitary piano notes suspended over Mariana trench diving-bell ambience. Limited to 400 copies, and comes with the requisite download code. So fucking good." [Aquarius Rec.] |
2013 |
€16.00 |
|
| MINAMATA |
Cyclator |
CD & DVD |
"Cyclator" is the 2009' release for this pioneer of the French industrial scene. It includes a full-length audio-CD containing material recorded in 2002-2007 and a DVD offering the complete MINAMATA' performance recorded live on Saturday, April 21st 2007 in Antwerp/Belgium during the Nuit et Brouillard Festival plus the video of this show.
Massive waves of Power-electronics are here perfectly mixed with metal sounds,percussions and heavy processed vocals, reflecting the agony of the Japanese city of MINAMATA in the 50 & 60's years. This concept release comes in a nicely designed three panel digipack, limited to 500 copies. CD contains 7 unreleased studio tracks. Total length: 62'52. DVD includes the complete live performance from Antwerp dated 2007.04.21 and the complete video screened for this show. Total length over 3 hours. All video edited by Tiburce. : All zones, 4:3 full frame, PCM stereo. [label info]
www.nuitetbrouillard.com
"Als ich dieses Produkt in den Händen hielt wurde mir wirklich komplett anders! - Warum? - Weil ich auf dem Tonwellenkonferenz-Festival 2009 in Buscheid live dabei war als MINAMATA dieses Set performte und es war unglaublich was für eine Einheit Musik, Bühne und Video ergaben! Ein großer Moment für alle Power Violence und Industrial Puristen. Auf der DVD befinden sich auch Interviews mit einem noch sehr bewegten, ergriffenen und immer wieder mit Tränen kämpfenden Musiker. Allerdings kann auch die DVD nur einen kleinen Eindruck vermitteln was für einen Sog MINAMATA damals erzeugt hat, denn die Mittel waren/sind recht bescheiden, die Klangqualität (Liveton! - Wahrscheinlich direkt mit der Kamera aus dem Mixer aufgenommen?) ist akzeptabeler Durchschnitt und somit ziehe ich persönlich die reine CD-Aufnahme vor. Den optischen Eindruck, der sich in mein Hirn gebrannt hat ist sowieso vorhanden und die Räumlichkeit, Körperlichkeit und Direktheit der Kombination von Musik und Bild wird die DVD-Reproduktion leider nicht gerecht, dient aber als ausgezeichnetes Dokument dieses Augenblickes und als Anregung für alle die nicht anwesend sein konnten. So intensiv habe ich nur noch COIL in Erinnerung! - MINAMATA in Bestform." [Carsten Vollmer / OX]
|
2009 |
€19.50 |
|
| MINIMAL COMPACT |
Deadly Weapons |
CD |
"Wiederveröffentlichung des 1984er-Albums der israelischen Kultband. Angeführt von Sänger Samy Birnbach (alias DJ Morpheus) waren Minimal Compact eine der inspirierendsten Bands der 1980er-Jahre. Sie verbanden funkige Rockrhythmen und prägnante Gitarren mit den musikalischen Aromen des Nahen Ostens. Die aus Israel stammende Band konnte in Europa und den USA auf eine leidenschaftliche Anhängerschaft zurückblicken, einige ihrer Songs, wie das auf "Deadly Weapons" zu findende "Next One Is Real", wurden zu Clubhits. Das Album markierte 1984 den internationalen Durchbruch der Band."
[label info]
"Minimal Compact's 'Deadly Weapons' - a disc of lingering textures- is a confluence where the streams of flair and ideas meet equally. It's an iconoclastic album, a collection of songs which are effortlessly assimilated yet tap normally suppressed emotions. If there is any simple division in music it's between compositions which lubricate the biological instincts -sex and the rest- and those that mine the, uhm, soul. Post Joy Division, I can only think of three rock bands who've successfully penetrated the shadows of existence in their individual ways: Nick Cave, Holy Toy and Minimal Compact. Heavy stuff, eh ? Piss off ! It's as easy as putting a record on a turntable. Though quite why the group should join the shortlist is uncertain: the majority of them are Israeli, so we have no obvious cultural connections on the surface. Compact's approach is harmonically impacted. And even at their most blatantly neo-traditional, like on 'The Howling Hole', the minaret motifs might make for a strange musical geography but the intent is instantly recognisable at some subcutaneous level. (...) Does this make the music 'difficult' ? Not unless you're a paraplegic who can't put a disc on a turntable. So damn well do it now." [Jack Barron / SOUNDS, 1984]
www.crammed.be |
2003 |
€10.00 |
|
| MINIT |
Now right here |
LP |
"Endlich was neues von einer unserer Lieblings-Drone-Bands, die inzwischen von Australien nach Berlin gezogen sind....wir hören hier auf drei Stücken kontemplative, extrem hypnotische Drone-Schichten, regelrecht leuchtende Klangteppiche, die sanft an Volumen und Dichte gewinnen und aus denen sich dann harmonische Strukturen herausschälen.. EMPFEHLUNG!!" [Drone Rec. info 2004]
“A long awaited release from Sydney's Minit culminates in a masterpiece collection of spectral drone music. With their unhierarchical approach to the use of 'found' sound, a fuzzed out electric bass line sits neatly alongside field recordings of atmospheric hum - their individual sound qualities overriding their semiotic value, so that each sound, representing a layer, shimmers and swells within Minit's evolving, sonic habitat. Now Right Here, the title track as well as the album, is about being caught in the moment. From fragile harmonic and melodic intonations to towering, ecstatic drones and electrical disturbances this album captures a balance betwen noise and harmony, excitation and calmness, distance and intimacy - drawing you into a hypnotic, psychedelic sound-world that belongs uniquely to Minit. Now Right Here is a fragile, immersive and emotional album.Minit is JASMINE GUFFOND and TORBEN TILLY. They are currently living and working in Berlin.”[press release]
“Overall the sound has become more detailled and more rich since my first encounter with them. Music with a highly trance like atmosphere, maybe even psychedelic. Quite nice indeed.” [fdw/Vital Weekly]
|
2004 |
€12.00 |
|
| MIRROR |
Still Valley |
CD |
“Re-release of DS78 incl. one extra track. One of Mirror's finest works recorded by Andrew Chalk, Christoph Heemann and Jim O'Rourke between May 2002 - January 2005. The music on 'Still Valley' might seem calm on the surface but something mysterious is going on underneath. Edition of 1000 copies in dye-cut cover similar to the LP version.” [label info]
„...schwelgen in ewigen Momentaufnahmen, die das Gefühl eines ungemein zärtlichen Fingers aufm Auge zurücklassen. Mirror zerfleischen dabei alle Konzepte einer Temporalität, verlassen sich auf ihre flüchtigen Flächen von nirgendwo und wandeln im Raum wie deine verblasste Liebe zu Herbstbeginn. Zeit ist vergessen und Erinnerung findet während 'Still Valley' etwas anders statt als üblich, sie greift tief ins Nie-Gedachte und friert alle Referenz zum Jetzt rigoros ein. Meisterhaft.” [Ed Benndorf]
“...Mirror is here on the most calm moment, even when they are a trio here (core members Christoph Heeman and Andrew Chalk helped out by Jim O'Rourke), in a trio of tracks (one more than the original vinyl) that are utterly relaxing. Soft organ tones paint the living room in a deep warm color, slowly swirling and changing shape. While some of the other Mirror works are a bit more darker and dronier, this is their most relaxing piece of work. Utter minimalist and probably nerve racking to the uninitiated, but I think this is a stunning beauty. But as a devotee of Mirror (he hastened to admit), things can't go wrong anyway.” [FdW / Vital Weekly]
|
2005 |
€15.00 |
|
| MISERY |
Circles of Life |
CD-R |
Zusammenstellung live-Material dieses Moskauer harsh-ambient Projekts! To discover...
"Rolling are rings of magnetic tape repeating cyclic rhythms of shaman's drum, rolling is the Earth and seasons alternate, trees grow with new yearly rings... A retrospective of live recordings of one of the oldest Russian post-industrial projects: 2 long live tracks and a 25-min. video. Archaic shaman's harsh ambient of completely analogue origin. Limited to 160 copies in a handmade cardboard sleeve." [press-release]
|
2007 |
€10.00 |
|
| MIYATA, RYOSUKE |
In a Drainage Outlet |
mCDR |
"ryosuke miyata is a japanese composer based in tokyo. previously known under the miche alias, he had a handful of digital releases mainly issued by japanese netreleases.
in addition to sudying the piano since he was a little boy, ryosuke miyata's influences include classical music, video-games soundtracks and healing music.
owing to his childhood years spent mainly creating and otherwise being immersed in reverie, fantasy and fiction, his music creations are steeped in themes such as daydreams come true, lasting impressions and interpretations of childhood memories.
with a signature sound that denotes a sense of nostalgia and illusion, his music creation process combines piano, guitar, bass and other traditional instruments with computer-based elements such as sound processing, sampling and field recordings.
"at a drainage outlet" is a nice collection of four sweet and delicate drone-based compositions..." [label info]
www.taalem.com
"The second release is by Ryosuke Miyata, from Tokyo. He worked Miche before and Japanese net labels as such released his music. As a young man he played the piano and these days cities as inspirations 'classical music, video-games soundtracks and healing music'. I am not sure which video games that might be but it does not translate to some dirty 8bit computer noise. But somehow the computer does play a role in this music, along with indeed the piano. There are four pieces on this release, all inhabiting the world of drone music but in all of these we hear the stretched out sounds from piano or guitars, treated with software, in combination with field recordings. A bit dark, but not as dark as some of his peers, this is all rather gentle music, staying on the 'nicer' side of drone and ambient music." [FdW/Vital Weekly]
|
2014 |
€5.00 |
|
| MLEHST |
An old broom knows all the dirty corners |
CD |
Das MLEHST-Comeback nun auch auf CD; diese Klänge sind wirklich unangenehm und regen auf, ohne harsch noisig zu sein, ein schräger Tanz von Radiosinustönen, low-fi-Geräuschen und Rauschen, fast jegliche musikalische Grundkonzepte und Bestimmungsparameter sind hier ausser Kraft gesetzt!
"Mlehst returns after years of silence, along with his unique (and prolific) experimental noise. As a bonus this digipak album has some alternate mixes of material from two recent LPs, but they fit well here and will seem like part of the whole work to most listeners. Commencing with noisy drones and reverberating percussive noises, the album takes a really varied journey through all kinds of noisy experimental, weird electronic, feedback, and droney sounds. There is a really unsettling and disturbing element to the music throughout the CD, which seems more controlled and natural than I had remembered in previous works. As intense as the sounds on CD can get, it is by no means a typical static harsh noise release. Everything has it's place and is totally under control, being precisely manipulated. Just how I like my noise... An incredibly solid and enjoyable release, through and through." [Diophantine Discs Top Releases of 2006]
"Whether or not its because I am in the process of giving up smoking I don't know, but this album leaves me anxious and on-edge. Fantastic! So many recordings just leave you cold. An emotional conduit!" [METAMORPHIC JOURNEYMAN]
|
2006 |
€12.00 |
|
| |
Vilification of the english peasant class |
LP |
Eigentlich müsste MLEHST Preise gewinnen für die ausser-gewöhnlichste & einfallsreichste Titelgebung. Der Titel dieser LP heisst übersetzt etwa "die Herabwürdigung der englischen Bauernklasse".... klanglich ist das wieder äusserst herausfordernde, zermürbende Musik, mit eher hochfrequenten, Sinuston-artigen Drones, Cut-Ups, Feedbacks, insgesamt weniger krachig und "auskomponierter" als auf den Tapes der 90er, obgleich es auf der B-Seite harsche Rauschfelder gibt . Exzellent !
"Diophantine Discs is pleased to announce the release of a new LP... Mlehst - Vilification of the English Peasant Class.
After an extremely active period of recording between 1992 and 1998, Mlehst returned in 2005 to bring back his unique experimental noise music in a fashion as focused and intriguing as ever. "Vilification of the English Peasant Class" is a 3-track LP composed of invigorating and often unsettling music replete with drones, feedback, and cut-ups. The first side is very structured and precise, whereas the second side presents a more improvised and intense variation on the themes presented in the former. This is sure to appeal to fans of noise, drone, and experimental music in general.
Releasing an extensive number of recordings since 1992, England's Mlehst has always managed to capture the more experimental regions of noise music. His own Bandaged Hand Produce label was rather prolific in this realm as well. With his return in 2005 (and the establishment of Belief Recordings) we can only hope this trend will continue. Mlehst has released on a variety of labels over the years, including Self Abuse, Mother Savage, Absurd, Drahtfunk, Nihilist, and The Locus Of Assemblage. Additionally he has collaborated with or been released on splits with Runzelsturn & Gurgelstock, Brume, Smell & Quim, Crack Fierce, and Macronympha.
Pressed on clear vinyl and housed in a clear sleeve with sticker affixed to the front. Limited to 300 copies." [label info]
http://discs.diophantine.net
|
2007 |
€15.00 |
|
| MNEM |
For Delta Relics |
CD |
....die erste “echte” CD der finnländischen Analog-Drone-Meister, die sich wieder auf Reisen in abgründige archaic-drone Texturen geben...
“Audacious plunge into the undercurrent textures of sound overwhelming with archaic and primal influence yet appearing unprecedented and downright fresh in the present day. Finest sonic massives emitting complex syntheses of post industrial, electro-acoustics and harsh ambience; intensive layers of drones and abrasive loops laying foundation to diverse analog sound sculptures. Utilising old reel-to-reel recorders and analog gadgets has given this Finnish duo an almost trademark sound, now presented on their first full length release with highly acclaimed vinyl releases (Drone Records, Kaos Kontrol) already under their belts. Beautiful full colour sleeve in standard jewel case masterly designed by Stephen O'Malley (Malignant Records, Southern Lord, etc.).
Website: http://www.kaos-kontrol.org/mnem“ [label press release]
|
2003 |
€10.00 |
|
| |
Engrama |
LP |
Wiederveröffentlichung der lange vergriffenen fantastischen ersten 10" des finnischen Projekts & Drone Records-Artist, dazu ein langer Bonus-track aus dem Jahre 2000.
"This material is a re-release of their first 10" which originally came out on Kaos Kontrol in late 1999, limited to a mere 100 copies, and as this work certainly is one of their best we promptly decided to make it available again, this time with a long bonus track recorded in 2000. Undoubtedly calmer than the "Golyma" LP yet still intensive experimental industrial with post-electroacoustic undertones. Organically flowing drones and hypnotic, grinding loop sounds of vintage analog sound processing via old reel-to-reel tape recorders and treatments. Some even time-stopping moments included here. Limited this time to 270 copies in black sleeves with cut n' pasted front and back covers." [label info]
www.segerhuva.se
|
2007 |
€15.00 |
|
| MNORTHAM (=MICHAEL NORTHAM) |
Automnal 2003 |
CD |
Selbstironisch zählt Aural-Nomade MICHAEL NORTHAM in den credits auf, an welchen 13 Orten er von August 2001 bis Herbst 2003 sein Studio betrieb & wohnte (darunter Wien, Grenoble, Indianapolis, Montreal, London, Aachen..). Die drei Stücke auf AUTOMNAL 2003 sind von drei verschiedenen Orten während dieser ‘Tour’ des Sound-Globetrotters par excellence. Zu hören sind ....
....wunderbar feine Licht-Drones, immer auf der Kippe zur Übersteuerung, in denen sich sowas wie Klang-Inseln bilden, die sich gegenseitig umtänzeln & durchdringen...
.... sehr volle & dunkel-dichte Klangnebel, in die sich leise Naturgeräusche mischen & andere kurz auftretende Klangobjekte als Kontrast
.... sehr sanfte Sphärendrones, hauchzarte Streichelklänge, die Resonanzen zu atmen scheinen...
Fazit: Meisterhafte field-recording drones, unsere wärmste Empfehlung!
"Highly indicative of the nomadic life that international sound artist Michael Northam has come to know over the past 5 or so years, this release represents a sonic recollection of his life dispersed across a vast geography, pinpointing three specific locations and moments from his long journey:
- Glacier du Trient, Switzerland / France
- Eagle Creek, Indianapolis
- Ils Grosbois, Montreal
At times, this hypnotic release presents meditative, invigorating, and eerie translations of places and experiences in ways that only Northam can poetically convey.
Originally dispersed among friends in 2003, as a limited edition "spontaneous document" CDR, this work is now re-issued on CD so it can finally be enjoyed by more people. And deservedly so." [label description]
www.and-oar.org
|
2006 |
€13.00 |
|
| |
Molecular knot phase one |
mCD |
Ein polyphoner Wahnsinns-Drone erfreut uns auf dieser wunderschön gestalteten und verpackten 5” mCD, ein wahres Meer aus Klängen verbirgt sich hierin..... am Ende scheint sich alles in hellem Licht & reinen Schwingungen aufzulösen......20 min one tracker... TIP !
'A massively layered sound work that evolved from a live percussive session with Seth Nehil on a variety of zithers and objects from 1999 at the Mizpah chapel, Portland, Oregon.' 'The inspiration to make the 'molecular knot phase' work comes from readings of Rupert Sheldrake. His example of protein molecular folding used to explain the possible existance of morphic fields was for me also fascinating possible explanation of how I consider the construction of my sound work.
This 'molecular' model pushed me to take on what I considered 'normal' musical morphologies and via my personal system of sound 'composting' arrive at a completely new sound where the overtly musical form vanishes into a deeply folded sonic space. For this 'phase' I have used percussive sources created by Seth and myself.' [label info / M.Northam]
|
2005 |
€10.00 |
|
| MODELBAU |
Four Squared Wheel |
CD |
"Modelbau is one of the many names Frans de Waard (Kapotte Muziek, Goem, Wieman, Freiband, etc) uses for his music. Moving Furniture Records is proud to release the first proper CD by this project after many tape releases and a couple of CD-R’s.
Frans de Waard in his own words about Four Squared Wheel: Somewhere in 2012 I had the idea that it was time for that all needed change, having played around with laptops for a decade or so. Actually it was something that was in the air for some time, as I already used cassettes in my work with Kapotte Muziek and in some of my solo concerts. With Modelbau (and yes, that is a deliberate misspelling of the word) I set a few parameters, such as using many cassettes, small synthesizers, little to no laptop and recorded as much ‘live’ as possible, plus to do only digital releases. Some of that still goes, but the digital releases only went out of the window pretty quickly. In 2012 I played a concert as Modelbau, carefully planned into a fifteen-minute composition and released the first (digital) album. Other work came along and I didn’t do much again as Modelbau, until in June 2014 I got various offers for solo concerts and while preparing those, I had a bunch of material recorded, which was released by various labels on cassette (Barreuh Records, Lichtung). During one of these rehearsal/recording sessions I picked up some guitar effect, which was in my way and thought it would be good to use that also in the set-up. Since then the palette seems to be complete; while preparing for concerts I record everything and select pieces from that to be released, with little to no change, save for doing a better beginning or ending when needed. In that respect the almost one hour long ‘Four Squared Wheel’ is a bit of a different work. It wasn’t recorded as part of a rehearsal, but rather in a more elaborate set-up in my studio, using my Philicordia organ, a microphone, guitar amplifier, guitar effects, mixing various signals on the spot into this piece, while retaining that ‘live’ feeling. It has four distinct parts with considerable gaps of silence in between. They are intended to stay as such. ‘Four Squared Wheel’ is the most drone based/ambient recording by Modelbau to date, and not something that would be easily re-created in a live situation." [label info]
www.movingfurniturerecords.com
|
2016 |
€12.00 |
|
| MOHAMMAD (MMMD) |
Som Sakrifis |
CD |
"CD version of the 2013 LP edited on PAN. New mastering + bonus tracks. Mohammad is a chamber music trio consisting of Coti K (contrabass), Ilios (oscillators) and Nikos Veliotis (cello). Based in Greece, Mohammad make long form work drone works that explore the lower end of the frequency spectrum whilst retaining an intense emotional capacity. The results are monumental slow moving physical blocks of sound, both daunting and musical. The sheer weight of these recordings is impressive, the interplay of the musicians and instruments staggering, this end result being an album rich with immense harmonious abstraction which highlights years of dedication to their unique path. Following on from their previous releases (the highly regarded 'Roto Vildblomma' CD and the 'Spiriti' 3LP box, both on Antifrost) 'Som Sakrifis' follows the trio through three tracks of deep space experimentation where the acoustic and electronic blend together as a monumental whole. Listening to 'Som Sakrifis' takes the listener on an expansive journey through the netherworld of the low range whilst retaining distinct traces of musicality. The time and space in these works have a logic more akin to that of Hungarian filmmaker Bela Tarr than any contemporary music references. Monumental monochromatic movement is the order of the day. Sit back, strap in and let these fine explorers take you way out into the nether world."
www.antifrost.gr
|
2015 |
€13.00 |
|
| MOLJEBKA PVLSE |
Sadalsuud |
CD |
SADALSUUD ist ein fantastischer one-tracker, über 69 Minuten lang, der mit diversen Gastmusikern und einem wahren Arsenal an verschiedenen Instrumenten und Soundquellen entstanden ist. Sanfte, "erdige" Drone-scapes, aber mit sehr düsterem Unterton, eine surreale Atmosphäre heraufbeschwörend, flüsternde Stimmen aus einem Zwischenreich sind omnipräsent, immer wieder tauchen neue interesante unbekannte Klangobjekte auf, es tönt sehr lebendig & mikro-dynamisch, zum Ende hin wirds noisig & komplexer...
Ein Drone-Meisterwerk, vielleicht das bisher beste Album von M.P., unsere besondere Empfehlung !!!
"....For this album, Mathias collaborated with a number of his colleagues who provided him various source sounds to work with. The name Sadalsuud refers to a star of the same name in the constellation of Aquarius. The name comes from an Arabic phrase meaning "the luckiest of them all". Nevertheless the album is rather earthy-sounding, yet mystical and surreal, almost claustrophobic at times. The sound is vaguely reminiscent of some works by Nurse With Wound, Maeror Tri or The Halfer Trio, but carries the trademark Moljebka Pvlse feel. An unsuspecting pre-listener described Sadalsuud as "a visit to a supposedly haunted house, though only once you've entered the house you begin to grasp the real meaning of haunting." CD in matt-varnished 4-panel digipak. Playing time 70 minutes." [label info]
" Latest disc of sonic exploration from this Swedish dronescaping ensemble. With such a darkly minimal sound, it's amazing that, at least for this recording. Moljebka Pvlse included ten members! Credited, with among other things, sounds (yep, just 'sounds'), no-input mixing board, synthesizers, melodica, field recording, cymbals, guitar, voices, flute, electric piano, text, didgeridoo, mbira and supercollider(!), this expansive ensemble takes all of that and manages to distill it into the darkest and simplest of sounds. A nearly seventy minute single piece, slowly sprawling out from a stretch of barely there shimmer into gradually more and more active low end minimalism. Long drawn out tones, mysterious bits of glitch and click, haunting voices, moaning and mumbling, chanting and intoning, bits of creaking and tiny swirls of FX, deep swells of synth and barely discernible rhythms, everything constantly shifting and gradually changing shapes, some parts almost coalescing into fragmented bits of actual pop (albeit stripped down and smeared), while others are mostly melody free, remaining stretched out and abstract. Quite sinister and lovely, dark and subtly intense, not all
that far removed from the sounds of Troum and Thomas Koner and other practitioners of the drone and drift. Which as avid AQ customers
should realize, is indeed a very good thing." [Aquarius Records]
www.someplaceelse.net
|
2007 |
€13.00 |
|
| |
lode lvx (SOLD OUT) |
7 |
" Hinter MOLJEBKA PVLSE steckt Mathias Josefson in Stockholm. Lodelvx (DR-91, 7“ EP, schwarzes Vinyl) mischt dröhnende mit klackernden und dongenden Klängen zu ‚atmenden‘ Schwingungen. Mein Traumauge sieht bei ‚lode‘ die sonore Welle als sich in Zeitlupe windenden Körper und die perkussiven Tupfen als Zeichnungen im Schuppenkleid einer Riesenschlange. ‚lvx‘ summt sich einfach nur selbst, eine Noir-Schönheit, die sich auf schwarzem Samt räkelt." [Bad Alchemy]
"For some years now Stockholm based artist MATHIAS JOSEFSON has delighted the drone scene with his highly minimal excursions into drone territory. From harsh noise to soft & gentle ambience
the aim is to reach a basic level of sound conscience. In doing so the "human mind" and the "sound mind" interact to build a symbiotic entity. MOLJEBKA PVLSE is Josefson’s sound art project where he often collaborates with KARIN JACOBSON. The two pieces "lode" and "lvx" are great examples of breathing drone structures which seem to be derived from real string or wind instruments.
Harmonic & mysterious, dense & aspiring.... this is indeed music like a lode of illuminations...
Filed under: BREATHING DRONES
more info: www.moljebka.com
BLACK VINYL, BLACK SILKSCREENED BLACK COVER, WITH EXTRA EMBOSSED WHITE INLAY" [label info]
|
2008 |
€7.00 |
|
| MOLJEBKA PVLSE & HOROLOGIUM |
Kaukasus |
CD |
Die Kaukasus-Region dient auf dieser Zusammenarbeit des schwedischen Projekts MOLJEBKA PVLSE mit den uns bisher unbekannten HOROLOGIUM als inhaltliche Inspirationsquelle.
Trancige Mantra-Drones, hypnotische perkussionsartige Strukturen, überwiegend sehr dronig-rauschig-minimalistisch, spirituelle Atmo. SEHR schöne Verpackung: Gefaltete / Bedruckte Papphülle in Leinen, mit Siegellack verschlossen. [Drone Rec info 2006]
“The highest mountains in Europe have been a place of constant national conflicts ever since. 'Kaukasus' by Moljebka Pvlse and Horologium is an album devoted to this magical and spellbound region, known for its natural beauty and cultural variety. 45 minutes of experimental ambient music on a limited to 555 copies CD edition, which as always comes in a splendid packaging: 260 x 360 cm poster folded in two (13 x 18 cm). A linen clothing is added for your aesthetical pleasure.“ [label info]
|
2005 |
€12.00 |
|
| MOLJEBKA PVLSE / SEVENTEEN MIGS OF SPRING |
Ravha / Electricity Gardens |
CD |
Split & Collaboration vom beliebten schwedischen "Experimental Drone"-Projekt mit den uns bisher unbekannten 17 MIGS OF SPRING aus Tel Aviv. Eröffnet wird das Album durch ein sehr langes, ungewöhnliches Stück von M.P. mit vielen eher konkreten field recordings, welches wieder dessen grosse Variabilität aufzeigt; es folgen ein echtes Collaboration-Stück beider Projekte und 5 Stücke von 17 MIGS OF SPRING, die sich zwischen dunklem drone-ambient und aggressiven Analog-Industrial bewegen.
"It is not every day you find reviews of albums released by Israeli labels in Vital Weekly. Topheth Prophet is an independent Israeli label formed in summer 2002 whose aim is to spread the knowledge of the Israeli noise scene to the outside world. The label focuses on styles ranging from harsh noise across power electronics to dark ambient. This 13th release from the label deals with drone-based ambient music. On this particular release one of the presented projects has its origin in Sweden. It is a split album between Israeli project SEVENTEEN MIGS OF SPRING and Swedish project MOLJEBKA PULSE. The album opens with the 27 minute long track titled "Ravha" from the latter mentioned project. The brain behind Moljebka Pvlse is the Swedish sound artist Mathias Josefson who explores the sounds of both acoustic and electronic origins, quite often with the starting point taken in found sounds and field recordings. The "Ravha"-track is a nice example of Mr. Josefson's ability to transform the sounds of reality into a world of drone-based minimalism. Opening with a mixture of concrete natural sounds and buzzing drones the expression slowly turns more and more harsh as the field recordings develops into noisy drones including spoken words. At a point the concrete sounds fades away or turns into sonic abstraction. The track moves into pure drone ambient minimalism. Nice work.
Seventeen Migs Of Spring is an Israeli project consisting of three members, Gurfa, K-76 and B-74. As was the case with aforementioned Swedish project the conceptual approach of this Israeli project is sonic drones based on concrete sounds. Compared to the Swedish project the Israeli projects goes further to the extremes with sounds of a rather noisy kind. Especially four or the five tracks get quite harsh with the use of an on-going mixture of static noise and radio-based shortwave frequencies. Inbetween the two projects comes a collaborative track that successfully combines the style of the two projects. Everyone interested in drone based ambient with focus on concrete sounds should definitely check out this album. " [NM, Vital Weekly]
label-website: www.tophet.org
|
2007 |
€13.50 |
|
| MONO |
Under the Pipal Tree |
CD |
"Mono is a young instrumental band from Tokyo combining elements of minimalism, psychedelia and trance rock to create a distinctive and powerful new sound via John Fahey, Sonic Youth and the Grateful Dead. Austere and intense -- their music is simple, beautiful and incredibly direct. Sheets of sound, lyricism, wailing guitars and pounding rhythms evolve slowly, morphing into a ritual of noise and ecstasy. A remarkable debut from this exciting new Japanese band." [label info]
www.tzadik.com
|
2001 |
€16.00 |
|
| MONOCUBE |
Substratum |
CD |
"Monocube’s new album since 2016’s “The Rituals”, a suite of wide landscapes painted in modular synth and stringed instruments.
A spellbinding new album for Cyclic Law and Malignant Records, employing eight long-form pieces for the most expansive solo release by Monocube to date. Taking into account its haunting and elegiac quality - the result of no less than two years assiduous work it is elevated to the another level, presenting an analog purification of Monocube’s overtones.
Purposefully evoking the feelings which are usually avoided in more scholastic examples of dark and drone music, Monocube voices the soul, while improvising on modular synth and stringed instruments, intimates a transcendental quality and approaches to the shape and density, delicacy and relation to transient and everlasting subjects, reaching the depth that was not present before.
The outcome is considered as a reflection of non-verbal communication: from the flowing blossoms of Sehnsucht to the palsied depth of Prima Materia to the stirring crescendo of Luft and through the burned-out distortions of Visiones V to the 10 minute+ misty-eyed panorama of The Opposite Of Nadir following the helical torques and instilled eschatological atmosphere of Opaque, tempting the longing souls to the valerian vortex of Action In Distans and consummating with ultra-wide Limen. An alchemy of mysterious spirit.
The mixed media artwork employs analog techniques, as cameraless photography and illustrations, which spawn silhouettes and haunting figures, recurring entropic motifs, a transition into worlds within worlds, coaxed out of gelatine silver prints. Enchanting, often deeply mysterious and disquieted is the visual part of Substratum created by sukkeret.og.pepper studio in Berlin."
https://monocube.bandcamp.com/album/substratum
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Neben seiner Teilnahme an der Kollaboration mit Anemone Tube und Jarl zum Jahreszeitenzyklus von Pieter Brueghel dem Älteren hat der ukrainische Ambientmusiker Andrzej Gladuszewski alias Monocube dieses Jahr gleich noch einen Nachfolger des vor drei Jahren erschienenen Debütalbums “The Rituals” herausgebracht. Atmosphärisch intensiver und kompositorisch ausgereifter wirkt das unter punktueller Unterstützung von Antti Litmanen (Arktau Eos) und Frederic Arbour (Visions) entstandene “Substratum” schon auf den ersten Eindruck, und doch knüpft das Werk stilistisch deutlich an seinen Vorgänger an, dessen Opener “Visiones” gleich in einem neuen Track fortgesetzt wird.
Modulare Synthies und an ausgesuchten Stellen einmontierte Klänge verschiedener Saiteninstrumente bilden das Fundament der acht dröhnenden Klangflächen, deren düster-harmonische Schwere zum passiven Träumen verführen kann und so ein Grund sein mag, die unterschwellige Dynamik dieser Musik erst nach und nach mitzubekommen. Doch auch nachdem man sich an die Stimmung der Musik akklimatisiert hat, bleibt diese in ihrem Wesen diffus.
Wer auf die Macht der Worte vertraut, kann durch die Tracktitel zumindest etwas Orientierung in den abstrakten Klanglandschaften bekommen. Von der Sehnsucht erzählen sie, die sich unter verhalltem Rauschen und plötzlich losbrechenden Noisebrocken etwas Schmerzhaftes offenbart und nach Veränderung schreit. Vom Element Luft und der Prima Materia, der aristotelischen Urmatierie, aus der alles Irdische hervorgegangen ist, künden sie, und lassen so einen kosmogonischen Hintergrund erahnen. Noch erhabener wirken so die Echos von angedeuteten Choralgesängen, ebenso die melodischen Synthietupfer, die irgendwann in akustische Klagelaute übergehen und an Orpheus in der Unterwelt denken lassen. Am Ende steht mit dem Limen die Schwelle, die die Grenze zum Zustand der Vollendung markiert.
Letztlich drehen sich all diese Dinge um ein Schöpferisches, um eine Welt, die im Entstehen begriffen ist und die Musik, dem Titel entsprechend, zum Substrat macht. Die oft langsame und subtile Veränderlichkeit von Klangfarben, Harmonien und dezenten Rhythmen schärfen die Wahrnehmung und lassen die Abfolge von beunruhigendem Vibrieren, entspanntem kosmischen Bimmeln, fast schrillen bläserartigen Sounds und all den anderen Gegensätzen, ohne die laut William Blake kein Vorwärtsdrang möglich ist, noch deutlicher auf dem dunklen Nährboden aufscheinen. [U.S./African Paper] |
2019 |
€13.00 |
|
| MONOS (DARREN TATE & COLIN POTTER) |
Age and Transformation |
do-CD |
"To say that this has been planned for some time would be a bit of an understatement. The original Age and Transformation was released by Darren Tate in 2004 on his own Fungal imprint (and issued again in 2005). Both were released as CDRs in editions of 100 copies. Around 2006 the subject of doing a reissue was discussed, and discussed/planned/discussed, and now 6 (six!) years later Age and Transformation with an exquisite Colin Potter remaster along with an entirely new piece, Aged and Transformed remixed from the original is just about here. Darren's work has always been that of a drone eccentric, and proof positive of that is the micro-editions released since 2003 on his own Fungal Records. True modern-day psychedelia, drawn out drone excursions, electric guitar scraping and expansion, synth noodling harbored into small private recordings for the chosen few. The limited number of those exposed to Darren's view, which was not intended to be exclusive, just small updates as to where/what was happening with Darren in terms of gear, mood and circumstance. There is an inherent feel that little editing takes place, just captured recordings with the reel-to-reel on. Tate has worked extensively with other collaborators: Andrew Chalk (together known as Ora), Colin Potter (as Monos), Paul Bradley, Andrew Liles, and Ian Holloway to name a few. Collectively a solid block foundation of great U.K. drone artists. In a collaborative setting, there may be a bit more judicious editing employed for better (or for worse) depending on where one sits in appreciation of refinement over improvisation. Which brings us to Age and Transformation. Two tracks, both around the half-hour mark and presumably recorded in one take each. The first track ('Untitled') contains all elements of what makes a Tate recording effective: gentle guitar scraping, echoed city recordings, air vibrations oscillating an overall nocturnal hush that shrouds the whole piece. The second track (again, simply 'Untitled') is undoubtedly one of Tate's finest solo moments. A defining impressionistic recording captured in the middle of the night. It opens with the sound of a freeway , a very distant light traffic flow filtered through the forest. A lonesome organ sonata, languid chords with silence in between weave in and out at various points throughout. Tate sitting by the window capturing the sounds of the freeway, voices, haunting arias both human and industrial. The second disc is a reworking by Colin Potter. Extracted from the quiet of Age and Transformation, the first track 'Aged' is an encapsulation of the entire recording with the small dervishes, organ melodies and drone wrapped up in an almost tidy nine minutes. The second, 'Transformed,' is over 40 minutes of water tower acoustic sustained tones, layered subtle guitar hum... a perfect complimentary refinement on a classic ambient improvisation." [label info]
www.infractionrecords.com
|
2012 |
€16.00 |
|
| |
Sunny Day in Saginomiya |
CD-R |
"Bearbeitete field recordings, die eine trancige, verwaschene Atmosphäre ausstrahlen, und ein konkreteres Stück mit vielen hellen Metall / Gong / Glas? –Klängen... neues Album basierend auf field recordings von D.SUZUKI vom englischen Kultprojekt." [old Drone Rec. info]
"A unique project from the group of Darren Tate and producer Colin Potter. This project features recordings by Daisuke Suzuki (Lost Shadow, Siren Records). One track is based on a field recording and the other on an improvisation with some small objects. The overall tone of the recordings evokes a much more urban sound landscape than on previous Monos releases, but Colin and Darren's careful mixing and embellishment on the records lends a surreal if not slightly sinister atmosphere to the proceedings." [Edition - label info]
"Sunny Day In Saginomiya is a Monos album that originally came out in 2001 on the American label Edition... (yes, the ellipsis is a part of the label's name) and it's been out of print for a very long time. Darren Tate of Monos has just reissued this as a super limited cd-r on his own Fungal imprint. Here's what we had to say about the album way back when:
Darren Tate has been releasing an impressive catalogue of tiny edition cd-rs by his project Monos, which began as a solo project although more recently he has partnered with Colin Potter (who had worked with Tate in the organic drone ensemble Ora). Working in Potter's ICR studios (which has not only produced likeminded work from Organum, Jonathan Coleclough, and Andrew Chalk, but also the Dadaist collages of Nurse With Wound), Monos applied thick patinas of reverb and electric synthesis to a set of field recordings provided by another occasional Ora contributor, Daisuke Suzuki. The first half of the album couples reverb saturated field recordings of birds with some eerie spectral guitar drone work from Darren Tate, recalling some of the early Main albums. The second half is far more Spartan as Monos works their magic on a Daisuke Suzuki recording of bells, gongs, and rattles occasionally marked by ascending delay patterns and gradually overcome by the analog electronics found on Nightfall Sunshine. Quite lovely." [Aquarius Rec]
|
2015 |
€10.00 |
|
| MONTEIRO, ALFREDO COSTA |
Anatomy of Inner Place |
CD |
Das "zu Hause" als Experimentierfeld und Geräusch-Park? Interessantes Konzept von diesem portugiesisch-spanischen Gitarristen & Multimedia-Künstler: alle verwendeten Sounds basieren auf Alltagsgeräuschen, die er in seiner eigenen Wohnung aufnahm, neu zusammenmischte, und die nicht weiter elektronisch effektiert wurden. Was dabei herausgekommen ist, sind höchst abstrakte Drone- und Geräuschscapes, wo die Ursprungs-Klangquellen allerhöchstens noch erahnbar sind. Ein weiteres gutes Beispiel für die Fähigkeit von Musik zur "Verflüssigung der Wirklichkeit" - das Bekannte und Erwartbare wird in völlig neuen Perspektiven wahrnehmbar, einengende Fixierungen werden aufgelöst!
"Recorded at home in winter 2006. Mixed in january and february 2007 in Barcelona. 'All the sound sources are part of my domestic environment every sound is used here as it was recorded with no electronic effects or processing except for dynamics some sounds result from acoustic combinations of other sounds.' " [from the press release]
www.monotyperecords.com
|
2009 |
€13.00 |
|
| MONTSEGUR, JEANNE / NATURE MORTE |
Restes d'une chose brisee |
10inch |
"More than just a record, “Restes d’une chose brisée” is the outcome of an intimate collaboration between music and writing. Based on a series of thirteen short texts by young French writer JEANNE MONTSÉGUR, this symbiotic work unfolds like a Dantesque journey. On each step of the way NATURE MORTE’s abyssal drones echo the desperate intensity and ruthless honesty of Jeanne’s words, opening her wounds to chasms, sustaining the inner conflict and the baring of feelings by an almost unbearable tension which, when it finally breaks, strikes the listener as surely as the incisiveness of her words. At the end of the voyage there is hope, seeping between the lines and through the grooves as the drones recede and give way to luminous reeds, leaving the reader-listener shaken, colder and gloomier than before, but maybe a little wiser too." [label info]
www.tutrur.com
|
2012 |
€18.00 |
|
| MOOR, ANDY |
Marker |
CD |
"Der Londoner The Ex-Gitarrist als Fotokünstler mit Blick für chaotische Muster und komplexe Strukturen und als Meister seines Instrumentes, solo, mit Overdubs und einmal multitrack. Einige der 15 Tracks entstanden zwar für Theater- oder Filmsoundtracks, aber ohne die Fesseln des Funktionalen, das meiste ist spontan aus dem Handgelenk geschüttelt, gespeist von Erfahrung und Einbildungskraft, nur Augen, Ohren, Hände. Es gehört etwas dazu, das wohl meist-gespielte Instrument im Weltall so zu entstauben, dass es nach dem Anfang des Buches Genesis klingt - ein Ding, auf das man einschlägt und dissonante Geräusche entlockt, das aber noch nicht mal einen Namen hat. Das mehrspurige ‚Naming the animals‘ kehrt an diese noch undefinierten Anfänge zurück. Schon ab dem zweiten Track ist Marker aber mit Gitarrenkultur aufgeladen, meist repetitiv und mit logisch strukturierter Harmonik oder simplen, aber effektvollen Rezepten (‚From e to f‘, ‚Repeat suite‘). Zwischen diesen Polen zieht Moor seine Saiten stramm. Repetitiv, drängend, und gleichzeitig dissonant, so präpariert, dass es rau, roh, stumpf klingt (‚Uganda fly‘, ‚Stop/pause‘). Dann ausgedünnt, reduktiv, nur einzeln blinkende Lichtpunkte am Nachthimmel, 3 Uhr nachts. Oder flirrendes Gekrabbel und Surren, das zu Gamelandingdong aufklart (‚Weather‘). ‚About face‘ hört sich an, als ob ein Alien sein extraterrestrisches Motorrad zu kickstarten versucht. ‚Truth in numbers‘ und ‚Small things under glass‘ erzielen mit einfachen Zahlenreihen rührende Wirkung, während ‚Myrka‘ mit schmutzigen Fingernägeln an der Schallmauer stöchert. Gitarrenfreund, was willst Du mehr? Spandexhosen?" [Bad Alchemy]
"On this his debut solo Cd, andy moor explores a wide spectrum of his unusual guitar style, resulting in an exciting, varied and challenging collection, ranging from melodic solo guitar pieces to atmospheric soundscapes, and wild outbursts of radical sound." [label info]
".... Andy Moor is in the pages of Vital Weekly known as an improviser with the likes of Kaffe Matthews, but in the real world he is of course the guitarist of The Ex, my all time favorite dutch punkers. Favorite just for the fact that they don't stay inside that little closet called punk, but get out and do so many other things, playing with musicians from Africa and from the world of improvisers. Moor might very well be responsible for the latter move of The Ex, so a solo CD by him is perhaps more than welcome. He plays electric guitar with objects and hardly any effects. Over the past five years he off and on recorded his pieces, and this collection shows a wide variation of moods and textures. Some in punk fashion, but mostly in a melodic style, uptempo, downtempo, melancholic and distorted. Fifteen tracks, spanning over fifty-four minutes, that might sound a bit much, but Moor effectively holds your attention, when moving through all these pieces. Mostly solo guitar, but also overdubbed and layered, there is a lot to discover here. Not masturbation but a great card. Less is Moor." " [FdW / Vital Weekly]
www.unsounds.com
|
2007 |
€13.00 |
|
| MOORE, ANTHONY / THERAPEUTISCHE HÖRGRUPPE KÖLN |
Ore Talks |
do-LP |
" 'ore talks' limited edition release, gatefold sleeve with booklet. a double lp of essentially electronic and noise-based pieces paired with astonishing texts spoken by anthony moore. the concept is that objects of value, artifacts or minerals, buried deep in the ground send strange signals through the earth up to the planet's surface. they are detected by the ears and instruments of miners, explorers and archaeologists who are tuned-in to the subterranean frequencies. the album contains a large booklet explaining this idea and featuring many pages of eccentric writing about sound." [label info]
Four sides of vinyl: this has served as a time constraint from the very outset of the project. With around 18 minutes per side giving an overall run time of 72 minutes, these time slots are designed to offer recordings of four sets of historical, technical processes and their devices. Each of the four chapters is conceived in two parts and realised in a number of actual compositions.
A. VALVES / ROEHRE:
1. Their Electrons. The developement of De Forest‘s Audion.
2. Noise as signal and the power of redundancy.
B. PIEZOS:
1. Reversibility; Loudspeakers as Microphones and The Transmitting Ear.
2. Mercury Acoustic Delays Lines.
C. RECORDERS:
1. Wax Cylinders, Hill ’n Dale, Voices of the Dead.
2. Magnetic Oxide and Memory Machines, Storing Time.
D. CRYSTAL SETS:
1. Waves; The Air as One Vast (negentropic) Library.
2. Farewell to AM, Fades to Infinity.
A voice is transmitted through various materials; early microphones, the reproducer of an Edison phonograph, glass phials filled with mercury, piezo crystals, transducers, and piezo discs attached to polystyrene spheres, shortwave radios, old russian valves and the self-built circuitry of condensers and switches. What emerges are speech-driven patterns of noise, electronic music and occasional passages where the voice can be plainly heard in 14 separate pieces of widely differing durations.
ORE THOUGHTS
Galena to Stibnite, starting with lead, ending with lead; the history of soldering, cementing connections for currents of information and noise alike. In the undigital realm, noise is a context for the signal and can be information in itself. For example rotating surface noise is useful for finding the original speed at which early shellacs may have been cut. Redundancy is vital for a proper understanding of the world. So Ore Talks celebrates lead and soldering and making connections and, endotically, noise; noises at the outer ear but also of the inner ear. Perec and the Oulipians employ the term ‚endotic‘ as an antonym to ‚exotic‘ in order to focus attention on the everyday, on what might be dismissed as mere noise. The infraordinaire, as Perec calls it, is very much the subject of a historiographical approach that prefers to explore the lives and times of the distinctly unfamous; a more vivid, sensory history that concerns itself with sights and smells and sounds.
In addition, Ore Talks posits a strange attraction between the discoverer and the yet-to-be discovered; between buried artefacts and the archeologist seeking to disinter them; between prospector and rich, subterranean lodes. The ‚ground‘ in the electrical field is a conductor that reaches into the earth. Simultaneously, metalliferous ores and objects alike call out to be uncovered in an equivalent act of active perception. The only prerequisite? Keep an ear to the ground; the telluric source for chthonic voices.
Murmurings from below the surface: the call of buried things that seek to be disinterred. Anthropomorphism notwithstanding, there is something to be said for giving a voice to inanimate minerals. After all, their constituent elements come from the stars and have also given rise to us humans. Furthermore, when those same elements are alchemically transformed into compounds of metal and fillers of plastics, of quicksilver and piezo crystals, of the very air, water or copper that play host to sound in its various forms, transporting speech, then ORE TALKS emerges as a title with some resonance.
And text too can be a ground from beneath which conceptual objects stem (voices in the grey matter). Here is a list of such objects that have been disinterred in no particular order from the paragraphs above. “Active perception; superluminality in the collapse of the sender/receiver paradigm”
“A History of Simultaneity; how far back does same-timedness go?”
“Noise in History, noise as history”
“The importance of redundancy in human communication”
“Sound and the continuum are products of each other”
“What holds true for time also applies to sound; they both depend on disappearing as they come into existence.”
“The speed of sound is a good rate at which to think about a speed of time” These and related topics are expanded over the following pages. They contain the sources for all readings recorded and subsequently transformed in the ORE TALKS experiments on this double LP.
www.therapeutischehoergruppekoeln.de/ore.html
"Antimonit Bleiglanz Coelestin... Ein erzernes ABC bis hin zu Zinnober.
Verbunden mit 72 Minuten Text + Klang in vier Kapiteln / Vinyl-Seiten: a. Valves / Röhren b. Piezos c. Recorders d. Crystal Sets. Kreisend um Ore [Erz] =
Mineralgemenge, die wegen ihres Metallgehaltes abgebaut werden, um es für Werkzeuge und Ähnliches weiterzuverarbeiten.
Kreisend um L/ore, dt. Lehre -> Folklore = the knowledge and traditions, frequently passed along by word of
mouth. Merke: Transmission is a vital part of the folklore process -> 1. Orality =
Mündlichkeit -> 2. Literacy = Reeling and Writhing / Lesen & Schreiben -> 3.
Technical Devices = Aufschreibesysteme. Es geht um Medientechniken: Alphabet - Grammophon... (Friedrich Kittler), um Recording Angels' Mysteries (Klaus Theweleit), um Dead Letters (Gregory Whitehead). Bevor Moore 1996 (bis 2015) Professor an der KHM wurde, hatte er mit Slapp Happy den Mond vom Himmel gepflückt, mit Pink Floyd gearbeitet und Soundtracks für Werner Nekes kreiert.
Akademisch forschte er dann synchron mit Kittler über die Geschichte und Gesetzmäßigkeiten von Sound, über phonetische und klingende Techniken des Daseins und der Erinnerung. 2004 nahm er teil an Kittlers Sirenenexperiment, das vor Amalfi Odysseus' Affäre mit den Sirenen nachstellte. Zwischen '...and the Gods made love' und Moores 'Dogs of War' spielt sich alles ab, was es zu singen und sagen gibt. Polyphone Erkenntnis über Sound und Zeit, Noise und Information, gefiltert aus den Lebenserfahrungen von der Bronzezeit her. Darüber schreibt und spricht Moore mit medienarchäologischem Knowhow und einem Ohr für die chthonischen Stimmen. Innere Stimmen, wie sie zuerst noch bikameral fluktuierten (Julian Jaynes), dann akusmatisch, mimetisch, alphabetisch, speicherbar, decodierbar, repetierbar wurden. Die Namen Zeiss, Chladni, Tyndell und Helmholtz oszillieren steampunkabenteuerlich an den pythagoräischen Küsten wie Töne und Zahlen zwischen Rauschen und Offenbarung. Schwingquarze geben den Takt an.
Memory Machines verflüssigen Vergangenes und Kommendes, um es zu fixieren, so wie Moores Sätze zu Science Fiction verschwimmen. Er raunt von The Etherial Skin of Interference, er wird poetisch, fasziniert von den Ur-Geräuschen, die Scott de Martinvilles Schweinsborsten-Phonautograph einfing oder Rilke der Kronen- Naht des Schädels zu entlocken gedachte. Klang wurde das mit Hilfe der Therapeuten Beck, Grewenig & Hennes (von The Knob, The Finger & The It), Langguth und Specht (einst bei 40 Sekunden Ohne Gewicht und Kunstkopf). Moores Stimme wispert und fitzelt subliminal unter löchrig-perkussiver Bruitistik,
er reiht Zahlen oder verschwindet hinter sirrenden Spuren, taktilen Geräuschen,
spurenelementaren Impulsen. Silben und Satzfetzen mischen sich mit Hilfe der
Hörgruppe zu Kratzern, Partikelkollisionen, Radiowellen, Zeitrost, Reibung von
Entropie und Negentropie, sprachmelodischem Blaseton, Frequenzpingpong.
Umso überraschender daher die klaren, wenn auch für den Laien kryptischen
Sätze über Interferenz, Simultanität, die Unschärfe des Now-Space, von Senden und Empfangen. Moore meditiert über Turings ACE und die Alchemie von Quecksilber-Laufzeitspeichern, aber die Sprache wird wieder verzerrt, der Noise dafür prickelig und wohltönend. Doch dann umfängt einen wieder im ursuppig, uhrsuppig brodelnden, radiowellenberauschten Äther protologisch wummernde Sonic Fiction, die zuletzt endlosrillenstottrig ausgroovt." [Bad Alchemy] |
2017 |
€25.00 |
|
| MOORE, STEPHAN |
To build a field |
CD |
"Stephan Moore is a composer, audio artist, and sound designer in New York City. He has graduated from from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity.
Recent performances and installation artworks make use of a large multi-channel array of his hemispherical speakers. He performs regularly as half of the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute, and Simon's Rock College of Bard.
He is currently the Sound Supervisor of the Merce Cunningham Dance Company." [general info about the artist / Deep Listening site]
Stephan Moore has spent the last five years touring with the Merce Cunningham Dance Company as a core member of their live band, alongside such notables as Christian Wolff, Takehisa Kosugi, David Behrman, John King, and William Winant. At the same time, he has been collaborating with a
number of younger choreographers to create sound scores for their performance works. To Build A Field collects the best of these pieces, drawn from six of his commissions by four very different choreographers. The CD's title refers to Moore's view of his role in these collaborations: designing and executing sonic structures that define the emotional and rhythmic topography of time. Each track negotiates a balance between acoustic sound sources and electronics, live performance and studio composition, and human vs. algorithmic control of sound materials. Time is continually bent into new
shapes, challenging the listener, and his collaborators, to think beyond the easy comforts of a regular tempo, and confront rhythm as texture instead of a reliable grid.
"Brooklyn-based sound artist Stephan Moore's recent musical work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. He develops his own performance software and builds point-source loudspeakers for use in his performances and sound installation work. His current ongoing collaborations include the Xenolinguistics performance project with visionary video artist Diana Reed Slattery, projects with choreographers Yanira Castro and Kimberly Young and performance artist Kyle DeCamp, sound design for the Nerve Tank theater collective, and the performing/recording duo Evidence with sound artist Scott Smallwood. He curates a concert series at the Merce Cunningham Dance Studio called Experiments in the Studio, and co-curates an annual month-long Floating Points festival of performances and sound installations at the ISSUE Project Room in Brooklyn, pairing the permanent sixteen-channel installation of his Hemisphere speakers there with diverse artists. Moore has been commissioned to create sound installations and performances for a number of dance companies and site-specific venues. He has been awarded residencies by Hunter College, the Experimental Television Center and Wave Farm for his work in music and new technology. His performance and exhibition credits include Tonic (NYC), Axiom Gallery (Boston), Zeitgeist Gallery (Boston), Deep Listening Space (Kingston, NY), ffmup (Princeton, NJ), Massachusetts College of Art (Boston), Yale University, Princeton University, The Tank (NYC), Roulette (NYC), the Music and Alternative and X-Disciplinary Approaches in Sound Festival (Sheffield, UK), Sound Practice (Dartington, UK), Music Without Walls? (Leister, UK), Disjecta (Portland, Oregon), Warehouse 23 (Boston), Issue Project Room (Brooklyn), The Chocolate Factory (Queens), ACM/Siggraph, International Conference on Musical Perception and Cognition, International Computer Music Conference, Society for Electro-Acoustic Music in the United States, the Acoustical Society of America's semiannual meetings, American Theater in Higher Education's annual conference, International Society for Electronic Arts, World Forum for Acoustic Ecology, and the Burning Man Festival, among many others. As an improviser and musician, he has appeared on stage with John Paul Jones, Pauline Oliveros, Alex Waterman, Keith Rowe, Michael Haleta, MV Carbon, Andrea Parkins, Zach Layton, Troy Pohl, Curtis Bahn, David Linton, Mikel Rouse, Maria Chavez, Newton Armstrong, Seth Cluett, Ikue Mori, Kenta Nagai, Larry Polansky, Jesse Stiles and Joan La Barbara, among others." [label info]
www.deeplistening.org
www.deeplistening.org
|
2010 |
€14.00 |
|
| MORESCHI, ALESSANDRO |
The Last Castrato |
LP |
Alessandro Moreschi (1858-1922) was the last known castrato, and the only one to have ever made recordings. He was born into a catholic family in one of the so-called Roman Castles, where he was castrated either for health reasons, or because of his singing talents, the history is unclear. But either way he was discovered soon after for his talents and by a very young age was known as "l'Angelo di Roma" and quickly became the First Soprano of the Sistine Chapel choir, a position he held for more than 30 years. In Roma at the time members of the Sistine Chapel choir, and castrati in particular, held much esteem, bordering on celebrity, and Moreschi was probably the most famous of them all. His recordings were made in 1902 and 1904 at the Vatican. Most of them are extremely rare and are collected here for the first time. This historic reissue includes all twelve recordings which Professor Moreschi is known to have made, as well as five choral records on which his voice is clearly discernable.
|
2019 |
€18.50 |
|
| MORI, IKUE & CHRISTIAN RONN |
Chordis Et Machina |
LP |
"Ikue Mori and Christian Rønn are the superlative electroacoustic duo, well “duo” unless you count the instruments themselves and you should. Rather than contain with rigid composition, these twin masters of unrule remain radically attuned, open to resonance of time and sound, invoking even the personhood of space and object, chordis et machina. You´ll soon see, once this music gets loose to join you in your own environ.
“Endless probing that hooks into your neurons, this album leaves sonic organisms floating around you. Even if that's merely an illusion, the alchemy of Mori and Rønn’s hyperactive stew is very real.” [Marc Masters]
No meandering muddiness, the precision and responsiveness of this heady collaboration steps swiftly from fine grit distortions to leaky sinewaves, sweeping from the playfully melodic to the seriously xenomorphic. As prepared-piano hammers against braiding electronics, each possibility unfurls the next. Tossed from the final groove, you'll hike up your needle and want to plunge right back in.
About the artists:
Ikue Mori's impact as drummer of post-punk pioneers DNA found an unexpected path when a drum machine set alight her astonishing oeuvre in electronic music, both solo and in collaboration across 30+ albums in bands like Death Ambient, Mephista and in collaboration with John Zorn, Okkyung Lee, Zeena Parkins, Sylvie Courvoisier, Susie Ibarra, Wadada Leo Smith, Fred Frith, Kato Hideki, Evan Parker, Dave Douglas, Evyind Kang, Craig Taborn and Kim
Gordon.
Copenhagen's Christian Rønn is renowned for his electronic and organ improv music, his filmscores and performances on more than 20 albums, collaborations with Rhys Chatham, Peter Peter, Lotte Anker, P.O. Jørgens, Ingrid Chavez, Vanessa Daou, Jenny Graf, Bob Bellerue, Aram Shelton, his group projects Prox, Panser, Blind Mans Band and his popular solo project, Ganga. (Written by James Decker, Resipiscent Records)"
https://nische.bandcamp.com/album/chordis-et-machina
https://www.resipiscent.com/artist/view/50 |
2018 |
€23.00 |
|
| MOSER |
same |
CD |
"Der Perkussionist der Einstürzenden Neubauten auf einer Entdeckungsreise der Klänge:
Rudolf Moser war in der Vergangenheit in Bands wie Die Haut tätig und ist seit 1997 festes Mitglied der Einstürzenden Neubauten. Mit "Moser" legt der Klangforscher, Instrumentenbauer und Komponist sein erstes Soloalbum vor: 16 Stücke, die ohne Text auskommen, 16 Miniaturen, deren Spannungsbögen sich allein aus den Assoziationsmotiven von Sounds und Klängen herausentwickeln, extrahiert aus Federn, Hackbrett, Gläsern, Aluminiumröhren, Reifen, einer verstimmten E-Gitarre und einem Wurlitzer. Rudolf Moser entwickelte sich über die Jahre zu einem Spezialisten für Film- und Werbemusiken. Und obwohl einige der Tracks auf diesem Album im Rahmen von Filmmusiken entstanden sind, hören wir keinen Soundtrack, zu dem uns der Film fehlt, sondern wunderbar eigenständige Kompositionen, die sich um Klangmotive herum aufbauen, während die Melodiebögen eine Entdeckungsreise der Klänge beschreiben. So entstehen Sounds aus einer ganz eigenen Welt, die die Musik auch beim leisen Hören über Kopfhörer zu einer ganz persönlichen Erfahrung machen." [label info]
|
2008 |
€16.00 |
|
| MOSER, MICHAEL |
Antiphon |
do-LP |
"Klanginstallation im Hauptschiff und Chor der Minoritenkirche Krems/Stein.
Pre-recorded source materials:
Klaus Lang: organ (Stiftskirche St Lambrecht,
Pfarrkirche St. Oswald, Krakaudorf; Minoritenkirche)
Berndt Thurner: percussion (Minoritenkirche)
Michael Moser: glass plates, electronics
ANTIPHON STEIN ist eine ortsspezifische Klanginstallation im Hauptschiff und Chor der Minoritenkirche Krems/Stein, die sich mit der Architektur und dem Klang dieses Kirchenraumes auseinandersetzt. Das verwendete Material sind hängende und liegende Flächenobjekte aus Glas und Metall, über Körperschallwandler mit Klängen bespielt. Diese Objekte werden so zu Membranen, die, in ihrer gesamten Fläche und Masse in Schwingung versetzt, den Klang an den sie umgebenden Raum abgeben. Die in der Installation verwendeten Ausgangsklänge wurden zu einem großen Teil vor Ort mit einem speziellen vierkanaligen Aufnahmeverfahren hergestellt und nach ihrer elektronischen Bearbeitung auch in dieser speziellen Vierkanaligkeit belassen, da diese durch die Aufnahme aus unterschiedlichen Raumperspektiven und Distanzen ein akustisches Abbild des gegebenen Raumes entstehen lässt. Der Klang des spezifischen Raumes spielt somit eine zentrale Rolle im akustischen Gesamtbild.
Die Positionierung bzw. Hängung der Flächenobjekte führte durch die Strenge der frühgotischen Architektur zu der zweiteiligen, responsorienartigen Form der Arbeit: unten im Hauptschiff die acht Glasplattenobjekte jeweils zwischen den mächtigen Säulen hängend, oben im ehemaligen Chor die dreiteilige, am Boden auf weißen Filz wie schwebend angeordnete, und daher von unten nicht sichtbare, aber dennoch hörbare Metallarbeit. Die Intimität der Apsis mit ihrem Triptychon aus Metallobjekten kontrastiert die Weitläufigkeit des Hauptschiffs mit seinen in großer Distanz hängenden Glasflächen. Der Verlauf der Lichtgestaltung, vom dunklen Hauptschiff zur lichtdurchfluteten hellen Apsis, versucht diesen Dialog fortzuführen.
Die Klänge, kleine kompositorische Miniaturen mit Dauern von 3 bis 7 Minuten ¿ oben eher Orgel- unten mehr Becken-Klänge, Perkussion, bespieltes Glas ¿ werden vom Computer auf Basis einer genauen Ablaufpartitur immer wieder in neue Konstellationen gebracht: teilweise aleatorisch, teilweise in fixierter Reihenfolge und unterbrochen von Interludien, die im zeitlichen Abstand von 30 Minuten den einzigen Moment darstellen, in dem ein einzelnes Soundfile auf alle Flächenobjekte der beiden Räume gleichzeitig zugreifen kann.
Gesamtspielzeit: ca. 80 min"
www.edition-rz.de
|
2016 |
€30.00 |
|
| MOU, LIPS! |
Peanuts and shells geometria |
CD |
Italienisches Projekt aus dem TU M’ – Umfeld; zeitlos schöne Minimalismen aus prozessierten Gitarren/Bass/etc-Klängen; eine Mischung aus digitalen und analogen Sounds mit einer sehr schwungvoll-leichten Note. Erinnert z.B. an TORAL, AMBARCHI, FENNESZ...
“Based in Pescara, Italy, Emanuela De Angelis and Andrea Gabriele are mou, lips!, and this is their debut EP. Emanuela has worked with the group Joyce Whore Not and also as a guest with tu m', and here performs on voice, computer, guitar and objects. Andrea was one third of tu m' before leaving the group recently, and here performs on laptop, turntable, sounding table, guitar, double bass and objects. Together, they make music at times light and playful (I have no doubt some of these tracks would feel right at home on a Sonig compilation), at others chilling and austere. But always, throughout these six tracks, there's a sense of adventure, of embarking on exploring new sounds and interesting combinations, taking the glitch aesthetic as a basis and making something quite compelling with it. Occasionally the crackles and pops are accompanied by a voice (and yet even this voice quickly becomes processed and consumed by the glitches), and more often by other electronic interruptions and sounds both concrete and synthetic. Usually the tracks are not driven by rhythm, but by tone and atmosphere; although there are rhythms all over the place here, mostly in the form of minimal or playful loops, crackling sounds and half-melodies trying to make it into the foreground. A small taste of possibly great things to come” [Richard di Santo INCURSION]
|
2002 |
€13.00 |
|
| MOUCHOIR ETANCHE (=BLACK TO COMM) |
Kommunique Zero |
pic-12inch |
"An end and a new beginning. Kommuniqué Zéro is the debut outing of new Black To Comm related entity Mouchoir Ètanche. And it is the final release in Dekorder's 10-Year Anniversary hybrid-vinyl series (a mere seven years too late). Combining real and fake acoustic instrumentation, sampling, field recordings, and excessive yet inaudible post production this is a powerful statement of intent. Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, sacred music, collage, and free improvisation. Marc Richter records as Black To Comm for Thrill Jockey, Type, and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produced soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe, and Kunstverein Hamburg. The Dekorder 10-Year Anniversary hybrid-vinyl series so far included LPs by Pye Corner Audio, Excepter, Experimental Audio Research, Vindicatrix, Kemiallysät Ystävät, Ensemble Economique, Alien Radio, Black To Comm, and Le Révélateur. Music and artwork by Marc Richter. Richard Youngs: counting. Mastering by Rashad Becker Hybrid-vinyl: picture-disc on one side (no music), black vinyl on the other (music); edition of 165."
https://blacktocomm.bandcamp.com/album/kommuniqu-z-ro
|
2020 |
€16.50 |
|
| MUELLER, JON |
The Whole |
CD |
"Der Avantgarde-Perkussionist übersetzt tradiertes Handwerk in Musik: "The Whole" mag sein Debüt für das Label Type sein, doch ist es bei weitem nicht Jon Muellers Einstand in der Szene. Über seine Mitarbeit in Bands wie Collections Of Colonies Of Bees und Volcano Choir mit Justin Vernon aka Bon Iver sowie mehreren Soloalben und Kollaborationen hat sich der Mann aus Milwaukee einen Namen als hervorragender Schlagzeuger und Perkussionist gemacht. Als Nachfolger seines Werks "Metals", einer Sammlung klassischer Heavy-Metal-Rhythmen, und den ausschweifend schönen "Physical Changes" war es für Mueller Zeit für ein grundlegendes Statement. Fasziniert von einfachen und akustischen Klängen, ließ sich Mueller sogar vom alten Kunsthandwerk der Shaker, einer amerikanischen Religionsgemeinschaft, und vom Quilt-Handwerk beeinflussen. Beides einfache tradierte Handwerksformen, die aber immer wieder misinterpretiert wurden. Diese fehlgedeutete Simplizität ist ein Leitmotiv von "The Whole". Mueller erschafft mit Schlagzeug, Dulcimer und seiner Stimme einen Sound, der gleichzeitig originell und verführerisch ist, der Spuren der Vergangenheit und Echos der Zukunft trägt.//
The Whole might be avant-percussionist Jon Mueller's first album for the Type imprint, but it's far from his scene debut. Working in a plethora of bands for many years (including Collections Of Colonies Of Bees and Volcano Choir with Justin Vernon aka Bon Iver), Mueller has honed his sound to a distinct peak, and over the course of umpteen solo albums and collaborations has cemented his status as one of experimental music's most revered drummers. Following his epic works Metals (a collection of classic heavy metal rhythms) and the expansive and surprisingly beautiful Physical Changes, both for the esteemed Table Of The Elements label, Mueller embarked on the heady process of creating a "defining" work. Intrigued by ideas of simplicity and acoustic sound, Mueller's research drew him to Shaker crafts and quilt-making, both deceptively simple practices rooted in the transmission of ideas. Over time, these experiences were interpreted in many different ways, almost certainly inaccurately, and this miscommunicated simplicity is at the very center of The Whole. Through a rolling, unamplified snare drum (a piece of kit perfected over a year of intense practice), booming low toms, hammered dulcimer and his own voice, Mueller creates a sound that is wholly original and totally beguiling. There are traces of folk traditions and lines drawn to the avant garde idiom, but Mueller's sound is so singularly perfected, it is hard to connect him to specific peers. The Whole is an album that sounds like both a relic of the past and an echo of the future. The ideas are anchored in memory and tradition, yet the sound is alien and sometimes impenetrable. Over time, as the messages are stripped back, an unabashedly gorgeous piece of work is revealed. Like a good book, it requires patience and contemplation to show its beating heart." [label info]
www.typerecords.com
|
2010 |
€15.50 |
|
| MULTER |
Däghallmy |
LP |
Neue Gruppe aus Dortmund mit ihrer ersten LP. Feinste Guitar-Drones, Glöckchen, gepitchte Sounds, Obertöne, absolut ruhig-entspannte & dunkle Atmo...auf der B-Seite das 21minütige Stück DÄGHALLMY, lediglich das Stück PRAE-/LOOP fällt mit etwas heftigeren Gitarren-Feedbacks aus dem ambientösen Rahmen... trotzdem ein sehr vielversprechendes Debut.. [Drone Rec info 1998]
www.genesungswerk.de |
1998 |
€12.00 |
|
|
Neskt |
10inch |
Diese 10" läßt MULTER in ganz neue Gefilde aufbrechen, das Material hier ist viel pulsierender und elektronischer als auf "Däghalmy", ohne die atmosphärische Komponente zu verlieren, ganz große Klasse & sehr zu empfehlen! 4 Stücke, 25 min. Spielzeit, subliminale drones & vibrations...
[Drone Rec. info 2000]
www.genesungswerk.de |
2000 |
€9.50 |
|
|
Berge im Bunker |
CD |
"The two tracks on this release are based on the music that was originally composed for the Berge im Bunker exhibition by Barbara Meisner that ran from August 2008 to May 2009 in Dortmund. The collage is a repeating, light melodic environmental soundscape that creates an unheimlich feel, while incorporating all [multer] elements: loops, electronica , drones... Still it is not a typical release for the German duo as it is their most minimal effort up to date. The music will get the best out of your imagination.
CD (NO CD-R) limited to 200 copies." [label info]
www.consouling.be
"Zwei Stücke mit auditiv ähnlich gelagerter Faktur. Der Soundtrack zu einer Installation rückt [multer] von der gegenwärtigen Theorie einer Konzeptband in den unheilvollen Kunstbetrieb. Dabei sind die Klänge von [multer] unter dem Corrige von N seit jeher Träger von Stimmungen und emotionalen Miasmen, deren Inhalte sich durch das Goutieren im
klanglichen Zusammenspiel noch mehr aufzuladen scheinen. »Berge Im Bunker« klingt aber so
wenig kunstaffin als nach einem gewagten Experiment in Zeit und Raum. Die Musik ist
defizitär sparsam, die Verwendung hochauflösender Echoschleifen geradezu gewollt
zeitbrechend. Was sich nach einer minimalen Tapete für stehendes Kunstgut ausnimmt,
funktioniert auf der Hörebene ohne visuelle Kontrapunkte ebenso. Das Album wirkt in den
zwei Titeln gekonnt zerbrechlich, die Gitarre surrt melodramatische Arpeggien ab während
der Raum sich durch sanfte Gongklänge in eine mantraartige Struktur verdickt, die sich nur
durch den immerwährend wiederholenden Absatz markiert. Wiederholung, das sah selbst
Cage als wichtig und nötig an denn nur so kann sich Veränderung einschleichen. Hier brechen [multer] mit dem gewohnten Bild einer rhythmisch veräderten Musik, die sich auf
»Berge Im Bunker« mit einem Male in ein Zerrbild ihrer selbst verwandelt. Nicht für jeden ein Gewinn, aber ein grandioses Zusammenspiel von Kunst und Konzeption.
5/5 " [Thorsten Soltau / AEMAG]
|
2010 |
€13.00 |
|
| |
Köln 4/11/2006 |
CD-R |
"One of the best known unknown artists of the german experimental hard-to-classify scene publishes here this document of a one track concert, recorded at the Kulturbunker, Cologne during a concert series organized by Till Kniola / Auf Abwegen in Late 2006.
The trio of Neidhardt (guitar/Amps), Geiter (keyboards, live mix) and Hoeschen (field recordings, live mix) performed in their unique style what can be loosely described as memorable post-rock drone. A piece which just keeps growing and developing for close to an hour.
The last full length release by [multer] was the sound installation soundtrack ‘Berge Im Bunker’ (consouling sounds, 2011) which was prefaced by the marvelous but vinyl only ‘Kopenhagener deutung’ album (genesungswerk, 2003). Next year shall bring a release of a studio version of this track as well as other projects concluding with the publication of entirely new material and accompanying live performances.
For those interested what happened between [multer] activities there is the meanwhile impressive back-catalogue of Hellmut Neidhart aka ‘N’ solo and also releases on Thomas Geiter’s own label inselkind-schalltraeger worth more than a listen.
Issued as a limited & numbered cdr with special artwork directed and produced by [multer] and as an unlimited digital dl." [label info]
https://klappstuhl.bandcamp.com/album/k-ln-04-11-2006
"Klappstuhl Records zeigt sich, nach ersten Anzeichen 2012 und 2013, seit 2015
zweifelsfrei wiederbelebt, ohne merkliche Gesinnungsänderung zur kassettentäterischen
Vorgeschichte in den 80ern (& 90ern). Köln 4 | 11 | 2006 (SP 012, CD-R) wirft nun sogar ein halbes Pfund in die Waagschale. Durch ein silbernes Cover aus Eisen. Zu hören sind, live im Kulturbunker, Thomas Geiter: keyboard, mixing, Mal Hoeschen: fieldrecording, mixing & Hellmut Neidhardt: guitars, amps, Letzterer
einschlägig bekannt als N, die drei gemeinsam als [multer]. Sie tasten sich mit blasender, wischender, dröhnender Vorsicht voran. Dröhnend? Es ist das fast ein Singen wie von einer Harmonika, ein sublim changierender Silberstreif am tief gelegten Kulturhorizont. Ein knatternder Helikopter unternimmt einen Aufklärungsflug. Kleine Alltagsgeräusche, Schritte, Vogelschreie, Entengeschnatter,
Glockenspiel und Turmuhrschlag oder erst glucksendes, dann anbrandendes und
lappendes Wasser akzentuieren als Einsprengsel der Welt da draußen das langwellig sonore, surrend noch unterstrichene Fürsichsein in einem Tagtraumzustand. Ein fernes Akkordeon spielt 'Caravan', die N-Gitarre schnurrt. Zwei
Stimmen referieren über den Ausnahmezustand und die Schamlosigkeit, die künstlerisches Schaffen ermöglichen, und über das 'Nein' des ästhetischen Menschen. Nietzsche trapst als Nachtigall: Es giebt zwei Zustände, in denen die
Kunst selbst wie eine Naturgewalt im Menschen auftritt, über ihn verfügend, ob er will oder nicht: einmal als Zwang zur Vision, andrerseits als Zwang zum Orgiasmus. Beide Zustände sind auch im normalen Leben vorgespielt, nur schwächer: im Traum und im Rausch. Vinyl knurscht, der Harmonikadrone kurvt und sirrt. Und träumt von der suggestiven Kraft der Musik, ihrer "suggestion mentale"..." [Bad Alchemy] |
2016 |
€11.00 |
|
| MURAYAMA, SEIJIRO & TOSHIYA TSUNODA |
Snared 60 Cuts |
CD |
"One clear day in spring, the two of us, Seijiro Murayama and Toshiya Tsunoda, went out to a park on the outskirts of the city of Yokohama. It was just like a picnic, but what we carried with us was a snare drum, not a lunch basket. We settled in a wide open space in the park and took a look through the inside of the snare drum, just for fun, to see how the world looked in that peaceful spring sunlight. That day Seijiro didn't play his instrument. We placed a pair of microphone inside the snare drum and tried to catch its sound under various conditions. He loosened the drumhead, took off the rim, put a heavy stone on it, hung it from a tree branch, and even cut the drum skin with a knife After two days of this strange picnic, we had gathered a total of 80 sound recordings. None of them includes a familiar snare drum sound. In fact, the sounds of these recordings are not generated with an ordinary 'musical' instrument, but result from the same instrument regarded merely as an object and perhaps also the act of breaking down the instrument into its physical pieces. Hopefully, still, another of our actions (the act of recording) reminded us of its nature as a musical instrument. Because of our general indifference to audio-technical details, we didn't take notes on the individual recordings. In our point of view, the differences among the takes are not important for the sake of the sound itself, or to the purpose of discerning them. On the contrary, the differences are only significant to the differences themselves. When you listen to these sounds coming to you in the stream of similarity, you'll find yourself listening to the threshold of yourself. It was just these differences that amazed us. What we offer here is not so-called 'beautiful' sounds. As for us, it is something more, chaotic, primal, and abundant." [credits/ label info]
|
2010 |
€13.00 |
|
| MURCOF |
The Versailles Sessions |
do-LP |
"Vom Barock zur Elektronik: Wassermusik des mexikanischen Elektronikers:
Seinen Titel verdankt das Album dem Ort, wo alljährlich "Les Grandes Eaux Nocturnes" stattfindet: das Sound-, Licht- und Wasser-Festival im wohl berühmtesten Schloss der Welt, dem Château de Versailles bei Paris. Der mexikanische Elektroniker Fernando Corona alias Murcof hat für den großen Fontänenabend im Jardin de Roi extra eine Suite geschrieben, "The Versailles Sessions" dokumentiert das Ereignis. Die sechs Kompositionen für das Projekt stammen alle aus dem 17. Jahrhundert (u. a. von Jean-Baptiste Lully, François Couperin) und wurden für das Projekt von Barockmusikern auf Originalinstrumenten eingespielt. Was wie eine Verabschiedung von elektronischer Musik klingt, ist in Wahrheit eine Fortführung von Techniken, die Corona über die Jahre entwickelt hat: die Verarbeitung bestehenden Materials - nur, dass dies jetzt aus dem 17. Jahrhundert stammt. "The Versailles Sessions" sollen dennoch nicht als Nachfolger des Albums "Cosmos" (2007) gesehen werden, eher als Zwischenprojekt zum 2009er-Werk "Océano". Das Album erscheint auf CD sowie als Doppel-LP in limitierter Edition." [label info / Indigo]
"In the summer of 2007, Fernando Corona completed a site-specific commission for Les Grandes Eaux Nocturnes, an annual festival of sound, light and water at Château de Versailles in France. A suite of music was composed specifically for the grand evening fountain display in the Jardin du Roi. The Versailles Sessions is an aural document of the event, to be released this winter on specially priced CD and limited edition double vinyl.
The six compositions prepared for the project derive entirely from recordings of 17th century baroque instruments (including harpsichord, viola da gamba, flute and violin) and a mezzo soprano. GetSound, who commissioned the project, hired musicians specialized in baroque music in Paris.
“We recorded pieces by Lully, Couperin and others,” says Corona of the sessions. “They were played traditionally, but we also experimented quite a bit with the music and instruments. It was a great learning experience - the musicians were amazing - very open minded and willing to have fun.”
The recording process may appear to be a departure for an artist known primarily as an electronic musician, but in fact it’s a continuation of techniques Corona has perfected over a number of years.
“It’s more or less done in the same fashion as my previous work: processing of previously recorded acoustic material. The only difference is the actual source material being so specific to 17th century baroque music and instruments. And since the recordings are the starting point of the composition process it naturally took me to a different place.”
Corona’s initial interpretations of the source material didn’t quite go according to plan.
“When we did a rehearsal about two weeks before the actual opening, it was pouring with rain so I wasn’t able to make the necessary tests. But being there and seeing the space and the installations (big disco balls and video projections on water fountains), I realised I was going in the wrong direction musically.
“The location demanded a different approach: more openness, more time for the sounds to develop and for them to resonate in that big space, so I went back home and during those remaining two weeks I reworked the whole commission into what it is now.
“The recordings I used as source material are very rich and cover a wide range of timbres, so I had lots of options as to how to approach the music making process.”
The Versailles Sessions should not be considered as the successor to 2007’s monumental Cosmos, rather as a special project while we await Murcof’s next album proper." [label info]
www.theleaflabel.com
|
2008 |
€18.50 |
|
|
The Versailles Sessions |
CD |
"Vom Barock zur Elektronik: Wassermusik des mexikanischen Elektronikers:
Seinen Titel verdankt das Album dem Ort, wo alljährlich "Les Grandes Eaux Nocturnes" stattfindet: das Sound-, Licht- und Wasser-Festival im wohl berühmtesten Schloss der Welt, dem Château de Versailles bei Paris. Der mexikanische Elektroniker Fernando Corona alias Murcof hat für den großen Fontänenabend im Jardin de Roi extra eine Suite geschrieben, "The Versailles Sessions" dokumentiert das Ereignis. Die sechs Kompositionen für das Projekt stammen alle aus dem 17. Jahrhundert (u. a. von Jean-Baptiste Lully, François Couperin) und wurden für das Projekt von Barockmusikern auf Originalinstrumenten eingespielt. Was wie eine Verabschiedung von elektronischer Musik klingt, ist in Wahrheit eine Fortführung von Techniken, die Corona über die Jahre entwickelt hat: die Verarbeitung bestehenden Materials - nur, dass dies jetzt aus dem 17. Jahrhundert stammt. "The Versailles Sessions" sollen dennoch nicht als Nachfolger des Albums "Cosmos" (2007) gesehen werden, eher als Zwischenprojekt zum 2009er-Werk "Océano". Das Album erscheint auf CD sowie als Doppel-LP in limitierter Edition." [label info / Indigo]
"In the summer of 2007, Fernando Corona completed a site-specific commission for Les Grandes Eaux Nocturnes, an annual festival of sound, light and water at Château de Versailles in France. A suite of music was composed specifically for the grand evening fountain display in the Jardin du Roi. The Versailles Sessions is an aural document of the event, to be released this winter on specially priced CD and limited edition double vinyl.
The six compositions prepared for the project derive entirely from recordings of 17th century baroque instruments (including harpsichord, viola da gamba, flute and violin) and a mezzo soprano. GetSound, who commissioned the project, hired musicians specialized in baroque music in Paris.
“We recorded pieces by Lully, Couperin and others,” says Corona of the sessions. “They were played traditionally, but we also experimented quite a bit with the music and instruments. It was a great learning experience - the musicians were amazing - very open minded and willing to have fun.”
The recording process may appear to be a departure for an artist known primarily as an electronic musician, but in fact it’s a continuation of techniques Corona has perfected over a number of years.
“It’s more or less done in the same fashion as my previous work: processing of previously recorded acoustic material. The only difference is the actual source material being so specific to 17th century baroque music and instruments. And since the recordings are the starting point of the composition process it naturally took me to a different place.”
Corona’s initial interpretations of the source material didn’t quite go according to plan.
“When we did a rehearsal about two weeks before the actual opening, it was pouring with rain so I wasn’t able to make the necessary tests. But being there and seeing the space and the installations (big disco balls and video projections on water fountains), I realised I was going in the wrong direction musically.
“The location demanded a different approach: more openness, more time for the sounds to develop and for them to resonate in that big space, so I went back home and during those remaining two weeks I reworked the whole commission into what it is now.
“The recordings I used as source material are very rich and cover a wide range of timbres, so I had lots of options as to how to approach the music making process.”
The Versailles Sessions should not be considered as the successor to 2007’s monumental Cosmos, rather as a special project while we await Murcof’s next album proper." [label info]
www.theleaflabel.com
|
2008 |
€12.00 |
|
| |
Remembranza |
CD |
Das mexikanische Projekt mit dunkler, melancholischer Electronika, wo sich klassische Instrumentierung mit subtilen Rhythmen vermählt. Hat etwas stark melodramatisches, Filmmusik-mässiges, slo-mo Sehnsucht, und ist perfekt produziert. Könnte auch Freunden von BIOSPHERE oder PAN AMERICAN gefallen...
“As Murcof, composer Fernando Corona creates some of today's most captivating music being made, in any genre. For several years he has combined musical styles in wholly new ways, adding emotional depth to robotic minimalism and under the name Terrestrefunk, brass to techno. His innovative approach reaches new heights with Remembranza, the second full Murcof album that creates a storied, layered framework within strict microboundaries. Born in Tijuana in 1970, Corona was primarily known as a member of Mexico's celebrated Nortec (Norteno-Techno) Collective before his first full-length, Martes, was released in 2002. His revolutionary Murcof work recontextualizes the work of his beloved European contemporary classical composers (including the likes of Arvo Pärt, Henryk Górecki and Giya Kancheli) within minimal electronic structures. It's a trick that others have tried to pull off, but none with Corona's lightness of touch, or widespread appeal. The pieces here incorporate traditional instrumentation recorded especially for the album (including strings, piano and harp), working in tandem with his passion for new and unexplored rhythms. A sublime album of texture and depth, Remembranza reaches the apex of Corona's explorations, and re-establishes him as an artist at the forefront of electronic music." [press release]
|
2005 |
€13.00 |
|
| MURMER |
We share a Shadow |
CD |
MURMER gehört zu jener neuen Generation von Field Recording-Spezialisten, die mit Hilfe von Computerprogrammen eine ungeahnte Detailfülle & Klangdichte in ihren Kompositionen erreichen. Auf "We share a Shadow" (2 Stücke, 46 Minuten) erklingen z.B. wunderbar vielschichtige Metall-Drones, Vibrationen von langgezogene Sirenen-artigen Tönen, rückwärtige akustisch glitzernde Resonanzen, krispelndes Rauschen (Regen?)... etc. - ein einziger Genuss, diese neuartige Drone-Musik in Perfektion, das Selbst scheint sich aufzulösen in diesen Sounds! Die Auflage beträgt leider nur 300 Exemplare, kommt im handgetönen Wasserfarben-Cover.
"Murmer is the pseudonym for Patrick McGinley, a man with several passports which have taken him to many a foreign land in search of found sounds of the unsettled, the forgotten, the mysterious, and the beautiful. His field recordings of activated environments (e.g. resonant industrial spaces, windswept telephone lines, bowed branches, gasping ventilator systems, etc.) originate from all of the locations where he has traveled; yet, the documentation of these sounds is the not the terminus of McGinley's work. He is far more interested in extracting a particular emotional, transcendent, or metaphysical kernel from those sounds, and then recontextualizing that germinated sound into sympathetic compositions of magnificent dronemusik.
We Share A Shadow continues where Murmer left off with the exceptional Husk album (in collaboration with Jonathan Coleclough), in spiraling his manipulated field recordings as a slow revelation of the environmental sonorities that undeservedly go unnoticed each and every day. Singing frequencies of a bowed piece of metal undulate against a grey tapestry of rain and rasping insects. Golden overtones from shimmering drones quell what agitated textures reside in McGinley's active field recordings, rendering the aggregate sound a nocturnal opiate with considerable potency.
As Murmer, Patrick McGinley has produced a handful of releases on ICR, Ground Fault, Drone Records, and Absurd; and he has performed in venues both large and small across North America and Europe. He is also the host the Framework radio show on Resonance FM, dedicated to the consecration of field recordings and their use in composition.
We Share A Shadow is strictly limited to 300 copies, featuring hand water-coloured artwork and letterpress printing." [label description]
www.helenscarsdale.com
"BACK IN PRINT! We thought this gem from the Helen Scarsdale Agency was going to stay out of print forever, but due to a fortuitous pressing plant glitch (when are those ever fortuitous?), a small second pressing has now been made available! Here's what we've said about this album when it first came out in 2007:
Proprietor of the Framework radio show on Resonance FM for many years now, Patrick McGinley has implored his listeners to "open your ears and listen" to the world at large, presenting an impeccable series dedicated to field recordings and its use in composition. So, it goes with out saying that the field recording and the found object are commonplace within McGinley's own sound art constructions which he records under the moniker Murmer (and not Murmur, mind you!). Given his predilection for wandering throughout the European countryside for all that it has to offer (not just limited to environmental sound), his recorded output has been somewhat limited. We Share A Shadow is his first proper solo album in almost three years, although his collaboration with Jonathan Coleclough did stand out as one of the dronemusik highlights of 2006. Consisting of two very long pieces, We Share A Shadow is a notably restrained album whose dark beauty reveals itself with a slow and deliberate pace. The first untitled piece opens with sheets of cold rain scuffing the smooth arcs of bowed metals, whose Feldman-like swell and collapse recalls the late period work of Bernhard Gunter. As the rain gently fades, a composite drone emerges out of those rasps and vibrations from the bowed metals and intensifies through dissonant timbres subtly agitating the shimmer and filigree of the gilted drone. Throughout, windswept debris ricochets across the stereo field casting an ominous cloud onto the sustained tones. The second piece is an even darker affair with a motor grinding against a piece of metal in the distance while a somber, almost doomscape piano plods in the foreground. With plenty of low frequency rumbles and spectral activity lingering in the background, this piece is almost like KTL remixing Xenakis at 16 RPM. Needless to say, this is an incredible album.
Gorgeously packaged in hand water-colored / letterpressed sleeves, SECOND PRESSING ONLY 175 COPIES!!" [Aquarius Rec.]
|
2008 |
€14.00 |
|
| |
What are the Roots that clutch |
CD |
"It was a cavernous tone that broadcast from a ventilator duct that inspired Patrick McGinley to begin collecting field recordings and working them into his slow-arc compositions. At the time when he heard that particular tone in that particular city at that particular time, he had no gear to recording device on hand. Over the next fifteen years (and counting) McGinley has eased into a peripatetic lifestyle, wandering the European countryside and forests (but never straying too far from the thrum and spark of civilization) in search of the same epiphany with his head rattled to the sound of a cavernous air duct.
Around 1996, McGinley adopted the moniker Murmer for his compositional work; and though his work often steps into the quieter realm of sound construction, much of his field recordings and resultant compositions privilege interference and disturbances that occur within any given sound ecology. Those sounds could be the elusive tone from that ventilator, the polyrhythmic chorus of chirping frogs, the abstracted roar from an Arctic wind tearing across the Black Sea, or the metallic skree from a bowed antenna perched atop a Soviet-era observatory. What Are The Roots That Clutch marks McGinley's first full album in nearly 5 years, but it marks an elegant continuation of his previous album We Share A Shadow. The five chapters of this album can't easily be associated with any specific location; instead McGinley overlaps and crosshatches his field recordings and abstractions into acousmatic passages with ghostly, half-melodic qualities. Even the two unprocessed recordings of the album are impossibly complex in their accretions of sound. McGinley's composed pieces embrace lithe, mysterious drones whose mossy, damp atmosphere perfectly situate with tactile crunches, tactile events, and signal noise generation. Eels and leaches would not be out of place in such an environment; but the subaquatic murk snaps into a hallowed manifestation of ritualized minimalism at the album's finale -- one that LaMonte Young and Angus Maclise might have conjured in 1968 with clattering percussive elements and a hypnotic blur of harmonic drone.
What Are The Roots That Clutch is limited to 400 copies and comes housed with letterpress artwork." [label info]
www.helenscarsdale.com
"Patrick McGinley just carries on. Working as Murmer since 1996 he has a strong love for the world of field recordings and electronics. Since quite some time now he lives in Estonia and walks the woods to tape his sounds, takes them home and then transforms them in whatever mysterious way. Five long pieces, from mere six minutes to eighteen minutes. The two pieces that stay under ten minutes are 'unmanipulated found sounds', the other three are 'composed from found sounds, found objects and live room feedback'. Its easy to tell the difference between one and the other. The 'pure' pieces are indeed pure pieces in which we hear the obscure sounds of motors, ventilators, or otherwise objects moved by say wind, while in the other three, McGinely chooses for a slow built up of events. A simple, single sound starts up and then slowly more and more sounds are added, sine wave like sounds leap slowly in and then at one point you'll notice that the entire piece seem to have changed and you
have a full on, minimal yet maximum output sound, such as for instance in the fifth (untitled) piece when the pots and pans in the kitchen start to vibrate and we have an interesting minimalist clutter piece, that is halfway between a drone piece and a Velvet Underground jam. Maybe that's where the real surprise of this release is, in that development of field recordings towards very interesting (and very good) minimalist, electronic music." [FdW/Vital Weekly]
"In looking at his discography alone, Patrick McGinley (aka Murmer) might not seem to be such a prolific artist; although he's certainly dedicated his entire existence to the pursuit of the field recording, its use in composition, and avant-garde sound practices in general. Each week, McGinley produces the ever enlightening Framework radio series dedicated to those very topics, starting out of Resonance FM in London with syndication now reaching several dozen adventurous radio stations across the globe. He's also active in curating a quarterly series of small cd-r editions of sound ecology, phonography, and field recording based sound art; and he also is an active participant in the Estonian avant-garde, as he's currently planted himself in the university city of Tartu. What Are The Roots That Clutch is his first full album in nearly seven years. Has it really been that long? That said, McGinley did work on a brilliant collaborative project with John Grzinich and Yannick Dauby, and he released a 3"cd-r for Taalem, both of which came out earlier this year in 2012. McGinley quips that he put the recordings aside to this record for well over a year, which may account in part for the delay; but ultimately, all of the recordings from Murmer are timeless. What Are The Roots That Clutch is no exception.
The field recordings that McGinley collects hedge towards disturbances in any given sound ecology, as found in the abrasive textures from a busted exhaust vent comingling with the Aeolian harmonics from the sustained gusts streaming down from the North Sea. McGinley does include two relatively unaltered field recordings (probably some minor filtering, but that's all) within the thoroughly abstracted and droned out compositions. One of these features a very eerie fundamental harmonic drone, obviously being activated by the wind and coupled with a glistening rattle and an unfurled flapping. The three elements here make for a surprisingly musical, if totally alien sounding piece that's akin to the Alan Lamb wire recordings. The album's 17 minute centerpiece is a slow building blur of industrial resonance and densely layered aquatic filigree that melts into chunks of clattering ice (it could be wood or glass... but ice is just so much more poetic to consider given the context); but the album's finale is where McGinley really gives us something to sink our teeth into. A comparatively harsh stutter of electrical abrasion builds up to a crescendo through water-tank rumblings and fire and / or water textures. At the peak, McGinley snaps to a downright psychedelic raga of back-masked belltones, harmonium drones, and percussive clatter that all comes together in a minimalist chorale on par with anything that Angus Maclise mustered in his dervishes and mantras.
As great as McGinley's last record was, What Are The Roots That Clutch might be even better. Handsomely packaged in letterpress artwork whose ochre-yellow hue matches the color of an Estonian farm house he's quite fond of. Limited to 400 copies." [Aquarius Rec.] |
2012 |
€13.00 |
|
| MURRAY, BRENDAN |
Commonwealth |
CD |
Dröhnminimalismus pur! Poly-Drones die sich in endlosen Wellen umeinander legen, regelrecht anfangen zu schlingern. Aufs "erste Hören": Statik. Beim genaueren Hinhören: Eine unendliche Klangfülle, tänzelnde Obertöne, schwingende Frequenzen in multiplen Schichten, stetige Veränderungen und Verschiebungen. Der Drone-Gott steckt in den Details! Eine sehr feine Aufnahme des Bostoner Klangkünstlers BRENDAN MURRAY!
"Nie wurden Sehnen mehr gedehnt als über Murrays 49 Minuten Commonwealth. Nur Phill Niblock, Eliane Radigue oder Jean-Francois Laporte erzeugen solch sture Dronegebilde, in denen schüchterne Obertöne zu gigantischen Kolossen mutieren und Langatmigkeit den klaren Ton angibt. Harmonieansätze tauchen in diesem Wall aus Gitarre und analogen/digitalen Soundmanipulationen nur ganz spärlich auf und entblößen sich rasch als hilflose Wegweiser vergangener Genres. Nostalgie spielt allerdings keine Rolle, Commonnwealth schabt nach vorne, dezentriert Zeit und vermag sogar den Bewegungsapparat zu blockieren. Liest sich eventuell zu statisch, wirkt unter der Oberfläche aber äußerst drastisch. " [Ed Benndorf / DE BUG]
"Brendan Murray has become a central figure in Boston’s sound art vanguard through a reputation of exceptional live performances and a growing catalogue of slow-shifting compositions for rarified drones. A single crescendo terminating at the end of 49 minutes, Commonwealth is an epic investigation into subtle harmonics and overtones expressed through layered slippages of pure sound. Conceived through guitar, analog synthesis, and plenty of digital manipulation, Commonwealth expresses a rare confidence in Murray's finely tuned detailing of sinewy tonalities and sculpted megalithic surfaces. Murray himself has qualified this album as a "sincere bow to 'classic' minimalism," and Commonwealth is a worthy parallel to the work of Phill Niblock, Eliane Radigue, and Iannis Xenakis." [label info]
"We've ballyhooed Brendan Murray's exceptional, yet perennially overlooked drone & din work in the past; but nothing could have prepared us for Commonwealth. Damn, this guy is good. No, wait; he's fucking great! After a handful of cd-r productions, a Twonicorn cassette, and a fine cd release on Intransitive of processed shimmer, shifting frequencies, and some low-end girth rumblings for our bligatory SUNNO))) reference, Brendan Murray has produced his best work to date with Commonwealth. Compositionally, it's incredibly simple: a drone goes up, and it goes down. It lasts a little under 50 minutes. But buried with this single minded composition, there are thick spun rumbles, reflective vibrations, sympathetic sub-harmonics, and rich tonal frequencies. Out of the constant tectonic whir that introduces Commonwealth, shimmering clusters sound like a battery of reed organs or hurdy-gurdies, slowly modulating into heavier, deeper drones. We've been told that the source material for these sounds is guitar, although you'd be hard pressed to hear anything guitar-shaped anywhere on the disc. It's far more like the hallowed minimalist sound of Charlemagne Palestine and La Monte Young. Dare we say, it's better? Yes, Murray's drone hums like a perfectly tuned machine, with multiple pistons purring in a steady progress along Commonwealth's compositional arc. When Murray shifts the focus of the album downward, which begins not even halfway through the piece, the descent is noticeable; but it actually becomes Murray's most fertile work within Commonwealth. Here, low rhythmic thrumbs crawl beneath
the surface of the slowly collapsing drone, precluding its inevitable terminus. Perfect trance-enducing dronemuzik. Fans of Aidan Baker, Andrew Chalk, and Phill Niblock should definitely take note!" [Aquarius Records ]
"... Much louder and less subtle, this is loud drone music, one of the kind that Niblock plays live. Although playing music on headphones is not something I usually recommend, this piece sounds pretty fine on headphones, pressing air against your ears, making a thunderous storm, which shoots right in your brain. Towards the end the volume drops a bit in favor of more heavy weight bass sounds, forming the natural ending to a heavy work. Murray delivers, once again, a mighty fine album that will be another step forward in recognizing him as a true master of the genre. Fans of classical drone music be aware - this is the classic of the future." [FdW / Vital Weekly]
www.23five.org
|
2008 |
€13.00 |
|
| MUSIC OF TRANSPARENT MEANS |
Selected Live Recordings |
LP |
"Selected Live Recordings is the third release De La Catessen Records has divined from the archives of New-York-via-Adelaide minimalist composer Alex Carpenter, and the second in this series for his shape-shifting collective, Music Of Transparent Means. It follows the two side-long fantasias of 2021's self-titled album; this time, we pan out slightly, to grant the listener a varied and yet more complex understanding of the material Carpenter was writing and performing when this music was happening, during the noughties. On this album, you can hear the results of some intensive explorations of the possibilities of minimalism both at its most delicate, and at its most feverish. The heavenly stasis of "Disappearance #1", for massed wine glasses and bowed guitars, feels like being jettisoned in a water tower filled with ether; the wooziness of "Burial Music" captures something of the spirit of Fripp & Eno's (No Pussyfooting), but as though the tape is slowly disintegrating; the music is blurred at the edges, warped and sidereal. Perhaps the centerpiece of Selected Live Recordings, though, is the simple, yet ravishing, "Rose Street Womb". With its performers given a simple set of instructions -- to continually repeat and elongate a series of phrases, while listening and responding to the overall sound of the ensemble -- its pastoral psychedelia recalls the gentle slippages of Arthur Russell's landmark composition, Tower Of Meaning. Elsewhere, "Mountain Piece #2" is a thunderstorm for massed drums, while "Second Presencing" uses delays as a structuring device to paint an "audio canvas" from a clutch of damaged tones. Throughout, you can hear Carpenter's knowledge and deep study of the history of minimalist composition -- he has written extensively on the work of La Monte Young, and there is certainly some aesthetic and ideological crossover with the likes of Phill Niblock, Terry Riley, and Arnold Dreyblatt. But it is also very much his own thing, the result of an intensive period of study and exploration of the possibilities, not just of minimalist composition, but also of Just Intonation. With the material long whispered about in reverent tones, and circulating on CD-R only amongst a small group of like-minded souls, De La Catessen's ongoing series of releases of Carpenter's music is a major development, bringing to light one of minimalism's hidden histories." [press release]
"From Iggy on the cover of Raw Power to Black Sabbath, circa 1980, in Milwaukee, from the ’52 Cleveland riot through to Suicide in Brussels, a healthy dose of chaos and danger is at the heart of all great rock music. So, it comes as no surprise to hear Alex Carpenter, the musician behind Music Of Transparent Means (MOTM), talk about chaos as core to the development of his music: “Even though there was this purity and mathematical elegance throughout some of the thinking and theory, what I remember almost more than that was the chaos and the mess, the forcefulness, the saturation and obliteration. The clear ideal gave way to this kind of loud, intense chaos, which in turn opened a path back to the clear.”
Music Of Transparent Means has always struck me as a particularly rock-reverent kind of minimalism, as though Alex has removed all the excess baggage that rock has picked up over the decades and focused on its most important aspects: noise and intensity, energy and mayhem. There is, of course, a great tradition of rock minimalism, from the Velvet Underground through AC/DC to Rhys Chatham and Glenn Branca, on into Band Of Susans, Spacemen 3 and Loop, but Alex’s music is curious for the way it flips the script on those examples and gives us an altogether different take on the intersection of these two forces.
You can hear the ‘elegant chaos’ of Alex’s compositions throughout this second archival release by the ensemble, which is filled with music that’s both seriously beautiful and deliriously serious. If the first MOTM release on De la Catessen gave an extended view into Alex’s work, with one long piece per side, here we have excerpts from performances throughout the years, allowing a more expansive take on both process and outcome. What strikes me, listening to this music, is the way that Alex indeed allows chaos to take its own non-form, to coalesce and congeal into huge, abraded blocks of sound, to allow the meeting of musicians, many from different walks of life, to morph into one throbbing brain at the centre of the sonorous universe.
Hearing “Rose Street Womb” for the first time in over a decade, I am also momentarily surprised by how much it echoes another favourite composition of mine, Arthur Russell’s early ‘80s piece, Tower Of Meaning. In “Rose Street Womb”, musicians are each given one short phrase, or a series of them, “which were continually repeated (either fully or partially) and continually elongated,” Alex recalls. “Performers were encouraged to listen less to their own part and more to the overall ensemble.” Here, you can hear that collective mind flame into being, where a ticker-taping tessellation of tones builds abstract architectures. It’s a collectivity that’s echoed in the brief excerpt from “Mountain Piece 2”, for massed drums, though this concerns itself more with the dynamic of rise and fall, and the collapsing of our distinct sense of rhythm and texture; it’s an exhilarating rush of projected energy.
By contrast, the woozy, sea-sick strands of melody in “Burial Music” obliterate themselves via the delay feedback system that Alex has constructed (shades of Fripp and Eno in the (No Pussyfooting) mirror-verse here), eventually leading to simple phrases collapsing in on each other, “resulting in a sort of ‘burial of melody’,” Alex confides. This focus on delay as a structuring force is also evident in the following “Second Presencing”, where Alex draws out what he terms an “audio canvas” by “increasing the delay time to over five seconds, thus opening a space in which I could react musically and build upon burgeoning patterns and gestures,” with a “slow change of harmonic centre”. If the delay pedal is so often the curse of lazy experimental and post-rock music, an easy route to padding out the tonal spectrum, Alex, on the other hand, uses it with indeed a painterly caress, using the parameters and extremities of this phenomenon to offer different ways of composing and responding to sound as it unfolds in real time, in front of our ears.
The closing excerpt from a 2002 performance of “Disappearance #1”, for wine glasses and bowed guitars, has particular personal resonance for me – attending this show at SEAS Gallery was the first time I’d encountered Music Of Transparent Means, on the recommendation of Alex’s and my mutual friend (and general all-round mensch of Adelaide music) Nigel Koop. I recall being struck by the eloquence of the sound and tested by its duration. For Alex, “Disappearance #1” was a significant piece – “the result of a painful re-entry back into performance after a long period of getting hung up on theory,” he remembers, “in particular the history of Western tuning and the idea of returning to some rarefied (and impossible) ‘perfect sound.’ Writing in just intonation definitely helped with the re-entry, but ultimately I realised I wanted more energy and chaos, even if it was in the service of striving towards some type of perfection.”
When I interviewed Australian musician Oren Ambarchi many years ago, I asked him why he was so moved by minimalist composers like Phill Niblock. His answer was simple: “I like it because it rocks.” Listening, with some intensity, to Alex’s music after some time away from it, I’m struck by the way it also collapses dualities – elegance and chaos; body and mind; heart and head; rock and minimalism. In here, we can experience something that’s fundamental, I think, to what we’re all looking for, perhaps moreso on the level of the unconscious, whether we’re lost in the zone at a heady recital or caught up in the tidal waves of noise rolling off the stage at a gig; deep, identity-dissolving sensory obliteration.
Like being caught in the middle of the holocaust of sound that my bloody valentine erupt into at the end of their gigs, during “You Made Me Realise”, you’re blissfully lost, and not a little concussed and confused. “The goal was to exhaust people first,” Alex concludes. “To get them to a point where these perceptual habits stopped serving them. Like meditating on a word until it loses its referential significance or magnifying an image until its normally recognisable shape becomes unstable. It’s only after these surface layers start breaking away that we can start clearing a path towards a more direct engagement with the material.” [Jon Dale]
https://transparentmeans.bandcamp.com/album/selected-live-recordings-2
|
2022 |
€25.00 |
|
| |
Chord from the Second Delphic Hymn |
LP |
https://transparentmeans.bandcamp.com/album/chord-from-the-second-delphic-hymn-emerging-like-an-infant-from-the-house-of-truth
Discovering Music Of Transparent Means was one of the three or so genuine revelations from my fifteen years of living in Adelaide, Australia. I was in my twenties and had spent some time wondering why the city I was surviving hadn’t offered much in the way of genuinely engaging and affecting ‘experimental music’ (all terms used advisedly) during my tenure. I’d also somehow glommed onto the work of a number of American composers and polymaths – La Monte Young, Tony Conrad, Arnold Dreyblatt, Phill Niblock, Maryanne Amacher – and somewhere in the back of my head, I was looking for a similar music, locally made, that combined the rush and roar of the best rock music, its volume and its joyous love of kicks and freedom, with the temporal and experiential obliterations of the best minimalism.
So, finding Music Of Transparent Means (MOTM) was a heavy deal. A loosely shaped ensemble, MOTM was really the conceptual and aesthetic expression of éminence grise, Alex Carpenter, a fiercely intelligent and disciplined musician, composer and thinker who balanced that intensity with a genuine warmth and kindness in the personal realm. (The latter is far more important, in the end, than the former, and it’s one reason why I still listen to MOTM.) Alex had come up through time-honoured traditions – playing in rock bands as a teenager, studying classical guitar, finding himself embedded in, and ultimately chafing against the ‘classical guitar scene’: “It was a culture with limits. I didn’t just want to work on perfecting the Bach suites and discuss endlessly the merits of one particular arrangement over another one.”
Instead, Carpenter leaned towards composition over being ‘just’ a guitarist. The means of his expression were many and varied, but he recalls that he “also wanted loud, engaging sounds, alternative tunings, sustained notes and beating nuances that come from multiple instruments and sound sources.” A concurrent interest in the work of La Monte Young and his peers – Carpenter wrote an essay, “La Monte Young: Towards Absolute Music”, as a student in the nineties, which was an early, oft-referenced discussion of Young’s work - proved that Carpenter had intellectual chops to burn, as well, but as his colleague and peer Luke Altmann wryly comments, “he had an endearing love of the ridiculous and was the first person you’d look for at a party.” I can’t help but feel that you can sense that in the joyous sensory over- stimulation of MOTM – the music is, quite simply, a head-fucking blast to listen to and swim through.
Besides being the person releasing the album you’re now holding in your hands, Altmann was also a key facilitator for Carpenter, via the former’s De la Catessen Gallery. “Before I started presenting concerts at De la Catessen in ‘05, I meekly asked Alex if he would play there, since I couldn’t see the venue working without him. He agreed, and presented a series of concerts over the next two and a half years which really defined that period locally.” Carpenter’s final concert at De la Catessen, before relocating to the USA in 2007, was the launch of the album Chord From The Second Delphic Hymn. Initially planned as a lathe cut LP, the lathes proved unlistenable, and Carpenter returned to the CD-R format, via his label Vanished. There’s a sense, with this new LP release, of a project finally completed, come to full fruition.
Altmann’s description of “Chord...” is apposite: “As a listener it seems to hover and vibrate. Gravity is acting on it, but it’s failing. Its bubble-like surface swirls and endures, it is resolute but unresolved. But as a performer it’s another story - this beautiful object has an enormous mass and it takes intense physical exertion to keep it in the air. Each keyboard player has a sequence of notes, a sort of mantra, to play over and over, taking longer and longer to complete the sequence on each cycle. However, each note must always be repeated as rapidly, loudly, and consistently as possible, to create as close as can be to a continuous sound, before moving on to the next note. It is utterly exhausting and physically exhilarating.”
Carpenter expands, also taking into consideration this album’s b-side, “Emerging Like An Infant From The House Of Truth”: “The idea in both pieces (and in other pieces I wrote around that time) was to isolate a particular harmonic and textural “field” (for want of a better term) that was complex and engaging, and explore as many nuances as possible within the timeframe of the piece. Also to utilize these fields as channels for perceptual exhaustion and meditation.” I was once part of an MOTM performance – I can’t quite remember whether it was “Chord...” or another piece, but to be fair, we are talking 15+ years ago – and I readily concur with Altmann’s description of performing, and Carpenter’s focus on exhaustion and meditation: it’s tiring but thrilling, and strangely meditative, to be caught within the midst of all sound.
I also remember, once, sitting with Carpenter, and discussing an ideal of music that felt like a “bright white light shone directly into your face.” I mentioned it to Carpenter recently and he said, “I love this metaphor, and I remember talking about it with you! From memory it came from Baudrillard’s phrase “unbearable incandescence,” which I like because it seems to represent my feelings on sound as a resource musicians tap into. We perceive (and value) partial components of this overall “thing” - whether that be within a piece or an entire historic era. These components change, and there can be a flow to that changing, moving image, but the flow can also be interrupted by our preoccupation with a particular “snapshot” of the image.
“Put another way, I see sound as an unbearable incandescence because it is a resource that offers infinite possibilities, and as such we cannot take in all possibilities simultaneously. It needs to filter through our media. But to me it demands a certain reverence and curiosity. We’re aren’t using sound; it is using us.” Ask Carpenter to expand on this, and to explain what he wants people to get out of this music, and he continues: “The sensory overflow of the music that is on many levels quite forceful and unrelenting is an invitation for the listener to let go of the messages and concepts they might normally seek to have confirmed in music. To let go of the composed, performed data.”
I keep returning to the idea of a kind of blissful, obliterated exhaustion as core to the MOTM experience. It’s something Carpenter seems to agree with: “The goals of MOTM essentially centered around the exhaustion of perceptual habits. Given the pervasiveness—and to a certain extent, unconsciousness—of our expectation for music to render the themes, forms and meanings of habitual response, exhaustion was considered an important stage to reach. Only by becoming exhausted with the cultural categories normally sought and emphasized in music, could we really be given an opportunity to move beyond them.” I guess MOTM, and Carpenter, exhausted Adelaide, too – it was sad to see him go in 2007, as much as we all knew that he was destined for much bigger things, and that Adelaide’s cultural conservatism in the ‘00s was no great working context for someone so dedicated to music that sat outside of both the culturally dominant forms and those that presented as legibly counter-cultural within the dominant lexicon. But I learned from MOTM how to be in time and in sound; how to move through and give in to the experience of the sonification of our corner of the world. It was a lesson in possibilities.
|
2023 |
€28.00 |
|
| MUSLIMGAUZE |
Mazar-I-Sharif |
CD |
" 'Mazar-i-Sharif' is to polite society what a dozen angry Rotweillers are to a cafe full of poodles: An explosion. The diamond collars scatter across the tiles and the fur turns red as the perfectly clipped poodle-butts are torn apart by a pack of rabid Jerry Springer Spaniels. Your politically correct end-of-the-century tea party is officially OVER, and anyone thinking Muslimgauze is about to make a calculated move to new age radio should call a taxi right now because the missiles are already in the air.From the intense noise-and-rhythm barrage to the shocking cover image of a young boy with amputated arms, there is no part of this compact disc that will not offend someone. Yes, of course there are groovy Middle Eastern beats, and music loops are top notch as usual, and the true die-hard fans of Muslimgauze will not be disappointed, but we expect that there will be fewer of them after they hear this record. Track listing: 1. “Rezin Of Joy” – 13:39 2. “Sulymaniyah” – 4:17 3. “Mosul” – 12:13 4. “Bandar Abbas” – 9:57 5. “Zahedan” – 5:31 6. “Mazar-I-Sharif” – 7:56" [unknown source/label info]
www.soleilmoon.com
|
2009 |
€14.00 |
|
|
Veiled Sisters (GOLD) |
3 x LP |
It's by some strange inversion that since his untimely death in 1999 Bryn Jones' Muslimgauze project has become evermore enigmatic as his publicly available recordings have become evermore vast. The Mancunian artist's sudden passing at the age of 37 prematurely resolved a body of work that remains as experimental as it is diffuse, with an informal archive that was left spread between favoured labels and confidantes. And though this monadic project never abided by genre specifications, it all feels as if it is taking the critical pulses of its time and rendering them into something other than the sum of its obscure compulsions. Jones' double album 'Veiled Sisters' from 1993 is no exception, and it persists as a magnificent outlier in his singular and bewildering discography.
Originally released by the label Soleilmoon, an early and lifelong supporter of Jones' work along with Staalplaat, the album is a notable example of the uniquely recombinant fragility and fervour of Jones' work. This 3LP edition marks the album's first appearance on vinyl. Like much of the Muslimgauze catalogue, 'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves—Sister One and Sister Two—calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration.
Forgoing the raucous timbre and abrasion that Jones could occasionally employ, this album balances a medley of shrill instrumental bursts with a complex patterning of ambient atmospheres. 'Veiled Sisters' moves with a hypnotic gait across its extended runtime with a dynamic ensemble of electronics grounded in a pulsing yet evasive combination of low-slung kicks and dub-soaked bass. The hissy wash of drums, both played and machined, decorate a restless patina all over, and the cacophony of samples send impressions scattershot into Jones' idiosyncratic yet readymade psychedelia. With a quiet intensity that is not often captured this succinctly in the Muslimgauze catalogue, this new edition of 'Veiled Sisters' is a reminder of the haunting wonder that Jones was capable of manifesting.
https://alter.bandcamp.com/album/veiled-sisters |
2022 |
€55.00 |
|
|
Veiled Sisters |
do-CD |
It's by some strange inversion that since his untimely death in 1999 Bryn Jones' Muslimgauze project has become evermore enigmatic as his publicly available recordings have become evermore vast. The Mancunian artist's sudden passing at the age of 37 prematurely resolved a body of work that remains as experimental as it is diffuse, with an informal archive that was left spread between favoured labels and confidantes. And though this monadic project never abided by genre specifications, it all feels as if it is taking the critical pulses of its time and rendering them into something other than the sum of its obscure compulsions. Jones' double album 'Veiled Sisters' from 1993 is no exception, and it persists as a magnificent outlier in his singular and bewildering discography.
Originally released by the label Soleilmoon, an early and lifelong supporter of Jones' work along with Staalplaat, the album is a notable example of the uniquely recombinant fragility and fervour of Jones' work. This 3LP edition marks the album's first appearance on vinyl. Like much of the Muslimgauze catalogue, 'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves—Sister One and Sister Two—calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration.
Forgoing the raucous timbre and abrasion that Jones could occasionally employ, this album balances a medley of shrill instrumental bursts with a complex patterning of ambient atmospheres. 'Veiled Sisters' moves with a hypnotic gait across its extended runtime with a dynamic ensemble of electronics grounded in a pulsing yet evasive combination of low-slung kicks and dub-soaked bass. The hissy wash of drums, both played and machined, decorate a restless patina all over, and the cacophony of samples send impressions scattershot into Jones' idiosyncratic yet readymade psychedelia. With a quiet intensity that is not often captured this succinctly in the Muslimgauze catalogue, this new edition of 'Veiled Sisters' is a reminder of the haunting wonder that Jones was capable of manifesting.
https://alter.bandcamp.com/album/veiled-sisters |
2022 |
€24.00 |
|
| |
The Extreme Years 1990-1994 |
9 x LP BOX |
first time ever on vinyl
* with bonus songs
* unique sleeves with special spot UV and inside print
* wooden deluxe boxset with 9 vinyls, booklet, hand numbered certificate card
The English musician Bryn Jones, who preferred to call himself the band Muslimgauze during his artistic lifetime, was one of the most original and productive artists of the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, there are at least 200 releases with a total of more than 1900 songs in circulation.
The Extreme Years 1990-1994 is a compilation of all Muslimgauze music, released on the Australian label Extreme Music between 1990 and 1994.
According to many critics and fans, this was a uniue and very special period in Bryn’s work, during which he grew from an amateur musician into an experienced sound sculptor.
Sadly, Bryn passed away in early 1999, aged just 38 years.
The box set is limited to 100 copies in golden vinyl and 222 copies in black vinyl.
It includes 9 vinyls in expanded 2LP versions with bonus songs of the 4 Extreme albums, as well as the Infidel LP with remixes done by another electronic music genious David Thrussell (Snog, Soma, Black Lung).
The Infidel LP will be exclusively available with the box set edition, where the 4 double albums will be available also as separate releases, beeing published one after the other during the first half of 2024, starting with Intifaxa 2LP.
The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
The boxset contains the albums:
Intifaxa 2LP (AKT16)
United States of Islam 2LP (AKT17)
Zul’m 2LP (AKT18)
Citadel 2LP (AKT19)
Infidel LP (AKT20) – not available outside the box
as well as a LP sized 8 page booklet, a pro DJ slipmat and a hand numbered certificate card, all housed in a highest quality, heavy wooden box.
All album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.
The release date for the complete Extreme Years 1990-1994 boxset with all vinyls included is 1.01.2024
The separate double LPs will be released on these dates:
Intifaxa 2LP – 10.01.2024
United States of Islam 2LP – 1.03.2024
Zul’m 2LP – 1.05.2024
Citadel 2LP – 1.07.2024
https://kontaktaudio.bandcamp.com/merch/muslimgauze-the-extreme-years-9-lp-box-set-black-vinyl
https://www.kontaktaudio.com/shop/muslimgauze-the-extreme-years-1990-1994-deluxe-boxset |
2024 |
€199.00 |
|
| MUSTERION |
The Black Lodge |
CD |
Uns bisher unbekanntes Projekt auf HORUS, mit erster (?) Veröffentlichung unter diesem Namen. THE BLACK LODGE ist keine einfache Zusammenstellung von Musikstücken, sondern eher ein theatralisch-szenischer Soundtrack zu einer dunklen Geschichte oder Vision, mit Bezug zu LOVECRAFT, BURROUGHS, KEROUAC, GINSBERG. Das klingt sehr neoklassisch & dunkel instrumental, ist aber auch in elektro-akustischer Weise mit Stimmen & allen möglichen Geräuschen versehen, liegt also zwischen Neo-Klassik / Filmsoundtrack und Elektro-Akustik. Das ganze Werk wirkt wie in einem Traum oder einer Halluzination gehört… Grossformatige Hülle & Kunstdruck-Booklet, nummerierte Auflage von 500 Stück !
"The Black Lodge", a world beyond, is the place were Agent Dale Cooper is trapped. He travers through memories, dreams, Tibet, the works of H. P. Lovecraft and more. The Agent possesses the body of the late Jerzy Grotowski as he do his last journey among the walking dead. The visions of Cooper are seen, heard and felt in this avant-garde and exquisitely dark ambient album from Musterion, Simon AA Kölle (Za Frûmi, Abnocto). The Black Lodge is a place of murder, dreams, mystery, darkness, ancient machines, old memories and horror. A shrieking violin swells into a chaotic babel of sound; a pandemonium that would have lead most men to doubt their own shaking sanity. Inarticulate cries that only mutes can utter, and that rises only in moments of the most terrible fear or anguish.
With extreme attention to details this profound opus of the mind leads the listener away from the normal world and into the world of the Black Lodge. Garmonbozia!“ [label description]
“....In order to induce such a hallucinatory listening experience Musterion creates music using a wide array of instrumentation ranging from traditional and classical acoustic instruments to purely electronic based sounds. Though many songs are shadowed by dark ominous drones the music in each song reaches way beyond the range and habit of standard dark ambient music. Musterion has striven to bring experimentalism to dark ambient music and has successfully created a cinematic environment previously only pursued by too few capable musicians. Musterion “The Black Lodge” is definitely the most powerful full length album I have heard Simon AA Kölle participate upon. Fans of Simon’s previous work as Za Frumi will find the cinematic quality of the music familiar though be informed that the scope and intricateness of the songs far exceed Simon’s work with Za Frumi. I highly encourage dark ambient fans that like music that reaches beyond standard drone music to check out Musterion as well. Anyone with a fetish for H. P. Lovecraft or other dark occult inspired narratives is also encouraged to discover Musterion. Musterion is an invitation to close your eyes and be led into a world of shifting shadows, intrigue, and horror. This excellent release is limited to 500 hand signed copies so collectors be aware of the limited nature of this release.” [Heathen Harvest]
www.horus.cz
|
2005 |
€10.00 |
|
| MYRNINEREST |
Jhonn, Uttered Babylon |
LP |
"MYRNINEREST ist der neue halluzinogene Cartoon aus der Feder von David Tibet, der gern außerhalb von CURRENT 93, mit den Künstlern und Freunden arbeiten wollte, die er am meisten bewunderte.
' "Jhonn," Uttered Babylon', ihr eindringliches Debüt mit James Blackshaw und David Tibet, handelt von Davids Freundschaft mit dem verstorbenen Jhonn Balance von COIL, seinem Tod und wie er den Freundeskreis um Jhonn in Mitleidenschaft zog.
Sämtliche Lyrics stammen von David; die Musik von James. Das Album wurde im Februar 2012 mit James Blackshaw an der klassischen Gitarre und am Harmonium und mit David als Sänger aufgenommen.
Beide Formate, LP und CD, beinhalten die gleichen Songs, doch mit verschiedenen Mixen von verschiedenen Künstlern.
Die Tracks haben auf beiden Formaten verschiedene Titel. Die Vinyl-Version wurde von The Bricoleur gemischt und kommt in einem Vollfarb-, Reverse-Board Hülle mit einem 4-seitige Booklet mit den Songtexten und zwei Reproduktionen von Kohlezeichnungen von Jhonn Balance.
Das Gemälde auf dem LP-Cover ist ebenfalls von Jhonn Balance." [label info]
www.myrninerest.com
|
2012 |
€17.50 |
|
| MYSTIFIED |
Pulse Ringer Pieces |
LP |
"Diese einfach, wie ansprechend aufgemachte LP bringt uns pulsierende Ambiancen und Dronen in 6 Akten. Was zuerst vielleicht ungewöhnlich erscheinen mag, sind die fast statischen Beats, mit denen die Stücke unterlegt sind. Mystified aka Thomas Park von einer anderen Seite. Die komplett in Blau gehaltene Aufmachung, ohne jegliche Graphik oder Schriftzug auf dem Cover übrigens, und das blaue Vinyl ziehen den Hörer unmittelbar in Bann. Man taucht tief ein in das Blau und fühlt sich schnell von ihm umgeben und fühlt wie es sich auch innerlich ausbreitet und seine weite, tragende Wirkung tut. Man vermag nicht genau zu sagen, ob einen die Beats an der Oberfläche halten oder noch tiefer hinunterziehen. Ich würde sagen, auf Seite 1 der LP findet man sich immer wieder tänzelnd auf der Oberfläche des Blaus wieder, fühlt nur seine Tiefe, und lässt sich aber schlussendlich hinreißen, von, ja fast Drum´n´Base ähnlichen Rhythmen. Auf Seite 2 hingegen öffnet sich vor einem das tiefe Blau und zieht einen in mystischen Kreisen immer tiefer hinab. Hier wirken die Stücke verschrobener, gar halluzinogen. Gelungene, elegante erste LP-Veröffentlichung von Droehnhaus, kommt auf klarem blauen Vinyl, und ist auf 300 Stück limitiert. Künftig auch Veröffentlichungen von Seconds in Formaldehyde, Ufesa, Wolfsduister auf Droehnhaus." [Creative-Eclipse]
www.droehnhaus.de
|
2009 |
€15.00 |
|
| MYSTIFIED & MARTYN SCHMIDT |
An Effort of Memory |
CD-R |
"ACE 1002: CD-R in folded cardboard sleeve
Many albums in the Attenuation Circuit Eco Series are split releases, but this hour-long composition is a true collaboration with 50 per cent input from both US-based drone artist Mystified and German poet and sound artist Martyn Schmidt. Starting with a poem, Schmidt’s voice morphs into pure vocal improvisation and breathing, both processed to amalgamate with Mystified’s acoustic drones. The result sounds at times like La Monte Young meeting Morton Feldman or like Norwegian experimental jazz singer Sidsel Endresen imitating deep bass strings with her voice.
Using feedback loops, the sound of whale bones played as percussion instruments on a Danish island, and jackhammers from local building sites, Schmidt „encoded, stored and retrieved“ (as the back cover says) lots of samples along with the music by Mystified he was reacting to - encoding, storing, retrieving being the three steps of memory as conceptualised by psychology. Connecting psychoacoustics back to his poetic roots, Schmidt also quotes (on the cover-artwork) the poem “Andenken” (Memory, or Remembrance) by Hölderlin. Memorising, forgetting, and recreating sounds and words turn out to be different sides of the artistic process, and the drone as a music that forever seems to dissolve and congeal, to ebb and flow, to move and stand still, seems a perfect sonic metaphor for this." [label info]
www.attenuationcircuit.de
"A collaboration by Thomas Park's project Mystified and Martyn Schmidt, a German poet and sound artist. There is a short spoken word prologue, a sixty-two minute piece of music, and short epilogue. In the main piece, 'An Effort Of Memory', uses, according to the information, 'feedback loops, the sound of whale bones as percussion instruments on a Danish island and jackhammers from local building sites', of which Schmidt made the samples which he combined with the music of Mystified, resulting in this hour long sound collage of all things atmospheric. Forget the word jackhammers (or building site), as there is nothing 'industrial' or loud about this. The music here is all atmospheric, dark in the full moon night, and everything flows into each other. The music may seem an amorphous mass of sounds mixed together, without real beginning or end, and perhaps (I might be wrong) without much compositional planning. More like a go with the flow kind of music, which is nothing strange in this particular musical underworld. None of the sound sources are easily recognized here, if at all, but all is transformed into a long, sustaining mass of atmospherics, and works very well. A cold day today, autumn has arrived it seems and this is the soundtrack for such seasonal weather. Nothing new, but it works very well." [FdW/Vital Weekly]
|
2013 |
€8.00 |
|
| MØHR & MAEROR TRI |
Hafenstadt |
CD |
" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel)
MØHR biography
MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES.
MAEROR TRI biography
MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info]
www.aufabwegen.com
www.aufabwegen.com
"Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)
|
2015 |
€13.00 |
|
| N + BALTZER |
Gaunerzinken |
do-LP |
This improvisation was recorded live in one afternoon with a one-track recorder in the order of the tracklist. Nothing was cut or added.
GAUNERZINKEN
For us humans, the world consists of signs that we continually create and interpret ourselves. As cultural beings, we work partly consciously and more often unconsciously every day to produce signs of meaning. Through language, ritual, habit or deliberate planning. In this way we appropriate the world. The so-called GAUNERZINKEN have the same function. Signs painted on houses that give clues to their material value and inhabitants. The signs are planned. The inhabitants do not know their meaning. They are excluded from their interpretation.
Thus, GAUNERZINKEN form signs of meaning, created by marginalised groups who desire, in secret language, a double act of appropriation: The creation of a secret, self-concealing sign, for the appropriation of a part of the material world, the property. Through the production of signs, those excluded from material privileges gain a first access, a first symbolic occupation, a small boundary shift of the exclusionary in the world. Crime is therefore necessarily immoderate, immoderateness necessarily criminal. The music of N and Baltzer is in this immoderate, alluding to signs / playing signs, that remain ambiguous. The signs are diffuse, blurred, diffuse into atmosphere, no meaning is given, the implications are to be filled individually, subjective crooks are to emerge while listening. But no one gets excluded.
This is how we can appropriate the world. This world, flooded with signs, brushed over and dressed up, the world obscured by property. Through the production of secret meaning, through our signs, which first form in us as emotion and which we then paint on the facades of the world when we have located ourselves anew, which we should always covet, so that it may someday be ours again.
Here is your sound.
Double-Vinyl LP in a DIY linoleum print cover. Edition: Black printing on grey paper.
https://n-baltzer.bandcamp.com/releases
"Auf „Gaunerzinken“ entwickeln sich fünf, dem Wesen und der Erscheinung nach einander fremde Live-Improvisationen, die dennoch darin vereint sind, eine durch Gitarren vermittelte Unruhe zu erschaffen. Die Stücke variieren ungewöhnlich stark. Und das, obwohl nur ein Nachmittag benötigt wurde und obwohl das instrumentale Fundament während der gesamten Aufnahme hinweg identisch bleibt: „Guitars, amps and effects“ – einfach live, ohne nachträgliche Zusätze, pur. Hellmut Neidhardt, kurz N, hat es mit dieser unmittelbar bedrohlichen Musikform auf Dutzenden von Tonträgern und in einer Vielzahl von Projekten zu einer außergewöhnlichen Klasse gebracht. Und auch in Zusammenarbeit mit Sebastian Baltzer (ORANGE SWAN) gelingt ein vielschichtiges, behutsam sich entwickelndes Album von unerhörter Präzision. Gemastert von Dirk Serries, einem anderen Gitarren-Drone-Virtuosen, ist „Gaunerzinken“ ein herausragendes und atmosphärisches Werk geworden, dessen Improvisationen ein bebendes Leben innewohnt." [Ox Fanzine]
|
2022 |
€26.00 |
|
| N / SEGMENT |
Karnap |
7inch |
Ganz wunderbare split-Single zweier MULTER-Leute, zarte Gitarrenpickings und E-Bow-Obertöne, zu schön für diese Welt !
Two MULTER – members with solo-tracks (or one remixing material of the other), two brilliant tracks of intellligent guitar-ambience. Our deepest recommendation !
“[multer] guitarist Hellmut Neidhardt has nearly finished a pure guitar-album under the project name 'N'. Last mastering activities with Thomas Köner are currently carried out. But before the album is released, this single, on which 'Segment' cared for editing some guitar-takes, is published. Pure guitar sounds! Two songs are the result, with a grace reminding us of heavenly crowds of angels, kept in house arrest and spending their time imitating with harps and violins the bustle of ants or dragonflies. Heavenly beautiful.“ [press-release]
www.genesungswerk.de |
2001 |
€8.00 |
|
| N [49] [HELLMUT NEIDHARDT] & SIMULACRA |
Birka |
LP |
Thick rough cardboard covers, black polylined inner sleeves, 180g black vinyl, strictly limited to 100 copies.
N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. In line with the release of his collaboration record with SANKT OTTEN - Männerfreundschaften und Metaphysik - September 2015 sees the release of two further N-related records.
The first one is his latest solo record - N(43) - „Anklam“ -, featuring the three tracks „Daemmerung“, „Restlicht“ and „Requiem“. It is a album Neidhardt somehow knew to be located in the dark fields of blinding error and its consequences, thus anything there might be a bit ambiguous in its meanings. From deeply melancholic, coarse-grained waves of sound, buried under tons of beside-noises to the last rearing of the sound of the sun before falling into the sea. And then you are still there, time has stopped, all has stopped. Exept the endless hovering of the requiem. „Anklam“ is once again a direct-two-track recording without any cut and paste, with Neidhardt just using his guitar / FX / amp setup - regardless how it may sound.
The second new record is N(49) „Birka“, a collaboration with SIMULACRA from Belgium. This is probably the one of N's collaborations that took the longest time to make so far and Neidhardt is happy to take part of the blame for that: Simulacra is known for his very deep, void-like sound aesthetic, with deeply breathing synth sounds without any artifacts around. For this reason it was very difficult for the two collaborators to figure out a corporate sound; they only knew they found this after it had happend at last... Well and from this moment, it was quite easy. Expect a very dark album, with a lot of bass, with N's guitar sometimes emerging from the depth of Simulacra's soundwalls, sometimes working as something like a driving force from underneath; slowly shifting frequencies through endless caverns, reverberating from the black walls. "This record is soo dark, we love it... (and thus are really happy we made it in the end...)." states Neidhardt.
www.denovali.com
|
2016 |
€27.50 |
|
| NADJA & TROUM |
Dominium Visurgis |
CD |
"TRANSGREDIENT RECORDS TR-07
RELEASE DATE : 15. May 2010
8-PANEL DIGIPACK w. METALLIC COPPER PRINT
FORMAT: FULL-LENGTH CD PLAYTIME: 49:30 min
FILED UNDER: DRONE
NADJA & TROUM "Dominium Visurgis"
This is something you could call a "dreamlike liaison". When the Canadian "avant metal / drone doom"-duo NADJA (who name TROUM as one of their early influences) and the German post-industrial / experimental drone pioneers TROUM (years ago active as MAEROR TRI who are still discovered by many drone-fans these days) combine their exceptional styles, they form something even vaster as usually known from them. These three long collaboration tracks were recorded as a result of a spontaneous improvisation in April 2008 "live in the studio" near the Weser-river in Bremen, Germany, and suck you in with their powerful & emotional drone melancholy that works in many micro-& macrocosmic ways, using electric & acoustic guitars, bass, accordeon, drum-machine & voice." [label info / press release]
"In dieser ersten Zusammenarbeit von Troum (Baraka[H] + Glit[s]ch) aus Deutschland und Nadja (Leah Buckareff + Aidan Baker) aus Kanada schaffen beide Bands etwas, dass vielen derartigen Kollaborationen eben nicht gelingt: den eigenen Stil beizubehalten und gleichzeitig offen zu sein, zentrale Elemente des musikalischen Partners gleichberechtigt einzubinden und eine echte Mischung entstehen zu lassen. Sei es aus dem Wissen darum, dass dies nur in einer direkten Konfrontation geht, sei es aus anderen Gründen und allein der glückliche Zufall hat es bewirkt, Troum und Nadja haben mit „Dominium Visurgis“ keine e-mail Zusammenarbeit auf CD gebannt, sondern sich tatsächlich im Studio getroffen und die vorliegenden drei Stücke in enger Zusammenarbeit komponiert und aufgenommen. Denn nur die dann entstehende derartig intensive Interaktion (und eigentlich: die daraus resultierende gegenseitige Inspiration) lässt eine Atmosphäre entstehen, die noch über die eigentliche Musik hinauszustrahlen scheint, den Wirkungskreis der Musik erweitert. Bei aller Qualität, die die VÖs beider Bands sonst haben, „Dominium Visurgis“ ist etwas besonderes. [Hellmut Neidhardt aka "N", Unruhr]
"...Ein dröhnender, träumender Urozean, ein Fluss ohne Ufer, brandet, brodelnd
und pfeifend, an Urgestade, die erst noch im Werden sind. Das Pfeifen lässt
einen für einen Moment das Schreien von Phantommöven über der summenden,
wogenden, atmenden Panthalassa halluzinieren. Der ‚atmende‘ Blasebalg erklingt
nun auch als webendes Akkordeon neben klingelnden Gitarren. Die beiden Duos
sind komplett zu einem Quartett verschmolzen. Man starrt gebannt auf, ach was,
durch seine Schuhe hindurch beinahe bis zum Nabel der Welt." [R. Dittmann, Bad Alchemy]
"To some these two names represent the absolute top of the drone music, and who am I to disagree? Troum, the follow-up to Maeror Tri and Nadja, the duo of Leah Buckareff and Aidan Baker, have both presented themselves through a line of releases, displaying the finer sense of drone music, through the use of guitars, accordeon, voice, rhythm machine effects and such like. In April 2008 they did a spontaneous improvisation in the Troum studio, which now is released on CD. This is indeed the top of their scene: guitars are set to play drones, through the use of e-bows, through lots of sound effects, loop stations and all such like. They do the usual slow built up towards a mighty crescendo, fly through air, and then land safely through a long decrescendo. Headspace music. Perhaps not the kind of music for a sunny day like it is today, but more for grey, rainy days. They are mood musicians and one has to be open to these particular dark moods, but if you open up then they are more than
willing to transport you through these dark woods. An excellent work, hardly to believe one of some afternoon improvisation." [FdW/Vital Weekly]
"... On albums like this, one again realizes just how many shades Troum’s self-repeating, subtly changing structures contain. When joined to parts provided by other talented artists, they shine with incredible power and enchantment, which one has to admire, totally captivated. This is precisely what happens on Dominium Visurgis." [Jiituomas, kuolleenmusiikinyhdistys.net]
|
2010 |
€12.00 |
|
| NADJA / NETHERWORLD |
Magma to Ice |
CD |
10. Ausgabe in der FEAR DROP / FARIO - Split & Collaboration-Serie, diesmal sind die kanadischen Drone-Metal Überflieger NADJA und der italienische POLAR-AMBIENT Act NETHERWORLD in interessanter Kombination zu hören - 3 Stücke von NETHERWORLD, ein langes von NADJA welches eine einzige gigantische Drone-Blase darstellt, und eine fast 10minütige Zusammenarbeit). Kommt im überdimensionierten Vollfarb / Aufklapp-Cover! Eine Verbindung von "heissem" und "kaltem" Ambient wie man sie nur selten auf einer CD finden wird.
"Talented Italian ambient composer Alessandro Tedeschi runs the Glacial Movements record label and plays music as Netherworld. His fascination for polar landscapes and soundscapes makes him close to industrial ambient pioneers such as Thomas Köner, Rapoon, Biosphere and Lull. Icy, windy, droning and deeply "protomelodic" at once, his music is a poetic translation of the ice floe. For this record, he used processed fragments of classical music. Nadja is the drone / doom / ambient duo of Canadian musicians Aidan Baker and Leah Buckareff. Their behemoth of sound is a construction of heat, weight, loop and vapour. Here, they had to break Netherworld¹s ice and find a way to the red core of Earth. The common track brings heat onto ice, which warms up, crackles and soon melts. As a conclusion, the long piece by Nadja is total heat. This is Nadja "unrhythmed", which means pure lava. This CD features exclusive graphic concepts and artwork by Alan McClelland (www.eyelyft.com) " [label info]
"French label Fario is not very active: this is their tenth release in about as many years. The label is an off shoot of the excellent (but en Francais) magazine Fear Drop, whose only goal seems to release a CD with the meeting of two artists. They present each a couple of solo pieces and one collaborative piece. Lopez & Roden, Troum & Christian Renou, Rapoon & Desaccord Majeur and Vromb & Telepherique went ahead (among others) and here it's the turn for Alessandro Tedeschi, also known as Netherworld, and owner of the Glacial Movements label and Aidan Baker and Leah Buckareff, from Canada and best known as Nadja. Netherworld's three pieces are an excellent sound example of his own label: glacial movements. A very apt description. Still music of slow moving, utter deep movements. A turtle moves faster I think. A deep bass rumble in 'Closing To A Glacial Dawn'. Sounds like Biosphere or early Thomas Köner, but surely with a fine twist of his own, apparently all made with snippets of classical music. I skipped the collaboration to save that until the end and first heard the piece by Nadja, which spans nineteen minutes. A giant explosion takes place, and it sounds like a 180 degrees turn around from the Netherworld tracks. Yet that is only deceiving the listener. Yes, Nadja is much louder, but it's the same side of the ambient at work here: long sustaining sounds, feeding through effects, creating a ringing effect in your ear. Absense of rhythm is noted. How exactly their collaborative effort was recorded is a bit unclear but both ends meet up well here. There is the glacier like sounds of Netherworld, amplified of course to compete with the harsher sounds of Nadja, who mix in their own blend of guitars and electronics. Placed as the fourth track on the CD it makes perfect sense, forming a perfect bridge between the trio of silence of Netherworld and the solo outburst of Nadja. A perfect collaboration." [FdW / Vital Weekly]
labelwebsite FARIO: http://www.feardrop.net/fario.html
|
2008 |
€13.00 |
|
| NADLER, MARISSA |
Little Hells |
LP |
"... in den Songs selbst liegt es, weil aus ihnen immer noch die edle, beschwörende Kraft spricht, die Geschichten, die sich so sacht vor einem aufbauen, dieses „you can feel the beat of yesterday“. Ja, immer noch und vielleicht noch nie so selbstsicher der Mut und das Bekenntnis zu den Vergangenheiten, zum Gescheiterten, zum Unglücklichsein und zur Trauer. Und wie wunderbar das alles in diese Songs eingeschrieben ist, dass man selbst das düsterste Lamento noch für Tage im Ohr behalten kann. Darin ist die NADLER virtuos: das Schwierige, Unsagbare mit leichten, tänzelnden Bewegungen einzufangen, für einen Moment ein bisschen die Last zu nehmen, von sich und vom Hörer. Ihre Stimme, das ist ein beinahe substanzloser Hauch, den sie nur flüchtig von Wort zu Wort schickt, und kaum etwas damit ertastet und doch alles und jeden damit berührt. Wo sie in den Vordergrund tritt, da ist auch alles Umliegende göttlich angeweht...." [Roy L, NonPop]
"We are proud to announce the latest release from renowned Boston singer/songwriter Marissa Nadler: Little Hells. On her fourth solo album, Marissa Nadler finds multiple ways to envelop the listener in splendid gauzy moods without becoming monochromatic. “The songs take on different personalities at different points in time,” says Nadler. “If a song is good, you should be able to do it in any style and transform it, take a risk and have some fun.”
A master of creating rich dreamscape atmospheres, Nadler’s voice shines and glides even more with a full band accompanying her. Produced by Chris Coady, the starry musical guests include longtime collaborator Myles Baer, Simone Pace (Blonde Redhead), and Dave Scher (Farmer Dave). Few contemporary artists can match the stunning ride of Marissa's reverb vocals that are a journey into themselves on every rose tinged track. Little Hells displays a brighter leap in musical maturity and attention to detail, as the fantasmagoric sounds delve into melancholy nuggets, sometimes erotic, sometimes gutting, but filled with a gorgeous sense of serene hope more so than previous album, Songs III: Bird on the Water." [label info]
"The fourth record from Boston's most enchanting female songstress has left us breathless and almost at a loss for words! Ms Nadler really hits the nail on the head with this effortless marriage of hauntingly rich vocal cascades and captivating song writing. Quite the magnificent album, Little Hells features Nadler joined by a full band whose rhythmic weight anchors each song as her reverb-shrouded vocals drift into the dawning sky. If you've a penchant for lonely country charm with a gothic twist, and melancholic hymns possessed by a familiar nostalgia, this is soooo for you! Conjures visions of Victorian churches on golden plains at midnight, flickering shadows in hallways of rickety old barns. As far as production goes, we've never heard Nadler sound so dense and layered with such an array of instrumentation embracing the core slide guitar, bass and drums. And yet for all the gothic folk elements at the heart of this record, Little Hells is perhaps Nadler's poppiest release to date. Stunning!" [Aquarius Records review]
www.kemado.com
|
2009 |
€16.00 |
|
| NAM-KHAR & SIELWOLF |
Oppressfield |
CD |
"Ebenfalls mit Sielwolf sind Nam Khar vor etwa zwei Jahren mit „Atavist Craft“ an meinem akustischen Horizont erschienen, an dem sie sich auch mit der Kollaboration mit „Alone in the Hollow Garden“ problemlos halten konnten und an dem sie nun mit „Oppressfield“ erneut erklingen. Mit „Platinum insert“ beginnt das Album zunächst sehr leise, doch etwa in der zweiten Hälfte des Track drängt sich der unbarmherzige Maschinenrhythmus, der zunächst wie entfernt zu hören war, in den Vordergrund, bis er gegen Ende wieder verebbt. Die nun folgenden „Cron tabs“ erinnern mich an einen Dialog zweier Maschinen über eine Klangebene hinweg, die voller elektrischer Spannung zu sein scheint und stellenweise nach den grandiosen „Elph“ klingt. Etwas mehr als sechs Minuten sorgen hier abwechslungsreiche Sounds dafür, dass keine Langeweile, sondern vielmehr fantastische Bilder vor dem vielbeschworenen Auge aufkommen. Der Titeltrack des Albums beginnt wieder leiser und erneut kommt es einen so vor, als geschehe etwas in der Entfernung und womöglich in einer Art Nebel. Dann schneidet sich ein irgendwie ‘nagelnder’, recht schneller Rhythmus durch das Ganze: Weiterhin erklingen klagende (?) Töne in der Entfernung, doch – meditative (?) – Ruhe kann sich beim Hörer hier nur einstellen, wenn er die komplexen werdenden und immer noisigeren Geräusche integrieren kann. Auch diese indes verklingen und der Hörer wird in in die „Failed states“ entlassen: Hier schlagen harte Töne durch eine rauschende, wehende Hintergrundfläche und ich meine sogar, gegen Ende etwas wie Schreie zu hören. Der Titel tut ein Übriges, angenehme wie beunruhigende (Klang-)Landschaften zu evozieren. Der sich langsam entwickelnde und längste Track „Crypt trap“ führt diese Atmosphäre gewissermaßen fort: Es gibt zunächst genug Stille, um auch die leisen Töne zu hören, doch wird man auch immer wieder mit Maschinenklängen konfrontiert: Rituale? Attacken? Irgendetwas scheint sich auch bei „Exorial“ durch eine dystopische Landschaft zu bewegen, Genaueres mag sich jeder selbst vorstellen oder sich auch ganz auf die Musik einlassen. Dazu fordert einen Sielwolf & Nam Khar hier immer wieder auf: Quasi mitzugestalten, wenn sich die Stücke zusammensetzen, hinzuhören, versuchen zu verstehen und sich sicher auch immer wieder auf seine Assoziationen zu verlassen. Kein „easy“, sondern irgendwie „analytical“ listening, dabei nicht nur „oppressive“, sondern „impressive“ und daher Freunden des nicht einlullenden, sondern ansprechenden und aufweckenden „(Industrial) Ambient“ zu empfehlen." [Flake777, Black Mag]
|
2017 |
€12.00 |
|
| NAMOSH |
SCHOCKO & CO |
BOOK & CD |
"Vier Audiotracks zwischen Musik und Hörspiel, zwischen 2001 und 2006. Mit Zülfiye Arslan, Mella Ojeda, Hisako Yamanaka, Christine Büttner sowie dem Teletubbie auf Ecstasy. Von der Partnerschaftsberatung bis zur Erpressung der Kinder durch Schokolade. Textbuch mit vier Originalzeichnungen von Namosh sowie einer Audio-CD. mimas atlas # 6, Berlin 2007. Auflage: 50 Exemplare, signiert" [Verlagsinfo]
www.hybriden-verlag.de
|
2007 |
€50.00 |
|
| NATURA EST |
Real Seasons |
CD |
British Electronic producer Tony Young (Autoclav1.1) and German Industrial/Noise powerhouse Andreas Davids (Xotox) present their 3rd album after the self-titled, monolithic debut in 2018 (Ant-Zen) followed with the all-engulfing “Second” in 2019 (Mahorka). 2021 continues the story with ‘Real Seasons’. Six tracks of brooding ritualistic Ambient that taps into the "old ways"; a time in which nature and the cycles of the Earth was to be worshipped and revered. The world as we know it is going through an extinction event crisis, the magnitude of which we have never seen before. Flash storms destroy homes and villages across the world, whilst bush fires rage across population centers without mercy for the lives they take in their path. Spring, Summer, Autumn and Winter are regularly making an appearance in some corners of the globe, all in one day. Time, truly is running out. The clock is ticking. REAL SEASONS holds an aural mirror up to a thought process and belief system, that regardless of doctrine; tells a story of a simpler time, where harvests and unspoken Gods ultimately promoted balance between all life on the planet. Centuries later, we have now overstepped the mark. Nature is all, all is nature; but who really is the beast?
CD Edition of 300 copies in 6 panels Digisleeve, Matt Lamination. 6 Tracks. Running Time 35:58
https://cycliclaw.bandcamp.com/album/real-seasons |
2021 |
€13.00 |
|
| NECKS, THE |
Townsville |
CD |
"Ein Kontrabass wiederholt immer wieder ein kaskadierendes Motiv, unaufdringliche Einladung, doch mit einzusteigen. Und Lloyd Swantons Partner tun es - einmal mehr, wie so oft in den gemeinsamen 20 Jahren. Chris Abrahams streut Pianonoten ein, entspannt perlend. Und Tony Buck federt und sirrt mit Besen und Cymbals. So bricht THE NECKS-Zeit an, unverwechselbar. Diesmal wieder live im heimischen Australien, in Thuringowa am 15.2.2007. Nicht ganz so lakonisch betitelt wie piano bass drums vor 10 Jahren, aber ebenso
schlicht nach dem benachbarten Townsville
(ReR Necks8). Aus Wiederholungen und kleinen Variationen ergibt sich der hypnotische Sound des Trios, immer ein wenig anders, aber wie nach der selben ungeschriebenen Formel gewebt. Intuitiver Minimalismus, der sich, einmal angestoßen, prozesshaft entfaltet. Für jedes Konzert steigen sie an einer anderen Stelle in den Fluss ohne Ufer, dessen unerschöpfliche
Quelle sie selber sind. Buck tickelt und klickt als verlässliche Unruhe, Swanton zupft und plonkt seine dunklen Tontrauben und Abrahams klimpert seine Arpeggien, harft die Klaviatur auf und ab. Als ob die Klangwelt ein- und ausatmen würde. Das Tempo wird leicht angezogen, indem Buck die Schlagzahl erhöht. Ohne dass der Spielfluss selber beschleunigt würde, nur die Oberfläche rippelt sich, mal mehr, mal weniger. An den gut 53 Minuten ist nichts Dramatisches und nichts Hyperbolisches. Aber es gibt ‚gefühlte‘ Verdichtungen der Webmuster, Akzentverschiebungen zwischen
der drei Polen. Mit der Paradoxie, dass
selbst bei merklicher Beschleunigung eines
Spielers, die Synchronität nicht aufgehoben
wird. Wer The Necks einmal gehört hat, kriegt sie schlecht wieder aus dem Hirn. Eine Play-it-again-Droge, die tagträumerisch, zeitvergessen, süchtig macht." [Bad Alchemy]
"The Necks in quiet mood recorded at a concert recording in Townsville, Thuringowa, Northern Queensland. Though many Necks’ pieces open with - or eventually arrive at - some discernable groove, Townsville just floats in a state of suspension from beginning to end. It’s like watching the ocean as wave follows wave follows wave: each the same; each different; assymetric. Bassist Lloyd Swanton who, on this occasion, provides the motif that set Townsville running says he had had no idea where it would lead: ‘One of the deep joys for me’ he said, ‘after twenty years of making music with this group, is that we’re still completely unable to predict where our pieces will go.’
[label notes]
www.rermegacorp.com
|
2007 |
€14.00 |
|
|
Silverwater |
CD |
"Their first studio CD for three years - named for an industrial suburb in Sydney, famous for its correctional facility - Silverwater ranges further and wider than the Necks' earlier releases, exploring a more sectional structure that counterposes more extremes and contrasts, and has a greater sense of forward motion, than usual, though still retaining the long, hypnotic single-track iterative form for which the band has become famous. Layers and skeins of overdubs and textures give way in places to almost empty stretches, and there is much play with asynchronous time. Paradoxically, for a band famous for its slow, cycling, repetition, the Necks show again that they work hard not to repeat themselves." [label info]
www.rermegacorp.com
"Hot damn. A new Necks album. They're one of our favorite bands EVER, and this is (one of the many reasons) why. Silverwater provides 67 minutes of the Necks' unique, hypnotic, keys/bass/drums bliss, all one track of course as is their wont. Over the course of those 67
minutes, though, the music made by this Australian trio varies quite a bit. Their trademark tranceiness is present, always, but at the same time this new album (their first studio record in, like, 3 years) seems more programmatic and propulsive than we're used to from these guys, taking off in directions we haven't necessarily heard from them before, but still sounding more like the Necks than anything else.
Yet, parts could be mistaken for an underground ambient psychedelic jam from the likes of Sylvester Anfang, almost. And we'd say this is
the Necks record to get Bohren & Der Club Of Gore fans into 'em. Other comparisons we've perhaps made before would be to Circle (in their non- metallic Miljard mode), Supersilent, Alice Coltrane, and AMM... anything that can elicit references to the likes of those is,
obviously, amazing.
Eerie wavering drones delicately unfurl near the start, quiet and pretty... that gives way to a section that's almost ceremonial, like some percussive ritual. Sparse and deliberate, drums-only for a stretch, to be joined by deep, plucked bass notes... it could be some kinda krautrock jazz... and it does get "jazzier", sort of, with electric organ coloration, and cyclic piano plinkings, but also electronic-y gritty glitchiness overdubbed... Silverwater's shimmering textures and minimalist pulsations are simply beautiful, enthralling. It's a glorious 67 minutes, all right.
If you know the Necks, you know you need this. If you're new to the Necks, please do yourself a favor and check this out. Next to seeing them live (which some of us have been lucky enough to do, oh my god they were good), this will demonstrate quite effectively why we hold them in such high regard." [Aquarius Records]
"67:15, ein Track. Der Einstieg in den
Necks-Sog geschieht diesmal über Hammondorgel,
Electronics, flickernde Percussion. Dann ein ultrarepetitives, trillerndes Pianomotiv von
Chris Abrahams, ganz sparsam der Kontrabass
von Lloyd Swanton, knatternd rollendes
Drumming in immer wieder wiederholtem Muster.
Lange spielt Tony Buck das allein, bis der
Bass wieder mit langsamen Schritten sich anschließt. Dann auch zarte, gleichmäßige Cymbalschläge und die Wiederkehr von Hammond
und Piano zugleich. So gleitet man in den nun
wieder vollen Klang hinein. Alles an The Necks
ist gleitend, fließend, repetitiv, hypnotisch.
Mandalas aus Schwebklang und Puls. Buck klappert mit Muschelschalen, Abrahams schlägt immer nur ein, zwei Noten an. Die Electronics
kommen wie ‚from nowhere‘, dazu das nun schon bekannte perkussive Klackern, wohl nicht von Hand. Die schlägt die Sekunden auf der Cymbal zu dröhnender Orgel und Pianomonotonie. Was macht Swanton? Lässt er einen Ventilator die Basssaiten beklackern? Jetzt steigt der Bass als Bass wieder ein, das Klackern geht aber weiter, dazu kommt jetzt - wenn die Uhr nicht geschmolzen wäre, würde sie 30 verstrichene Minuten anzeigen - eine Gitarre. Buck macht mit einem Drumriff dem mäandernden Dröhnfluss Beine, Abrahams hält mit einem Pianoloop schritt, dazu Walking Bass und der klackernde Automat. Und die Gitarre, jetzt deutlich. Dann dünnt der Klang aus auf das Klackern und zwei Klavierspuren, eine davon hell und verzerrt, dann übermenschlich trillernd. Dann doch auch wieder Bass und schnelle Cymbalschläge, aber nur kurz, als eine nicht realisierte Möglichkeit des Fortgangs.
Es spielen nur die Automaten, trillernd,
klackernd. Jetzt der zweite Anlauf von Bass
und Drums, auch das Piano, dann nur das Piano.
Es hat die Ausdauer, gegen die Automaten die Wende einzuläuten. Bass und Drums verhungern
aber ein drittes Mal, die Orgel hält als einzige, monoton pulsierend, den letzten Lebensfaden. Ganz im Hintergrund tauchen
Drums und Keyboards als weitere Lebenszeichen
auf. Jetzt weitere Orgelschwaden, wieder
und wieder, bis der Puls endlich von einer
Rhythmusgitarre verstärkt wird und kräftig genug, den Bass wiederzubeleben für einen simplen Vierklang. Dazu das Geschrammel über
sonorem Orgelfond und, für die finalen drei Minuten, tickende Cymbal, Pianonoten und Arcostriche, die diese vier Noten gemeinsam anstimmen. Bis zuletzt nur Cymbal und helle Pianotropfen bleiben. Was für ein Spannungsbogen, mit einer herausfordernd schmalen Brücke von Hier nach Da." [Rigobert Dittmann / Bad Alchemy]
|
2009 |
€14.00 |
|
|
Mindset |
CD |
"Now in their 24th year, the Necks’ release Mindset, their 16th album - and first LP, featuring two starkly contrasting tracks: the pulsating, raw, Rum Jungle and the slower building, rather hypnotic Daylights.
Polyrhythms imbue both pieces with powerful forward motion, embroiled with which ethereal piano patterns interweave with bass, drums, electronics, churning Hammonds and noise-guitars.
Drummer and percussionist Tony Buck writes: “Mindset shares some elements in common with our previous album Silverwater [2009], mostly in some mixing approaches and rhythmic devices - a reflection of our ongoing fascination with polymetric material and varying simultaneous pulses... but it's a whole other thing again, and the two tracks are very different from one another - Rum Jungle captures the live approach of the piano, bass, and drum trio a lot more, while Daylights features a bed of electronics and little sounds that slowly converge, coalescing into a multi-layered, multi-tempo, swirling soundscape.”
This release is supported by tours over the next three months in North America, Australia and Europe..." [label info]
www.rermegacorp.com
|
2011 |
€13.00 |
|
|
Open |
CD |
"Die unvergleichlichen THE NECKS mit ihrem nunmehr 17. Album ihrer 26-jährigen Karriere.
THE NECKS haben etwas geschafft, was nur wenigen Künstlern gelingt: einen singulären Stil
zu kreieren, dabei eine ganz unverkennbare eigene Handschrift entwickelt und doch mit jedem
neuen Album nicht einfach bewährte Rezepturen neu aufgekocht, sondern durch feinfühlige
Neujustierung der Parameter neue Nuancen offenbart. Das leitende Motiv bei „Open“ waren –
nach dem vergleichsweise dynamischen, stellenweise eruptiven „Mindset“ von 2011 –
Stille und meditative Klarheit, die etwa „Drive By“ innewohnte. CHRIS ABRAHAMS (Piano),
TONY BUCK (Drums) und LLOYD SWANTON (Bass) setzen im Laufe der 68 Minuten einen
repetitiv-hypnotisierenden Klangfl uss aus leichtfüßig swingendem (Post-)Jazz, repetitiven Grooves à la JAKI LIEBEZEIT (CAN) und elektronischen Sounds in Gang, der elegant innerhalb der selbst gewählten Koordinaten mäandert und bei aller scheinbaren Reduktion und Schlichtheit unter der subtilen Oberfl äche eine komplexe Struktur offenlegt. Wie immer bei den Australiern. //
OPEN will be the Necks’ 17th album, and the 11th released by ReR. Here the band returns to the territory for which it is best known: a single, glacially mutating, long-form piece that runs for a little over an hour.
The previous record, “Mindset”, said bassist Lloyd Swanton, “reached some pretty intense levels at times, and though we never overtly discussed it, I think that on Open, by contrast, all three of us were taken by the idea of working in a field of significant stillness. At least, after a couple of days’ recording, it became clear that the music was leading us in this direction.” Feeding into the ground plan are floating arco harmonics, minimalist funk, iterative piano figures, subliminal and liminal pulses, twittering electronics and at one point an arco bass choir. It is unequivocally a studio work, with layer laid on layer, while still, miraculously, remaining architecturally spare." [label info]
www.rermegacorp.com
"The Necks might be our favorite jazz group, most of their records/performances being single hour long pieces, always a lush, patient, slow build, all texture and mood, super dynamic, but in a way most bands can't pull off, just bass drums and piano, their sound dense and dark, doleful and lovely. The last few Necks records have found this minimal band getting a little maximal, their slow build eventually erupting into something dense and driving and almost psychedelic, as if in response to that, Open finds the group and their most hushed and abstract, with the first few minutes featuring a field of tinkling chimes, spare pointillist piano, and only the occasional flurry of bass notes, spacious and mesmeric, as we usually find ourselves saying about these guys, we would have been happy if there was no slow build at all, and the whole record was just this glistening, glimmering sprawl of abstract free jazz drift.
But there is a method to their madness, and at about the eight minute mark, the song shifts dramatically, an electronic pulse, some simple hi-hat rhythms, the occasional bass drum, and nothing else, weirdly hypnotic and barely there, the sound soon joined by a buzzing hum, a snare crack here, some bass thrum there, the sound blossoming into a sprawl of subtle tribal drumming, and more shimmering chimes, soon the piano comes back in, and the song begins to take a more jazz-like shape, albeit one that's still quite free and abstract, the lilting piano melody offsetting the busy drumming, the sound shifting again soon after, with a snare roll that sounds almost like radio static, the bass and low notes on the piano unfurling a dense rumble, those chimes tying everything together again, before settling into something much more tranquil and serene, only to return to that strange electronic pulse / hi-hat section, which slips from jazzy shimmer, to abstract free form almost-psychedelia, the snare locked into another roll, adding a buzzy thrum, the sound finally settling into some hushed, laid back jazziness, wreathed in a dreamy droned out shimmer, gradually fading to silence.
Recommended, as always!" [Aquarius Records] |
2013 |
€14.00 |
|
|
Vertigo |
CD |
"The release of a new Necks album is always news. This is our 12th to date - and their 18th. While most ensembles are driven by personalities, the Necks are powered by an idea. A very large and simple idea - which now seems completely obvious…. but only because the Necks thought of it and made it work. Now their pleasure (and ours) is sequentially to re-imagine and explore that idea – the prime directive of which seems to be to be that each unfolding step and every passing detail of any performance be allowed to evolve organically out of the musical conditions established at its moment of departure. In other words, we are in the territory of chaos and catastrophe theory; of hurricanes and butterfly wings… And, since one can never step twice into the same river, each beginning has led to wildly unpredictable and variant outcomes; and imperceptibly: you never hear the changes until somehow they have already happened. “We end up, Lloyd Swanton writes, ‘in a very different place from whatever our initial notion … had been.” In the case of Vertigo, we are dropped straight into an almost Feldmanesque musical universe, in which sounds - seemingly disconnected - are already there; creating space rather than inhabiting it. Then, without trying, they mutate. Not mechanically and not according to any pre-determined process - because it’s always clear that what we hear is being played by human beings; that it’s music. A special kind of music that is not pushy or demanding or demonstrative, but rather co-operative, spatial, ambiguous. A music that leaves room for its listeners." [label info]
www.rermegacorp.com
"Die unvergleichlichen THE NECKS mit dem nunmehr 18. Album ihrer 28-jährigen
Karriere. THE NECKS haben etwas geschafft, was nur wenigen Künstlern gelingt: einen singulären
Stil zu kreieren, dabei eine ganz unverkennbare eigene Handschrift zu entwickeln und doch
mit jedem neuen Album nicht einfach bewährte Rezepturen neu aufzukochen, sondern durch
feinfühlige Neujustierung der Parameter neue Nuancen zu offenbaren. CHRIS ABRAHAMS
(Piano), TONY BUCK (Drums) und LLOYD SWANTON (Bass) setzen auch auf ihrem neuen Album „Vertigo“ den Maßstab sehr hoch an. Der prägende repetitiv-hypnotisierende Klangfluss
aus leichtfüßig swingendem (Post-)Jazz, repetitiven Grooves à la JAKI LIEBEZEIT (CAN) und elektronischen Sounds, der viele ihrer alten Alben prägte, ist auch auf dem aktuellen Album zu hören. Elegant und subtil erschafft das Trio aus Australien hier abermals ein Meisterwerk. Wie kaum einer anderen Band gelingt es den Musikern, dem Hörer einen „Weg“ vorzugeben, ihm aber genug Freiraum für eigenes Hören und Interpretieren zu lassen. Ganz große Kunst!" [Broken Silence]
|
2015 |
€14.00 |
|
| |
The Necks Box |
8 x CD BOX |
"Formed in Australia the late 1980s by Chris Abrahams, Tony Buck and Lloyd Swanton, the NECKS have been hailed as "one of the greatest bands in the world" by the New York Times.
The Guardian said: “Entirely new and entirely now...They produce a post-jazz, post-rock, post-everything sonic experience that has few parallels or rivals." And Critic Richard Williams wrote in his book Blue Moment: "I think the new music I would find it hardest to do without, fifty years after Kind of Blue, is that produced by The Necks”.
8 of their best CDS are now in this sturdy box, at a very interesting price:
CONTENTS
Hanging Gardens
Drive By
Aether
The Boys
Chemist
Townsville
Silverwater
Mindset." [label info]
www.rermegacorp.com
"Die unvergleichlichen THE NECKS mit einer tollen und hochwertigen Werkschau in Form einer 8-CD Box. THE NECKS haben etwas geschafft, was nur wenigen Künstlern gelingt: einen singulären Stil zu kreieren, dabei eine ganz unverkennbare eigene Handschrift entwickelt und doch mit jedem neuen Album nicht einfach bewährte Rezepturen neu aufgekocht, sondern durch feinfühlige Neujustierung der Parameter neue Nuancen offenbart. Dies lässt sich wirklich auf alle Alben der Band übertragen. CHRIS ABRAHAMS (Piano), TONY BUCK (Drums) und LLOYD SWANTON (Bass) sind bereits seit 1989 als Band aktiv und veröffentlichten 16 Alben. Weit über die Grenzen ihrer australischen Heimat ist die Band bekannt. Nun erscheint eine kleine Werkschau
mit acht Alben der Band in einer hochwertigen Box. Inhalt: „Silverwater“ (2009), „Townsville“ (2007), „Chemist“ (2006), „The
Boys“ (1998), „Drive By“ (2003), „Aether“ (2001), „Hanging Gardens“ (1999) und „Mindset“ (2011)." [Broken Silence]
"Wow, if you DON'T have all these Necks cds, and you might not 'cuz some have been hard to find lately, then this box set is Christmas come early. Treat yourself! Eight of the aQ-beloved Australian minimal trance drone-jazz masters' ReR releases, circa 1999-2011, together in a handsome box. This hefty cube contains Silverwater, Townsville, Chemist, Drive By, The Boys, Aether, Hanging Gardens, and Mindset - each of which has received rave reviews on our list over the years (three of which were Records Of The Week, though all easily could have been). If we pasted in our reviews of all of them here, this review would be waaaay too long. So we'd just suggest if you're curious, please look 'em up on our site. Basically, though, it's a great chance for anybody who has slept on The Necks to get a big dose of some of the best, most original and hypnotic instrumental 'jazz' music ever.
Of course, they have other releases you should get too - we'd love a box set of their earlier stuff, and even this set is missing some Necks releases that came out during that 1999-2011 time span. Still, more than enough music here to keep you entranced for a long time..." (Aquarius Rec)
|
2015 |
€60.00 |
|
| NECROPHORUS |
Imprints |
CD |
Das neue NECROPHORUS-Werk, introvertierter und elektronischer als seine RAISON D'ETRE-Veröffentlichungen, ohne das "Gothic"-flair, dafür umso "kosmischer"......verwirbelte Orgel-artige tönende Harmonien, aber auch Spielwiese für etwas "abgefahrene" elektronische Sounds, field recordings, sogar Akustik-Gitarrenklänge..
aber alles geschieht in sehr ruhigen, magisch-meditativen Bahnen ...
"Beautiful, sensitive and electrified. 'Imprints' by Necrophorus goes beyond the previous album 'elinrós' (2005) and further investigates the aural landscape of imagination and mysticism. 'Imprints' vibrates a fresh air mixed of three dimensional electrified organic field recordings and minimal immersive sequenced organ sounds thus creating the psychedelic atmosphere of virtually being inside the music, inside the magic circle of the aural landscape. 'Imprints' is the fifth CD album from Necrophorus/Peter Andersson (Sweden) who is most known for the project raison d'etre with several masterpiece releases on the Swedish legendary Cold Meat Industry label. Inspired by the impressions of his visit to the amazing landscapes of Iceland summer 2006, Peter Andersson has created a new astonishing aural output. 'Imprints' consists of three variations of the same impression: two of them are pure studio composisitons while the third variation is improvised as 'live in studio' recording. Format: CD, folding cover. Total time: 50:16 minutes" [label info]
www.wrotyczrecords.prv.pl
|
2007 |
€12.00 |
|
| NEHIL, SETH |
Amnemonic Site |
CD |
Erstes Solo-Album von SETH NEHIL seit 5 Jahren... geheimnisvoll tönende Soundwelten warten auf ihre Entdeckung, Klänge kommen von Objekten & Aussenaufnahmen...
"Perhaps Seth Nehil is better known from his collaborative work than for his solo work. He worked with jgrzinich and Olivia Block, but his last solo work was from 2002. In the years between he worked mainly on different projects that couldn't be released on CD, such as multimedia installations. The new work 'Amnemonic Site' is covered with obscurity. Besides his name, the title, labelname and catalogue number, the cover holds no information. 'Play Loud' it says on the label, which always raises the question here: why? I usually like to make up my own mind if I want to play music loud or not. The whole time I was playing this CD, I couldn't stop thinking 'what are these sounds'? It's of course a question that I constantly ask myself when playing new music, certainly when covers are as obscure as this one, but in Nehil's case, it can be anything really. Are these field recordings? Perhaps. Or closely miked objects? Also likely. And what about the nature of sound processing? It seems likely there is some. How and to what extent? And do I also detect some real instruments, like wind instruments, or perhaps organs? It's all likely. Each of the pieces is a large mix up, I imagined, of all of these. There is field recordings, closely miked objects falling to the wooden floor, but also long sustained sounds of wind instruments. It all makes up a particularly strong CD, that is very much alike the latest Olivia Block release, in which a similar treatment of 'real' instruments and field recordings is used, and Nehil easily reaches to a similar height in his 'Amnemonic Site'. Full of tension, he offers a strong interplay between all of his soundsources and it's easily the best release I heard from him to date." [FdW / Vital Weekly]
www.alluvialrecordings.com |
2007 |
€13.00 |
|
| |
Flock & Tumble |
CD |
Mit diesem Album erweitert der amerikanische Composer das bisher von ihm Gewohnte auf kurioseste Weise! Diverse Objektgeräusche und subtiler Einsatz von Stimmen und Gesängen, so obskur wie nur selten zuvor vernommen, field recordings & kaum Erkennbares, wohl auch elektronisch bearbeitet, vieles bleibt im dunkeln und macht FLOCK & TUMBLE umso geheimnisvoller und wunderbarer, von der Wirkung ungefähr so wie BIOTA, vom "Feeling" hat es was von THUJA, TIP für Leute die was wirklich Neutönendes suchen !
"Seth Nehil is an American artist involved in various projects ranging from compositions for dance, installations, multimedia performances, publications and visual art. Over the years, he has collaborated with other significant sound researchers (John Grzinich, Olivia Block, Michael Northam, Matt Marble and Brendan Murray) and has released many CDs on international labels such as Kaon, Alluvial and ...Edition.
It's not so easy to describe the music of Seth Nehil: like a compound of several substances, obtained by capturing natural and urban sounds, manipulated instruments, as well as by electronic treatments and textured objects.
Flock & Tumble is another fine example of his new direction : shorter tracks with an almost song-like structure and a large sound palette that includes the human voice as material. Flock & Tumble explores haphazard clusters, abrupt shifts, percussive rattles and gentle clouds." [label info]
"Throughout the years we have reviewed much of the work of Seth Nehil, who belongs with people like JGrzinich and MNortham to the main players of the US drone scene, which finds itself largely based in field recordings, but also acoustic instruments and just a little bit of electronics. All of this is collected and played and then put together into pieces of music. Music that is not easy to describe as it simply defies categorization, which is always good (and difficult for such reviewers like me, who like to use them). Partly we could say the music is improvised on the side of the instruments, percussive mainly. Then afterwards, or perhaps before hand, field recordings are put to it, something set in a loop, although not always 'on', and sometimes dropping out of the mix, in order to return later. If a word applies to this music, then 'organic' would, I think, be appropriate. Organic in the way the material is put together: from various sources, but it seems to fit together like it always was. Organic also in the sense of playing the instruments and the use of field recordings. This leads to some pretty strong pieces of music, in which we also recognize someone like Af Ursin or Yannick Dauby. Dense and delicate." [FdW / Vital Weekly]
"An important demonstration of Nehil’s abilities, this is a classic sleeper which deserves immediate exposure, well beyond the small circle of experts to which music like this is usually addressed." [Touching Extremes]
www.sonoris.org
|
2009 |
€12.00 |
|
| NEHIL, SETH & MATT MARBLE |
Ecllipses |
CD |
Mysteriöse Geräuschmusik pur! Tolle Zusammenarbeit der beiden Herausgeber des exzellenten FO A RM - Magazins. Materialien und Objekte werden so bearbeitet, das lebendige fliessend-konkrete Klänge entstehen, deren Herkunft man nur erahnen kann. Alles ist in ständiger Bewegung, die Stücke nehmen z.T. dramatische, dronige Formen an, um dann wieder in Mikrosound-artige Fragmentsounds zu fallen, mal klingt es nach schwingenden selbst-gebauten Instrumenten, dann nach rauschenden field recordings... geniales Zeug zum genauen Zuhören & Sich-Versenken !
"First collaboration release between two American 'sound composters', Seth Nehil and Matt Marble. A dynamic whirlwind tour through states of ellipsis and eclipses, abrupt ruptures, reuniting and igniting. Where nothing is static for too long. Through an invigorating admixture of instruments, field recordings and various found matter, a compelling and mysterious world comes alive to spark the imagination." [label notes]
"Naturalist aktionism? Sure, let's call it that. We can't really
say that the Hermann Nitsch and Gunter Brus bloodletting as grand
allegory is applicable to this collaboration between Portland based
sound artists Seth Nehil and Matt Marble; but a rigorous body of work
is definitely at hand. These two are the editors of the sound art
journal FO A RM, and have both generated impressive bodies of
conceptually minded compositions through field recordings, found
objects, the almighty drone, and hand-built instruments. Here, Nehil
and Marble wax poetic about the overlay of tactile sounds to emphasize the ruptures, holes, and negative spaces which may have been present on each layer of sound. So, instead of a gaping piece of unbroken ambience, Ecllipses is a tense and discordant album of rollicking textures which bristle and scrape against each other. Nehil and Marble revel in tumbles and scrabbles of what could be a revolving metal drum filled with various pine cones, twigs, and pebbles. Elsewhere, they focus upon churning bowed steel-strings, which offer buzzing clouds of softly rendered acoustic noise; and then soft pluckings of what sound like softened dulcimers drift into prolonged echo, hinting at avant- folk drones of Jewelled Antler (especially the Ov recordings) and Kemialliset Ystavat. Barring a minimal amount of signal processing and ring modulation, the album flourishes in the sodden palette of natural objects: wood, grass, leaves, soil, and rock."" [Aquarius Records review]
www.and-oar.org
|
2008 |
€12.00 |
|
| NERELL, LOREN |
Taksu |
CD |
„Fourth World Ambient“ nennen die liner-notes die Musik von LOREN NERELL, der wieder aus einem reichen Fundus an field recordings schöpft, die er auf BALI gemacht hat... Musik in „ewiger Gegenwart“, ohne Anfang oder Ende, ohne Vergangenheit oder Zukunft, als reine atmosphärische Schwingung.
“ Loren Nerell's association with Soleilmoon Recordings dates back to his 1996 release "Lilin Dewa", as well as the more recent "Indonesian Soundscapes". "Taksu" takes cues from both of these albums, blending environmental sounds and Balinese instruments together into a glowing, amorphous cloud of spine-tingling sound. Two musicians come to mind when listening to "Taksu": Jon Hassell, who popularized Fourth World music, and Brian Eno, the father of Ambient music. While sounding nothing like the work of either artist, Loren Nerell's music takes inspiration from both of them. His music is evocative of mist-covered mountains and slow-motion waterfalls, so it owes something to Hassell. But it also pays tribute to the patient genius of Eno, with its endlessly evolving atmosphere, in which there is no beginning or end, only the present. The crowning touch on this project came from Steve Roach, stalwart Ambient Music pioneer and long-time friend of Loren's, who came in to provide the final spacial treatments and mastering of the CD. In his liner notes for the CD booklet, Djam Karet founder Chuck Oken, Jr. describes the music as a "sound pool" that the listener is immersed in. His words couldn't be more accurate, and it's no exaggeration to say that putting this record on is like waking up at sunrise, deep in the tropical Balinese rainforest, surrounded on all sides by the sounds of the jungle. To describe ambient or atmospheric music as "a soundtrack" is clichéd, but it's really the best way to talk about "Taksu". It truely is a very special album, and one that asks to be seen, not merely heard.” [label info]
|
2003 |
€12.50 |
|
| NEUFELD, SARAH |
Hero Brother |
CD |
"Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.
Neufeld began developing pieces for solo violin in a more formal and focused sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music.
Neufeld's debut solo album Hero Brother indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotive études, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR. Hero Brother will be released on Constellation Records in August 2013.
Sarah has recently premiered her solo music at BAM (Brooklyn), the WSO New Music Festival (Winnipeg) and Wavelength Festival (Toronto), of which Exclaim magazine wrote "the highlight of the night was most certainly Sarah Neufeld, whose compositions range from Reichian to folksy without skipping a beat; she uses violin squeals, growls, scrapes and slides to express varying emotions and stomps the stage beneath her for percussion.
Packaging notes
CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, pull-out art poster and download code for 320 kbps MP3 copy of the album. Artwork by Tracy Maurice." [label info] |
2013 |
€14.00 |
|
| NEW BLOCKADERS & VARIOUS ARTISTS |
Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe |
do-CD |
"Volume II in a series of UK / European / US and Japanese artists’ tributes
to the pioneering UK Noise group The New Blockaders including exclusive
tracks by: Asmus Tietchens, RLW, Achim Wollscheid, Runzelstirn & Gurgelstock, Sudden
Infant, Dave Philips, Das Synthetische Mischgewebe, Kommissar Hjuler, Mama
Baer, Freiband, Vortex Campaign, Grunt, Lasse Marhaug, Jerome Noetinger,
Christian Renou, Pita, Giancarlo Toniutti, Zbigniew Karkowski, Alexei
Borisov, Cisfinitum, etc.
Artwork by Richard Rupenus (TNB)
The New Blockaders are a group who, more than any other, define the essence of true Noise music both in art and in act. Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is
immeasurable. Emerging at the beginning of the 1980s alongside the Industrial grind of Throbbing Gristle and the harsh, abrasive Power
Electronics of Whitehouse, TNB stood out through a purity of vision. Their first record, 1982’s Changez Les Blockeurs, is noise in its most rudimentary form: metallic grating sounds and analogue feedback redefined what could be
classified as music. Its abstract form and Dadaist construction challenged all that had appeared before. It’s anti-music approach presented a recording closer to the theory-driven work of Einsturzende Neubauten than their
supposed contemporaries. They would appear rarely and when they did it would be in anonymity. The records would emerge even more infrequently with little information and in tiny runs. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore and Merzbow have bough their anti-sound
to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the
abrasiveness of Merzbow all owe something to the anti-music of TNB. They can truly be credited as pioneers of Noise music as we know it today." [label info]
www.aufabwegen.com
Reissue of parts of the LP box on VoD, with some extra tracks by Jerome
Noetinger, Kommissar Hjuler and more.
"The New Blockaders, Noiseinfanterietrupp und frühe Vordenkerform bruitistischer Lärmcollagierung bekommt auf dieser Compilation ein frühes Denkmal neu aufgesetzt. Die vorliegende Kompilation, 2006 in ähnlicher Form auf dem VOD-Label veröffentlicht, bekommt hier eine gänzlich neue Formung mittels exklusiver Bearbeitungen und Widmungen und einem Mastering von Asmus Tietchens. Die versammelten Werke, allesamt bezogen auf die Tributisierung der NB reichen dabei von archaischer Klangformung bis hin zu penetrierenden Digitalschwaden kurzgeschnittener, fingernagelgroßer Klangpailetten. Achim Wollscheid, RLW, Tietchens selbst, Runzelstirn & Gurgelstøck in einer Paradestellung dafür was analog gegen digital bedeutet und Giancarlo Toniutti sind nur einige wenige, deren Beiträge sich sattsam an der Tatsache weiden, die frühen Ausläufe des Industrial in ihrer Glanzzeit als Musiker der selben Kunstgattung miterlebt zu haben. Wenngleich einige wenige Durchläufer überbleiben (wie z.B. Achim Wollscheids geradezu unhörbare Symphonie für geschredderte Samplebänke, die in ihrer Konsequenz zwar mutig genug ist, aber zu sehr hinter den anderen Beiträgen zurückkbleibt sowie Freiband’s programmatisch betiteltes »Nichts«, das geradezu unverschämt mager die Möglichkeiten gecrushter Feldaufnahmen untersucht und geradezu hingeworfen wirkt), sind die Beiträge von RLW (mit Einbindung der kompletten Familie in den Prozess der Manifestierung), Mama Bär (welche ihre kongenial platzierten Schreie gegenüber einer Metallbastonade tapestriert, um auf die Kontraste von Vokal und Bruit aufmerksam zu machen), Kommissar Hjuler (dessen Beitrag das Sujet allzu sehr ad absurdum führt, aber in seiner vehementen Konsequenz auch nicht davor zurückschreckt, Kinderlieder einzubinden) sowie die musique concréte-Arien von Jérôme Noetinger und Das Synthetische Mischgewebe (die mit ihrer Collage aus atonalen Kracherzeugern einen ähnlich bewegenden Ablauf schaffen wie seinerzeit Ruttmanns »Weekend«) in ihrer Klangwerdung geradezu vorbildlich beschaffen. Ein insgesamt sehr überzeugender Re-Release für all jene, denen die 10 Platten der VOD-Ausgabe zu teuer waren. 5/5 " [Thorsten Soltau / AEMAG]
|
2010 |
€17.50 |
|
| |
Viva Negativa ! Vol. III : USA |
do-CD |
"Die NEW BLOCKADERS sind eine Gruppe, die mehr als jede andere die Essenz des wahren Noise sowohl in Kunst als auch Musik definiert. Ihren Einfluss auf die aktuellen Crossover Noise Künstler wie PRURIENT und WOLF EYES ist nicht zu verkennen. Seit ihren ersten Schritten Anfang der 80er in der Gesellschaft des Industrial Grind von THROBIING GRISTLE und den kantigen Power Electronics von WHITEHOUSE, standen THE NEW BLOCKADERS immer für die Reinheit ihrer Vision. Ihr erstes Album, "Changez Les Blockers" von 1982, ist Noise in seiner ursprünglichsten Form: metallisches Knirschen und analoges Feedback definierten die Grenzen von Musik neu. Die abstrakte Form und die dadaistische Konstruktion stellten alles Dagewesene in Frage. Die Band sollte nur selten und dann anonym auftauchen. Alben kamen noch unregelmäßiger und meist in kleinen Stückzahlen. Kollaborationen mit Thurston Moore von SONIC YOUTH und MERBOW in jüngerer Vergangenheit haben den Sound von THE NEW BLOCKADERS auch einer jüngeren Generation nähergebracht. Das Metallgehaue von K2, die Ungemütlichkeit von RUNZELSTIRN&GURGELSTOCK, die Dichte von MACRONYMPHIA und die Kantigkeit von MERZBOW sind nicht ohne die Einflüsse der Anti-Musik der NEW BLOCKADERS." [label info/ Cargo]
"Volume III in a series of UK / European / US and Japanese artists’ tributes to the pioneering UK Noise group The New Blockaders including exclusive tracks by:
Z’EV, The Haters, Controlled Bleeding, Thurston Moore, Jim O’Rourke, Wolf Eyes, Macronympha, Emil Beaulieau, AMK, Idea Fire Company, John Wiese, Daniel Menche, Damion Romero, Aaron Dilloway, Lockweld, Prurient, Richard Ramirez, Keith Fullerton Whitman, Jason Kahn, mnortham, Carlos Giffoni, Blue Sabbath Black Cheer, etc.
Artwork by Richard Rupenus (TNB)
The New Blockaders are a group who, more than any other, define the essence of true Noise music both in art and in act.
Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is immeasurable. Emerging at
the beginning of the 1980s alongside the Industrial grind of Throbbing Gristle and the harsh, abrasive Power Electronics of Whitehouse, TNB stood out through a purity of vision. Their first record, 1982’s Changez Les Blockeurs, is noise in its most rudimentary form: metallic grating sounds and analogue feedback redefined what could be classified as music. Its abstract form and Dadaist construction challenged all that had appeared before. It’s anti-music approach presented a recording closer to the theory-driven work of Einsturzende Neubauten than their supposed contemporaries.They would appear rarely and when they did it would be in anonymity. The records would emerge even more infrequently with little information and in tiny runs. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore and Merzbow have bough their anti-sound to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the abrasiveness of Merzbow all owe something to the anti-music of TNB. They can truly be credited as pioneers of Noise music as we know it today.
Disc One:
Z'EV "Chips Off The New Block"
Keith Fullerton Whitman "September 27th, 1960"
Alan Courtis "Happy Blockaders Time"
Controlled Bleeding "The Latest Hole In My Head"
Plethora "Last Night I Dremt Of Anti-Fest... This Morning I Woke Up Deaf"
Macronympha "Riding Down Lost Highway"
The Haters "Mantra To Rot"
Emil Beaulieau "Anti-Vartan"
Lockweld "Catharsis Bomb"
Daniel Menche "Smoldered Blockaders"
John Wiese "Annul"
Broken Penis Orchestra "The Kill Lump"
Jason Kahn "Rille"
Disc Two:
Idea Fire Company "Les Heros De La Barricade Finale"
mnortham "Plotting Course On The Field Of Nothingness"
Thurston Moore "Corion Sound for TNB"
Jim O'Rourke "407 Seconds Over"
Damion Romero "Broken Block"
Prurient "Majdanek Slaughterhouse"
Richard Ramirez "Cultural Blockade"
Blue Sabbath Black Cheer "Untitled"
Carlos Giffoni "Richard Walks Into The Sea"
AMK "Phlegm Angst"
Aaron Dilloway "Machine Rape (Blitzkrieg)"
Wolf Eyes "Fisted Gadgets" " [label website info]
www.importantrecords.com
|
2010 |
€17.50 |
|
| NEWMAN, COLIN |
Bastard |
do-CD |
WIREs COLIN NEWMAN reissued auf seinem SWIM Label das Soloalbum "Bastard" aus dem Jahr 1997. Damals von der Presse als richtungsweisendes und bahnbrechendes Album im Elektro/TripHop/Techno-Bereich hoch gelobt, klingt es über 25 Jahre später immer noch grandios und aktuell. Erstmals auf LP (eco vinyl) überhaupt, CD-Version jetzt mit zusätzlicher Disc expanded mit vielen Bonustracks. - Obwohl das Album (das den Titel Bastard trägt) eine große Bandbreite an Stilen aufweist - Deep, Techno, funky Beats, Drum'n'Bass - ist es auch, wenn überhaupt, eine Rückkehr zu Newmans "Rock"-Wurzeln, da mehrere der Tracks Schwaden von E-Gitarren enthalten, die die Rhythmen untermalen. Die Platte fasst Newmans Hör- (und Aufnahme-) Gewohnheiten in den letzten Jahren vor der Veröffentlichung und die eklektische Natur des Swim-Labels zusammen, das er mit seiner Frau Malka Spigel betreibt. Alle Stücke auf Bastard wurden von Colin Newman und Malka Spigel geschrieben und von Immersion produziert. - "The language of Bastard is house, techno, breakbeat, drum and bass, and doubtless post-rock." - Colin Newman 2023 * "A fascinating trip across the musical barriers!" (Modern Dance) *"Scattercore breaks with swathes of electric fuzz... spiritualised infected with the dance virus... droning, blissed out mantras..." (MixMag) - CD2 info: Tracks 1-4 taken from 1995 EP Voice. tracks 5-8 originally appeared on swim team #1 and swim team #2, tracks 9-12 previously unreleased and exclusive to this edition. |
2024 |
€18.50 |
|
| NEWS FROM BABEL |
Box |
3 x CD-Box |
Wiederveröffentlichung der beiden NEWS FROM BABEL LPs, plus Material einer raren 7", in schmucker Box!
"Vieles auf "Letters Home", dem zweiten und letzten Album von News From Babel, versprüht, nicht zuletzt dank unterkühltem Gesang von Robert Wyatt, den spröden Charme, der mich an die Lieder von Kurt Weill erinnert. "Heart of Stone" beinhaltet Elemente von tanzanregender Klezmer-Musik, die nahtlos in Kammermusik-Chanson-Klänge übergehen. Auch der zurückhaltende, an Dagmar Krause angelehnte Gesang von Sally Potter weiß zu überzeugen, wobei, wie beispielsweise auf "Banknote", wiederholt Folklore mit gehobenem, an die 30-er Jahre erinnerndem Liedgut vermischt wird. Im Text von "Moss" wird Beweis geführt, dass das einzig Wahre und Unverfälschte nur im Kontakt mit Mutter Erde und mit Natur zu finden ist, während die ersten drei Lindsay Cooper/Chris Cutler-Chansons sich nacheinander mit Themen wie Unfreundlichkeit des Daseins, Herzen aus Stein und Kälte des Geldes auseinandersetzen. Die Atmosphäre dieser Platte wirkt durch den sparsamen Einsatz von Blasinstrumenten, Harfe und Schlagzeug mit ein wenig Keyboards ziemlich spartanisch, nicht selten traurig, aber nicht abweisend. Im melancholischen Lied "Dark Matter" werden Pop-Anleihen aus den 50-ern hörbar. In dem rhythmisch flotten, reichlich mit Harfen-Arpeggios versehenen "Fast food" kann sich der Hörer am zweitstimmigen Gesang von Dagmar Krause erfreuen. Sehr einnehmend klingt auch die im dunkel-stimmungsvollen "Late evening" von Harfe und Piano begleitete Stimme von Frau Krause, die dort kurzzeitig auch im Duo mit Robert Wyatt zu hören ist. Durch die nüchternen bis depressiven Texte und schnörkellose Darbietung ist "Letters Home" recht dunkel und melancholisch geraten, bleibt dessen ungeachtet in vielerlei Hinsicht gelungen und damit empfehlenswert." [Siggy Zielinski über "Letters from Home"]
"Reissue on 2 CDs of both long out of print LPs, re-mastered and repackaged, in a slipcase with an extra illustrated CD of the 7" single that was issued only to subscribers with the original release. Stretched songs and studio work. 'Work' was Lindsay Cooper, Chris Cutler, Dagmar Krause and Zeena Parkins, and followed the vein breached by Art Bears, though with a very different musical emphasis. 'Letters' added Robert Wyatt, Sally Potter, Phil Minton and Bill Gilonis. Music by Lindsay Cooper, words by Chris Cutler. With full text and illustrations." [label info]
www.rermegacorp.com
|
2006 |
€23.00 |
|
| NIBLOCK, PHILL |
Music for Organ |
LP |
First time release of these live-recordings by Phill Niblock from 2007 and 2019.
A SIDE
UNMOUNTED / MUTED NOUN, 2019: for organ AND 4 pre-recorded tracks. Commissioned by Musica Festival Strasbourg for Hampus Lindwall
B SIDE
NAGRO (AKA - ORGAN), 2007: for organ and tape. Tape material was recorded May 1, 2007 at the Joseph Gatto Organ (1787) in Sankt Kirchberg am Wagram, Austria by Emanuel Schmelzer-Ziringer
https://phillniblock-mm.bandcamp.com/album/music-for-organ
"Phill Niblock brings half a century of work in prism-pushing minimalist composition to a pair of towering Organ pieces performed by Hampus Lindwall and Emanuel Schmelzer-Ziringer, and recorded in 2007 + 2019.
His ‘Music For Organ’ surely arrives at a high zeitgeist moment for organ music - like his younger counterparts, Phill has keenly worked at the radical peripheries of whatever instrument he uses, systematically isolating and highlighting its phenomenological peculiarities and often subverting their context. However, as a son of the pivotal late ’60s era, Phill is also a true autodidact and applies a rigorous, if raw, approach to his music that always generates gripping, and often challenging, results, as heard here.
The A-side’s ‘Unmounted / Muted Noun’ (2019) for organ and 4 pre-recorded tracks was commissioned by Musica Festival Strasbourg for Hampus Lindwall and recorded in the composer’s presence. It appears to feature the organist stacking dense blocks of chords into a blinding black mass of roiling harmonics that do not let up until the runout groove. For 24 minutes the piece sustains a breathless pressure that’s either hellish, ecstatic or simply otherworldly, depending on your disposition, and we can only imagine that the Orgelbau Klais organ must have made it feel like the walls of the C.15th Collégiale Sainte-Waudrau church in, Mons, Belgium were about to crumble.
In stark contrast, the B-side’s ’Nagro (AKA - Organ)’ (2007), for organ and tape, performed by Emanuel Schmelzer-Ziringer at the Joseph Gatto organ (1787) in Sankt Kirchberg Am Wagram, Austria, feels much more pent in its transition thru tight, glistening higher registers. Up there, the piece feels out a fine range of tonalities and harmonic spectra, which, while dominated by the pealing highs, is also fleshed out with rolling low end in a seat-edge but heavy-lidded display of never-resolved tension. |
2019 |
€26.00 |
|
| NIBLOCK, PHILL / SUN RA |
The Magic Sun |
DVD |
Ein unglaubliches Dokument von 1966 wurde von ATAVISTIC (wieder?)-veröffentlicht, ein 32minütiger Experimentalfilm von PHILL NIBLOCK über/mit SUN RA und sein „Orchester“ mit wildem impro-Soundtrack .. dazu gibt es reichlich Material aus den 60ern und philosophische Verkündigungen vom cosmic thing himself .... müsste auf allen neueren DVD-playern und Fernsehern laufen.
"The classic 1966 film by Phill Niblock featuring Sun Ra & His Solar Arkestra, plus rare & exclusive Sun Ra footage, photos & audio 'proclamations'! Composer, photographer and filmmaker Phill Niblock's classic of experimental underground filmmaking with a sensational soundtrack by pianist Sun Ra and the members of his Solar Arkestra. Shot in the mid '60s, when the Arkestra was based in New York, this film was produced using a unique negative process and ultra-tight close-ups on the moving hands and mouths of the musicians. The result is a virtually abstract music film, mastered from a new print in all its incredibly sharp black & white glory. The Magic Sun DVD also includes a luminous, largely unseen photo gallery accompanied by 14:00 of unheard, self-recorded Ra audio: a truly 'inside' auto-bio interview; TRT approx 32:00. NTSC Region 0.“ [label info]
www.atavistic.com
|
2005 |
€16.00 |
|
| NICCHIARELLI, SUSANNA |
NICO, 1988 (Movie) |
DVD |
"Glücklich war diese Frau wahrscheinlich nie. So zumindest erzählt es das atmosphärische Psychogramm "Nico" der italienischen Regisseurin Susanna Nicchiarelli. Das Biopic über die letzten Jahre im Leben der in Köln geborenen deutschen Sängerin und Modelikone Christa Päffgen, besser bekannt unter ihrem Künstlernamen Nico. Sie wurde auch Priesterin der Finsternis genannt, galt als eine Muse Andy Warhols, schauspielerte für die Regielegende Federico Fellini und sang unter anderem auf dem Debütalbum der legendären Band The Velvet Underground. Im Mittelpunkt des Films stehen die finalen Auftritte Nicos, die die von ihrer Heroinsucht gezeichnete Musikerin in den 1980er-Jahren über die Bühnen der Welt nach Paris, Manchester, Prag und Nürnberg führten. Außerdem beleuchtet Nicchiarelli die Beziehung zu ihrem entfremdeten Sohn, der aus einem Verhältnis mit Schauspieler Alain Delon entstand. Alle Songs im Film werden von der dänischen Schauspielerin und Sängerin Trine Dyrholm selbst gesungen. Ein mitreißender Soundtrack und die elektrisierende Kamera machen diesen Film zu einer intensiven Erfahrung auch für diejenigen, die noch nie etwas von Nico oder Velvet Underground gehört haben."
https://www.goodmovies.de/nico-1988.html
|
2018 |
€10.00 |
|
| NID |
Plate Tectonics |
CD |
Aufnahmen eines Konzertes aus Arnheim, Niederlande, vom Dezember 2002, in Studio-Qualität. Allertiefste dumpfe Dronescapes & verlangsamte Stimmen, Klassik-found sounds, glockige Klänge, obskure Vinyl-loops, immer dunkel & ominös & in einem dynamischen Feld voller unerwarteter Sounds. Eine recht einmalige Verbindung von Vinylloop-Plunderphonics, tiefbassigen Dronescapes und Geräuschen von selbstgebauten, oft ober-obskursten Gerätschaften und Objekten.
"Crawling back into the wound: NID 1995 – 2007. NID is an experimental group whose aim it is to challenge conventional concepts and structures of electronic music by experimenting with the source of sounds. The music is created on the spot, making each performance a genuine and unrepeatable event. It has been described as moving sound-objects, improvised electronic noise, or broodng ambient music. It has been compared to an underwater-journey, a pathway to the inner self. Given enough volume, it certainly affects the body as well as the mind. In which way remains open to the listener’s psyche. NID was formed in 1995. Over the years the core-members have performed in art-galleries, rock-clubs, bars, water-reservoirs, cinemas, as well as at industrial and electronic festivals and in record shops. In 1998 they were invited to play onboard the MS Stubnitz when it was anchored in the harbour of Stockholm as part of the “European Culture Capital” activities. They were also involved in the 2001 Six And More & R:IP jubilees, improvising with 30 other electronic free-jazz musicians. As for the group name… A “nid” is a curse or insult with homosexual connotation that was frequently in use in the Viking age. It brought a depth to the concept of honour and shame. It could be used as a challenge or simply to ridicule another (which was a challenge per se). It could reveal anyone else to be no better than he was, and it undermined social structures. NID disbanded in 2006. Chris Sidgell continues in various projects, most notably his solo project B-Tong. Jürgen Eberhard releases music under the name Feine Trinkers Bei Pinkels Daheim. This is NID’s one and only proper CD release. The sound on this work may appeal to fans of Lustmord, New Blockaders or collage post-industrial in general/experimental ambient. The music on this CD was recorded live in Arnheim by Mars Wellink
(Vance Orchestra). The cover was done by Katja Wahl..." [band info & press release]
"While not new, we only just discovered NID, and our discovery came about in a very random manner, considering various related works were right under our nose. We listed a killer 4 way split 12" a while back called One Man Drone, and our favorite track from the spit was a piece by a group called B(degree)Tong. We later discovered that the man behind B(degree)Tong was previously a member of German experimental sound-collective NID. But what we did not know was that NID was sometimes also known as Feine Trinkers Bei Pinkels Daheim, a group who had various releases on the Drone Records label, one of which is included on the recent tUMULt collection of out of print Drone singles. So now it's sort of come full circle and we have this, the only proper full length recording (as far as we know) from the group NID, aka Feine Trinkers Bei Pinkels Daheim and it's pretty amazing. Pretty bizarre too, but then with a (sometime) name like Feine Trinkers Bei Pinkels Daheim, what else would you expect?
Three looooooooong tracks. Each an epic, incredibly varied soundworld, blending found sounds and field recordings with drones and intense blasts of layered sound. The opener begins with a muted cacophony of birds and crickets, before disappearing into a roiling
black cloud of rumbling low end and distant droning guitar buzz. It almost sounds like sticking your head out of a speeding car, the wind whipping by and causing all sorts of distortions, but blurred into an impressively massive wall of sound. Within all this whipping sonic wind and rumbling whirs, are strange bits of percussion, the clang and bang of metal on metal, shakers and simple rhythms, they drift
briefly in the eye of the storm, before the drone drops again, even more furious than before, until it fades out amidst the dreamy
shimmer of female vocals and haunting minor key melodic buzz. Really intense and strangely beautiful.
The second track is another deep cavernous roar. A bit smoother than the previous number, but not for long, bit of metallic buzz surface amidst the undulating rumbles, with some serious dynamic spikes, some of which sound like brief bursts of SUNNO 0))), and others are even lower and more aggressive bits of low end exploration. There are bits of static and random buzz here and there, but mostly it's black and dark, a massive growling beast, slowly uncoiling into a monster that blocks out the sun. Near the end of the track, the darkness abates and in its place is a strange skipping stuttering snippet of music, wrapped in hazy distortion and looped into a mesmerizing rhythm, repeated over and over and over, gradually crumbling and becoming more and more distorted before erupting into a final burst of chest rattling low end, finally slowing down and sputtering to a halt.
The final track is over twenty minutes and is the most melodic of the bunch. Beginning with a looped cycle of xylophone melody, over
a throbbing low end pulse and streaks of keening distant guitar and bits of operatic female vocals. Very ominous and mysterious sounding. When suddenly everything stops, and there's a guy with a British accent ranting over someone ransacking a kitchen, breaking glass, clanging cutlery, and suddenly it's gone, and we're back in some new dronescape, a mumbled voice looped into a haunting mantra, beneath distant thunder like rumbles, and little blurs of high end melody, indistinct, but gradually building in intensity. The drones drift away leaving birds and voices, and some strange bits of hiss and skree, before transforming into a plodding doomdrone beast. A simple stretched out rhythm over cavernous thrums and the sound of subway cars, everything pulsing and throbbing, a bizarre bit of dark
collage, that manages to be strangely musical and completely hypnotic.
An amazingly weird record, and absolutely essential listening for the drone obsessed, which we would assume should be most of you..." [Aquarius Records]
"Posthumous release by this Swiss-German trio dedicated to mostly drone-bound sounds, noise manipulation, foggy samples and dialogue snatches. Here, three lengthy pieces encircle some fantastic voyages through muted hum, looped voices, gentle vibrations and the stench of noxious ooze. The last one, ‘35000 Feet Below the Ocean Surface’, clocks in at almost 22 minutes and hints at a leather-clad NWW surveying a desert of black ash. Which works a treat for me." [RJ, Adverse Effect]
|
2007 |
€13.00 |
|
| NIEDOWIERZANIE |
same |
LP |
Debut-Album dieses 1-Mann Projekts aus Marseille (currently residing, like everyone else, in Berlin), ein sehr eigener Stil aus harmonischen Instrumental / Drone / Neo-Klassik Elementen, schleppend-rhythmischer Elektronik, Field Recordings und Effektbearbeitungen. Hier kommt etwas zusammen was eigentlich nicht zusammengehört, aber es funktioniert & klingt wie aus einem Guss! Mal ist der Sound schneidend wie Glas, dann verflüssigt sich alles wieder, durchtränkt von einem subtilen melancholischen Fluidum...
Edition: 200 Stück auf weissem Vinyl.
"In spite of all their growing differences, there are still hidden places, elusive dimensions where East and West meet… For instance in the highly introspective music of the Marseille/Berlin based solo project NIEDOWIERZANIE, presenting here its first official album in the shape of five long instrumental pieces of neo-classical sound sculptures. Flirting both with IDM and contemporary music, mixing organic compositions (using a wide range of string, wind and self-made instruments) with electronic cut-ups and field recordings from the artist’s native Marseille and his extensive journeys through India, these intense, complex and luminous crescendos evoke the works of artists as diverse as COIL, MIRROR, MIASTO NIE SPALO and ARVO PÄRT. 12" LP - white vinyl - lim. edition of 200 hand-numbered copies." [label info]
www.tutrur.com
|
2008 |
€16.00 |
|
| NIETO, MIKEL R |
Dark Sound |
BOOK & CD |
"The book contains Ecopolitik, an introduction as an epilogue by José Luis Espejo, a letter to the Huaorani people, two research texts and one bertso, descriptive texts and photos of recordings, a possible chronology, a glossary, a compilation of several texts with testimonies, reports and declarations from different people, groups, institutions, and publications in reference to the impact—direct or indirect—of the noise from the oil industry during its various phases of development on the people, the environment and the fauna. More info at dark.mikelrnieto.net
34 recordings in one track. In a black polycarbonate CD.
Final editing, mastering and carbon print from Ireland by Slavek Kwi.
Tracklist
01. Nyctridomus albicollis
02. Lipaugus vociferans
03. General Electric CF34-10E
04. Hypsiboas lanciformis, Hypsiboas boans and Unidentified Oil Extraction Machines in the Distance
05. Pogonomyrmex barbatus
06. Paraponera clavata
07. Atta cephalotes
08. Ectatomma tuberculatum
09. Termitidae procornitermes
10. Eciton burchellii
11. Gryllidae and Unidentified Frogs
12. Lophostoma yasuni
13. Leptonycteris yerbabuenae
14. Yamaha Enduro E40X
15. Unidentified Underwater Animals
16. Honda GX160
17. Unidentified Underwater Survivors in Produced Water
18. Changlin YZ26
19. Electric Generator at Tiputini Biodiversity Station
20. Electrical Substation at the Yasuni Research Station (Ten Meters Distance)
21. Electrical Substation at the Yasuni Research Station (One Meter Distance)
22. Air Conditioner for the Electrical Substation at Yasuní Research Station
23. Chevrolet S10
24. CAT MD6420B Drill
25. Cummins KTA19G4
26. HongSheng CYJ-83-37HB
27. CAT 3512 DITA
28. MTU 396
29. Shale Pump SP1614
30. Tiger Rig ZJ30LDB
31. Oilon Wisedrive WD32-34
32. Maxon Oxytherm LE
33. Preamp Battery Blackout
34. Radio Jungla 94.3 FM Through Several JBL Control 1 Pro in Repsol-YPF Access Control"
176 pages, dark paper, black ink, hardback. languages: huao, basque, spanish and english"
www.gruenrekorder.de/?page_id=15050
"In the product page on the label’s website the description of this release ends with this warning: “Partially legible. Sunlight reading recommended”. It’s hard to fail recognising that this warning is absolutely appropriate, until you realise that it’s a black book, with black opaque pages, printed with black lucid ink, housing a black CD. And it doesn’t stop there, as it doesn’t have a fixed sale price, but its price is determined by the crude oil Brent price at the time of purchase, so the author and label warn that if you buy the book you’ll “contribute to the destruction of the planet.” With these creepy premises, a curiosity about the content of the work immediately arises. And after a few attempts, the reader can find the right angle and light to (struggle to) start reading realising that it’s a remarkable collection of essays, pictures and documents on the oil industry’s impact on the Ecuadorian natural environment. This is coupled with a CD with 34 recordings in one track from the Ecuadorian rainforest (the whole work is part of the Field Recording Series by Gruenrekorder). It progresses from delightful natural sounds to industrial machines slowly disrupting them. Then reading, meanwhile, some testimonies or a detailed chronology perfectly let this whole suppressed world to (painfully in every sense) re-emerge from its current status. The pervasive “black”, eventually, doesn’t hide anymore, but becomes the mandatory colour to engage with, in order to learn and understand what has been hidden, but must now be revealed." [Neural Mag.]
"I have listened several times to the CD Dark Sound by Mikel R. Nieto over the past month and have been intrigued by the purpose of the recordings presented by the album. — Dark Sound is a CD length single track album of field recordings taken by Mikel R. Nieto mostly in and around the Ecuadorian rainforest within areas associated with the colonisation and domination of contested areas that were found to have oil reserves. The album traces the relationships between a number of different indigenous groups who have resisted becoming associated with Western European and global models of capital, in favour of continuing the heritage and lives they had prior to the arrival of Spanish conquistadors in the late 15th Century.
The single track CD contains a wide number of field recordings from across various situations that the recordist encountered whilst investigating the noise and culture of Ecuadorian oil mining operations and the impact it has had on the biophonic soundscape and ecology of non-native human, native human, and nonhuman populations. The album comes with an accompanying black paged book with black glossy lettering throughout which makes it impossible to read other than in bright sunlight; a statement upon the darkest of dark geological substrates; crude oil, as well as a comment on the practices of obfuscation that have continued in pursuit of capital gain through oil drilling by corporations. This has led to a number of significant historical, political events including the death of Alejandro Lebaka, a Basque man who in the 1980s took it upon himself as a missionary to position himself as “the voice of the voiceless” (Lebaka in Nieto, 2016: 53) but in his attempted defence and support for a number of native groups, specifically the Huaorani (literally meaning those who speak our language”) which is to say, the native people of the Ecuadorian rainforests, was killed by spears from a group of Huaorani referred to as Tagaeri who no longer wished to partake in the violent systems of control forced upon the Huaorani.
The book provides a significant overview to the political history and issues encountered as a result of the colonisation, and pacification of the indigenous people of Ecuador in pursuit for oil whilst also raising a broad ranging investigation into acoustic research and/or phenomena that are a consequence of the oil operations and their effect directly and indirectly on the Ecuadorian ecology.
The album itself, contains a number of ethnographical and environmental field recordings that include weather events, insects, birds, fish and small mammals and security guards, diesel turbines and high security perimeter fencing. The recordings range from acoustic captures to hydrophones to ultrasound and contact microphones in an attempt to reflect the wide range of acoustic, para-acoustic infra and ultrasonic phenomena that are comprised, altered and ruptured in the pursuit of capital.
The book is highly politicised and the recordings only further emphasise the massive transitions from small tribe to mass industrial practice and the absolute refusal for some to be forced to be adapted and co-opted into a military industrial complex and capital based system of goods exchange and parasitic raping of newly discovered lands." [Mark Parker]
|
2016 |
€44.00 |
|
| NILSEN, BJ & STILLUPPSTEYPA |
Vikinga Brennivin |
CD |
"Nordische Drone-Collaboration von BENNY NILSEN (ex HAZARD, MORTHOUND) und STILLUPPSTEYPA: 5 Stücke, durchdrungen von schwelenden, geheimnisvollen Drones und etwas konkreteren Soundabdrücken, sehr spannend, hypnotisierend, betäubend..... „schöne Klaustrophobie“ meint Frans de Waard.......
“...Focusing the perception of natural sounds through a reconstruction of time and space, Nilsen has rendered the commonplace sounds of wind, rain, and snow as stealthfully seductive and quietly menacing drifts of frozen sound. Their resultant collaboration is an existentialist allegory in which the three drunkenly stumble out in a Scandinavian winter night and spiral toward the inevitable point in which they blackout. Lest this be construed as a derelict piece of method acting, the craft that Nilsen, Sigmarsson, and Thorsson brought to Vikinga Brennivin is impeccable, as the extended soundfields breath with the majesty of distant fog horns and sparkle with the delicate light of countless stars cast down from the black heavens onto the frozen tundra below. Frightening and barren, yet hauntingly compelling, Vikinga Brennivin is an isolationist masterpiece....” [from the label info]
www.helenscarsdale.com
“Drinkers out there: pay attention, because our favourite drunks are here and they celebrate their favourite drink: brennivin. Never heard of? No problem. It's an Icelandic liquor made of potato and flavored with cumin, which burns down your throat - and I know: the only two
times I was really sick of alcohol in the last 10 years was of brennivin. The first time I got this poison served was at Stillupsteypa's house - no wonder, they are from Iceland and like everybody from there they drink. A lot. An insane lot. These days Stilluppsteypa is Sigtryggur Berg Sigmarsson and Helgi Thorsson and they team up with BJ Nilsen - our man in Sweden (and known from Touch releases, more than his drinking habits, at least here). Of course it's hard to tell wether one would think of the booze if it didn't have that title, nor is it easy to relate the music to the drink. The five lengthy pieces here all deal with a hermetically closed sound. Processings of field recordings perhaps, but no longer recognizable
as such. Some ten or so years ago, someone invented the term 'isolationism' for this kind of music, but basically it was what everyone else called 'ambient industrial', but somehow 'isolationism' sounded better. It's certainly an appropiate term for this CD. It's either music you hear when you try to make it home after a night of heavy brennivin intake and if that didn't do the trick it's music you hear in your head when you wake up. It's almost claustrophobic music, but beautiful claustrophobia. Lovers of Nilsen's other work, or Thomas Köner's old work, should keep an eye open for a CD packed in copper-plates inside a jewel case.” [FdW / Vital Weekly]
"The cold winter nights stuck above the Arctic Circle have become the perfect climate for extended bouts of intoxication for many a Scandinavian. As a result, the capacity for the Icelandic duo Stilluppsteypa to consume alcohol is the stuff of legend. Alcohol has soaked into every fiber of their being; but its manifestation in their music (and their personalities for that matter) is closer to the Dr. Jekyll and Mr. Hyde allegory, as a raging alcoholic squirms just beneath the surface of a stoic Scandinavian temperment. Of course, where these two personalities come into conflict is where the art of Stilluppsteypa is realized. A schizoid tension runs throughout Stilluppsteypa's impressive catalogue of terminal drones, sputtered rhythms, and atomic fractures; and often this tension is dished out with a smug dollop of black humour and Dadaist absurdity. So, it's hardly unusual to come across Stilluppsteypa celebrating Vikinga Brennivin, the stringent Icelandic alcohol that has undoubtably killed some of their collective brain cells. Yet it was the stoic BJ Nilsen -- the Swedish electron wrangler whose best known for his work as Hazard -- who invited Stilluppsteypa to collaborate on Vikinga Brennivin. Their resultant collaboration is an existentialist allegory in which the three drunkenly stumble out in a Scandinavian winter night and spiral toward the inevitable point in which they blackout. Lest this be construed as a derelict piece of method acting, the craft that Nilsen and Stilluppsteypa brought to Vikinga Brennivin is impeccable, as the extended dronescapes breath with the majesty of distant fog horns and sparkle with the delicate light of countless stars cast down from the black heavens onto the frozen tundra below. Frightening and barren, yet hauntingly compelling, Vikinga Brennivin is an isolationist masterpiece." [Aquarius Records]
|
2005 |
€13.00 |
|
| NILSEN, BJ & STILLUPPSTEYPA / MILAN SANDBLEISTIFT |
SOV GOTT / Oskar Kastaniens Sterne am Tag |
LP |
Ein Fliesen-Cover auf LICHT-UNG! Und die Musik ist auch seltsam & betörend !
Collector’s item with thick glazed tile sticked on cover (especially burned for this release) ! On one side we find a great collaborative piece by BENNY NILSEN (aka HAZARD) and STILLUPPSTEYPA with thick massive drones, on the other abstract soundscapes of crackles & strange electronic low-fi lumberings from MILAN SANDBLEISTIFT, who is one half of LICHT-UNG and also running the label of the same name.
|
2006 |
€17.50 |
|
| NIMH |
Ianna Memories |
mCD-R |
"HIGHLIGHT auf taalem, zoviet france-artige surreal-drones und pulses mit orientalischem Touch, absolute Empfehlung! Newcomer aus Italien.." [Drone Rec. 2002]
“Nimh is Giuseppe Verticchio, an italian composer who has self-released a bunch of CD-Rs since 1999. Here at taâlem, we've immediately fallen in love with his music at the first listening. Using exclusively traditional Thai instruments for this release, Nimh creates an incredibly rich music, full of haunting percussions and trumpets, background sounds, harmonic frequencies, effects and noises present in the recording. His best work ever and truly a
masterpiece for the dark ritual ambient music lovers.” [press release]
www.taalem.com
|
2002 |
€5.00 |
|
| NINTH DESERT |
Collision h |
mCD-R |
The project of CYRIL HERRY, who also works as a film-maker (in example for TROUM). COLLISION H is a fabulous one-tracker using many layers of cloudy sounds & subdrones, evoking a haunting atmosphere. Comers in a nice oversized cardboard-cover, numbered ed. of 60.
"Collision h is made of various types of handled, stretched, retracted, skinned sound matters… Sequences extracted from sacred chants are confronted here with electronic frequencies and field recordings which collide and injure themselves but are forced to cohabit inside the same time and of the same space, similar to conflicting data assimilated by one and only memory." [label info]
" 'Collision H' enthält eine lange, 20 minütige Soundcollage die ziemlich dunkel und tief erscheint. Feld-Aufnahmen, rabenschwarze Ambiancen und schwere elektronische Frequenzen wabern und brodeln irgendwo ganz weit unten im Berg herum. Nur ein leichtes Drönen erinnert immer wieder an diesen Klangkanal, der so dunkel und trostlos ist, dass man, wenn man ihn entdeckt hat, auf keinen Fall hinuntersteigen möchte. Die Aufmachung hingegen ist hell und simpel. Die kleine 3 Zoll CD-R ist in eine schöne Kartonhülle zum aufklappen eingefasst. Eine gelungene Veröffentlichung." [Creative-Eclipse] |
2006 |
€9.00 |
|
| NO XIVIC |
same 7 (SOLD OUT) |
7" |
Drei Stücke von einem neuen finnischen Projekt, der sich hier in metallisch klingenden Drone-Sphären mit magischer Anziehungskraft verliert..
“ DRONE Records is proud to present NO XIVIC, a newcomer from the growing Finnish drone era. His very first release consists of underground ‘dronish’ experimental sounds. The three pieces on this EP are based on long & moving metallic drones (as if coming from BERTOIA) mixed with higher, near-distorted frequencies and low rumblings. This results in pure & elegant floating dronescapes that never stands still, giving you nothing to fix upon from your completely immersed mind. An atmosphere which is as much haunting as it its otherworldly. These three Finnish titles: ‘Rauhattomuus’ , ‘Kemikaaleja’ and ‘Sieni’ translate as ‘Restlessness’ , ‘Chemicals’ and ‘Mushrooms’. These tracks are pointing to an inherent tension and have a brilliant intoxicating quality to them.
Filed under: hallucinogenic drones CLEAR VINYL. WHITE COVERS WITH HANDPAINTED 3-DIMENSIONAL GEOMETRIC FORM / DESIGN ON BOTH SIDES.” [press release]
|
2003 |
€7.00 |
|
| NOETINGER, JEROME & LIONEL FERNANDEZ |
Outer Blanc |
LP |
Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez & Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic – like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film.
Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s… A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering french free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, “a guitar used as a flame thrower thrashed and fiercely held up as machette totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures » (Le Non_Jazz)
He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M etc and has collaborated either live or on records with Masaya Nakahara, Meyna’ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko etc..
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica.
From 1987 to 2018, he was the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming co-ordinator of exhibitions, gigs, and experimental cinema at le 102 rue d’Alembert, Grenoble.
_
Lionel Fernandez, guitar, electronics
Jérôme Noetinger, Revox B77, electronics
10 tracks, 42 minutes, master by Fred Alstadt at Studio Angström
##################################
"Une guitare hautement électrifiée, anamorphosée, trouée, et salie par toutes sortes d'effets, implose sa rage dans les filets magnétiques d'un magnétophone à bandes, cannibale et destructeur. A partir de divers enregistrements et de pistes rapportées, Lionel Fernandez & Jérôme Noetinger ont créé et produit ces 10 pièces grasses et acides, moites et caverneuses, sorte de rencontre intoxiquée entre une tronçonneuse et un micro. Une vraie musique de garage, entre cambouis, carrosserie éventrée et alternateur périmé, comme la bande-son arrachée d'un film inédit de Tobe Hooper."
credits
released September 9, 2021
Jérôme Noetinger, magnétophone à bande Revox B77, électroniques.
Lionel Fernandez, guitare, électroniques.
Enregistré aux Instants Chavirés par Benjamin Pagier, à Paris à Blckout Studio, et Rives
Masterisé par Frederic Alstadt à Studio Angström
Artwork par Unglee Izi
Sonoris 2021
https://sisteriodine.bandcamp.com/album/outer-blanc-2
|
2021 |
€18.00 |
|
| NOGRAY, FREDERIC |
Nelki |
CD |
"Der Pariser Klangdesigner FRÉDÉRIC NOGRAY, bisher bekannt durch minimalistische Elektronik (Panotii, N-REC, 2003), die er auch einsetzte als Schallfolie für die bildende Künstlerin Laëtitia Bourget (Optical Sound, 2003), gibt sich mit Nelki (prl004) ganz der Faszination
durch die reinen Schwingungen von Kristall-Klangschalen hin. Auch wenn er deren dröhnendes Om von tibetanischen Klöstern in normannische Kirchen versetzt, wo es in kreisenden Sinuswellenschwingungen sich himmelwärts schraubt, feiert ihr sublimes Wummern, das Luft und Stein und Fleisch durchbebt, zuerst einmal nichts als das Dröhnen selbst. Dass die Schalen von Teelichten im Innern orange leuchten, verstärkt gleichzeitig mit dem meditativen den feierlichen Aspekt, der mit kunstreligiöser Aura eine frei schwebende Spiritualität zelebriert. Das brahmanisch-zen-buddhistisch getönte Sehnen nach universaler Harmonie hat zwar zur Zeit mit dem Dalai Lama eine Pop-Ikone, aber bei Nogray schwingen eher kristall- und musiktherapeuthische Unter- und Obertöne mit, die Entspannung, Loslassen und Dämmerschlaf versprechen." [Bad Alchemy]
"Music for crystal singing bowls.
Frédéric Nogray diverts his rock crystal crucibles from their usual function in the silicon industry to generate an ample and tactile music, a music that succeeds as much in making the listener's intellect wander as it does in moving the material itself. Although entirely acoustic, this music is powerful, the different-sized bowls being generators of distinct waves operating in the range of frequencies from infra- to ultrasonic. Because of their superimposition and the acoustics of the space they are in, chimeras or interferences are born. A musical event partaking simultaneously in the creation of perception and corporal experience. Recorded by Eric Cordier decembre 2007 in churches Normandy, France." [label info]
http://www.prelerecords.net/prl004/prl004.htm
|
2008 |
€13.00 |
|
| |
Wuritagu |
mCDR |
"french composer, frédéric nogray pays a particular attention on sounds in their intrinsic qualities and for what they are: vibratory phenomenon. but also for their broadcasting into the listening space, our perceptions on it, and different states of consciousness induced by listening. along his musical works with crystal singing bowls and/or feedbacks, he creates dreamlike sonic compositions from field recordings. his past works were released by various international labels such as kaon or 3leaves.
all sounds used for "wuritagu" were field recorded on the north coast of honduras during may 2012, in and around la ensenada and triunfo de la cruz. wuritagu, el lago negro is a lake between these two garifuna villages. surrounding the lake there are mangroves. at one end the lake is separated from the caribbean sea by a beach. at the other end, a small road connects the two villages. all sounds were recorded at different moments of the day and at night.
"wuritagu" is a powerful field recording-based composition where you can feel the raw energy of the jungle…" [label info]
www.taalem.com
"Of course everybody - me at least - is wondering what Taalem will do next. When Drone Records released their 99th 7" single they stopped. With these new releases on Taalem we also reach number 99 - Frederic Nogray does the honours and here we start. We know his music from releases on Kaon and he seems to be someone whose interest lies in the use of field recordings. Here he uses sounds recorded at the north coast of Honduras in May 2012 close to a lake of the same title. This twenty-one minute work is made from various recorded during various times of day and night. I assume these recordings were layered together as it's all quite full with sound. The lower end of the seashore sounds colliding with the high-end singing of insects makes a particular scary move, I thought, especially if, at one later point, planes or helicopters are part of it. It's all, in general, a bit louder than is usual, a bit cruder and with the constant pressing force of water sounds something you could easily drown in." [FdW/Vital Weekly]
|
2014 |
€5.00 |
|
| NOISE CLUSTER / STIGMATE |
Extreme Sleepwalking |
MC |
"Extreme Sleepwalking" by Noise Cluster (der bekannte postindustrielle Trompeter & Xxena) and Stigmate from Italy are ready.
Nightmareish Sounds and Rhythms on black c40 Tapes in hand dyed, blue cotton bags with cover art by Fabian Blobel and a card with more pictures inside. Lim. to 50 copies
https://grubenwehrfreiburg.bandcamp.com/album/extreme-sleepwalking
Die beiden Projekte, die sich auf dem vorliegenden Tape zusammen dem Phänomen des Schlafwandelns widmen, sind schon länger in der elektronischen Musik Italiens aktiv und lernten sich doch erst vor kurzem kennen. Sowohl die Römer Flavio Derbekannte und Arianna Degni Lombardo (Noise Cluster) als auch der Sardinier Nicola Locci (Stigmate) sind Hörer und gelegentlich Mitwirkende einer bekannten Radiosendung für experimentellen Lärm (Elettrodo auf Radio Onda Rossa) und wurden so aufeinander aufmerksam.
Trotz ihrer unterschiedlichen Arbeitsweise – Noise Cluster kombinieren gerne Digitales mit akustischen Sounds wie denen der Trompete, Stigmate ist leidenschaftlicher Bastler an analogem Gerät – entdeckten sie schnell die Gemeinsamkeiten, die für eine spontane Kollaboration sprechen. Diese hat mit dem auf 50 Tapes und digital erhältlichen “Extreme Sleepwalking” nun ihr erstes Resultat herausgebracht, und dieses klingt in der Tat so, als wären die drei schon immer eine feste Band gewesen.
Schlafwandel wird gerne metaphorisch für einen apathischen Zustand verwendet, und eine solche Bedeutung klingt durchaus an, wenn das Label in Anspielung an die immer noch aktuelle Pandemie von “the nightmares, bad dreams, and gloomy and depressive feelings this particular historical moment has brought about” spricht. Die Musik selbst – und das von dieser inspirierte Artwork von Fablian Blobel – hat allerdings einiges von echten heftigen Alpträumen – schon gleich zu Beginn, wenn Schreie und andere angstinflößende Elemente über einem schmissigen, kratzigen Loop aus den Boxen dringen.
Auf “Extreme Sleepwalking” herrschen die Mächte des Grauens, und das kehrt auch der straighte Takt des Openers “Mindbender” nicht unter den Teppich, vielmehr hat man den Eindruck, dass die schleifenden und prasselnden Industrialsounds erst auf ihren endgültigen Ausbruch warten. In “Sleep (Mutation)” erzeugen schrille Sounds eine futuristische (oder paläontologische) Klanglandschaft, die droht, in Elektroclash umzukippen, was aber – auch dank elektrifizierter Noiselawinen und Flavios wie meist recht smoothen Trompete – nicht passiert. “Moving Target” startet spannungsvoll pulsierend, doch die vielen Soundideen und Melodiefragmente führen all das noch mal in eine andere Richtung. Die hier spürbare Nervosität kehrt später in “Dim Light” wieder, das eher an die grellen Scheinwerfer schweren Kriegsgerätes erinnert.
Alle Tracks offenbaren einen komplett eigenen Charakter und bleiben in ihrem Verlauf selten unverändert: Die beiden mit Knacken und Knistern beginnenden Teile von “Death Vision”, die irgendwann zu einem monumentalen Inferno an brachialem Pauken und Ariannas gehauchter Stimme anwachsen, finden später ihre (nur scheinbar friedliche) Erdung, bis sich der kratzige Kreis wieder schließt – diese Stücke, bei denen riesige Metallandroiden durch die Landschaft marschieren, würden in großen Hallen funktionieren und müssten, im Unterschied zu etwas subtileren, zurückgenommeneren Stücken wie “Where Am I?” oder “The Fall”, nicht einmal durch ihren ausgeklügelten Detailreichtum überzeugen.
Der “Brain Damage” im abschließend so betitelten Track entpuppt sich als starker Sog, der einen mit Pauken und (buchstäblichen) Trompeten in eine traumhafte Parallelwelt zieht, die an die pathologischen Visionen am Ende von Hoffmanns Der Goldene Topf denken lässt. Dies gelingt wohl v.a. deshalb, weil der Track ein wirklich kraftvolles und mitreißendes Album abschließt. (U.S.)
|
2021 |
€9.50 |
|
| NOISE RECEPTOR JOURNAL |
No. 5 |
mag |
Issue No.5 of Noise Receptor Journal has just been released on 5th October, 2017
Copies can be ordered via: http://noisereceptor.bigcartel.com/
CONTENT: In depth interviews with: Anemone Tube, Armour Group, Human Larvae, Inade, Trapdoor Tapes Young Hustlers. Tower Transmissions VI live report with photos (8 pages). Two ‘visual essays’ by Anemone Tube, spanning 14 pages.
A5 Format.
Professional grey-scale print. ‘perfect bound’ spine, with matt laminate, thick card stock cover.
100 pages in length.
Limited to 500 copies.
noisereceptor.bigcartel.com |
2017 |
€10.00 |
|
| |
Issue No. 11 (August 2023) |
mag |
Noise Receptor Journal Issue No.11 content:
-: Long-form and detailed interviews with: African Imperial Wizard, Ulvtharm (Mz.412), Cult of Youth, Letum & James Light (of Agonal Lust, Wounded Son, Finders, Packing Plant etc).
-: Documentation of Linekraft: Hunger for Life Vol.1 (event January 2023), and Clutch showcase (October, 2022).
-: Reviews: 40+ detailed reviews.
-: Artwork: cover and 10+ pages of artwork by James Light.
-: The publication will again be in a new larger format (i.e. size mid-way between A5 & A4), with 100 pages approx.
-: Colour cover and professional greyscale with ‘perfect bound’ glue-bound spine.
-: Print run of 600 copies.
https://noisereceptor.wordpress.com
|
2023 |
€13.00 |
|
| NOISE-MAKER'S FIFES |
Soundscapes of the Inner Eye |
CD |
"Eine der Neuentdeckungen der letzen Zeit sind die Noise-Maker's-Fifes aus Brüssel. Die unter anderem aus Eric Faes (der auch schon die legendären UNIVERS ZERO produzierte) bestehende Gruppe improvisiert quasi live im Studio und kreiert dabei eine unglaublich energetische Sphärenmusik, die direkten Zugang zu der verborgenen, non-verbalen Seite der Psyche zu haben scheint und emotional mitreisst.. für den bestmöglichen FLOW!" [old Drone Rec. info]
|
1995 |
€13.00 |
|
|
Zona Incerta |
10inch |
Die Nummer 3 der S.I.-Serie kommt von der Brüsseler Performance-Gruppe NOISE-MAKER’S FIFES! Verschiedene Aufnahmen der Choreographie „Dyonisos’ Last Day“ und Feldaufnahmen afrikanischer Insekten dienten als Basis für zwei komplexe Geräuschsoundscapes. Höre mit neuen Ohren, mit anderen Hirnzellen als bisher !
“NOISE-MAKER’S FIFES is an experimental performance group from Brussels who do impressive shows with many selfbuild instruments and surrealistic sound-theatre-choreographies. The first side on “Zona Incerta” is based on the choreography “Dyonisos’ Last Day” from 2003 and uses various live-material from this and other different performances. The second side is created from insects field recordings made in Kenya. ZONA INCERTA builds a very dimension of its own, totally hazy and foggy sounds ebb and flow in and out...water and metal-sounds are recognizable in the sound-field, high insect-frequencies intertwine with all kinds of strange noises and animal sounds... The Unknown is also the world of other creatures who perceive a totally different world. Listen with new ears, with different neurons.” [press release]
RELEASE DATE: 28. APRIL 2006 !!
GENERAL LABEL CONEPT: “Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”.
The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.
“...now the Belgian collective has developed a totally unique style where the successions of electroacoustic events are organized according to a logic which fuses a highly skilled compositional ability and the exploration of psychic dimensions where anguish and fear dominate.” [Massimo Richi / Touching Extremes]
"Ähnlich einer Kette von Plunderphonictrickserei und schamanistischem Tranceinschlag bereiten NMF auf der 10“ sorgfältig zwei Stücke naturalem Ambientes und Feldaufnahme vor dem Hörer aus. Beide Seiten beginnen relativ leise und zögernd, ehe eine Mischung aus synthetischer Grundbetonung und relativ uneffektierter Klangmaterie auf dem Stereofeld erscheint.
Die A-Seite geht dabei stärker in die dunklere Seite des Releases ein, vereinigen sich hier Synthesizerspuren und dekonstruierte Feldaufnahmen zu einer Klangmasse, die den Hörer unerwartet einlullt und dabei ein Gefühl erzeugt, den einzig wahren State Of Trance zu erreichen. Der Klang wirkt weder schwer noch betont Räucherstäbchenambiente-betont, sondern wirkt wie eine intelligente Schnittmenge aus Felddokumentation und improvisatorischer Klangkaskade. Die ganzseitige B-Seite (tatsächlich finden sich auf der 10“ zwei lange Stücke) erzeugt ein ähnliches Szenario, allerdings tritt die vormals vornehm zurückgehaltene Effektierung der Klänge stärker zutage. Ab der Plattenmitte entstehen seltsam mantrische Muster, dem Klang einer Orgel nicht unähnlich, ergänzt um zahllose weitere Elemente, die sich aus Feldaufnahme, Drones und leicht angezerrten Obertönen zusammensetzen.
Eine sehr schöne Platte, die ohne den nötigen Pomp einer überschminkten Musikerwartung daherkommt. Neben der RLW von Substantia Innominata mein derzeit favorisiertes Release." [Thorsten Soltau / AEMAG]
|
2006 |
€10.00 |
|
| |
Soiree Dansante |
CD |
"Kurz nach der ersten CD bereits das zweite Werk der aufsteigenden Experimentalband aus Brüssel, die hier eindrucksvoll ihre Vielseitigkeit beweist: Thematisch als auch soundmäßig sind kaum Parallelen zur ersten CD zu ziehen - 'Soiree Dansate' ist ein Extrakt einer Ballet-Performance für sieben Tänzer(innen?), bei der ägyptische Mythologie, mechanisches Kinderspielzeug, Miro und indischer Tanz eine Rolle spielen... unglaublich, aber wahr. Die Klänge sind vielschichtig und teilweise kaum mehr beschreibbar..." [old Drone Rec. info]
|
1995 |
€13.00 |
|
| NOISES OF RUSSIA |
Experimental Structure |
CD-R |
Von dieser extrem interessanten russischen Performance-Gruppe sind Releases nur schwer zu bekommen. Hier ein Mitschnitt aus St. Petersburg vom Oktober 2008, als sie hinter TROUM auftraten und mit diversen Gastmusikern eine theatralisch-expressive Stimmung heraufbeschwörten, sehr dunkel & geräuschaft & voller Spannung..
"Nowadays Noises Of Russia is one of the most known groups on the Russian experimental post-industrial scene, mainly because of their numerous concerts and CDR-releases, published by their leader - Gosha Solnzev aka 1g0g ("Van Gog") - on his own label ElectroIndustria. This release has captured one of such concerts which took place at the Experimental Sound Gallery (ESG-21) in St. Petersburg in October 2008... This concert was peculiar because of the non-traditional band line-up which aside from 1g0g included some of his friends: musicians Nikolay Kalmykov (Hladna), M.M. (Kryptogen Rundfunk), Igor Potsukailo (Bardoseneticcube) and Evgeny Savenko (Lunar Abyss Deus Organum), and also VJ Alco (video projection) and Grigory Glazunov (ODDDance Theatre, butoh dance). By common efforts these comrades performed totally improvised material quite typical for the "St. Petersburg post-industrial wave" and combining elements of collage, industrial, noise and ambient. Field recordings and voice manipulations, metal percussion and rough analogue signals, guitar semi-melodies and various sound effects - all this is harmoniously blended in the unified psychedelic soundsphere." [label info]
http://zhb.radionoise.ru/
|
2008 |
€7.50 |
|
| NOIT, HATIS |
Illogical Dance |
LP |
"Japanische Vokalkünstlerin mit ergreifenden Klangskulpturen, die ohne Worte auskommen.
Bislang war "Illogical Dance" exklusiv in Japan erhältlich, im März 2018 erscheint die EP der japanischen Sängerin international und erstmals auch als Vinyl. In vier unvorhersehbaren, geheimnisvollen und wunderschönen Tracks präsentiert Hatis Noit ungekannte, die Geräusche der Natur nachahmende Klangwelten, die ganz ohne Worte auskommen. Für ihre komplexen und komplett improvisierten Skulpturen greift sie auf so unterschiedliche Elemente wie westliche Klassik, japanischen Folk und natürliche Töne zurück. Der immense Stimmumfang von Hatis Noit basiert auf einem vollkommen autodidaktischen Ansatz, der erstaunliche Einflüsse verbindet: Gagaku, der höfische Musikstil Japans, und verschiedene Operntraditionen zählen ebenso dazu wie bulgarische und gregorianische Gesänge oder Pop- und Avantgarde-Sänger. Bemerkenswert: Es ist kein einziges Sample zu hören - selbst wenn es so klingt, als ob herabgefallene Blätter zerdrückt werden, es ist Hatis Noits Stimme, die dieses Geräusch imitiert. Die von Haruhisa Tanaka und Matmos koproduzierten Vokalwelten erinnern an den experimentellen Ansatz Meredith Monks, der mit der ausgefeilten Produktionsweise einer Holly Herndon vereint wird.
Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018. The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit’s recordings, they volunteered to edit the lead track Illogical Lullaby.
Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.
It was at the age of 16, during a trek in Nepal to the Buddha’s birthplace, when she realised singing was her calling. While staying at a women’s temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.
The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.
“The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature’s many sounds, a language that isn’t logical. Yet it forms a beautiful conversation that isn’t restricted to words like the human language is. I want my music to remind us of that.”
Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit’s own vocal chords. The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit’s full range and introduces a truly original artist.
Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12” vinyl.
https://hatisnoit.bandcamp.com/album/illogical-dance
|
2018 |
€16.00 |
|
| NON TOXIQUE LOST (NTL) |
OGRE-SSE |
LP |
Sehr authentischer, gesellschaftskritischer deutscher 80er Jahre-Industrial dieser vergessenen Band (vor kurzem gab es jedoch schon eine LP auf Wachsender Prozess), zwingende elektronische Rhythmen und Pulsationen, Schreigesang mit zynisch-verzweifelten Texten, Noises & Effekte am richtigen Fleck, eingespielt als richtige „Band“... die Stücke sind meist unveröffentlichte Tracks aus den Jahren 1983 bis 1985 und zeigen die Vielfalt der Band, unser Lieblings-Release bisher auf V.O.D. !
If you like classic 80“s Industrial this is a true must-have !!!
„13 Songs aus dem Zeitstrom herausgerissen (1983-1985). Sie waren bisher nicht auf Schallplatte und wurden auch noch nie im Radio gespielt (einige davon waren jedoch schon auf internationalen "cassetten-samplern" in den 80er Jahren veröffentlicht worden !) Diese "style ist irrelevant" Kompositionen sind jetzt zu einem deutschen (damals noch: "die BRD") Film zusammengeschweisst. Man wird mit wilden Schreien konfrontiert und es gibt heftige Sound-Angriffe, die in den Zustand von "...keine Lösung" einmünden. Man nannte das damals "ursprünglichen industrial Punk". Und das ist NON TOXIQUE LOST. Und es ist auch Musik um einen Traumzustand zu erreichen..“ [label info]
“13 songs pulled out of the stream of time (1983-1985). they have never been on record or on air (nevertheless, some have been released on international. cassette-compilations in the '80s !). these "style is irrelevant" compositions are now molded together into a german (at that time "the frg") movie. you will be confronted with strong shouts and there will be violent (sound) charges, which run into the state of "...no solution". back then they called it "primal industrial-punk". and that's non toxique lost. it's music that will put you into a dream state as well....”
[press release]
“....The most unknown one is possibly the band Non Toxique Lost, even when Achim Wollscheid was a band member. Non Toxique Lost existed in the earlier parts of the 80s and in recent days (having released a 7" on Klangalerie as-well as some CDs on Dossier Records). Back in the old days, they released a now sought after LP, aswell as tracks on compilations, but never gained the fame of Die Tödliche Doris or P16.D4. The line up is pretty 'normal', with Sea Wanton (vocals, electronics, effects), S. Schütze (violin, bass), A. Wollscheid (electronics, guitar, effects), H. Wöhler (live effects) and Jammin' Unit ( live effects). Rhythm-machines play an important role, over which the band-members semi-improvise their sounds. Semi, because I think some of this stuff was pre-planned, and that in some way or the other they rehearsed their songs. Especially when the lyrics can be heard through all the noise and effects, Non Toxique Lost sound like the lost brother of Throbbing Gristle. Quite nice, these orgasmic explosions of rhythm and noise. Definitely one of the nicer bands that got lost, and certainly in demand for more re-issueing.” [Fdw / Vital weekly]
|
2005 |
€15.00 |
|
| |
Chrrroooooom ! |
CD |
"NTL are one oft the most important bands of the German Industrial scene of the 1980's. Most of their albums were released as cassettes only - six of those can be found on this CD. All material here has never seen a release
outside these tapes: "Made on Cuba", "NTL", Rekonstruktionen", "Tavo Ctas Esna", "Ware11" and "Wladiwostok 111984". Compiled by Sea Wanton, this CD is filling an essential gap in the band's discography. Very harsh Industrial sounds from the Golden Age of German 1980s, traces of Einstürzende Neubauten and Sprung aus den Wolken. A perfect companion to the SBOTHI CD released in October this year - both
featuring Achim Wollscheid. Limited to 300 copies only." [label info]
www.klanggalerie.com
|
2010 |
€15.00 |
|
| NONO, LUIGI |
20 Jahre Inventionen V : Quando Stanno Mordendo, etc.. |
CD |
Three impressing pieces from NONO which show his highly political engagement, questionning what art & music can do in the face of the apocalypse. His music creates an utopian dislocatedness, full of intensity and power. The longest piece here is "Quando stanno morendo" (37+ min, composed 1982), mainly based on four ethereal female voices. The third piece from 1960 ("Omaggio a Emilio Vedova") is short and shows his early electronic experiments. Great stuff !!
"Eine CD mit drei Konzertmitschnitten von Kompositionen Luigi Nonos beim Berliner Festival "Inventionen.
Die Live-Elektronik, mit der Nono in den frühen 1980er Jahren im Freiburger Experimentalstudio erstmals arbeitet, dient ebenfalls der Entrückung der Musik: Die Musik rückt aus klaren räumlichen und klangfarblichen Zuordnungen heraus. Die beiden Instrumente, Bassflöte und Violoncello, sind durch die elektronische Verarbeitung in ihrer klanglichen Charakteristik kaum noch zu erkennen. Töne und Gesten lassen sich ins scheinbar Unendliche verlängern und im Raum bewegen. Gesamtspieldauer: 52:41
Tracks: * Quando Stanno morendo (diario polacco no. 2) - Konzert 1983 * Canciones a Guiomar - Konzert 1991 * Omaggio a Emilio Vedova - Konzert 1991" [label info / credits]
|
2006 |
€15.00 |
|
| NORTHAM, MICHAEL |
Memory of A |
mCD-R |
Ungefähr zur gleichen Zeit wie die SUHINA 10" in unserer SUBSTANTIA INNOMINATA-Reihe erschien diese mini-CDR bei TAALEM. Enthalten ist ein ca. 21minütiger one-tracker mit röhrenden, fast mechanischen Drones, die er auf einem "tubular zylophone" einspielt; die Statik des Beginns ist aber nur eine scheinbare, wenn sehr schön schwingende metallische Obertöne dazukommen, wallende organ-drones und sich fast auflösende rauschender Regenklänge... ein sehr feines Stück!!
"Micheal Northam travels a lot and presents here a work that was recorded in India in december 2007, with his microtuned tubular zylophone along with winter rain. Its unclear what (or if at all) he has done with the recordings, but its a pretty neat work. Maybe a bit more rougher than usual, but the various shifting tones of the metallic object he is playing, along with the processed field recordings make this a slow yet always evolving piece of work. A classic Northam piece of drone like acoustic sounds and field recordings. " [FdW / Vital Weekly]
"artwork: delphine ancelle-b. based on cassette recordings on a microtuned tubular zylophone while under an unusual winter rain at the adishakti center, vazhakulam, pondicherry, india (december 2007). mixed at the hobbit hole, kreuzberg, berlin (july/aug 2008.
michael northam could be considered as much as a sound artist as a world traveller... his work is the continuation of more than fifteen years of visiting, working with and learning from over ninety artists (jgrzinich, yannick dauby, loren chasse, martin franklin, francisco lopez or hitoshi kojo/spiracle to name a few) over fifty locations in twenty-five countries!
a perfect example is this piece recorded in india then mixed in germany, probably rawer and rougher than some of his other works..." [label info]
www.taalem.com
|
2009 |
€5.00 |
|
| |
Suhina |
10inch |
Brilliant new recordings by the prolific cosmopolitan (currently residing in Berlin) MICHAEL NORTHAM. "Suhina" is a notion for the sound of the wind moving through the trees. Instead of doing field recordings of wind MICHAEL NORTHAM tried to capture this feeling & the essence of this process through instrumental recordings from Indonesian flute & keyboard. Nature phenomena seen as the true manifestation of the Unknown. Stunning full colour artwork by Indian artist ROHINI DEVASHER. White vinyl, edition of 500 copies, incl. inlay with text by M. NORTHAM.
"Das Thema der Platte hätte auch von der K Foundation stammen können. Michael Northam vertont hier den Wind zwischen den Bäumen, auf finnisch suhina genannt. Was sich als schöngeistiges Ambientexperiment versteigen möchte, ist in der Endsumme erstaunlich unesotherisch geworden. Northam zieht alle Register seines musikalischen Könnens und scheint zu den wenigen zu gehören , die eine Komposition über den Zeitraum mehrerer Jahre gedeihen lassen können ohne der Verlegenheit zu verfallen, nach wenigen Wochen den Abschluss herbeizuzerren.
Beide Vinylseiten wirken dabei sehr transluzent und klar abgegrenzt. Bisweilen hat man das Gefühl, die leisen Zwischentöne der Feedbacks und trudelnden Dronecluster reichern sich mit dem Knistern des Vinyls an, so fragil erscheinen die Zwischenbrücken der jeweiligen Komposition. Wie GAS ohne Beats, wohl aber um das 10fache am Pitchregler hochgeschraubt und mit einer majestätischen Würde, die man sonst nur in den leiseren Backgroundklangarien der frühen Tortoise und ihren »Millions Now…« wieder findet. Orgelähnliche Töne wechseln in malströmartigen Verschiebungen ihren Standort und verwischen auf diese Art und Weise Gefühl für Zeit und Raum, bilden auf diese Art und Weise den Soundtrack für den einsamen Spaziergänger im Wald ohne ein Klischee zu bedienen.
Das Northam sein Stück im Sommer für das Vinyl editierte kommt auch tiefenpsychologisch dem Material zugute. Selten hat eine so ausufernde Komposition eine so hohe Ereignisdichte aufgewiesen, ohne dabei zum Sturm zu mutieren. Auf diese Weise hört man den Wind weniger im Gebälk, dafür mehr im Gemüt." [Thorsten Soltau / AEMAG]
"Every once in a while you bump into a masterpiece, Suhina is one of those times.
The cover has amazing artwork by the Indian artist: Rohini Devasher. Bizarre beautiful flower lifeforms in full color on the front, and in black and white on the back. The vinyl itself is white and nice sturdy and thick.
The 10” is a Drone Records release and is part of the substantia-innominata series.
A concept that deals with concepts like” unknown / unthinkable / unidentifiable / unspeakable etc.
The story behind this record is very interesting. Michael Northam was camping in Finland in 2005 and a friend told him that the sound of the wind moving through the trees was called “suhina” in their language. From that moment Michael wanted to capture that feeling in sound.
Starting with field recordings what was difficult to do, and then moving to blowing on Indian flutes and the use of keyboards. While working on these two tracks Michael has been traveling through Belgium, Slovenia, India and France through 2006 and 2007. The final result was constructed in Berlin in the summer of 2008.
The record has two tracks, called “Through” and “Within”. Both are beautiful very carefully constructed pieces that run over ten minutes of playing time. Side A“Through” is distorted and blissful, full of harmony and truly uplifting and carrying you away with the wind, through forests and plains. It feels like there is lots of wind, gray skies and rain, but also lots of sun rays and rainbows. And total melancholic euphoria. The B side “Within” is a nice continuation. All i can say is that this release is a beautiful, carefully constructed emotional masterpiece." [Nil Pavlov / Hourglass Drops]
"These two tracks of hypnotizing dronemusik from the wandering sound artist Michael Northam originated from a night camping in the Finnish hinterlands, where he became fascinated with the sound of wind whipping through the trees. Field recordings have long been central to
Northam's work dating back to his tactile compositions of corroded ambience and titanic drone arcing; and even the aspects of wind had
featured heavily in work through the Aeolian harps he built in a bunker on a desolate Finnish island. Where those recordings were
attempting to harness to power of wind as something of an intersection between technology and the landscape, these two beautiful recordings of brightly shimmering ambience are more of a poetic response to the dynamics of wind. So those whispings and scatterings of summertime arctic winds introduce the first side of this 10" and quickly subside amidst Northam's billowing drones from his Indonesian flute and an overblown Casio keyboard. The resulting waving tones flicker with the
lingering glow of the sun arching toward the horizon at twilight, with golds, oranges, and reds radiating through each timbre. So striking are the colors that Northam gets through these tones, it can almost distract from his conceptual anchor. No matter, as he's creating one of his finest pieces in a long time. Nice!" [Aquarius Rec.]
|
2009 |
€12.00 |
|
| NORTHERN SONG DYNASTY |
same |
CD |
Projekt von JESSICA BAILIFF mit JESSE EDWARDS: Feiner Folk mit gezupfter Akustikgitarre & mehrstimmigem Gesang & spacigen E-Gitarren, unglaublich zart, emotional, langsam, melanchronisch = abgedriftet in reine Emotion, und doch so traumhaft schön....
mal singt JESSICA BAILIFF, mal JESSE EDWARDS....
Referenzen z.B.: SLOWDIVE, RED HOUSE PAINTERS, LOW...
“The debut album from NORTHERN SONG DYNASTY, the duo of JESSICA BAILIFF (CLEAR HORIZON, EAU CLAIRE) and JESSE EDWARDS (RED MORNING CHORUS). Ten tracks of moody, psychedelic pop, folk, and electronic sounds influenced by time, space, and weather. Features guest appearances from FRED THOMAS (FLASHPAPER, SATURDAY LOOKS GOOD TO ME) and COURTNEY BIRD, and cover art by IKER SPOZIO (Ptolemic Terrascope)”
“....If you've never heard Jessica Bailiff or Jesse Edwards' work, then this might actually be the best place to start. The balance between desperation and happiness on this album might make it more attractive to some who have approached either's work and found it akin to reading Sylvia Plath. After enough exposure, neither sounds particularly cold and the subtle magic they both work on this record will permeate everything, making whatever darker themes are present seem less important than the sonic brilliance demonstrated in their work.” [Lucas Schleicher / Brainwashed]
|
2005 |
€12.00 |
|
| NOSTALGIE ETERNELLE |
Notre Debut |
CD |
"Nostalgie Éternelle was a German duo active from 1986 to 1991. Stefan Heinze (well-known as Inox Kapell) and Dieter Mauson (later member of Delta-Sleep-Inducing Peptide, with Siegmar Fricke) recorded a large number of songs in just few years, distributing them mainly through self-released tapes and international cassette compilations. “Notre Début” is a collection of twenty (!) remastered tracks from Nostalgie Éternelle solo cassettes and compilation tapes, 1988 – 1991, now available on CD for the first time in a handnumbered digi-slim sleeve. Classic 80's dark minimal synth-wave, distant obscure vocals, thrilling synthscapes, including influences from icy electronic music and d.i.y. industrial. “Notre Début” is also an open window to know better 80's cassette-scene and culture; n example, four songs have been previously released on two tapes in 1988, on my old Discipline Produzioni cassette-label: releasing this CD has been a great chance to bring them back to life, together with songs published at that time by 80's cult labels such as Insane Music, Jar, EE Tapes, Headkleaner, Weed Music and more. A cold, dark “Goodbye!” to 80's decade and a claustrophobic “Hello!” to the upcoming 90's. Someone told us that 2011 will be the year of Nostagie Éternelle comeback: If so (fingers crossed), “Notre Début” will be the best introduction to this precious, interesting, original 80's electro-wave band." [label info]
www.finalmuzik.com
"Die zweite Welle der Kassettentäter bekommt endlich und wohlverdienterweise ihre eigenen Re-Releases, mit dabei auch das Duo NOSTALGIE ÉTERNELLE, das von Mitte der 80er bis in die frühen 90er aus INOX KAPELL und einem Teil von D.S.I.P. bestand und fleißig verschrobene, Minimal-Elektonik produzierte und in der ganzen Welt verbreitete. Somit ist es nicht verwunderlich, dass hier keine "komplette" Kassette wiederveröffentlicht wird, sondern einzelne Tracks die auf diversen Compilations zu finden sind und den Werdegang perfekt nachzeichnen. Den Charme dieses Duos macht sicher der naive, aber stets konkrete Umgang mit der damals noch nicht so ausgereiften Keyboards und Samplern (Casio SK-1 rules!) aus. "Schräg" nannt man das irgendwann mal... Es wurde einfach sessionartig produziert und veröffentlicht. - Welchen Stellenwert hat soetwas heute? - Es sind schöne Erinnerungen die sonst verblassen würden und für die Generationen danach ist es Geschichtsunterricht was alles möglich war und ist, wenn man nur einfach mal anfängt was eigenes zu machen! (7)" [Carsten Vollmer/OX]
|
2011 |
€12.00 |
|
| |
Magie Fragile |
LP |
"NOSTALGIE ÉTERNELLE (ewige Sehnsucht) wurden 1986 in Leer / Ostfriesland von Stefan Heinze (Inox Kapell) und Dieter Mauson gegründet. Verwurzelt im Punk, NDW, Industrial, NoWave, Post-Punk und der Elektronikmusik beginnt das Duo ihre Musik auf nationalen und internationalen Cassetten-Samplern zu veröffentlichen und Konzerte in Ostfriesland zu spielen. 1989 erfolgt dann der Umzug ins Rhein-Main-Gebiet. Es werden nun auch Konzerte im Ausland gespielt. Nach einigen Tapes und Beiträgen zu Vinlysamplern zieht es Dieter 1991 zurück in den Norden (Hamburg). 1992 löst sich das Duo aufgrund der räumlichen Entfernung auf. Der Kontakt bleibt über die Jahre bestehen. 2009 fassen die beiden den Entschluss ihre musikalische Zusammenarbeit fortzusetzen. Inox wohnt inzwischen in Berlin (und zweitweise noch in Wiesbaden) und Dieter noch in Hamburg. Wie in den Anfangstagen singen beide Bandmitglieder und während Inox zumeist für die Elektronik zuständig ist, spielt Dieter vornehmlich Bass und Gitarre. In der Folgezeit werden Alben mit Archivmaterial der Band in Belgien, Italien und Frankreich veröffentlicht. 2012 erscheint ein Vinyl-Album (Sans Fin) mit neuem Material auf Hafenschlamm Rekords in Hamburg. Das Duo beteiligt sich auch wieder an internationalen Compilations, die auf Vinyl, CD, Tape und als Freedownload in Belgien, den USA, Brasilien und Spanien erscheinen. Seit 2012 spielen NOSTALGIE ÉTERNELLE auch wieder Konzerte. Einige kleine Touren haben sie in den letzten Jahren durch Deutschland, die Niederlande, Belgien und die Schweiz geführt Wieder auf Hafenschlamm Rekords erscheint nun im September 2015 ein weiteres Vinyl-Album (Magie Fragile) mit neuem Material. Einige der Songs sind bereits liveerprobt." [label info]
www.hafenschlammrekords.de
|
2015 |
€16.00 |
|
| NOTHING |
Silence came back in, filling jagged spaces |
CD |
Wohl kaum ein anderes Label zeigt eine so enge Verbindung zwischen DOOM Metal/Rock und dark Ambient/Industrial wie EIBON Records aus Italien, das Label des CANAAN – Masterminds Mauro Berchi! NOTHING, das Projekt von Jason Walton & Stephen Johnson, präsentieren hier nach „the grey subaudible“ ihre zweite CD auf EIBON. Teils mächtiger, teil sphärisch-melancholischer doom ambient industrial, mit überraschenden ethno-parts, aber auch fast songstrukturaufweisenden Stücken. Insgesamt ein sehr ominöser, eigenständiger Hybryd....
“A disharmonic journey through the mid-world spheres. Fragments of corrupted melodies melt with post-nuclear tribal rhythms. Quiet semi-silences turn into crystal-clear ambiences, then suddently leave space to bursts of noise. Shamanic-like chants evolve into caressing violins, then fall into pits of ultra-droning dark ambient. ...S.U.R.R.E.A.L... ...G.H.O.S.T.L.Y... In clear-trayed jewel box.” [label info]
|
2004 |
€8.00 |
|
| NOVA, JACQUELINE |
Creacion de la Tierra - Ecos palpitantes de Jacqueline Nova: Musica electroacustica e instrumental (1964-1974) |
do-LP |
"Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album, Creación de la Tierra - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) ("Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)")¸ under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: "Creación de la tierra (Creation of the Earth)" (1972), "Oposición-Fusión (Opposition-Fusion)" (1968) and "Resonancias 1 (Resonances 1)" (1968-69), as well as the music for the film Camilo el cura guerrillero (Camilo the Guerrilla Priest) (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works "Omaggio a Catullus" (1972-1974), "Transiciones (Transitions)" (1964-1965), and "Asuimetrías (Asymmetries)" (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -- close to 15 years -- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment." Includes a booklet with extensive information written by Ana María Romano G.; edition of 300."
https://buhrecords.bandcamp.com/album/creaci-n-de-la-tierra-ecos-palpitantes-de-jacqueline-nova-1964-1974
"Continuing their incredible dedication to the historic sounds of the 20th Century Latin American musical avant-garde, Buh Records returns with one of their most important releases to date, "Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)", the first ever collection dedicated to the pioneering work of the Columbian composer Jacqueline Nova.
Spanning the final decade of Nova's life, not only does this stunning double LP overflow with astounding acoustic, electroacoustic, and electronic works that entirely upend the Eurocentric historic experimental music, but the album doubles as a crucial illumination of the feminist and queer struggle for liberation through sound in Latin America during this period.
Absolutely astounding on every level and impossible to recommend enough, it's the sort of revelation that only comes around once in the rarest of times.
Running continuously since the mid 2000s, in recent years the Lima based imprint, Buh Records - run by Luis Alvarado - has issued an astounding array of little heard Latin American experimental music onto the world stage, offering particular focus to work - contemporary and historic - from Peru. In recent years, they’ve been increasingly casting their gaze further afield, offering glimpses of the broader Latin American context experimentalism with stellar releases by Mesias Maiguashca, Walter Smetak, Oksana Linde, and a number of others. Their latest, “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)” belongs to this shift. The first-ever release entirely dedicated to the pioneering Columbian electronic composer, Jacqueline Nova, it lifts the shadows of time to reveal an astounding artist whose work has remained almost entirely unobtainable since her untimely death in 1975. Visionary and truly remarkable, the historical importance of this stunning double LP - issued in a very limited edition of 300 copies, complete with extensive liner notes by Ana María Romano - can't be understated. Once again, Buh has upended the perceptions of avant-garde happening during the 20th Century and replaced it with something far more diverse, vibrant, and alive.
"The history of avant-garde, experimental, and electronic music from Latin America has always been incredibly difficult to access, largely due to the effects of conservative, authoritarian governments that game to power in many countries in the region during the mid 20th Century, attacking progressive art-forms and limiting the mobility of the rich contexts of sounds that emerged within their borders. Despite the opposition that these artists faced, a remarkable scene of experimental music thrived - often cross pollinating - throughout Latin American during the second half of the 20th Century, a happening that Buh Records has been making greats strides toward illuminating for more than a decade. It would be hard to find a better example of this than their latest release, dedicated to the work of the Columbian composer Jacqueline Nova.
Born in 1935, Jacqueline Nova began playing the piano at a young age, eventually taking her studies to the National Music Conservatory in 1958. In 1963 she shifted her focus toward composing, and in 1967 became the first woman to obtain a diploma in composition at the Conservatory, following which she won a scholarship to study at one of the most noted electronic and electroacoustic studios in Latin American, Centro Latinoamericano de Altos Estudios Musicales (CLAEM), in Buenos Aires, Argentina. From this point forward, she almost entirely dedicated her efforts to electroacoustic composition, until her death in 1975.
Nova’s time at CLAEM set her apart from most of her Columbian peers, allowing her the space and time to reach a high level of technical refinement that, combined with her compositional talents, placed her as one of the leading figures in Colombian and Latin American electroacoustic music during that moment. This became even more the case following her return to Argentina in Guggenheim scholarship. Nova returned to Buenos Aires, with the support of a Guggenheim fellowship to research and develop a body of work that integrated ways of transforming the human voice through electronic processes.
“Creation of the Earth”, spanning two full LPs that comprise seven important works by Nova, is effectively a career spanning window into the composer’s remarkable inner world, covering the years between 1964 and 1974. Over its length, we hear the evolution of one of Columbia and Latin American’s most important avant-garde composers, from early efforts like “Transiciones” - a stunning work of complex harmonics and distances for solo piano - and “Asimetrías” - an equally striking, spacious work for flute and percussion - that give a glimpse of her purely acoustic beginnings in the avant-garde, and the sublime talent that laid the foundation for her subsequent works. Beginning with “Resonancias 1”, composed across 1968 and 1969 between Buenos Aires and Bogotá, we encounter Nova beginning to incorporate electronic processes; her piano and other acoustic instrumentation becoming interwoven with electronic sounds, in a work that is built on seven structures with timbre indications, leaving a great deal of openness for each player to make decision and determine its outcome.
The remaining three works gathered on “Creation of the Earth” are unquestionably the most radical and forward thinking, witnessing Nova reaching the full extent of her powers as a composer. The first of these, “Creación de la tierra”, composed in 1972, draws upon her research into the transformative potential of electronic process on the human voice. Composed solely from vocal material drawn from songs on the creation of the earth of the U'wa ethnic group in Boyacá, Colombia, the work culminates as an immersive ritual of astounding scope, rendering the source material almost unrecognizable through heavy processing that transforms it into writhing ambiences of texture and tone. This is followed by “Omaggio a Catullus”, composed over the two years between 1972 and 1974, which takes an entirely different approach to these queries. Incorporating a vast range of acoustic instruments, vocalizations, and electronic processes, it appears as a sonic gesture of deep urgency, entirely of its moment and yet somehow out of time. The final work of the collection, “Montaje electroacústico a partir de materiales de la música original de la película Camilo el cura guerrillero”, was created in 1974 toward the end of her life. As the title suggests, it is an electroacoustic montage from music materials created for the film “Camilo the Guerrilla Priest”. A likely indication of Nova’s politics - Camilo Torres Restrepo, the subject of the film, having been a Marxist-Leninist, priest who fought for progressive reform in Columbia - the work is a stunning gesture of avant-garde sonority, swirling into abstract forms.
As the liner notes to “Creation of the Earth” state, “Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society.” One can only imagine what effect she might have had if her life hadn’t been cut tragically short at the age of 40 in 1975 by bone cancer. Perhaps even more tragically, her death ushered in a period of silence in Columbian electronic music that would last well over a decade, perhaps proving how alone, ahead of her time, and important she was. For this reason and the astounding quality of the work, it is impossible to overstate the importance of Buh’s release of “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)”, the first ever collection solely dedicated to her remarkable body of work. It’s a truly stunning and revelatory listen, bringing a crucial, lost piece in the history of Latin Avant-garde music into the light for the first time. Issued as a beautiful double LP, which includes fantastic exploratory liner notes, we can’t recommend this one enough. Ten out ten and beyond. Grab it before it’s gone." [SOUNDOHM]
|
2022 |
€34.00 |
|
| NOVAK, YANN / JAMIE DROUIN |
+ROOM-ROOM |
CD |
JAMIE DROUIN trat im Drone-Mailorder bereits 2004 in Erscheinung, als er in Zusammenarbeit mit LANCE OLSON eine sehr schöne CD-R nur mit Schnee-Klängen veröffentliche ("Snow:Field", Infrequency Rec.); auf +ROOM-ROOM begegnen wir ihm im Verbund mit dem DRAGONS EYE-Betreiber YANN NOVAK wieder, wo sich zwei ähnlich hochminimale Drones für eine Galerie-Installation verdichten. Der erste Drone besteht aus stehenden Wellen von lichtem Klang mit Zeitdehnungseffekt, der zweite ist dunkler & rauschiger und schafft weiten Raum. Zwei identische Räume bekommen damit völlig verschiedene "Gesichter", die Drones verändern auch die Wahrnehmung physischer Umgebung. Minimalste Soundart die vor Schönheit funkelt! 2 tracks, 63 Minuten.
" +ROOM-ROOM is a pair of sound installations for two adjacent galleries at the Henry. Artists Yann Novak and Jamie Drouin will each individually explore how the perception of these familiar places is transformed by sound. Through contrasting sensory experiences, the installations create an experiential divide between the two virtually identical rooms and restructure notions of architectural solidity and singularity in favor of more flexible, intuitive perceptions. The aural compositions, based on actual ambient noises recorded in the galleries, turn attention onto the spaces themselves and encourage us to rethink the ways in which we process physical location, and create assumptions about our surroundings. In collaboration with the artists, the Henry will produce a CD of stereo versions of the works.
+ROOM-ROOM is organized for the Henry by Associate Curator Sara Krajewski." [exhibition info]
|
2009 |
€13.00 |
|
| NOVI_SAD |
Jailbirds |
CD |
Das zweite Album für dieses griechische Minimal / Drone-Projekt, der gerade auch in der MORT AUX VACHES-Reihe zu Ehren kam; verschiedenste hyper-minimale Drone-Felder und Field Recording-Sprengsel formen, teils sehr wuchtig & bassig wummernd. Anklänge an ILIOS, FRANCISCO LOPEZ, etc..
"Limited to 500 copies and housed in our plastic-free gatefold sleeves with spine. art design by cs08. Novi_Sad's work came to our attention via our good friend Susanna Bolle (Non-Event and Rare Frequency) in Boston. A superbly keen ear, Bolle felt that his work and our label should connect. Though Nov-Sad's has only a few years of practice behind him, the quality and maturity of all of his efforts is striking. The proposed Jailbirds material for Sedimental was totally complete and not only of the highest quality but also of a truly unique vision. What is significant in his work is the multiplicity of its action on the listener. It is a density of sound, acting in three-dimensions, not as auditory 'sound effect' but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones and overtones into unified whole. Sedimental is truly excited to be an early anchor of this young composer and sound artist's serious oeuvre. Novi_Sad (Thanasis Kaproulias, b. 1980) is a graduate student from the Economic University of Piraues. He lives and works in Athens, Greece where he began generating sounds in 2005. His debut album Misguided heart pulses, a hammer, she and the clock received worldwide critical acclaim. Recently, Novi_Sad did a recording session at the prestigious VPRO studios in Amsterdam, for the Dutch National Radio which will be released by Staalplaat [NL] in the Mort Aux Vaches series. A recent piece called Dramazon is available on TouchRadio from the publishing house Touch [U.K]. He is currently working on a project based on various methods of audio analysis called Sirens in which he explores the aesthetics of information on sound by using quantitative data from major stock market crashes in history." [label info]
www.sedimental.com
"...The attraction of his music lies, I think, in the combination of microsound and dark ambient music. There are the cracks and hisses of micro world, but also the thunderous deep ambient drones which can be top heavy, like in the opening ‘Komdu! Hvert?’. Field recordings, the call of the birds, leak through here, as the deep bass dies out very slowly for the rest of duration of the song. ‘Torched Estates’ starts out with some nasty high pitched sounds, but throughout the pieces moves into various heights and depths, and it strikes me that this is the more complex piece of the two on this release. Many heavily processed field recordings are present, but then also sometimes naked and pure.
Whereas the first is built around one theme, is the second piece more a collage of various moods and textures. Quite loud microsound altogether, and thus a strong break with tradition. Great one." [FdW, Vital Weekly]
|
2009 |
€13.00 |
|
| NU & APA NEAGRA |
Omag |
CD |
Rumänische Underground-Psychedelia auf dem Berliner Label LOLLIPOPPE SHOPPE (die auch schon VOLGA und KARPATY MAGICZNE herausgebracht haben)! Ethno- & Folk-Einflüsse, field recordings, dichte & dunkle Atmosphäre; das Spektrum reicht von ruhigen, sehr anmutigen Passagen bis hin zum ekstatischen free-impro Chaos und elektronischen Bearbeitungen, immer weird & eigen, was ist das nur für Musik? Aber lassen wir jetzt noch den staunenden Rigobert Dittmann sprechen: "Ähnlich wie The Magic Carpathians Projekt lässt mich der Sazspieler
und multiinstrumentale Alleskönner Sasa-Liviu Stoianovici im rumänischen Timisoara bedauern, dass ich so wenig Musik aus den östlichen Nachbarländern kenne. Omag (The Lollipoppe Shoppe, LSCD 08) ist nämlich wieder ein stellenweise beklemmend schöner und durchwegs spannender Beitrag zur ‚Imaginären Folklore‘, mit dem selbstverständlichen Einsatz von Loopsampler, Mikrokorg und Fieldrecordings neben der Saz und der Kurzhalslaute Cobza, von Vlad Sturdzas E-Gitarre neben Maultrommel und Szilander Farks Sitar, von Calin Torsancs Reeds & Klarinette neben Alexandru Hegyesis bundloser akustischer Bassgitarre. In den Lauten und dem näselnden Gebläse scheinen Wurzelfäden bis hinab zu prototürkischen, ja sogar thrakischdionysischen und panischen Zeiten zu flattern. Aber in der elektroakustischen Verschwurbelung wird diese Aura von altem Balkan und mythischer Zeit ganz eingemischt in ein psychedelisches und surreal-kosmisches Tripping. Dass Alan Holmes, der walisische Produzent von Gorky's Zygotic Mynci und Gitarrist der Faust verehrenden Ankstmusik-Band Ectogram, einen Mix von ‚Peste munte‘ anfertigte, deutet auf ein Raumzeitnetz hin, in dem sich Nu & Apa Neagra, was übrigens Nein & Schwarzes Wasser heißt, ideell bewegen.
Beim Titelstück ertönt arabesker Gesang zu Sazgeschrammel und dem Zwitschern und Gurren von Vögeln inmitten polymorphender, von einer Furzelwelle angekurbelter Mixadelic. Mit ihrem Balkantouch setzen Nu & Apa Neaga aber einen eigenen Akzent, den ich mit ‚schwerst halluzinatorisch‘ nur andeuten kann. Die Wirkung entspricht einer ziemlich kräftigen Dosis Mutterkorn, die Uhr läuft rückwärts, der Duft von Ziegenbock ist stellenweise schwindelerregend, es wachsen einem Flügel, die einen auf Wolken aus Fuzz und Klingklang schweben lassen, während ‚over the mountain‘ eine Flöte schallt, die nichts davon weiß, dass der Große Pan tot ist. Eine Gitarre auf Speed (‚Galop in 2/4‘), eine Orgel im Opiumrausch (‚Plinsul lui V.‘), dann ein
reedgetrillertes Loopdelirium, in dem ein Wortfetzen mitkreist (‚Cobzar
pneumatic‘). Der Geist von Muslimgauze hetzt vorbei - ‘Oh dear! Oh dear! I shall be late!’ (‚Seara‘), Stimmen kaskadieren auf einem Orgeldrone (‚Umbra si copacul de fier‘). Man durchquert eine Bahnhofshalle, in der die elektrisierte und maultrommelbetwangte Luft Turbulenzen bildet (‚Tambal ruginit‘), und taucht dann ganz tief ein in plunderphonischen, von Stimmen durchraunten und dunkel beflöteten Tapesalat mit Sitardressing (‚Cinci suprapuneripareri‘). Zuletzt jamt Greatful Dead, grillenbezirpt, ungeachtet ständiger Lautsprecher-durchsagen, gefangen zwischen Gestern und Übermorgen (‚13, pentru caracter‘). Vielleicht ist ja das der große Reiz unserer neuen alten Miteuropäer, dass sie noch nicht so durchrenoviert sind, noch nicht so up-todate, dass ihre Kunst des Erbens statt völliger Amnesie doch noch Träume und Räusche mit einschließt, die unserem Speed-Way of Life spotten." [Bad Alchemy]
"NU & APA NEAGRA wurde von Sasha-Liviu Stoianovici (Saz-Autodidakt, Maler und visueller Künstler) und dem Bassisten Alexandru Hegyesi in Timisoara, Rumänien gegründet. Die Gruppe arbeitet mit traditionellen Motiven, improvisiertem Gesang und elektronischen Klängen und ging aus dem NU-Projekt, einem 'free form folk' Projekt hervor, das seit 2001 aktiv ist.
2006 spielte die Gruppe erstmals in Deutschland in Clubs und auf Festivals und präsentierte ihre selbst veröffentlichte CD "At Gardina".
Seit dem hat das Album positive Reaktionen und airplay erhalten, unter anderem im Freien Radio Kassel, Radio Blau Leipzig und beim amerikanischen WFMU Sender.
Nach Umbesetzungen formierte sich die Gruppe 2007 neu als NU & APA NEAGRA (apa neagra = schwarzes Wasser) und arbeitete an dem Album "OMAG", das in Berlin und Timisoara aufgenommen wurde. Der dunkle Charakter der Aufnahmen wurde beeinflusst durch Exkursionen in die Wälder und Berge Rumäniens. Fieldrecordings, alte Instrumente und Aufnahme-Experimente erschaffen eine raue Ethno-Psychedelia, die charakteristisch ist für den Sound der Band. Der Album-Titel "OMAG" ist inspiriert durch eine Pflanze der traditionellen rumänischen Pharmakologie (Aconitum napellus, dt.: Blauer Eisenhut). Neben 13 Aufnahmen beinhaltet das Album einen Mix von Alan Holmes (The Ectogram, Parking Non Stop).
Sasha Liviu Stoianovici – saz, voice, instruments, tape loops
Alexandru Hegyesi – accoustic bass
Vlad Sturdza - guitar
Calin Torsan - woodwinds
www.nu-apa-neagra.ro - www.myspace.com/projectnu
Formed in Timisoara, Romania, by Sasha-Liviu Stoianovici (self taught saz-player and visual artist) & Alexandru Hegyesi, the NU & APA NEAGRA sound project deals with a mix between traditional tunes, improvised vocals and spacey electronics. It started in 2001, as NU, being at the time more of a folk/free form music project.
Representing Romanian underground psychedelia, the group toured Germany twice in 2006, presenting their cdr 'At Gardina', which, in the meantime, received some great reviews. The group played club gigs and also festivals. NU's music has had airplay at radio stations like WFMU or Freies Radio Kassel, among others...
After some changes and studio work in 2007, NU 'reincarnated' as NU & APA NEAGRA and released the OMAG album at the German indie label Lollipoppe Shoppe in June 2008. The tracks have been recorded both in Berlin, Germany and Timisoara, Romania. The sound has became darker, being influenced by various trips in the mountains and forests of Romania. Field recordings, ancient instruments, strange overdubbing techniques, they all create a rough ethno-psychedelic sound, definitely a trademark of NU & APA NEAGRA. The title of the album is inspired by the very poisonous plant Omag, found in the traditional pharmaceutical universe of Romanians (Aconitum napellus). There are 13 original tracks, the 14th one being a deep and strange mix done by Welsh Alan Holmes (Ectogram, Parking Non-Stop). Live shows in central Europe are planed for autumn 2008." [press release]
www.lollipopshop.de
|
2008 |
€13.00 |
|
| |
Descantecul Apei negre |
CD |
"As if it were taken from a story which has not been written yet, this new album of NU & APA NEAGRĂ remains true to its original influences - the Romanian & Turkish folklore and the electroacoustic madness of the 20th Century. With field recordings, pseudo sampling and instruments such as caval, divan saz, prepared cymbalom, synthesizers and vintage sound effects, to name just a few, the group offers a vertical approach towards the sound, one that explores the cultural and primary layers of Balkan & Carpathian spaces which are put into an occidental equation. A sort of amorphous sound psychism, whose depths reveal all of a sudden some recognizable fragments, which could help reconstruct an archaeology of all four musicians' trajectories." [label info]
www.myspace.com/projectnu
"Mich wundert es nicht, dass die Banater Heide beste Schwarzerde bietet für weirde Folklore. Alexandru Hegyesi, Călin Torsan, Vlad Sturdza & Sașa-Livio Stoianovici, in Temeswar zuhause, machen mit Cimbalon & Bassgitarre, Klarinette & Pfeifen, Zither, Gitarre, Ebow, Glocken & Percussion bzw. Saz, Cobza, Gusle, also Lauten von den türkischen Crossroads auf dem Balkan, aber auch mit Korg, Moog, Harmophon und noch mehr Percussion und Effekten eine Pilgerfahrt. Zum Schwarzen Meer? Es scheint eher so, als wäre das Ziel kein Ort auf dieser Welt, sondern ein mystischer Ort, oder eine Anomalität in der Zeit. Da kreuzt sich spacewärts orientierte Sonic Fiction mit klanglichen Phantomen der Vergangenheit. Einer verleugneten Vergangenheit, denn warum sonst sollte der Hahn dreimal krähen ('Al treilea Cântat al cocoșilor')? Im Vorwärtsdrang wirbeln in einer halluzinatorischen Gleichzeitigkeit des Ungleichzeitigen alte Klänge auf. Uraltes Saitenspiel, Pfeifen, Schellen und Getrommel, auch raunende Gesänge, die, sich überlappend, durch die Erinnerung wabern, durch die Zeit kaskadieren, mit Echos von den Karpatenwänden und Klangfetzen, die sich in den transsylvanischen Wäldern verfangen haben, oder an den Mauern von Piteşti verstummt sind.
Lautengeschrammel und Hackbrettgedengel bringen das Blut in Wallung, Stimmfetzen werden zu einem Krähenschwarm, die Zeit kreist in sich selbst. Beim anfänglich orientalisch anmutenden 'Alt Pelerin' (Noch ein Pilger) schält sich wehmütiger Gesang von Maria Balabaș aus dem Dröhnfluss. Ich denke, schwarzes Wasser meint nicht das Marea Neagrä, sondern ein Wasser, das die Vergangenheit löscht. Doch vielleicht ist es, wie bei Telephos und Amfortas die Lanze, als das, was verwundete, auch das Heilmittel. Daher die Wiedertaufe mit schwarzem Wasser. 'The Black Water' badet lang in harmonisch rauschenden Spacewellen, mit Bassklarinette, Kaval und Pfeifen als bukolischem Widerhall, mit zartem Zither- oder Gitarrenklang, knurrigem Moog, jaulenden Synthies. Ist das jetzt Ruderschlag? Oder lappt die Zeit rückwärts? Man wird mitgerissen in dieser psychedelischen Odyssee (wie Dave Bowman beyond the infinite). Bei 18:50 reißt das Band.
[Schluck]" [Bad Alchemy]
|
2012 |
€13.00 |
|
| NULL, K.K. |
Kosmista Noisea |
CD |
Live-Aufnahmen aus Europa von 2003 & 2004 (von 3 locations), aus denen 2 Stücke geformt wurden. V.a. im zweiten Stück sind auch sehr ruhige Passagen vorhanden, das erste wird durch die Zusammenlegung zweier live-Aufnahmen auf Kanal A & B noch dynamischer und druckvoller...
"Kosmista Noisea is a brand new full length from Japanese legend K.K. Null. Packaged in a jewel box with a metallic print on a vellum tray card, this was lavishly designed by Stephen O'Malley (Sunn 0)))/Khanate). Kosmista Noisea (Finnish for Cosmic Noise) consists of live recordings from 3 different locations during the European tour in 2003-2004. 'Kosmista Noisea 1' is taken from 2 separate live recordings and uniquely combined in the studio into one piece with Talcent, Italy on the left channel and St. Etienne, France on the right channel. This technique is designed to give more depth and multiple dimensions. Kosmista Noisea 2 is a 45 minutes long non-edit of an entire live performance in Antwerpen/Belgium, showing the diversity of KK Null's music from intense clashing waves of noise to structured electro-acoustic ambience, droning isolationist material." [press release]
|
2006 |
€14.00 |
|
| NURSE WITH WOUND |
TRIPPIN' MUSIK (black vinyl) |
3 x LP BOX |
" ’Trippin’ Musik’ is Nurse With Wound’s most significant new dose in a while, collecting 3 epic discs of steeply psychedelic sonics that may well alter your breathing and heart rates and mental state. No tracklisting provided, play however tf you like.
Following from the reissue of NWW’s ’Soliloquy For Lilith’ boxset, ‘Trippin’ Musik’ relays the most recent findings from Steven Stapleton and co’s ongoing psychedelic research / surrealist reconnaissance / occult practice in electro-acoustic and avant-garde spheres. As the title suggests, it’s one for the journey, taking up whole sides of vinyl with intensely and intently focussed recordings that often take over 20 minutes to say their psychedelic piece in a cryptic language of abstraction.
Whether you take drugs to listen to this music or not, the effect is likely to live up to the title, but we’re pretty certain it will be stronger with than without. One disc features a whole side of what sounds like a folk song fractalised and slowed down by Carl Stone, while another also sees them strung out in desert guitar scenes sort of like a digitized interpolation of Earth jamming with Soisong, and the side of rapidly panned gasps is practically guaranteed to send your head into a tailspin given the right conditions, before it all shores up in a deeply lysergic scene of strolling, head-squashing, liminal/laminal electronic timbres that feel like classic kosmische slowed down and exhaled by an AI.
Trust the efficacy of ’Trippin’ Musik’ for psychoactive potential is right up there with the most potent sonic substance. Approach with spare time and a well stocked freezer for best results." [Boomkat] |
2020 |
€51.50 |
|
| O PARADIS |
Pequenas Canciones de Amor |
CD |
"The 1st thing that comes to mind when I hear O Paradis is Novy Svet and lookie lookie Jurgen Weber from just that project worked and wrote some of the material. It has the same campy cabaret vibe as Novy Svet. Though there are more eastern and gypsy elements into the Folkish overtone. I all honesty the 1st track was a tough listen to get through. There are moments were I really wonder where O Paradis are going with this.
They are very akin to Spiritual Front in song structure and ideals as well. I do like the lazy horns and heavy bass elements that add an avant jazz overtone. ‘Pequenas Canciones De Amor’ being in Italian some of the time is a bit hard for me to follow from time to time but there are really some beautiful track especially when the female vocals are mixed with the very lounge sung male vocals.
A truly shining moment is the Bob Dylan song so well done by the mighty Johnny Cash called " its aint me, Baby”. The additional accordion piece which is incorporated really adds to the fullness of the track.
Sometime I think O Paradis really want to be Novy Svet as some of the more dark ambient/ martini/ martial moments could come off one of their releases. I was always a sucker for Novy Svet so it’s something I greatly missed. I'm shocked that labels like Punch, WKN or Soleilmoon didn’t jump at the chance to release this title. Some of these tracks I think are in Spanish like Novy Svet did from time to time as well. As ‘Pequenas Canciones De Amo’ goes along the CD get stronger and stronger and a more complex beast that is hugely expansive and almost epic at times, which also include moments of even stirring neo-classic movements. This new label Tourette based of Texas USA have given a release to stand up with the bigger labels mentioned above. It comes in a wonderful digipak as well. Just to add to the magic of it all. I will be looking forward to hearing more from O Paradis and Tourette in the future." [Clint Listing /Judas Kiss]
www.touretterecords.com
|
2008 |
€13.00 |
|
| O YUKI CONJUGATE |
Sleepwalker |
CD |
First new album for over a decade Sleepwalker (auf abwegen aatp69) documents O Yuki Conjugate's recent live shows, doubling as a soundtrack to a film of the same name by founder member Andrew Hulme. Comprising 10 new tracks taken from 24 live shows in nine countries across Europe, Sleepwalker captures OYC's current musical direction, a blend of plangent keyboards, abstract guitars and electronic rhythms, presented in OYC's inimical style.
About O Yuki Conjugate
OYC were formed in Nottingham in 1982 on the wave of experimental music that emerged out of Post Punk. Quickly moving on from their early industrial and electronic influences, OYC began exploring the then-unfashionable 'ambient' genre, a lonely furrow they've ploughed ever since.
Today OYC are in their 38th year and fourth incarnation based around core members Andrew Hulme and Roger Horberry. Over the years they've released nine albums of wilfully obscure ambient-influenced music that together have earned them literally hundreds of pounds - from Scene in Mirage (1984), Into Dark Water (1987) and Peyote (1990) through to Tropic (2017). Largely ignored in the UK, they've consistently found audiences in the US and Europe more receptive to their work.
OYC have a somewhat relaxed work ethic and have frequently gone into hibernation for years at a time without ever going so far as splitting up.
In 2017 they discovered they enjoyed touring and have played more gigs in the last two years than in the previous 20. They've also overseen a series of reissues on Emotional Rescue, as well as a remix 12" of their 1995 album track 'Insect-Talk'. attracting a new barmey army of listeners to their unique sound. Further reissues are planned.
OYC have also found time to create their own alter ego Ocean Youth Club who have just released their first 12" on Barcelona's Hivern Discs. Produced by Colin Potter it's entitled 'Divided Self' and is a conceptual entity based around OYC's desire to explore their own alternate history. In other words, what they would have sounded like if, in 1984, they'd opted to take an electronic route instead of an ambient one.
"Basierte das 2018 veröffentlichte Album „Tropic“ auf ursprünglich Mitte der 90er Jahre komponiertem Material, das später be- und überarbeitet wurde, handelt es sich bei „Sleepwalker“ um eine komplett neue Veröffentlichung. Aufgenommen während einiger Auftritte in den Jahren 2017 bis 2019, sind die auf „Sleepwalker“ enthaltenen Stücke Soundtrack des gleichnamigen Films (von Gründungsmitglied Andrew Hulme), über den es heißt, er habe eine „loose dream-like narrative“.
Im umfangreichen Booklet (was – so profan es auch klingen mag – in Zeiten sinkender Verkaufszahlen leider keine Selbtsverständlichkeit mehr ist) finden sich neben Bildern aus dem Film Textpassagen, die verschiedene (Alp-)Traumszenarien zu beschreiben scheinen: „There is a building under water/As you look down into the water it rises up in front of you“. An anderer Stelle liest man: „Suddenly you’re very afraid“.
Das Album beginnt mit „Clockish“, das mit seinen flächigen Sounds durchaus einen somnambulen Charakter hat.„In Flux“ integriert schleppende Beats in das Klangbild, „The Air Is Alive“ ist von flirrenden, flächigen Passagen geprägt. Auf „Eyelids Burn“ taucht eine Frauenstimme aus dem Äther auf; den Linernotes ist zu entnehmen, dass ein Stück von Keeley Forsyth integriert wurde, die demnächst ihr Debütalbum veröffentlicht und für die Hulme auch schon Videos gedreht hat. „Beyond Control 4“ beginnt mit einem Sprachsample, auf denen die Selbstverbrennung von Thích Quảng Đức thematisiert wird. Man hört dezente Pianotupfer und melancholische Flächen. Sehr schön ist „Forgotten Summer“ mit entrückten Gitarrenpassagen, Beats und Flöte (?). Auf „Black Magic Box“ dagegen sind die Geräusche fast nicht mehr wahrnehmbar: In der Ferne knirschst es, Wasser plätschert. Das abschließende „The Madness Below“ lässt irgendwo eine Trompete erahnen.
Der letzte Satz aus dem Film, der im Booklet zu lesen ist, lautet “You are in motion”. Das ist vielleicht nicht die schlechteste Beschreibung der auf “Sleepalker” zu hörenden Musik, denn insgesamt sind die zehn Stücke so variantenreich, dass man fortwährend den Eindruck von Bewegung hat." [MG, African Paper]
|
2019 |
€14.00 |
|
| |
Sunchemical |
12inch |
"O Yuki Conjugate have been active since 1982. Initially embracing Post Punk currents, they evolved into early pioneers of Fourth World music and still very active havung never stopped evolving. In the mid 90s their music briefly crossed over with the fringes of the club scene as their “Equator” album became something of an ambient classic. Signed to ultra cult Dutch label Staalplaat, a label as far removed from the club world as one might imagine, they nevertheless decided to release a club friendly 12” with a remix from Charles Webster that became an E Music classic. Perhaps the least known of his remixes, this ten-minute epic take on their ambient masterpiece will melt the hardest heart.
The original Staalplaat 12” is almost impossible to find so Optimo Music is delighted to make it available again in a slightly reconfigured version. Three divine Sunchemical takes from OYC and a Charles Webster remix that a quarter of a century later sounds as if it might just have been created. Comes in a full colour sleeve designed by Andrew Beltran."
https://optimomusic.bandcamp.com/album/sunchemical-ep
|
2021 |
€14.50 |
|
| O'CALLAGHAN, JAMES |
Espaces Tautologiques |
CD |
1st disc by Montréal-based young Canadian composer James O’Callaghan.Includes the trytich of acousmatic works that imagine the sounding bodies of instruments as resonant spaces. “Objects-Interiors” (2013), “Bodies-Soundings” (2014), “Empties-Impetus” (2014-15), “Isomorphic” (2011-14).
James O’Callaghan is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Électromania, Radio France) and “highly refined sense of colour” (Vancouver Sun).
His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computer-assisted transcription of environmental sounds, and unique performance conditions.
His work, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, has been variously commissioned by the Groupe de recherches musicales (GRM), NYO Canada, Ensemble Paramirabo, Quasar, and Standing Wave, among others.
James O’Callaghan is the recipient of the Canada Council for the Arts’ Robert Fleming Prize (Canada, 2015), and his music has been awarded first prizes in the Salvatore Martirano Memorial Composition Award (USA, 2016), the Musicworks’ electronic music competition (Canada, 2015), the SOCAN Foundation Awards for Young Composers (Canada, 2013, ’14), including its 2014 John Weinzweig Grand Prize, and the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2013). His music was nominated for the Gaudeamus Award (The Netherlands, 2016) and the Juno Award for Classical Composition of the Year (Canada, 2014), and was a finalist in the the 8e Prix collégien de musique contemporaine (Québec, 2016) and the Klang competition (France, 2015).
Originally from Vancouver, he received a Master of Music degree in composition from McGill University in 2014, studying with Philippe Leroux, and a Bachelor of Fine Arts honours degree from Simon Fraser University in 2011, studying with Barry Truax.
www.empreintesdigitales.com
|
2016 |
€14.00 |
|
| O'MALLEY, STEPHEN |
Keep an Eye out |
LP |
Auch der Drone-Doom Tausendsassa STEPHEN O'MALLEY (SUNN O))), AETHENOR, KTL, GINNUNGAGAP, etc.) bekommt seinen Platz in der TABLE OF THE ELEMENTS Guitar-Series...
"Im ersten eindruck fast wie seine installationsmusiken, dabei aber auch sofort analoger, wärmer, trotz vordergründiger statik wesentlich beweglicher, fast quecksilbrig (wenn das eine für drones überhaupt angemessene charakterisierung sein kann...). in der haltung (wie sie sich mir erschließt) vergleichbar zu fennesz „june“ aus der gleichen serie: gelungener handstreich, wenig konzept / mehr moment. da schadet es überhaupt nicht, dass „keep an eye out“ im grunde ein 1-idee-track ist, der „nur noch“ innerhalb der gewichtung seiner ebenen variiert wird, auf dynamik (oder wechsel der harmonie) aber fast völlig verzichtet: gerade im heavy-rotation-modus geradezu unberechenbar; kaum vorauszuahnen, welche (mikro)windung als nächste folgt und, eindrucksvoll, sich öffnende, ganz neue hörräume, eingebildet oder echt; verschiebende frequenzen, fragile wände, in sich pulsierend. damit vielleicht viel dichter an installationsmusik als ein paar zeilen vorher behauptet; vielleicht sogar: auf den punkt genau das. in der wärme und dem analogen charakter und der sehr musikalischen form aber auch einfach nur: musik / ambient / drone. " [N, Unruhr.de]
"10th installment in the Guitar Series Vol. 3 & 4. The SUNN O))) founder summons a mesmerizing drone, absorbing the listener into an aural tar pit of deep, inexorable oblivion. Constantly pushing at the extremes of volume & duration, O'Malley's sound is a physical phenomenon, infused with an intimidating power - & possessing, at its core, an oddly meditative tranquility." [label info]
|
2008 |
€18.00 |
|
| |
Eternelle Idole |
do-LP |
"September 2015 marks the release of Stephen O’Malley’s ‘Eternelle Idole’, long awaited documentation of the score of Paris based choreographer Gisèle Vienne's eponymous artistic ice skating choreographic piece of the same name.
Composed of 47 minutes of music spread over 2 vinyls and enhanced by a elegant and chilling photoset by Estelle Hanania, the record features some - familiar - O’Malley collaborators such as Steve Moore, Daniel O'Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog & Randall Dunn.
Recorded between Brest (FR), Seattle (USA), and Rotterdam (NL), the score sees Stephen O’Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. And while a 3 minutes hole (Track 3) will extract the music from any temporality, emerging eerie phrases of keyboards and piano draw a white monochrome stage for a young girl’s stark and emotive elegy.
Not to worry then… clavichord and guitars weave the darkness, supported by Jesse Sykes prophetical voice, summoning the utter walls of the threats from the external world.
Mirroring the music score, Estelle Hanania presents 16 photographs from the choreographic piece, enlightening how much ice-skating can be about grace and sustain, geometry, telemetry, distance and perfection, as well as possible falls, gloomy shadows.
Metal against ice, tights and knots, spirals and scratches, shouts and winds : field recordings mold a crispy atmosphere while instruments draws some ovals shapes such as lakes, ice skating ring, cosmos belt… and a terrestrial cloud passage and eventual landing platform for a flying saucer." [label info]
www.shelter-press.org
|
2015 |
€32.00 |
|
| O'MALLEY, STEPHEN & Z'EV |
Magistral |
CD |
"Not content with fronting Sunn 0))), who are currently one of the most influential metal bands on the planet, the prolific drone guitarist Stephen O’Malley (a.k.a. Soma) has participated in a bewilderingly vast number of subsidiary projects, including Thorr’s Hammer, Khanate, Lotus Eaters, Sarin, Burning Witch, Fungal Hex, Teeth Of Lions Rule The Divine, Ginnungagap, etcetera, Æthenor, Altar, KTL and Grave Temple. This time around, he’s teamed up with veteran industrial percussionist and all-round soundsmith Z’EV, and the result is Magistral.
Stephen O’Malley sent Z’EV a recording of a guitar solo lasting eight minutes and 42 seconds, which Z’EV proceeded to stretch out like Hubba Bubba, remix, add percussion to, and generally fuck about with. Those eight minutes and 42 seconds of guitar are thus transmogrified into five tracks and 49 minutes of instrumental industrial ambient music. The über-geeky track titles offer the listener few clues as to how to interpret the music – ‘6m 59s From Last 42s Left Channel Only - 26 Track Submix’, ‘13m 48s From 34s From 5m - 5m 34s - 20 Track Submix’ and so on. The fifth and final track is the most listener-friendly and accessible, featuring pounding tribal beats, lashings of feedback and recognisable guitar tones – elsewhere on Magistral, the sounds on offer run the gamut from shimmering metallic drones and abysmally deep bass rumbles to abrasive, scraping industrial noise, inviting comparison to blackened ambient acts like Archon Satani and Sistrenatus, as well as to Z’EV’s similar collaborative album with Polish drone act Hati.
An absorbing and intricate piece of work that repays repeated listenings, Magistral was mixed by Randall Dunn, noted for his work with Earth and Sunn 0)). The album is lavishly packaged in an oversized gatefold sleeve with artwork by one Stephen O'Malley. Does this man never sleep?" [Judas Kiss webzine]
www.southernlord.com
|
2007 |
€15.00 |
|
| O'ROURKE, JIM & C.M.VON HAUSSWOLFF |
In, Demons, In! |
LP |
The time-stopping tract of ’In Demons In!’ is a naturally elemental drone collaboration between eminent experimentalists Jim O’Rourke and CM Von Hausswolf for their eternal admirers at iDEAL Recordings
Offering a transfixing peek behind the curtain of pure black hole drone dynamics, ‘In Demons In!’ finds the American in Japanese exile and the proclaimed monarch of the imaginary kingdoms of Elgaland-Vargaland meeting on common ground after 26 years of international correspondence. Initiated in Tokyo 2016 and completed over the proceeding two years in Japan and Sweden, the uncompromisingly adventurous results are galactic in scope and viscerally metaphysical in presence, conjuring scales of abyssal bass and diffused, atomised, abstract dark matter that make the listener feel like a speck of stardust floating in infinity.
Using sound as a magickal tool for psychic transport and to finely model notions of the metaphysical that typically elude human comprehension, the near 40’ work feels to collapse billions of years into a glacial moment. Location recordings made in Kathmandu lend an barely there iridescence, like microbial filaments flickering in the endless darkness, to their plunging, subharmonic basses and vaporised mid-upper registers, where spectral forces comb thru the piece, only very gradually altering the weightless keen of its planetary mass and mental traction.
Ultimately, and fans are likely to agree, ‘In Demons In!’ amounts to a vitally definitive entry in both artists’ catalogues, marking right up there with the most abstract wonders of O’Rourke’s electro- acoustic Steamroom volumes, while manifesting some of the most fascinating results from Von Hausswolff’s ongoing investigations into drone music’s paranormal properties. In other words: it’s Grade A+ zoner music. |
2019 |
€21.50 |
|
| OBLIVION ENSEMBLE |
Seraphim Hallucino |
CD |
Nach langer Wartezeit endlich ein neues Album für das US-amerikanische Projekt um BRANNON HUNGNESS und JOHN BERGSTROM, die vor Jahren auch eine EP für Drone Records eingespielt haben. SERAPHIM HALLUCINO ist ein erdrückend intensives, dunkles Werk basierend auf Instrumental-Improvisationen, die später im Studio ausufernd bearbeitet wurden... mit elektro-akustischer Finesse ausgestatteten Dronescapes, die geheimnisvoll & geräuschhaft tönen, man scheint wie in einem surrealen (Alp?)-Traum gefangen zu sein, immer wieder schlittern diese Sounds am Bewusstsein vorbei, um dann in überraschenden Arrangements wiederzuerstarken... eine einzigartige, filmische Atmosphäre wird erschaffen. Grossartiges Album!
"The music of Oblivion Ensemble remains as elusive and surreal as the ever-shifting cast of musicians and performerswho participate, knowingly, or unknowingly in their work. Founding members are John Bergstrom and Brannon Hungness (aka Figure). Hungness is a virtuoso experimentalguitarist and composer and a former member of the Glenn Branca Ensemble. Bergstrom is a computer-musicgearhead and a film composer with a classical music pedigree, and mastermind behind the industrial-noise assembly Torse. Seraphim Hallucino is Oblivion Ensemble’s fifth full-length release, the first since the virtual opera “Nightmare:Sinistrotorse” (Complacency, 1995). At Seraphim Hallucino’s source are strange, electro-acoustic improvisations of percussion, trumpet, voice, synthesizers and guitar. These improvisations are sculpted and sampled, twisted and turned, shaped into building and diminishing moments, and, at times appearing alone, pure and unmodified. Deeply imbedded in the music and fragmented lyrics are secrets, intertwining themes, voices, and imprinted messages. All come together to create an enormously complex, mercurial mix of surreal, dynamic and dark sounds. To fully appreciate the scope and intricacies of Seraphim Hallucino, headphones in a darkened room are highly recommended.
"The band most likely to compose a fitting soundtrack for the end of the world. ” [Sorted magAZine]
“Visionary gothic psychedelia. [The Wire]
"the most undefinable gorgeous musical anything that I have ever witnessed ... a beyond great performance, chilling and anxious.
[Best of Times]. In superb digipak, with artwork by Matt Vickerstaff of darkwaveart.co.uk." [press release]
"... Eerie textures are easily combined with chaotic and hectic movements. I am not sure wether we should see all twenty-two pieces as part of the total, or wether they are all separate, I rather believe the first, since some parts do flow nicely into each other, thus making the greater picture. There is a darker undercurrent on this CD, which doesn't make it easy to grasp, but it unfolds great beauty when explored in depth (and in dark, I presume)." [FdW / Vital Weekly]
|
2007 |
€13.00 |
|
| OFF THE CUFF |
Part.Heaven |
CD-R |
Projekt von HUM und MYSERY - soll der Re-release eines alten Tapes sein (Erstveröffentlichungsdatum unbekannt). Low-fi drones & rauhe verzerrte Bass-Sounds, röhrend einbrechende Feedbacks, irgendwo tauchen verdeckte found sounds von Populärmusik / alten Schlagern? auf ... hat was sehr schlammig-dumpfes, träge schwere Winde & Drones wälzen sich langsam voran.. 2 tracks, 55 minutes.
"First edition of collaboration project between Dmitry Chistov (Hum, Maw) and Andrey Ivanov (Misery). Lo-fi old school ambient, archaic psychedelic sound, smooth drones, rattles and noises, like a leisurely walk irreparably lost in primeval forest." [Zhelezobeton]
|
0000 |
€8.00 |
|
| OGNI VIDENIY & SVETLO111 |
Synapse |
CD-R |
A collaboration of the two projects now based in St. Petersburg and often performing together at city gigs and forest festivals. Three long psychoactive tracks filled with gritty analogue noise, farced with scraps of electronic signals and soaked in a syrup of harmonious drones. Despite the abrasive texture of sound and use of rather sharp effects, the atmosphere of the album is quite contemplative. Like the severely frosty northern night with polar lights: the air bites your skin and burns your lungs, but you just can't stop staring. The key point is the right adjustment of perception and selection of warming elements!
zhb.radionoise.ru/eng/zhb-liii.html
|
2015 |
€8.00 |
|
| OLHON |
Underwater Passage |
CD |
Unterwasser-Drone-Elektromagnetismus! OLHON haben sich wieder aufgemacht, Feldaufnahmen von wirklich abgelegenen Orten zu machen - für dieses Projekt nahmen sie 40 Meter unter Wasser Sounds an einem alten Telefonkabel auf, und transferierten das ganze durch spezielle technische Bearbeitung schliesslich ins Hörbare. Wieder entsteht hier eine fremdartige Klangwelt, mit faszinierenden spiralartigen Sounds & sirrend-körnigen Überbau. "Natural Drone" der besonderen Art, absolut herausragend!
"Field-recordings maestros OLHON are back with a new stunning album. "Underwater passage" is based upon underwater recordings taken in 2006 by Zairo (WHERE), then treated by Massimo Magrini (of BAD SECTOR fame). These recordings were taken using special sensing microphones attached to an abandoned telephone cable running on the sea bottom at -40 m.; they were then processed with particular demodulating treatments, resulting in a complex and rich ambiental monument. Strange clicks, impulses, a load of movements. Definitely far from the usual concept of dark ambient = low-rumbling drones only, "Underwater passage" shimmers with cutting mid/high frequencies bursts. A very challenging listening, trust me." [label info]
label-website: www.eibonrecords.com
|
2008 |
€13.00 |
|
| |
Lucifugus |
10inch |
This shows the collab-project of BAD SECTOR & WHERE recording pure sounds from an abandoned large metal water tank located in a forest in Tuscany, Italy (originally used by miners from that region). Both tracks are based entirely on these field recordings. Orange vinyl & stunning artwork by Berlin-based artworker Tilmann Benninghaus who was also responsible for the highly praised CISFINITUM cover (SUB-04). Edition of 500 copies. Lucifugus music for Lucifugus men!
"...Wer bisher noch nicht wusste, wie man sich in einem Wassertank fühlt, oder vielleicht sogar: wie sich ein Wassertank fühlt – hier ist es bis ins Detail zu erfahren. Das 'Unbenennbare' wird hörbar gemacht. Organische, manchmal sehr gut strukturierte und deshalb gut zu rezipierende Musique concrète, manchmal auch schmerzender Krach. Insgesamt sehr beeindruckend, eine musikalische Grenzerfahrung. Die 10inch ist auf 500 Exemplare limitiert und kommt sowohl innen als auch außen in Erdfarben: Innen in betörendem, orangefarbenem Vinyl, außen mit einer hellbraunen Makrofotografie (Sandstein?) des Berliner Künstlers TILMANN BENNINGHAUS." [Michael We., NonPop]
|
2009 |
€12.00 |
|
| OM |
Conference of the Birds |
CD |
"Der erste der beiden Tracks auf "Conference Of The Birds" namentlich "At Giza" ist sowas von gelungen und grandios, dass, wenn der zweite Track "Flight of the Eagle" genauso gut gewesen wäre, ich hier volle Punktzahl vergeben hätte und meine Platte des Jahres (fast) schon sicher wäre. Egal, auch so gut. OM ist die Rhythmusfraktion von den legendären Sleep und "Conference Of The Birds", der Nachfolger vom ähnlich faszinierenden Album "Variations On A Theme" Album , welches eine ähnliche und genauso gelungene Aufmachung hat wie "Conference Of The Birds". Mit der Unterstützung von Billy Anderson als Engineer & Produzent wird hier eine intelligente und sehr hypnotische wie psychedelische, dronige, Rock Platte vorgestellt, die man nur als konsequente, minimalistische Weiterführung von Sleep sehen kann. Der Gesang ist apathisch und monoton, Repetitionen wohin das Ohr reicht. Elemente aus der Stoner Ecke, dem Doom, Chant... und alles so perfekt und gekonnt umgesetzt. Beide Stücke auf "Conference Of The Birds" leben, pulsieren und die Riffs schrauben sich mit den immer gleichen periodischen Rhythmen nach oben. Mal brechen sie zusammen, um dann genau das gleiche Spiel nur noch einmal viel herrlicher und hypnotischer zu zelebrieren. Der Sound ist von homogener Dichte und absolut organisch. Textlich geht es um die Struktur des Universums oder das Gefangensein im Körper, was so gut zu den beiden Liedern passt. Grossartig!" [Creative-Eclipse]
www.holymountain.com
"Comprised of two songs that build on OM's use of cyclical rhythm, riff, and vocal intonation, the duo's new album Conference of the Birds blends metal, chant, drone, dub, and psychedelia. The band's lyrics expound upon the structure of the universe, potentiality, and freedom from the physical body. Engineered by Billy Anderson and produced by the band, Conference of the Birds progresses beyond their debut, Variations on a Theme, with more fully realized songwriting and production." [press release]
"This is one of the most immaculate, hypnotic and powerful albums I have heard for many many many years." [David Tibet, Current 93]
|
2006 |
€14.50 |
|
| ON (SYLVAIN CHAUVEAU & STEVEN HESS) |
Your naked Ghost comes back at Night |
CD |
"Das renommierte Electro-Duo trifft auf den Dark-Ambient-Meister Helge Sten:
Bei dem Projekt On handelt es sich um die Kollaboration zwischen dem französischen Komponisten und Produzenten Sylvain Chauveau und dem in Chicago lebenden Percussionisten Steven Hess (Haptic, Pan American). Das Duo wählte schon immer recht seltsame Wege, seine Arbeit zu präsentieren. Doch das Prinzip ist einfach: Die beiden nehmen ein Album auf, um es dann einem Dritten zur Überarbeitung zu geben. Der Remix ist dann das fertige Werk. 2003 wurden über drei Stunden Arbeit vom norwegischen Dark-Ambient-Meister Helge Sten alias Deathprod bearbeitet. Stens charakteristischer Schmuddel-Ambient wird ohrenfällig, wenn er Hess und Chauveaus Kompositionen in einen Sumpf aus tiefem Hall und synthetischem Rauch taucht. Hess’ perkussives Dröhnen ist zum entfernten Summen eines Insektenflügels gefiltert und Chauveaus präparierte Gitarre wird zur tektonischen Unterhaltung zweier Kontinente. Man weiß nicht immer, wann On aufhört und wo Deathprod anfängt, aber das ist auch das Geheimnis dieser Produktion." [label info]
"..Those familiar with Deathprod will instantly recognise Helge Sten’s dense atmospheric structures and minimal and haunting soundscapes. It is, indeed, his presence which is felt the most on this record, as he manipulates Chauveau’s guitar textures into vast sonic plains and retains very few recognisable traces of the original sound sources. Hess’s percussions are even more treated and only seem to appear as occasional seismic pulses, sending shockwaves deep within the sound formations, or as distant textural touches. Album opener Your Naked Ghost Comes Back At Night And Flies Around My Bed is based on a slowly evolving warm and opaque drone upon which are added a few brushes of distortions stretched to the point where they become extremely polished and sleek. Erotique, which follows, opens with the distant rumble of percussions, but darker forms soon roll in and give this piece a stark desolate feel at the opposite end of the scale of what its title suggests.
Later on, on Facade, Sten uses metallic percussions as main element, progressively drawing them out into a much more compact and dense cloud of noise over the twelve minutes of the piece, while retaining the rich hue of the original component. Elsewhere, In The Forest Of The Night appears as dense but it is sign-posted with regular pulses which, while never dragging the piece out of its original torpor, brighten up its path. Too Many Demons Still Haunt This Land and The Lonesome Poetry Of Mark Rothko, which closes this album, are much darker and incredibly vast, as persistent winds blow upon barren landscapes and swallow the most vivid sonic details which attempt to arise, leaving these two pieces in a permanent state of darkness. The latter especially, stretching over seventeen and a half minutes, is an incredibly haunting moment, which, after over twelve minutes of deep-space like noises, begins to open up to a more peaceful and almost melodic sound form.
With Helge Sten applying his touch and aesthetic to the original pieces recorded by Sylvain Chauveau and Steven Hess, it is totally impossible to even envisage what these may have sounded. And while the sound sources were created by the pair, ultimately, this album sounds like the work of Sten. This however never hinders its impact in any way, the resulting compositions working extremely well together to create an intense and moody journey through some of the most stunning atmospheric soundscapes heard since SAWII." [The Milkfactory]
www.typerecords.com
|
2009 |
€16.00 |
|
|
Your naked Ghost comes back at Night |
do-LP |
"Das renommierte Electro-Duo trifft auf den Dark-Ambient-Meister Helge Sten:
Bei dem Projekt On handelt es sich um die Kollaboration zwischen dem französischen Komponisten und Produzenten Sylvain Chauveau und dem in Chicago lebenden Percussionisten Steven Hess (Haptic, Pan American). Das Duo wählte schon immer recht seltsame Wege, seine Arbeit zu präsentieren. Doch das Prinzip ist einfach: Die beiden nehmen ein Album auf, um es dann einem Dritten zur Überarbeitung zu geben. Der Remix ist dann das fertige Werk. 2003 wurden über drei Stunden Arbeit vom norwegischen Dark-Ambient-Meister Helge Sten alias Deathprod bearbeitet. Stens charakteristischer Schmuddel-Ambient wird ohrenfällig, wenn er Hess und Chauveaus Kompositionen in einen Sumpf aus tiefem Hall und synthetischem Rauch taucht. Hess’ perkussives Dröhnen ist zum entfernten Summen eines Insektenflügels gefiltert und Chauveaus präparierte Gitarre wird zur tektonischen Unterhaltung zweier Kontinente. Man weiß nicht immer, wann On aufhört und wo Deathprod anfängt, aber das ist auch das Geheimnis dieser Produktion." [label info]
"..Those familiar with Deathprod will instantly recognise Helge Sten’s dense atmospheric structures and minimal and haunting soundscapes. It is, indeed, his presence which is felt the most on this record, as he manipulates Chauveau’s guitar textures into vast sonic plains and retains very few recognisable traces of the original sound sources. Hess’s percussions are even more treated and only seem to appear as occasional seismic pulses, sending shockwaves deep within the sound formations, or as distant textural touches. Album opener Your Naked Ghost Comes Back At Night And Flies Around My Bed is based on a slowly evolving warm and opaque drone upon which are added a few brushes of distortions stretched to the point where they become extremely polished and sleek. Erotique, which follows, opens with the distant rumble of percussions, but darker forms soon roll in and give this piece a stark desolate feel at the opposite end of the scale of what its title suggests.
Later on, on Facade, Sten uses metallic percussions as main element, progressively drawing them out into a much more compact and dense cloud of noise over the twelve minutes of the piece, while retaining the rich hue of the original component. Elsewhere, In The Forest Of The Night appears as dense but it is sign-posted with regular pulses which, while never dragging the piece out of its original torpor, brighten up its path. Too Many Demons Still Haunt This Land and The Lonesome Poetry Of Mark Rothko, which closes this album, are much darker and incredibly vast, as persistent winds blow upon barren landscapes and swallow the most vivid sonic details which attempt to arise, leaving these two pieces in a permanent state of darkness. The latter especially, stretching over seventeen and a half minutes, is an incredibly haunting moment, which, after over twelve minutes of deep-space like noises, begins to open up to a more peaceful and almost melodic sound form.
With Helge Sten applying his touch and aesthetic to the original pieces recorded by Sylvain Chauveau and Steven Hess, it is totally impossible to even envisage what these may have sounded. And while the sound sources were created by the pair, ultimately, this album sounds like the work of Sten. This however never hinders its impact in any way, the resulting compositions working extremely well together to create an intense and moody journey through some of the most stunning atmospheric soundscapes heard since SAWII." [The Milkfactory]
CD-version available too, 16 Euro !
www.typerecords.com
|
2009 |
€20.00 |
|
|
Something that has Form and Something that does not |
CD |
"Der US-Schlagzeuger Steven Hess und der französische Instrumentalmusiker Sylvain Chauveau bilden zusammen das Projekt On, "Something That Has Form And Something That Does Not" ist ihr drittes Album, auf dem sie ihren abstrakten, experimentellen Sound zu neuen Höhen verhelfen. Wie schon auf früheren Werken wurden die aufgenommenen Improvisationen einem Gastmusiker überantwortet, der mit ihnen machen konnte, was er wollte. Diesmal war es der Experimentalpionier Christian Fennesz, der das Gehörte überarbeitete, neu arrangierte und komponierte. Fennesz kennt das Duo seit 2004, und es war nur eine Frage der Zeit, bis auch er sich mal ans Werk machen durfte. Die Quellsounds behandelte er mit einer gewissen Leichtigkeit, die ihnen das Atmen ermöglichte. Teilweise hört man Raumgeräusche, die zum Rückgrat intensiver, sich langsam aufbauender Dronescapes werden. Nein, "Something That Has Form..." ist sicher kein Easy Listening, das Album erfordert Hingabe und Konzentration, die allerdings mit der Offenbarung reiner Schönheit belohnt werden." [label info / indigo]
" ‘Something That Has Form And Something That Does Not’ is the third album from Sylvain Chauveau and Steven Hess under their On moniker, and continues their excavation of abstracted experimental sounds. As with the previous records, improvisations were recorded in a studio in Chicago and then handed to a guest musician to rework in whichever way they saw fit, and this time around the guest musician is none other than experimental pioneer Christian Fennesz. Christian’s association with the band goes way back – he performed with them in 2004 as a trio so it seemed almost inevitable that a collaboration would emerge at some point, but this treatment truly takes the notion of collaboration to another place entirely.
Unlike ‘Your Naked Ghost Comes Back At Night’ (which was handled by dark-ambient master Deathprod), Fennesz has treated the source sounds with a distinct lightness, allowing them to creak and breathe. Occasionally you can hear the room itself ticking in the foreground – hands on drumsticks and feet on pedals. The sounds become the backbone of the intense, slow-building dronescapes that Fennesz pulls from the original recordings. We are treated to piercing noise as the album opens with a choir of feedback, but the cacophony gradually disperses to allow pulsing harmony and Steven Hess’s propulsive, metronomic drumming.
When we close on the blissful near 20-minute ‘The Sound Of White’, echoes of Fennesz’s best work drifts through the crackle and pulse of Sylvain Chauveau’s prepared guitar and Hess’s distant percussion. These hypnotic patterns slowly rise and fall, giving the listener time to truly hear each subtle shift. This is not an exercise in easy listening – rather here is an album that demands close attention, and one where the beauty truly is in the details." [label info]
www.typerecords.com
|
2010 |
€16.00 |
|
| |
Something that has Form and Something that does not |
LP |
"Der US-Schlagzeuger Steven Hess und der französische Instrumentalmusiker Sylvain Chauveau bilden zusammen das Projekt On, "Something That Has Form And Something That Does Not" ist ihr drittes Album, auf dem sie ihren abstrakten, experimentellen Sound zu neuen Höhen verhelfen. Wie schon auf früheren Werken wurden die aufgenommenen Improvisationen einem Gastmusiker überantwortet, der mit ihnen machen konnte, was er wollte. Diesmal war es der Experimentalpionier Christian Fennesz, der das Gehörte überarbeitete, neu arrangierte und komponierte. Fennesz kennt das Duo seit 2004, und es war nur eine Frage der Zeit, bis auch er sich mal ans Werk machen durfte. Die Quellsounds behandelte er mit einer gewissen Leichtigkeit, die ihnen das Atmen ermöglichte. Teilweise hört man Raumgeräusche, die zum Rückgrat intensiver, sich langsam aufbauender Dronescapes werden. Nein, "Something That Has Form..." ist sicher kein Easy Listening, das Album erfordert Hingabe und Konzentration, die allerdings mit der Offenbarung reiner Schönheit belohnt werden." [label info / indigo]
" ‘Something That Has Form And Something That Does Not’ is the third album from Sylvain Chauveau and Steven Hess under their On moniker, and continues their excavation of abstracted experimental sounds. As with the previous records, improvisations were recorded in a studio in Chicago and then handed to a guest musician to rework in whichever way they saw fit, and this time around the guest musician is none other than experimental pioneer Christian Fennesz. Christian’s association with the band goes way back – he performed with them in 2004 as a trio so it seemed almost inevitable that a collaboration would emerge at some point, but this treatment truly takes the notion of collaboration to another place entirely.
Unlike ‘Your Naked Ghost Comes Back At Night’ (which was handled by dark-ambient master Deathprod), Fennesz has treated the source sounds with a distinct lightness, allowing them to creak and breathe. Occasionally you can hear the room itself ticking in the foreground – hands on drumsticks and feet on pedals. The sounds become the backbone of the intense, slow-building dronescapes that Fennesz pulls from the original recordings. We are treated to piercing noise as the album opens with a choir of feedback, but the cacophony gradually disperses to allow pulsing harmony and Steven Hess’s propulsive, metronomic drumming.
When we close on the blissful near 20-minute ‘The Sound Of White’, echoes of Fennesz’s best work drifts through the crackle and pulse of Sylvain Chauveau’s prepared guitar and Hess’s distant percussion. These hypnotic patterns slowly rise and fall, giving the listener time to truly hear each subtle shift. This is not an exercise in easy listening – rather here is an album that demands close attention, and one where the beauty truly is in the details." [label info]
www.typerecords.com |
2010 |
€19.50 |
|
| ONODERA, YUI |
Entropy |
CD |
Wiederveröffentlichung des ersten ONODERA-Albums von 2005 (als CDR erschienen auf seinem eigenen kleinen Label), zu dem wir vermerkten: "A new project from Tokyo with minimal “concrete” & drone-compositions....extremely nice & dense......hyper-subtle stuff.... ..derived from field recordings, guitar-sounds, electronics. Definitely Recommended ! 10tracks/total time 47m11s."
"A new label from Japan, this Trumn and the presentation is nice: sturdy card stock, like a small folder. The first one is by Yui Onodera, no stranger in the land of the weekly (see for instance the weeklies 590, 608 and 611), with his carefully constructed sonic silence. He uses field recordings, electric guitars and computer processing for his music - lots of computer processing. The result is a work in ten parts, all untitled, all flowing right into eachother. Each is a block by itself - static without many moving around and each has a similar built up, fade in, fade in and stays where it is, so small gaps of silence appear between the songs, but essentially, I think, its a one unified work. Highly microsound, and nothing new as such in that particular line of music, but Onodera does things pretty well, I think. 'Entropy', in all its silence-ness is a great work." [FdW / Vital Weekly]
www.trumn.com
|
2009 |
€13.00 |
|
| OORCHACH |
Chtonikka |
CD |
Zweites Album für diese uns bisher gänzlich unbekannte Band aus Litauen - ihr elektronischer Post-Industrial wird gefüttert von pulsierenden dunklen Synth-Flächen, hypnotisch-repetitiven Beats (mal subtil mal bombastischer), Noises / Samples und beschwörenden Vocals & Geflüster das eher im Hintergrund bleiben und dem ganzen eine rituelle Komponente geben... Anklänge an DEUTSCH NEPAL, MEGAPTERA, etc.. recht "klassische" Sounds also, aber überzeugend arrangiert, entfaltet CTHONIKA eine sofortige, düstere Sogwirkung.
"Chtonikka is the second album of OORCHACH, Lithuanian post industrial project. Six new tracks are dedicated to the arcane world Chtonikka whose vision the author conveys through the gloomy industrial loops, coarse and dirty lo-fi sound. Powerful tribal rhythms provide the tracks with vehement dynamics, while the album as a whole smacks of strong archaic mood." [label info]
".... This album is full of visions, but it does not give you neither questions nor answers. If you need them - search for yourself. It is meditative wade in the wet grass. Still, once you see the vision of Chtonikka, you won't be able to return to your "normal" life. This darkness infects you and stays deeply in the head. But you know that one day it will strike and then you'll leave everything and go, following the footsteps of the ritual. There, where nobody would find you." [Terror.Lt]
www.autarkeia.org
|
2008 |
€13.00 |
|
| OPENING PERFORMANCE ORCHESTRA / REINHOLD FRIEDL / MIROSLAV BEINHAUER |
Chess Show (Other Memories of John Cage) |
do-CD |
Die 64-minütige Chess Show verwendet als Klangmaterial Fragmente aus Werken von John Cage, die nach dem Zufallsprinzip geordnet und kombiniert werden. Zeitgleich spielt Reinhold Friedl auf Klavier, Toy Piano und Gegenständen Stücke von Cage. Nach Art eines Quodlibets wird die strenge Struktur von Chess Show mit einer unvorhersehbaren Auswahl konfrontiert: verschiedene Klavierparts aus den Number Pieces, eine ungeordnete Selektion aus den Song Books, vielleicht sogar die Suite for Toy Piano und Saties Vexations. Chess Show [4’34” version] entstand in Zusammenarbeit mit Miroslav Beinhauer, einem tschechischen Klaviervirtuosen, im Studio.
"Der Klang wird transformiert und wiederhergestellt, aber auf eine nicht erkennbare Weise! Er wird wiedergeboren. Es ist eine immerwährende Wiedergeburt oder Reinkarnation. Es ist Leben. Und das geht immer weiter und weiter." Dieses Zitat aus John Cages Buch For the Birds schwingt in den einzelnen Versionen von Chess Show mit, einer Komposition des Prager Opening Performance Orchestra. Die Idee zu Chess Show entstand Mitte der 1990er Jahre, als das Stück unter dem Titel Cagemix nicht-öffentlich gespielt wurde. 1962 verwendete John Cage für seine Komposition Atlas Eclipticalis Sternkarten, die der tschechoslowakische Astronom Antonín Bečvář angefertigt hatte. Unser Ziel war es, an diese Arbeitsweise anzuknüpfen, aber dabei eine echte Schachpartie zu verwenden. Später wurde Chess Show fünfmal live aufgeführt, zweimal in einer gekürzten Version. Die erste Chess-Show-Aufführung fand 2007 in Telč statt. Anlässlich des hundertsten Geburtstages von John Cage im Jahr 2012 wurde Chess Show in der Ausstellung Membra Disjecta for John Cage in der DOX-Galerie in Prag und in der Galerie der Schönen Künste in Ostrava in einer elektronischen Version für vier Laptops und ein Video gespielt. Die letzte Live-Aufführung von Chess Show fand 2017 im Rahmen des Festivals für zeitgenössische Musik Ostrava Days statt, mit Reinhold Friedl als Solist. Die andere Version von Chess Show entstand im Studio – Chess Show [4’34” version], in Zusammenarbeit mit Miroslav Beinhauer, einem tschechischen Klaviervirtuosen.
The idea of "Chess Show" originated in the mid-1990s. In 1962, John Cage used for his composition "Atlas Eclipticalis" maps. The aim was to link up to this method of work, while using a real game of chess. Later on, "Chess Show" was performed live five times. The first performance took place in Tel 269; in 2007. To commemorate the centenary of John Cage's birth in 2012, "Chess Show" was played at the "Membra Disjecta for John Cage" exhibition at the DOX gallery in Prague and at the Gallery of Fine Arts in Ostrava in an electronic version for four laptops and a video.
The most recent live performance of "Chess Show" was in 2017 at the Ostrava Days contemporary music festival, with Reinhold Friedl as a soloist. The 64-minute piece uses fragments of Cage's works as sound material, randomly re-arranged and combined. Simultaneously with "Chess Show", Reinhold Friedl performs Cage's "Song Books". The strict structure will be confronted with an unpredictable selection of other works: various piano parts from "Number Pieces", jumbled takes on selection from "Song Books", maybe even "Suite for Toy Piano" and Satie's "Vexations".
The other version of "Chess Show" was created in the studio"Chess Show [4'34" version]", in cooperation with Miroslav Beinhauer, a Czech piano virtuoso, as a guest.
https://www.youtube.com/watch?v=rNUeH-UfSbE
|
2022 |
€28.50 |
|
| OPSVIK & JENNINGS |
Commuter Anthems |
CD |
" 'Commuter Anthems' ist das zweite Album von EIVIND OPSVIK und AARON JENNINGS; aber ihr erstes für Rune Grammofon. EIVIND OPSVIK stammt ursprünglich aus Oslo, lebt aber seit 1998 in New York. Er fing an, Schlagzeug zu spielen, als er noch sehr klein war, legte sich im Teenagealter auf den Bass fest und experimentierte mit einem Vierspur-Aufnahmegerät. AARON JENNINGS aus Tulsa, Oklahoma, ist mit Leib und Seele Gitarrist und Liebhaber von allerlei Computersoftware. Er zog nach Beendigung des Colleges nach New York, um dort in einer Vielzahl Musikprojekte mitzuwirken. Im Laufe seiner Karriere hat sich Aaron immer mehr auf Free Jazz und Electronica gestürzt, dieser Tage jedoch kennt man ihn mehr als einen Musiker, der sich im Reich der experimentellen Popmusik bestens auskennt. Wie mit vielen Rune Grammofon Releases ist es auch schwierig, ein passendes Genre-Etikett auf 'Commuter Anthems' zu kleben. Beide Musiker stammen aus einem Jazz-Background, aber das ist nur ein kleiner Teil des Gesamtkunstwerkes. Einflüsse aus Folk und Country machen ,Commuter Anthems" zu einem sehr relaxten Album, während Gitarren, Standbass, Concertina, Orgel, Steelgitarre, Banjo und verschiedenen Aufnahmetechniken und Softwarespielereien eine cineastische Geschichte erzählen, die von einem verträumten experimentellen Pop-Orchester umgesetzt wird." [label info]
"With "Commuter Anthems" Eivind Opsvik and Aaron Jennings present their second album. Their first one, "Floyel Files" (NCM East) dates from 2005. Mister Opsvik comes from Oslo, living in the States since 1998, and playing bass in too many groups and projects to mention here. To put it simply, he is deeply involved in the New York Downtown scene. Jennings is a guitarplayer who has his roots in Tulsa, Oklahoma. But who is also living nowadays in New York. To give a first hint for what they are up to on their new album, we can say it fits perfectly within the well-defined aesthetics of the Rune Grammophon label. "Commuter Anthems" is an interesting melting pot of a great many influences: easy listening, film music, muzak, jazz, pop, Bill Frisell, postrock, etc. It is evident that Jennings and Opvsik take their inspiration from almost everywhere. But nowhere the music sounds meaninglessly eclectic. No, they succeed from their various inspirations and experiences to create a very original musical universe, that result in a very satisfying musical experience. Opsvik plays double bass, electric bass, drums, percussion, piano, organ, theremin, vocals and software. Jennings: electric and acoustic guitars, lap steel, banjo, concertina, vocals, software and electronics. In some tracks they helped out by Ben Gernstein (trombone), Rich Johnson (trumpet) and Peter Opsvik (flute). So you understand this a real studio-product. But the music is very open and sounds loosely constructed, sometimes even in a collage-like way. The music they create is very accessible on the hand, and may pass by without noticing it like some ambient music, when listening superficially. The reward comes from listening with more concentration. As said above they use a great diversity of sounds and instruments, and they paint very colorful pieces with good feeling for style and a great sense for detail and finesse. Also their music is very well constructed in an inventive and original way, far from any cliché. Funny to find this sense for musical adventure within this friendly and comforting music. A great album. [DM / Vital Weekly]
www.runegrammofon.com |
2007 |
€13.00 |
|
| OPTICAL MUSICS |
The First Words. Recordings 1984-1987 |
do-CD & BOOK |
"Optical Musics is a pioneering Greek avant-experimental project, founded by Costis Drygianakis and a group of people, formed in Volos. They were early experimenting with musical forms like free improvisation and electroacoustic experimentation etc, creating a highly personal musical idiom. From 1984 to mid-1987 the group started to make their most absurd home recording. The line-up of the group changed several times acted like an open collective, with the line-up of the group, focused more on experimentation with custom instruments, child instruments, synthesisers, bass etc. The most sophisticated recordings was used for the the disc “Optical Musics Volume 1” LP, released in 1987. Some other recordings of that period was used / recycled in personal works by Kostis Drygianaki like “Post-visual landscapes” (EDO, CD, 1999) and “Eantaisglossaistonanthroponlalokaitonangelon” (EDO, CD, 1999).
The “First Words: recordings 1984 – 1987”, that is presented here, is including 27 unpublished works of the group, maybe their more rough material, which were then a work-in-progress or “unfinished” tracks, covering a wide range of musical experimentation (free improvisation, minimalism, avant gard). With this publication, we are very happy to bring to light recordings of Optical Musics, a group that at that period did not get the publicity they deserved, but in the future their music influenced a younger generation of people in Greece that involved in the Greek experimental music scene.
Optical Musics’s “First Words: recordings 1984 – 1987” is out as a 2x CD with a book (Greek + English version) of 64 pages, full with information and images of that period. The recordings include alphabetically the musicians: Takis Agrigiannis, Kostas Anestis, Giannis Argyropoulos, Eleni Barouksi, Costis Drygianakis, Christos Kaltis, Aleksis Karavergos, Kostas Kostopoulos, Nikos Ksirakis, Kostas Pantopoulos, Thanasis Chondros, Aleksandra Katsiani. This release is a collaboration of the labels moremars, Hxoi Kato Apo To Spiti and Noise Below."
www.moremars.org
"These two releases are very much connected. The double CD and booklet provides a proper
historical context for the Greek band Optical Musics, in their earliest years, 1984-1987, while on cassette main member Costis Drygianakis performs 'a reconstruction of underestimated and
mislaid recordings from the period 1984-1987', so perhaps something we would have called back
then 'recycled'; taking recordings apart and put them together in a totally different way. Best
turned to the two CDs first, and the highly informative book that comes with (64 pages, 7"x7" sized) this music. I reviewed their 'Volume 2' before, all the way in Vital Weekly 66, and it's is possible that I also did 'Volume 1' when Vital (without weekly) was printed on paper, but I guess we have to wait for the complete volume to re-appear (later this year!). Back then in VW 66 I had some problem with saying something sensible about the group, but now I learned that they started in 1984 as a fleeting membership group and that they were inspired by visual elements, scores, photos, to play their improvised music, or better taking their cue from John Zorn's 'I compose improvised music', and apparently using the studio as an extra instrument. I must admit that notion is a bit beyond me when hearing this. I gather I was expecting something along the lines of P16.D4 is that respect but that seems not to be the case. Much of what they do sound improvised, composed or otherwise, leaving space for non conventional instruments, such as 'pruning shears, ground connector, drawer, children's toys, next to bass, guitar, lots of drums and percussion and a variety of organ sounds (casio MT65 and PT 30) and synthesizer, the trusted Yamaha DX-7. As we progress through the recordings it becomes evident that the band learned to play and structures become more complex, layered together (as opposed to the two-track stereo recordings on the first disc), allowing a bit more (free-) jazz elements; sometimes it is all electronic and almost musique concrete, and at other times it is more like free rock, although Optical Musics never hammer away. It is, all in all, quite a diverse release, and while not
always something that I enjoyed (too random at times), it was a fine archival release."
|
2017 |
€16.00 |
|
| ORGANUM |
Omega |
CD |
"...Sitardrones evozieren buddhistische Untertöne, Dröhncluster schlagen die Stunden, die Ecclesiastes 3:1-8 wie eine Litanei aufzählt: A time to weep, and a time to laugh; a time to mourn, and a time to dance; eine Zeit zu suchen und eine Zeit zu verlieren; A time to love, and a time to hate; a time of war, and a time of peace. Omega ist selbst in sich wieder dreigeteilt und erfüllt in der finalen von drei nahezu gleichen Viertelstunden den ganzen Raum mit pantheistischer Erhabenheit. Jackman nannte (im Interview mit Kevin Spencer) für das,
was ihm vorschwebte, big slow shape in time, Kegelschnitte und die minimalistischen Lichtinstallationen von Dan Flavin. Kühle,
symmetrische Struktur, warmer Klang, keine Psychologie, keine höhere Bedeutung. A piece of time, a time of peace." [Bad Alchemy]
Third part of this great ORGANUM comeback trilogy, more floating again, endless repetitions of the same sounds lead to an experience of timelessness... brilliant sounds & a highly contemplative effect...
"Collecting music for the sake of collecting is not something I am very keen. Music hearing for the sake of hearing music, that is what I like. There are a few artists whose new works I usually try to get, and Organum is one of them. Although I must admit, I sometimes (or perhaps more often than not) am clueless what it is about. If it's about something at all. The music by Organum is a mystery that comes in clusters. The cover of 'Omega' looks like 'Sanctus' and 'Amen', so no doubt there is a relation in the music, which comes to form in the use of a church organ like sound, some highly processed chime like sound and a deep drone of rusty metal in the background. Just as on 'Sanctus' and 'Amen' - and much true to the form of Organum mystery, there are three pieces here, which all sound quite similar - or perhaps they are similar? You can't tell, and that's probably the whole point. After some fifteen minutes, another track of fifteen minutes that sound similar, is that then also
similar? It's a question Organum asks himself, or rather, just raises for us to find an answer too. I am afraid I have no answer myself. I sit back and listen and wondering what this means, 'Omega', 'Sanctus' and 'Amen' - a holy trilogy? Better would be, perhaps, not to ponder too much about this and just enjoy that crazy genius Organum. I am long converted to his belief." (FdW / Vital Weekly)
|
2008 |
€14.00 |
|
| ORGANUM / Z'EV |
Tocsin |
CD |
Endlich mal was ganz neues von ORGANUM: diese Zusammenarbeit mit Z’EV entführt mit Piano und Stahlklängen in objektlose Sphären und melancholische Zwischenspiele, eine überraschende Zusammenführung, die gut funktioniert...
“Following their maxi CD 'Tinnitus Vu' on Touch in 2004 'Tocsin' is the first full lenght album by these two renowned sound artists. Whereas Z'ev simply reworked already existing work by Jackman for 'Tinnitus Vu', this time the artists agreed to both meet in the studio for 'Tocsin'. They created and recorded sounds from a piano which can be found at RMS Studios London and a stainless steel piece built by Z'ev circa 1989, over the course of several hours, took the recordings home, and after a period of each one mixing these sounds by themselves came up with what can be heard on this CD. Two distinctively different works/sections by both artists which form a multilayered and fascinating album. Design by Janthan Coleclough. Edition of 600 copies in full colour 4 panel digisleeve. Total playing time: 49:24 min.” [press release]
“.....Together they went in the studio one day in 2004 and each played an instrument: Z'ev played a stainless steel instrument, built in 1989 and Organum played piano. They improvised for several hours and then each return home to work on their own mix of the material. It's hard to believe that these are two sides of the same coin, really. One of he two lengthy Organum pieces dwell heavily on sparse piano sounds, with vague rumblings in the background. Maybe the plucking of the stainless steel instrument, but it's kept to a strict background. The other piece shows similar piano notes but with bowing sounds and long sustains on metal. Z'ev on the other hand has seven shorter pieces and each seems to rely heavily on sustaining sounds, scraping sounds with piano notes forming a much looser connection to the whole. It seems to me that Z'ev added more electronic processing to the sounds, such as the use of reverb and delay. Unlike what you could easily believe is that the drone like pieces here are by Z'ev and not by Organum. Z'ev's pieces are more along the lines of the previous Touch release. Quite a fruitful collaboration and hopefully more to come.” [FdW / Vital Weekly]
|
2004 |
€14.00 |
|
| ORGANUM ELECTRONICS |
Quietude |
CD |
"Organum Electronics ‘Quietude’ is another intense aural experience. A dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Quietude’ (DS128) is the first OE release on Die Stadt.. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name." [press release]
"David Jackman sprach einmal bzgl. seiner sogenanten „Holy“-Trilogie davon, diese Arbeiten seien geprägt von „a lot of repetition; more accurately, near repetition. It is a quality which I find most elegant.“ Dieses Motiv der (Fast-)Wiederholung zeigte sich auch auf Alben wie dem 2018 erscheinenen Organum-Album „Raven“ oder auf den unter eigenem Namen erschienenen Alben „Herbstsonne“ und „Silence In That Time“. Die dort zu hörenden verhallenden Klavierakkorde, manchmal mit Glockenläuten, Orgeldrones oder dem Krähen von Vögeln, waren eine fast schon zirkuläre, vielleicht auch meditative Musik.
Dann erschien plötzlich mit Organum Electronics 2019 ein Album, das dieses Zurückhaltende, Meditative rabiat beendete. Über den Nachfolger „Stilness“ aus dem Jahr 2020 konnte man hier lesen: „Frühere Organumaufnahmen (z.B. die auf L.A.Y.L.A.H.) waren geprägt von einer Unruhe, die neuen Aufnahmen sind auf gewisse Weise etwas statischer, ganz so, als wolle Jackman seine eigene Interpretation von Wall Noise spielen. Auf 35 Minuten wird der Hörende von einem massiven Drone umgeben.“ Hier klang Jackman plötzlich wieder, wenn auch unter „elektronischer“ Fokussierung, so „noisy“, wie auf seinen frühe(re)n Aufnahmen.
Nach insgesamt fünf Alben unter diesem Projektnamen auf Siren Records kündigte Die Stadt aus Bremen vor einiger Zeit eine umfangreiche Reihe mit weiteren Veröffentlichungen an: Im Abstand von drei bis vier Monaten werden bis 2024/2025 insgesamt sieben Jackman/Organum-Alben (von denen zwei Doppel-CDs sind) veröffentlicht werden.
Gerade erschienen sind die ersten zwei Alben dieser Reihe: Die Tradition der (manchmal kurios geschriebenen) Einworttitel fortführend, sind „Quietude“ und „Darcknes“ – natürlich, möchte man sagen – von Ästhetik wie auch vom Klang sehr eng miteinander verbunden: Auf „Quietude“ gibt es einen langen Track (hier 40 Minuten lang), der den Hörer unter sich zu begraben droht (ganz im Gegensatz zu der im Titel angesprochenen „Ruhe“). Es gibt immer wieder leichte (Ver-)Änderungen, kaum wahrnehmbare Verschiebungen in der Textur, so dass diese Lärmwand –
das Label spricht nicht unzutreffend von „buzzing washes of electronic sounds“ – sich durchaus (ver-)ändert. Was im Gegensatz zu den fünf vorhergegangenen Alben auffällt, ist, dass tatsächliche neue (bzw. alte) Elemente hinzukommen. Plötzlich tauchen auf „Quietude“ nämlich inmitten des Surrens und Dröhnens Glocken auf, die auf früheren Aufnahmen zu finden waren.
Das gleichzeitig veröffentlichte Album „Darcknes“ besteht aus einem 48 Minuten langen Track, auf dem neben dem Läuten von Glocken auch noch das Krähen von Raben zu hören ist.
Es ist mit Hinblick auf David Jackmans Zurückhaltung hinsichtlich öffentlicher Äußerungen letztlich müßig, herauszulesen zu wollen, was seine Konzeption hinter diesen Aufnahmen ist, aber letztlich spielt das auch keine Rolle, schließlich sagte er selbst einmal vor vielen Jahren in einem Interview mit Paul Lemos: “Really, there’s no mystery to the music; I just make it because I want those sounds to exist. There’s no other reason.” Ich habe in einer früheren Besprechung von Jackmans Arbeit einmal – in Anlehnung an eine Studie zum literarischen Expressionismus, in der u.a. die Prosa Benns dieses Attribut bekam – diese als “absolut” bezeichnet. Man kann gespannt sein, was die nächsten Veröffentlichungen bringen werden." [MG / African Paper]
"It's never easy to review music by David Jackman, not work under his own name, or work as Organum, or as it is these days, Organum Electronics. He used the latter on five releases by Siren Records, and when they announced the fifth would be the last, I assumed (for no particular reason) that would be the end of that name. Maybe because Die Stadts hasn't been too active with new releases, I didn't realise they could release more work, as basically it's the other go-to place for Jackman to release his music. They announced a series of seven works by Jackman, and their announcement didn't say whether they'll all be by Organum Electronics. The first two are. I didn't return to the five previous albums, partly out of the usual lack of time and maybe because I thought of this as
making a fresh start. Listening to these two new releases, I remember what the previous ones sounded like. Here also comes what I find 'difficult' about reviewing Jackman's work, and that's a lot of it is very similar, but then, if you see the cover, four panels with the band name and the title, and nothing else, you know the man likes repetition. And yet, most curious indeed, one is never too sure if the repeat is a one-on-one copy or a slight variation thereof. These two works may sound the same, but they aren't. In 'Darckness', some field recordings pop up, church bells, among the dense mass of electronic sound, whereas 'Quietude' seems all electronic throughout. Both seem to have been cut from more extensive work, ending quite abruptly. The overall sound design is quite similar in both pieces, and they share a general grimness about these works, as with many of his works. Think of this as being locked up in a factory, with sounds buzzing everywhere, and reminding me of the early harshness of Organum, sans electronics: dense, minimal and dark. Can I finish with 'another excellent work'? It's most likely I have used that before in connection with Jackman's work, and I will probably repeat that in the future." [FdW / Vital Weekly]
|
2023 |
€15.00 |
|
| ORIGAMI ARKTIKA |
aBSOLuT GEHöR |
LP |
"Origami Arktika embodies tension. With “Absolut Gehör” they explore otherworldly realms. Songs gleam with energy. Everyone works together to create these fevered dreams. Rhythm is the focal point for these pieces. Akin to a tribal feel the members play off of each other allowing for a collection that builds gradually. Instrumentation is kept extremely colorful alternating between the acoustic and the imagined. Kept intangible the pieces literally breathe.
“Ro og hamle” begins things off in creepy fashion with disorientated drums, music boxes, and a barely conscious bass. Setting the mood is remarkably simple for them as they explore the shadows. The calculated freedom reaches a critical point by the end with the song threatening to fully derail. “Bryggja te jol” allows things to get marginally grounded. Right in the beginning the same mood appears to be set. Eventually however a groove forms halfway through the piece and propels them to the luscious finale. Light on their toe “Tora liti” shows how nimble they can be keeping things remarkably clear. Elements fall into piece representing strange new territories to fully explore. By far the best track on the collection is the playful “Det syng for Storegut”. On this track Origami Arktika express their utmost desires to play with listener expectations. After so much experimentation they appear to capitalize on that work bringing forth an incredibly habit forming piece.
“Absolut Gehör” explores new sonic universes. Origami Arktika are a rare breed of a band." [Beach Sloth]
"This already arrived some time ago, and I played it already quite a lot. That could be an indication that this is really good, but in this case it's more doubt and an uncertainity to make up my mind. Origami Arktika is a band that includes Rune Flaten on vocals, and Tore Honore Boe, Kai Koloi Mikalsen and others; no instruments are specified here, but it's quite heavy on percussion and string instruments (guitars no doubt, a bass but also a zither). Not this keep a steady beat per se, as the drumming is done in a more ritualistic form. It owes more to the world of free psychedelic music than say dance music, more jazz than rock. These shamans do a slow dance. Perhaps this is all rooted in the world of ancient folk music, but then updated to the current day? I am not sure, but it sounds like it. At times quite drone like, but unmistakably a 'musical' record. This is a band playing. Maybe these are things I find hard to get in to. Maybe it's because I don't understand Norwegian,
providing this is not sung in another language I don't know. Maybe I am slightly allergic to all things ritualistik as such spelling dictates. But then, and here comes my uncertainty, I am playing this and find myself tapping my feet along and getting into their somewhat krautrock inspired rhythms. If you like the Nordic mysticism of say Sigur Ros and want something as moody but no doubt a lot weirder, than this is the place to visit. It's in a dark Norwegian Wood." [FdW/Vital Weekly]
|
2014 |
€22.50 |
|
| ORNAMENT |
Unicorn Lullaby |
CD-R |
Wiederveröffentlichung dieser schönen ORNAMENT-CDR mit recht einfach gestricktem, aber sehr wirkungsvoll-hypnotischen loop-ambient/drones, warm und dunkel, zwischen TAM QUAM TABULA RASA und AMON? Feine Fullcolour-Cover-Artwork auch ...
sehr zu empfehlen!
„Unicorn Lullaby" was self-released by Ornament in a few copies back in 2000 and is now published by Afe in a fully remastered and repackaged version that showcases the author's visionary attitude. Due to the poor distribution of the original version, this is probably Ornament's less know work, but it's probably his best attempt at Dark Ambient music contaminated with Industrial elements. If we look for some kind of internal reference wondering through the whole Afe catalogue, this can easily be found in Never Known's "Dawn of an Era", but "Unicorn Lullaby" has of course a personality of his own. According to his author, "Unicorn Lullaby" is an oniric / visionary concept in sounds, a travel to and back from an imaginary collapsing world where the "Unicorn Shaped Labyrinth" is the entrance / exit. "Noctifer" is the star shining above this imaginary world, while the gear-sounding "High Density of Grief" is a representation of the slave-citizens forced to work in a consuming production-chain and "From Concealed Gardens" tries to describe its mysterious flora and fauna. After entering the imaginary world, the protagonist wakes up ("I Opened My Eyes in the Liquid Room") and fight against his "Fiendish Ego" as the world begins to collapse ("Under Shivering Columns") as predicted by ancient priests who were charged with heresy ("The Heretics' Heritage"). This heritage is the only key that allows the protagonist to survive the ordeal and return to the place where he belongs as only a few traces of past life surround him ("Only Life Remains"). The distinctive overall sound of the album is subtly achieved with a rich shady substratum of distant sounds that are intentionally and elegantly kept in the background and are fully appreciable at a mid volume level.” [label description]
www.aferecords.com
|
2005 |
€12.00 |
|
| ORSI, FABIO |
Osci |
LP |
Italienischer Newcomer auf SMALL VOICES mit einer von Nostalgie und Melancholie durchdrungenen Drone/Ambient-Produktion, field recordings und traditionelles Folk-Material wird z.T. loopig verwebt mit Gitarren- & Synth-Klängen, 3 nostalgische Postkarten runden das verträumt-nostalgische Bild ab... für Atmo-Melancholiker.
“SmallVoices is happy to present a new Italian promising artist: Fabio Orsi. 'Osci' is a two long tracks album (remixed by Gianluca Becuzzi/Kinetix) of ambient drone music, field recordings and experimental melancholic soundcapes... Using processed folk music parts (taken during folkloristic festivals, typical of the Apulian folk tradition), Fabio creates a dreaming atmosphere crossing between balls and bellows, silence and spirituality, everyday life: at home, in a church, in the countryside, at the small-town feast. All these sounds mixed and processed through digital machines: an encounter between modernism and tradition. Image a sort of mixture between Alio Die's ambient works, William Basinski's melancholia, Phil Niblock's experimentalism. Fabio Orsi plays: guitars, samples, field recordings, laptop. The black heavy weight vinyl was packaged in an elegant sleeve and including 3 postcards.” [label info]
“Osci is a deep hole into the ground of the loved/hated traditional music. It is a snatch with the past, watching it from unusual perspective, with deforming lens under coloured lights. Osci never meets "Art", it is something like a hack. As the sickle relates about the man, but it's completely unconcerned with their destiny. He speaks the speech of crickets and ants. Time no exist. Telephone are not used to ring and the bees are assembling a "flying saucers" with the elements of an old washing machine. Telephone doesn't know how to ring and voices are gliding in to the dark from mouths full of soil and cheap beer, talking about obscene love proposals. Under the Sun we reverse a big stone and the name of a girl crawls out, into the grass. Someone picks up it from the ground, and put it on the neck as an amulet. Violin's strings clasp the heart in an August night. Flames itching the flesh with pain. Finally our body shows infinite chances. Inside and outside. Every single pore is a hole. Inside is outside. A blink. We would like to shake the skin from bodies, jumping in the fire. A blink. Then we leave by car, disappearing on dusty roads. Sentenced to a slow craziness. All the rumours pushing under the scab. Where the streets are swelling as the veins and the buildings are collapsing, we plant a microphone, cold as a needle.” [liner notes]
|
2006 |
€15.00 |
|
| OSSO EXOTICO |
Church Organ Works |
CD |
Die Aufnahmen zu diesem Album wurden ausschließlich in Kirchen gemacht – Orgelstücke, wie sie minimaler und freischwebender kaum sein können. Ätherisch & von mitunter monumentaler Art, aber auch von zarter, heiliger Stimmung. Wieder eine aussergewöhnliche CD der Gruppe aus Portugal. Sehr feine Artwork (Klappcover).
"The three piece group from Portugal explore in ten tracks the possibilities of the church organ. The members play in various combinations on different organs. The outcome is very varied. The opening piece is barely audible, but the second piece is a loud, repitive, all register open one. Of course it's hard to see this music without any religious overtones, but Osso Exotico don't give a clue in that direction: all their pieces are untitled. Meditative pieces in most cases, but less minimal then the known minimalist who grew up with playing organ. This is a different approach then Charlemagne Palestine would do, but none the less this is quite interesting." [Frans de Waard - Vital weekly]
|
1998 |
€8.00 |
|
| OSTERTAG, BOB |
Getting a Head |
CD |
“Second in the metal box limited edition re-releases, this one from 1980 with Fred Frith (guitar) and Charles K. Noyes (percussion) and featuring unorthodox instruments built from tape recorders and helium balloons.” [ReR]
“....Best known for his work with computers, here a young Ostertag plays an instrument consisting of a highly unstable and peculiar recording system, which uses helium balloons to hold up tape loops between three tape recorders made to malfunction in a variety of ways. The record marks one of the first, and to this day one of the only, times that tape manipulation techniques developed by the first generation of electronic composers for use in the studio were adapted for liver performance and improvisation. Ostertag uses this rather sculptural and bizarre contraption to manipulate the brilliant guitar playing of Fred Frith, and the elusive percussion work of Charles K. Noyes. Originally released 21 years ago as an LP, the 1,000-copy run quickly disappeared into the abyss of the collectors item.” [bobostertag.com]
|
1980 |
€14.00 |
|
| OTTE, HANS |
Minimum:Maximum / Orient:Occident |
CD |
Aufnahmen von 1973 und 1977 vom poetischen Klang-Puristen und Minimalisten HANS OTTE. Stimme, Glockenspiel, Radiowaves, instrumentelle Geräusche, werden zu reduzierten aber wirkungsvollen Klangbildern verwoben, eine direkte Umsetzung von verwobener Klang- und Lebensphilosophie spiegelt sich hier wieder.
“minimum:maximum (1973): texts / sounds / pictures. An environment (simultaneous concert in Stockholm and Bremen) for two organists: Karl-Erik Welin and Gerd Zacher, keyboard instruments. orient:occident (1977): for two woodwind-players and tape: Ingo Goritzki, oboe; Hans-Wilhelm Goetzke, clarinet. "Perhaps best known for his piano work 'Book of Sounds' these two works by German composer Hans Otte were composed in the 1970s. In that decade his aesthetic creed became increasingly clear: 'the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. The composer understands the dialogue with sounds as the discovery of their nature.' (Ute Schalz-Laurenze). While Hans Otte was an enthusiastic, one might say visionary promoter of fellow composers, such as John Cage and David Tudor, whose impacts had registered to the general public long after their force reached the surface, he nevertheless remained deeply committed to his own music. Otte's writings, simple lines that say: 'words are just something added on'; 'all great things laugh'; 'when something is reminiscent of nothing'; and, 'it's really something -- that voice that was once in the mouth,' all direct us to his music, because: 'everything always happens: Now.' It is Otte's music that betrays his particularity of thought to what (is everything), how (it happens), and when (is now). Words are just something added on. Collectively, these aphorisms reflect an aesthetic that dispenses with words which may address themselves to an understanding of the world. Here, however, the world to be understood is indescribable. What is everything? When is now? How does it happen? The message is that words tell, music is. Listen. The titles of these works: orient:occident and mnimum:maximum, suggest a relationship between seemingly disparate things to remind us of Otte's adage: 'It is the gardener who owns the garden.'" [label info]
wwww.pogus.com
|
2005 |
€14.00 |
|
| OUR LOVE WILL DESTROY THE WORLD |
Polished Glass Autobahn |
7 |
BIRCHVILLE CAT MOTEL gibt es nicht mehr. Es lebe OUR LOVE WILL DESTROY THE WORLD! Während wir noch über die Bedeutung des Bandnamens nachdenken, ertönen auf der ersten Single überraschend abgehackte Beats und eine Vibrato-Gitarre wird über Akustigitarren malträtiert (sehr seltsam das alles), während die B-Seite "Galactic Masada" mit herrlichen tänzelnden Backwards-Gitarren, Organ-Drones und Rauschwellen auftrumpft. Das ist wirklich mal ein starker Kontrast zwischen A-und B-Seite..
"Debut single of the new project by Campbell Kneale (Birchville Cat Motel / Black Boned Angel). Campbell says “Shoot. The goddamn funkiest noise record ever? Like a bop-off between Rudolph Grey and Terminator X. Grinding psychedirgecore plastered over ghastly electrosplatter and ambivalent fake-americana strummage. And that’s just side one! Side two grovels in halls of gravel, blurring the line between this world and the next... like Aldous Huxley writing a book about how he lost his marbles whilst listening to Hawkwind. Like, like, like...EVERYBODYDANCENOW!)” Sure to pack the dance floors in Hades." [label info]
www.myspace.com/dirtyknobbyindustries
|
2009 |
€6.50 |
|
| |
I hate even Numbers |
LP |
"Parallel universes mangle and mash into a superheated cloud of galactic debris and non-recyclable plastic. After a slew of genre-confounding 7" releases, Our Love Will Destroy The World unravels his own history of nearly everything in this, the mere third full length offering under his world destroying moniker. Smearing the already dotty line between twinkle-toed rave music and excoriating drone cacophony, "I Hate Even Numbers" weighs in like a three-legged gargantuan in a one-man morris dance. Blessed with a deep conviction that 'nowhere' is somewhere definitely worth going to, crippled, hobbling, clunkbeats and bubblepulses contest every frequency to the death underscored (overscored?) by mega-electrified guitar tuning exercises, shattering a passage to a brand new India. Everything louder than everything else, everything dissolving in the powerful acid of the sound next to it - a frybrained avalanche of audio M&Ms. Profound, elevating, and mercilessly, relentlessly UP!
Our Love Will Destroy The World is the new one-man project by New Zealander Campbell Kneale after disbanding BIRCHVILLE CAT MOTEL. In the past Kneale has released albums on Ecstatic Peace, Corpus Hermeticum, Last Visible Dog, Conspiracy and his own Celebrate Psi Phenomena label. He has colllaborated with Lee Ranaldo, Neil Campbell, Bruce Russel, John Olson (Wolf Eyes), Yellow Swans, has toured throughout Japan, Europe, America and Australia and also records und the names BLACK BONED ANGEL and Ming.
"I Hate Even Numbers" is the 2nd LP by this new project for the Dekorder label (his 4th altogether) after last year's monolithic "Stillborn Plague Angels" album.
Limited edition of 400 copies!" [label info]
www.dekorder.com
"A quartet of new releases on Dekorder display the label's nicer senses of finding interesting new names as well as keeping the old. The old is represented by Campbell Kneale, previously working as Birchville Cat Motel, now trading as Our Love Will Destroy The World. The music also saw some changes, which are even more apparent on this third album under the new guise. Kneale dances the vitus dance here. The five pieces are all evolving around revolving sounds. Hectic, nervous, jumpy, this hardly classifies as 'dance' music. There is a bit of drum computer in here, but not a 4/4 one and there is a total chaos in all these jumpy sounds which are looped together. Occasionally we hear some guitar noise underneath all of this bumping stuff, a vague reminder perhaps of the more droney and noisy days of Kneale. I thought this was a pretty nice record, a decisive step forward (or side-ward is perhaps a better word), and do something new and do that well. This album reminded me of the album Richard Youngs put out on Dekorder: that same wicked sense of rhythm." [label info]
|
2010 |
€13.00 |
|
| OVRO |
Revisited |
CD |
Auf "Revisited" benutzt OVRO Feldaufnahmen aus St. Petersburg und Moskau, die sie von einer Reise mitbrachte. Die wallend-raunigen Drones der Metro, obskure TV-Schnipsel, Kirchenglocken, der Besuch eines "Eis-Tempels" und die Benutzung von Metallflöten, Kaffee-Bar Geräusche, Altai-Folklore in einem Museum... aus all diesen Soundquellen schafft sie eine faszinierende "zweite Reise" für den Headspace, so dunkel, dicht und traumverwebt spannend, dass hier quasi Genre-freie Musik ensteht, zwischen drone ambience, Geräuschmusik und atmosphärisch-experimentellen Hörspiel.
"The wondergirl of Finnish dark ambient soundscapes is back with a new album. Revisited is based on field recordings made during Ovro’s tour in Russia in 2006, subsequently processed and treated in the studio. Revisited is a powerful aural travelogue. It will lull the listener to a state of receptive trance, and then starts working on the subconscious mind. Let yourself go, lose yourself in the sound, expect lucid dreams, out-of-body experiences, alien apparitions and a shower of sound massaging your body throughout. Revisited is loosely related to Estraier, a 2006 EP of which only a handful of copies were given out. Compared to Estraier, Revisited is extended, mutated and more elaborate throughout. While the beginning is similar, the paths taken turn out somewhat different and thus the outcome is all new. CD is packed in beautiful 4-panel digisleeve. Edition of 1000 copies." [label info]
www.someplaceelse.net
|
2008 |
€12.00 |
|
| |
Horizontal / Vertical (SOLD OUT) |
7inch |
"OVRO has already been called "the wondergirl of Finnish experimental music" and with this, her first ever vinyl-release, she really proves this! On HORIZONTAL / VERTICAL deep waving droning noises are set against vortexing echoes & swirling digital effects, derived from what could be instrumental sources or object recordings, moving the willing listener into a surrealistic subconscious dimension. Especially on the second side the contrasting conrete material can fill your imagination with "something" that "happens", so captivating & condensed!
This music spreads like an unconscious aural travelogue in different spatial directions (horizontal & vertical). What makes OVRO so special is her capability to create very "cinematographic" and "narrative" drone-atmospheres or landscapes, with great care for even tiniest details.
OVRO is also a part of the SOME PLACE ELSE-association, together with NIKO SKORPIO.
Filed under: Subsconscious Travel-Drones
more info: www.someplaceelse.net/artists/?id=ovro
WHITE VINYL. HANDMADE COVERS PASTED UP WITH NEWSPAPER-SHEETS & FILMSTRIPS" [label info]
www.dronerecords.de
"Auch OVRO, die mit Horizontal / Vertical (DR-93, white vinyl, red labels) erstmals auf Vinyl zu hören ist, bekennt sich zu einem ‚Anderswo‘, das als Label Some Place Else eine Adresse in Venäjänkangas hat, in den Hinterwäldern von Turku. Dort hat die junge Finnin Musik veröffentlicht - Malice in Underland (2003), Gegendurchgangenzeit (2005), Mosaick the Serpent / Vipera Aurea (2006) und Revisited (2008) und weiteres als Hæretici 7o74, einem Duo mit Niko Skorpio - , die jedem, der sie hörte, in die Zwielichtzone
zwischen Tag, Traum und Alptraum entrückte und Geheimnisse zuflüsterte, wie sie Dichter als Krikelkrakel einer anderen Macht zu Papier bringen. Schon das Video zu ‚Equation Impossible‘ macht eine Faszination durch Stummfilmhorror und Schwarzweißfilme von Polanski deutlich. Hier suggiert ein aufgeklebter Filmstreifen auf den handgefertigten EP-Hüllen eine cineastische Qualität der ominösen Klänge, die ins Bewusstsein einsickern wie nichts Gutes. Eine grummelnde Basswelle, wischende, fast krächzende und kaskadierende Loops, die rückwärts und linksherum gegen das Gebot
der Zeit verstoßen. ‚Undergrounded‘ und ‚Elevatored‘ steht auf den Auslaufrillen. Man steckt in einem Untergeschoss fest, und das leise Klopfen und Scharren vor der Tür lässt einen zittern, dass sie nicht aufgeht. Oder ist es nur der eigene Puls im Ohr, und schon zittert der furchtsamen Nachtwache in der Hirn-Morgue sprichwörtlich ‚jedes Blatt‘?" [Bad Alchemy]
|
2008 |
€7.00 |
|
| OÖPHOI (OOPHOI) |
Hymns to a silent sky |
CD |
Neues Werk, dem “Himmel” gewidmet...pure Meditations-drones, langsam kreisende Frequenzverschiebungen, sanfte verhallte aurale Schlagschatten..... die “beste Kunst”, sowohl visuell als auch akustisch, produziert immer noch und täglich neu, die Natur... diese Natur-verbundenheit scheint OÖPHOI mit seiner Musik ausdrücken zu wollen....
“A silent, impassive sky is watching us. An impending sky full of signals that we should learn to read and perceive. A sky which reflects our moods, hopes and fears. A sky which can recall our deepest memories.
I want to dedicate these hymns to all the people who feel attracted by the beauty and the mysteries of the Sky.” [Oophoi, 2005]
"An album of epic, deep, evocative space music that stretches out in front of you in its own infinite universe of sounds. The music is deeply connected with the mysteries of the sky: clouds moving slowly, delicate and dramatic colors merging together beyond the horizon line, winds carrying voices and sounds from distant times. A remarkable work full of poetry. According to general reactions - Oophoi's best album so far. Total Time: 60:21 “ [label info]
www.nextera.cz
|
2005 |
€13.00 |
|
| |
Potala |
10inch |
Die Nr. 7 in unserer 10"-Vinyl Reihe ist auch gleichzeitig das allererste Vinyl für Gianluigi Gasparetti aka OÖPHOI, der auf seinem eigenen Label UMBRA schon unzählige CDRs herausgegeben hat und in der "meditativen" Ambient-Szene längt kein Unbekannter mehr ist. POTALA ist heiligen Plätzen in Tibet gewidmet, mit seinen tief summenden & hallenden Drone-Mandalas öffnet OÖPHOI unendlich weite Räume der Imagination...
www.substantia-innominata.de
" #7 in der 10"-serie substantia innominata von drone-records, die sich mit dem unbekannten, dem nicht zu benennenden, dem nicht auszusprechenden, dem nicht denkbaren und weiteren aspekten des unbekannten beschäftigt (genauer und ausführlicher dazu auf der website) bzw. den einzelnen künstlern genau dies als musikalische aufgabenstellung voranstellt. und: die cover werden hier nicht von den künstlern selbst erstellt, wie in den erstauflagen der bekannten 7"-serie auf drone; es werden separate cover-designer benannt, so dass inhalt und form von immer wieder neuen paarungen entwickelt werden.
ex-maeror-tri 1000schoen, helge siehl, war für die „potala" zuständig und ob er jetzt auch für die auswahl der vinylfarbe verantwortlich war oder nicht, und ob man jetzt farbiges vinyl für wichtig hält oder nicht; im gegensatz zu vielen ach-komm-lass-uns-die-platte-bunt-machen haltungen ohne erkennbaren inhaltlichen zusammenhang zu was auch immer, bilden das diffus blaurote, eigentlich multicolor-cover und die wirklich gelungen transparent hellgrüne 10" eine extrem schicke einheit (fotos sind hier nur krücke, tut mir leid). mit oöiphoi „potala“ backcoverden das cover aufgreifenden, ansonsten unbeschrifteten labeln als verbindung; schon mal perfekt.
und wie eigentlich immer, wenn auf drone-records etwas veröffentlicht wird: der musikalische inhalt entspricht der visuellen qualität. oöphoi lässt zwei flächenmonster los, zunächst dunkler, auf seite 2 etwas aufgeklärter, beide in dieser unwiderstehlichen mischung aus kälte, einsamkeit und unwirtlichkeit, dabei aber trotzdem umgeben mit einer aura aus warmer offenheit; schwer zu beschreiben, wer es gehört hat weiss, was ich meine. spannender ambient mit innerem halt und dynamik; schwer empfohlen; diese serie oöiphoi „potala“ vinyllohnt, ebenfalls im auge/ohr behalten zu werden; unbedingt." [N, Unruhr.de]
|
2008 |
€12.00 |
|
| OÖPHOI / TAU CETI |
Subterranea |
CD |
Schon das zweite Album mit wahrhaft wallender Klang(a)morphologie – amorphe, tief-meditative hauchzarte Sounds die in der Unendlichkeit verschwinden... und wieder geht es um die Umsetzung mythischer Themen aus der unbewussten Vergangenheit des Menschen. Anklänge an GRASSOW, ALIO DIE,..
"After their acclaimed debut CD release "Celestial geometries" released in 2001 on Amplexus, considered as one of the best space albums ever, Italian sound sculptors Oöphoi and Tau Ceti are back with the long awaited second CD "Subterranea", inspired by a book about the myth of Agharti, the hidden realm located in central Asia. Vast sonic explorations with synths, flutes, stones and shells, ranging from subtle and mysterious atmospheres to highly
dynamic passages, describe this out of reach underworld. The last part of the long suite "The chamber of eternity" features the
unique sound of the tibetan singing bowls of Klaus Wiese. After the outer space adventures of their first CD, "Subterranea" deals with the inner space." [label info]
www.nextera.cz
|
2003 |
€13.00 |
|
| P16.D4 |
Kühe in 1/2 Trauer |
CD |
P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.
Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.
The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
https://www.sonoris.org/product/p16-d4-kuhe-in-12-trauer-lp/
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“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.”
Ed Pinsent, The Sound Projector.
“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.”
Rolf Semprebon / AMG
|
2022 |
€13.00 |
|
| PACIFIC 231 |
Ethnicities |
CD |
Das Industrial-Projekt von PIERE JOLIVET, der auch Bestandteil der fantastischen VOX POPULI! gewesen sein soll. "Ethnicities" ist eine Zusammenstellung von bisher unveröffentlichtem Material.
"'Ethnicities is an electro-acoustical scope of unreleased recordings of Pacific 231's post-industrial period. Successive and consecutive cuts were made until he put together the concept of the album as: pluri-cultural diversity of the sounds, tropical steams, exotic journeys & electronic man-made build-up manipulations, urban dins and industrial mazes, ' Ethnicities ' is a psychedelic and unexpected patchwork from Pacific 231." [label info]
www.rotorelief.com |
2006 |
€15.00 |
|
| |
Stif(f)le |
CD-R |
Drei Mitschnitte von den P231-Konzerten 2007 in Russland sind hier dokumentiert, wesentlich minimaler und droniger als man es gewohnt ist, frequenzmodulierte analog-synth drones in spiralenförmigen Drehungen erfüllen den Raum...
"Pierre Jolivet has been producing music since 1981. His most recent CD Palestine has been released in 2007 in collaboration with Rapoon. This album is based on the performances will take place in the Moscow, St.-Petersburg and Yaroslavl, during the russian tour organized by Monochrome Vision label. The concept of Stif(f)le is to encompass a space by creating a virtual world based on the use of digital technology. Since first performance, nearly 25 years ago, progress has been made in creating and controlling the performance in a real time environment. The equipment consists of a single laptop, connected through MIDI to an upper torso
exoskeleton and a data projector displaying the visual in sync with the sound feed. Abolishing the instrument liberates the performer as motion sensors on the body facilitate gesture found in dance or in sculpture. The minimalist aspect of the performance makes the spectator closer to an altered state of consciousness, a format used since the early sixties repetitive school of music to include the public as part of the event as a cerebral feedback loop." [label notes]
|
2008 |
€10.00 |
|
| PACIFIC 231 & BARDOSENETICCUBE |
The Traditions of Changes |
CD |
"PACIFIC 231 is the brainchild of French multimedia artist Pierre Jolivet, currently residing in Dublin, Ireland. While Pacific 231 has its roots in the 1980’s industrial noise underground, Pierre Jolivet has since then consistently sought out and found new sounds and new compositional themes, venturing into unfamiliar aesthetics but always maintaining the rare quality of a steady evolutionary path.
BARDOSENETICCUBE was formed by Russian artist Igor Potsukaylo in 1998. In his work, surrealism is key: “pure psychic automatism willing to express the real functioning of the reflection orally, written or in any other form. Dictation of mind without any control from the intellect, outside of any aesthetic of moral considerations.” (André Breton)
One of Russia’s leading experimental drone acts, Bardoseneticcube has a quite extensive discography, having released on labels such as Drone Records, Aquarellist and Monochrome Vision.
This collaborative composition consists of 6 movements, leading the listener through a utopian sonic maelstrom in a modern re-interpretation of some sections of ‘New Atlantis’ (Francis Bacon, 1624-27). Psychedelica, field recordings and abstract electronics create a ‘New Language’ with a slippering affect from quietness and by dint of colliding utter chaos.
NOTE: Preferably listened to in total for coherence and surreal storytelling projection.
Limited to 300 copies
Packaged in a 6-panel A5 folder with soft-touch finishing and UV spot varnish." [label info]
www.silkentofu.org
"Wenn zwei Musiker einen völlig konträren Ansatz verfolgen, kann eine Kollaboration zu ungewöhnlichen Ergebnissen führen oder grandios scheitern. Nur eines ist sie niemals: vorhersehbar. Igor Potsukaylo alias Bardoseneticcube ist nach eigener Einschätzung der geborene Surrealist, der sich von seinen Ideen und Assoziationen eher treiben lässt, vergleichbar einem Schreiber der ecriture automatique, der seiner Feder und den Worten freien Lauf lässt. Pierre Jolivet alias Pacific 231 ist Komponist, der dem Soundmaterial begegnet wie ein Bildhauer seinem Steinblock, wenn er schon längst die Idee des künftigen Werks vor Augen hat. Einer fürs kreative Chaos also und ein anderer, um ebendies in eine verdauliche Form zu bringen.
„The Traditions of Changes“ beginnt mit diesem reizvollen Knack- und Frickelsound, die auch der versierteste Noisefan zunächst an einen Defekt denken lässt, zumal das erste der vier Stücke auch noch sehr leise anklingt und Hochfrequentes enthält. Interessant, wie ein dünner Hochtöner diesem minimalistichen Szenario Struktur gibt. Bis zum Ende des ausgiebigen Auftaktes und zum Übergang in etwas heterogeneres Material, wäre der unkonzentrierte Gelegenheitshörer längst in Tiefschlaf verfallen, denn es braucht einen gewissen Grad an Involviertheit, um in den chaotisch vor sich hin mäandernden Soundfetzen aller Coleur, die sich in alle Richtungen im Raum verteilen und gelegentlich in menschliches Geschnatter münden, die durchaus vorhandenen Kompositionsmuster zu erkennen. Im Verlauf erweist sich das auf zahlreichen Feldaufnahmen basierende Soundpanorama allerdings als ausgesprochen vielschichtig und reich an Überraschungen und Variationen.
Laut Eigenangabe ist „The Traditions of Changes“ von einem Klassiker der utopischen Literatur, nämlich Francis Bacons „New Atlantis“ inspiriert und von der Idee, eine neue Sprache zu erfinden. Nun ist die Idee, die verbale Sprache durch Sound zu ersetzen, nicht neu und hat die Menschen immer wieder beflügelt. Was die beiden Musiker hier absolvieren ist jedoch weniger eine solche Sprache selbst, als der Versuch eine solche zu entwickeln – ein work in progress mit einem noch offenen Ende, dass durch surreale Komik und originelle Soundideen überzeugt." [Uwe Schneider / African Paper]
africanpaper.com/2015/05/16/pacific-231-bardoseneticcube-the-traditions-of-changes/
"It seems that Pacific 231 has been around forever, but maybe there was a hiatus for some time. I remember Pierre Jolivet from France, but living in Dublin for quite some time now, as an active participant in the eighties underground cassette scene, and on lots of compilations with his own, not always unique brand of industrial noise, but back in Vital Weekly 888 I got the updated Pacific 231 sound, which I enjoyed very much: minimal electronics, psychedelic and intense. Here he has a collaboration with Igor Potsukaylo, who works as Bardoseneticcube, a name we have seen before a few times; he is a man of atmospherics, drones and the louder edges (outer edges?) of ambient. Jolivet supplied the 'field recordings and analog structures', while Potsukaylo takes credit for 'electronic construction'. Francis Bacon’s “New Atlantis” inspires the music, or as they call 'an utopian sonic maelstrom'; a maelstrom it surely is. No sound effects have been spared in this work. Everything and
everyone, or every possible level, there seems to be something happening. You get distracted, follow the loops, but then on a different level something else seem to be happening. A lot of it stays in the same place, yet a lot of it seems to be moving all the time. Yes, that is confusing, but then such is the nature of this music: very confusing, but pleasant at the same time. Music that is one large head trip for you, providing of course you are open to such buzzing activities. I can easily imagine or even agree if someone would say: but, look; now this is all way too much. If you don't let this in, you might easily be annoyed by the mass attack of sound. So, open your mind, and flow the waves, the ever-cascading waves of this massive music, then you'll be in for onehellofa trip to the backside of the moon. That, or maybe a rollercoaster to New Atlantis." [FdW/Vital Weekly]
|
2014 |
€12.00 |
|
| PACIFIC 231 & VOX POPULI |
Aramesh |
CD |
Neues Material (16 Stücke) des legendären französischen Projekts um AXEL KYROU. ARAMESH klingt erst einmal beat-lastig & rhythmisch-pulsierend, aber alles ist seltsamst effektiert und mit vielen elektronisch klackernden und stimm-basierenden Sounds durchtränkt, so dass ein wunderbarer Flow entsteht, alles versinkt in langen Brandungswellen von angezerrten Klang... daneben gibt es im Wechsel wie auf früheren Veröffentlichungen ambient-experimentelle Zwischenparts & Stücke, (das ist dann wohl eher der VOX POPOLI Teil), mit orientalen Untertönen, field recordings z.B. von Tieren & nächtlichen Atmosphären und weirden elektronischen Samples.. insgesamt sehr experimentell, elektronisch & eigen... das ganze wurde BINAURAL aufgenommen, Kopfhörer sind empfohlen!
"Aramesh is the latest collaborative work between Pacific 231 & Vox Populi! A synthesis of East meets West colliding with the most experimental sounds & collages. Building-up stacks of multi-directional creations using the latest Binaural Technology to immerse the listener totally within." [label info]
http://rotorelief.com
|
2009 |
€13.00 |
|
| PADDEN, DANIEL |
Pause for the Jet |
LP |
"DANIEL PADDEN kannte ich bisher als einen der Volcano-The-Bear-Bären. Nach Glasgow umgezogen, ging er auf Solopfade, erst als The One Ensemble Of Daniel Padden und mit Pause for the Jet (Dekorder 026) zum zweiten Mal unter dem bloßen Familiennamen. Seine Vorlieben für schräge Sounds aus fernen Ländern, für seltsamen Kraut- und wagemutigen Artrock sind darauf collagiert zu Songs und Instrumentals mit surrealen Haupt- und Nebenwirkungen. ‚Crow Crow Growth‘ mischt das Timbre von Charles Hayward mit Saitengezupfe und Ethnopercussion zu einem wehmütigen Folksong. ‚Sponge Shipwreck‘ lässt 33 Sekunden lang den Geist von Harry Partch erscheinen, ‚The Ghostly Whole‘ nur den Geist einer alten Kirchturmuhr, während Ratten pizzikato Kontrabass knabbern. Die Residents und Nurse With Wound haben ähnliche Seancen abgehalten, ähnlich von Recording Angels behütete Träume geträumt. ‚Three Farewells‘ mischt Posaune, Bassklarinette und Cello und loopt dazu einen elegischen Gesangsfetzen, bevor mit ‚The Liar Inbetween‘ wieder ein fast straighter Song erklingt, auch wenn die Begleitung erst nur seltsam verzupft und verschrappelt daher kommt und sich dann doch elektrisch verdichtet. Auf ‚The Shadow Of Lunch‘ tutet eine asthmatische Harmonika, die Kopfstimme dazu wackelt auf hölzernen Stelzen. Auf rostig schnarrenden Twangs schwimmt ‚Narwhal‘ dahin, um auf morbiden Trommelschlägen zu stranden. Katzenjämmerliche Salonmusik quietscht in allen Scharnieren, bevor Padden nach ‚Arc Fankle‘ mit seiner stotternder Percussion und ‚Bustle‘ mit seinem Bassklarinettengebrummel a capella ‚English Again‘ anstimmt. Seltsam, aber seltsam schön." [Bad Alchemy]
"Since 1995 Daniel Padden has been a member of Volcano The Bear, with several highly regarded album releases on Nurse With Wound's United Diaries label, Textile and Beta-Lactam Ring Records. After his move to Glasgow he started The One Ensemble Of Daniel Padden as an outlet for his solo recordings with releases on Catsup Plate, Secret Eye and Textile. When The One Ensemble slowly metamorphosed into a band of its own, Padden started to record his solo output under his birth name, with last year's "The Isaac Storm" on the Ultra Exzema label being the first seminal result.
Over the years Padden has developed a strong fascination for obscure musics from all over the world (re his recent "Epiphanies" article for The Wire magazine): mouth organ love-songs from Thailand, The Ramayana Monkey Chant from Bali, Khene pieces from Laos; so-called world music from Burundi to Bulgaria.
Combining these interests with his love for British Folk and Art Rock (This Heat, Robert Wyatt), Kraut Rock (Faust), Free Jazz, the surreal collage techniques of Nurse With Wound and the odd humour of The Residents, he has developed a totally unique and highly personal musical vision without ever sounding overambitious or directionless. Gorgeous song-writing is seamlessly transformed into pure fuzz or string drones, suddenly interrupted by some improvised reeds or collapsing percussion, all within the blink of an eye, and never losing its natural flow, "Pause for the Jet" is already an auspicious aspirant for our "Record of the Year"."[label info]
www.dekorder.com
|
2008 |
€12.00 |
|
| PAINTING PETALS ON PLANET GHOST |
same |
LP |
"Debut recording from Italy's Opalio brothers (My Cat Is An Alien) and Ramona Ponzini. An esoteric and mesmerizing trip through space, minimalism, and emotion. Each track recorded at a different mystical location in the western Alps, and centered around Ramona's beautiful vocals, all of which are sung in traditional Japanese. Maurizio & Roberto add sparse accompaniment by means of toy piano, alien keyboard tones, antique accordion, percussion, tape effects, and some particularly evocative acoustic guitar. The whole thing comes off alternately as deeply meditative or chillingly haunted, depending on your attention & mood. Silence, space & ritual are hugely important here, with notes & words hovering frozen in time... while the My Cat Is An Alien moniker might leave some folks scratching their heads, here the Painting Petals On Planet Ghost name nails it : fragile, beautiful, cosmically isolationist, and totally spooked... pressed on 180 gram virgin vinyl, and lushly packaged with letterpress printed cover & insert. Printed with copper ink on exquisite & massively thick handmade ivory art paper, each sheet cast one at a time & air dried. Hand numbered edition of 560 copies." [label info]
www.time-lagrecords.com
|
2005 |
€29.50 |
|
| PALADINO, FRANCESCO & OPIUM (NOSESOUL) |
Angel Ghost & Human Shades |
CD |
FRANCESCO PALADINO sagt, er habe eine Stimme in sich gefunden, die nicht seine eigene ist....hier lässt er sie heraus…
Mantra-artiges Gemurmel, Geflüster, Gewinsel, so etwas wie Wolfs-Heulen.....das alles aber höchst sensibel vorgetragen und mit den elektronischen OPIUM-Flächen vermählt......eine höchste ungewöhnliche „Ambient“-Produktion, für Entdecker !
“An unique collaboration between the processed "nose music' and 'lamentations' by Francesco Paladino and the ambient layered electronic textures By Teo Zini/Opium. A very good ambient work, introspective and dreamy.” [label info]
|
2006 |
€13.50 |
|
| PALESTINE / COULTER / MATHOUL |
Maximin |
CD |
Diverse recordings of entrancing drone-scapes, enriched with electronic rhythms & plainchants, these are basically studio- & live-recordings by PALESTINE-pieces that were re-worked later by DAVID COULTER & JEAN MARIE MATHOUL... great stuff!
"Young God Records is proud to announce the release of the music of the seminal early Minimalist composer Charlemagne Palestine, as re-configured/re-iterated by David Coulter and Jean Marie Mathoul, in co-operation/ collaboration with Mr. Palestine. Coulter and Mathoul have taken previously recorded works of Mr. Palestine and - with the full respect due these often transcendent and sacred works - interwoven new sounds/found-sounds, drones, and unexpected textures into an ever-shifting flow that brings new light to these deeply soulful, sonic-sculptural emanations. Re-contextualizing the pure and spiritual force of nature that Mr. Palestine’s music represents could be a risky musical undertaking, but in my opinion Coulter and Mathoul have pulled it off beautifully, inspired solely by their love and respect of the original works themselves. The mixes have an authentic, hand made sensibility, and even when electronics are occasionally introduced, retain an organic feel. The music on this CD has given me hours of listening pleasure, and I hope it provides you with a similar experience. It’s also our hope that the release of this CD will serve as a portal to the work of Mr. Palestine for those who might not already be aware of his substantial catalog of music." [Michael Gira]
www.younggodrecords.com
|
2002 |
€14.50 |
|
| PALESTINE, CHARLEMAGNE |
Relationship Studies |
LP |
"Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or Relationship Study No. 1 (1967) and the generally titled Electronic from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated Charlemagne Palestine bought a primitive electronic equipment and started to experiment, creating his original electronicesque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies." [label info] |
2010 |
€23.00 |
|
| |
STTT THOMASSS |
MC |
"In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday. Charlemagne Palestine is a composer, performer and visual artist born in Brooklyn in 1947. Often labeled as one of the founders of minimalism alongside Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a "maximalist", eschewing the clinical stereotypes of the former term in favor of a full-blown erotics of possibility that in its ritualistic performance conjures a sense of sacredness without specificity. But before the intoxicating overtones of the Strumming Music (SR 297CD, SSH 003LP) for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestine's first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised "klanggdedangggebannggg" sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instrument's keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrad's work on the carillon and contributing music to his film Coming Attractions (1970). On March 7th, 2017, Palestine climbed the spiral stairs of the Saint Thomas Church's bell tower once again. This cassette features a full recording of STTT THOMASSS ''''"'"DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''', preceded by a brief incantation delivered one month later at a Tony Conrad memorial."
|
2017 |
€16.00 |
|
| PALESTINE, CHARLEMAGNE & Z'EV |
Rubhitbangklanghear Rubhitbangklangear |
do-CD |
"Second time in 20 years Palestine and Z'ev are performing together. First time they're recording it! Unreleased material from Charlemagne's lair, a place now called Charleworld, where both fellows spent 3 days in June 2010. Part of our Sub Rosa/Laboratoire Central sessions.
'i first started to play the bells while at high school of music + art in the sixties at st. thomas church across the street from the museum of modern art in manhattan!! i played everyday for years!! in the eighties
i met z'ev in amsterdam!! i'd known him for 20 years before he suggested one day that we perform together, which we did at lem barcelona in 2007!! later after seeing and hearing the carillon at my studio in brussels he suggested that we perform and record together there, which we did in 2010!! here's / hearsz what we did!!!!' charlemagne palestine " [label info]
www.subrosa.net
"Unter den Minimalisten ist Charlemagne Palestine sicher derjenige, der im etablierten und institutionalisierten Musikbetrieb weniger als seine Kollegen wahrgenommen wird. Die Auftritte und Aufnahmen Palestines hatten bzw. haben – nicht nur wegen dem Moment des Repetetiven (der sich auch im Titel widerspiegelt) – (auch) immer einen gewissen rituellen Charakter, etwa wenn z. B. die Stofftiere aus der extensiven Sammlung Palestines auf der Bühne drappiert wurden (vgl. die Rückseite der CD) und er sich den obligatorischen Cognac (der hier das Cover ziert) einschüttete. Und auch Z’EV hat sich sowohl musikalisch als auch schriftlich (in Rhythmajik, Practical Uses of Number, Rhythm and Sound, das bezeichnenderweise ursprünglich von Temple Press veröffentlicht wurde) mit dem, was Musik alles bewirken kann, auseinandergesetzt. Über das zuletzt genannte Werk schrebt Z’EV, es handele „not about music but spells out the use of rhythm and sound and proportion for Trance, Healing“.
In den Linernotes der Doppel-CD schreibt Palestine, er und Z’EV hätten sich 20 Jahre gekannt, bevor sie 2007 den Entschluss fassten, zusammen aufzutreten. Die auf „RubhitbangklanghearRubhitbangklangear“ enthaltenen Aufnahmen stammen aus dem Jahr 2010 und wurden in Palestines Studio in Brüssel gemacht. Auf der ersten CD finden sich die gemeinsamen Arbeiten: Während Palestine auf seinem Carillon -eine Art überdimensionales Glockenspiel- Melodien minimal variiert spielt, schlägt Z’EV seine schweren Bass-Trommeln. Was anfangs noch nebeneinander herzulaufen scheint, fügt sich im Verlauf der 18 Minuten zusammen; das Stück entwickelt sich zu einem repetetiv-perkussiven Mantra, das fast schon sakralen Charakter hat. Die zweite Duoaufnahme beginnt wesentlich zurückhaltender: Während die Glocken behutsam und langsam geschlagen werden, sind Z’EVs Beiträge kaum noch rhythmisch zu nennen, klingen so, als spiele er eine riesige Klangschale. Der dritte Track enthält dagegen erratischer klingende Perkussion, man meint, Z’EV wanke vom Cognac beschwingt durch eine Fabrikhalle, das Carillon ist hier stärker im Hintergrund. Das ist das vielleicht atonalste Stück auf dem Album. Die zweite CD enthält die Soloarbeiten und auch wenn diese nicht wirklich schlecht sind, so fallen sie im Vergleich zur ersten CD etwas ab, wobei die schiere physische Präsenz Z’EVs, die sich auf dem 46-minügen Abschlusstrack zeigt, schon beeindruckt und den Hörer – je nach Disposition – vielleicht tatsächlich in Trance versetzen kann." [M.G./African Paper]
"Here's two men who have been around since the 60s and both considerable ties to the underground, perhaps Z'EV more than Palestine. But neither have been elevated into the world of high art and are easy to approach. They met in Amsterdam in the 80s and have played a concert before, but only in 2010 they actually recorded material together at Charleworld, Charlemagne Palestine's own place, where has a carillon set up. The picture on the back shows what this looks like. Palestine up in the air playing the bells and Z'EV on the floor with his percussion. In '#3' the playing is somewhat chaotic and aided by natural reverb, but it's my least favorite piece of the three collaborations. In the other two we find an interesting drone like layer, played by Z'EV on a large skin drum and which adds a great texture to the more controlled playing of Palestine. In "#2' Z'EV only seems to rub the skins and makes it even more intense and creepy. I stopped the music because I wasn't sure if I was just hearing the music or something outside happened. That's the great mark of quality, I think. Those two long opening pieces would have been great enough by themselves. There is also a second CD with solo works. Palestine is brief here, just under eight minutes with a fine piece of carillon music, and 'Solo Z#1' sees Z'EV exploring more of those drone like sounds like on the second duo duo piece while his second piece lasts forty six minutes and we hear him like at least I remind me from the first time I heard his music (mid 80s). Banging metal percussion, aided with natural reverb, in what seems now proto-industrial music from an acoustic perspective. Excellent stuff here, this is the Z'EV I haven't heard in quite some time. Great package of excellent contemporary music all around." [FdW/Vital Weekly]
|
2013 |
€16.00 |
|
| PALO ALTO |
Difference and Repetition - A Musical Evocation of GILLES DELEUZE |
do-LP |
"This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.
Palo Alto
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times.
In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon...
From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule… "
https://subrosalabel.bandcamp.com/album/difference-and-repetition-a-musical-evocation-of-gilles-deleuze
"Palo Alto aus Paris gibt es seit 1989 und mit "Le Clos" erschien 1990 ein erstes Album (auf Tonbandkassette), dem bisher ein gutes Dutzend weitere gefolgt sind. Das Projekt um Jacques Barbéri nennt als Einflussgeber Tuxedomoon, Art Zoyd, The Legendary Pink Dots, Coil, The Residents, Can und Cabaret Voltaire, und betätigt sich vornehmlich in experimentell-elektronischen Gefilden, verunreinigt seine Musik aber auch mit Punkig-Schrägem, New-Wave-Artigem oder Modern-Kammermusikalisch-Klassischem. Ich machte erstmals mit dem 1998 beim Musea-Unterlabel Gazul Records erschienenen Album "Transe Plan" Bekanntschaft mit der Formation, und auf jenem geht es auch weitestgehend elektronisch und experimentell zu.
Zum 30sten hat man dann das wohl bisher ambitionierteste Projekt verwirklicht. Ein Doppelalbum hat man sich vorgenommen, von der Form her wie "Third" von Soft Machine, also mit vier seitenlangen Nummern, welches sich mit dem Werk des 1995 durch Selbstmord verstorbenen französischen Philosophen Gilles Deleuze befasst. Dazu hat man sich einige musikalische Gäste gesucht: Den von Deleuze beeinflussten SF-Schriftsteller Alain Damasio als Vorleser, Richard Pinhas, der einstmals bei Deleuze studiert hat, an der E-Gitarre, Thierry Zaboïtzeff am Cello und Rhys Chatham an der Trompete. Das fertige Werk wurde schließlich Ende 2020 vom Belgischen Label Sub Rosa als 2xLP oder CD veröffentlicht.
Mit Soft Machine hat die Musik eher wenig gemein. Aber, es ging ja auch nur darum ein ähnlich ausladendes und gestaltetes Album zu veröffentlichen. Ein paar jazzig-rockige Spuren sind auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" aber auch auszumachen. Ansonsten ist dies eine Art von elektronischer Musik, oft rhythmisch voran schreitend, bestimmt von programmierter Perkussion, vornehmlich aber dominiert von allerlei Synthesizererzeugnissen und bisweilen heftigst verfremdeten Saxophonklängen, in die je nach Stück weitere Blasinstrumente, Cello, Bass, E-Gitarre und Textrezitationen eingewoben wurden.
Vor allem im dreiteiligen "Triptych" verliest Damasio Texte, einen eigenen bisher unveröffentlichten über Deleuzes Tod (der auch im Inneren des Digipacks abgedruckt ist), aus Deleuzes Buch "Capitalisme et Schizophrenie" (1980) und aus seinem Roman "Les Furtifs" (2019), durchaus engagiert und intensiv, ganz im Stile des "Concerto Delle Menti" von Pholas Dactylus. Man kann, auch wenn man den französischen Text kaum folgen kann, nur gebannt zuhören.
Die restlichen Stücke sind vorwiegend instrumental gehalten, nur im einleitenden "The Tears of Nietzsche" wird kurz ein Text von Richard Pinhas’ verlesen (aus "Les Larmes de Nietzsche – Deleuze et la musique“, 2001), und sind recht stark von den jeweiligen Gastsolisten geprägt. Im eben genannten ersten Track ist Pinhas’ E-Gitarre klangbestimmend und die Nummer klingt dann über weite Strecken wie das recht typische Gitarrendröhnen, welches auch auf den Soloalben des Franzosen meist zu hören ist. Palo Alto, insbesondere Berberis Sax, sorgen aber für eigenen Charakter. In "Rhizom" knarzt Zaboitzeffs Cello erst bedächtig, dann immer wüster, eingebettet in eine hypnotisch dahin schreitende Space-Elektronik, in der das 'Tibetanische Horn' Barberis aber auch exotische Akzente setzt. Im abschließenden Titelstück ist dann Rhys Chatham tonangebend, allerdings nicht an der E-Gitarre, sondern mit einer heiser-krächzenden Trompete, übrigens oft begleitet von einem Damenchor (genannt 'Les Bottines'), der stellenweise fast für Zeuhl-Atmosphäre sorgt.
Eine recht schwer zu kategorisierende Musik ist auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" zu finden. Als dynamischen Avant/Kammerprog, dröhnenden E-Gitarren-Elektrorock, krautige Elektronik oder als pulsierendes Electronicagemenge könnte man das bezeichnen, oder als eine dichte Verschmelzung dieser Ingredienzien, angereichert mit allerlei freiem Klangbasteln. Das Ergebnis ist jedenfalls reichlich originell, intensiv, voluminös, packend und auf jeden Fall sehr progressiv. Ich denke einmal, dass Avantprog-Freaks bzw. Zaboitzeff- und/oder Pinhas-Fans, die zudem die weiter oben genannten Vorbilder (oder einige derselben) schätzen, von "Difference And Repetition" (übriges auch ein Buchtitel Deleuzes) begeistert sein sollten. Ein später Höhepunkt des Progjahres 2020!" [Babyblaue Seiten]
|
2021 |
€20.00 |
|
| PAN AMERICAN |
White Bird Release |
LP |
"... Die große Frage bei so reduzierten Klängen (trotz ein wenig Gesang) lautet natürlich: Wie halte ich so was gleichbleibend spannend? Nelson gelingt das erneut durch unterschwellige Einflüsse von Dub, wobei man kaum von wirklicher Rhythmik sprechen kann, eher von einem gut spürbaren Pulsieren, das den Stücken aber die nötigen Konturen verleiht. Hinzu kommen verfremdete Gitarrensounds - wie sie sich auch auf Robert Fripps Ambientplatten finden lassen -, was ausreicht, um „White Bird Release" zu einer äußerst atmosphärischen, überraschend emotionalen Vertonung von Stille werden zu lassen, entspannend, aber nicht unaufregend und vor allem niemals austauschbar. Ein ästhetischer Hochgenuss und beseelt von einer abstrakten Form von Schönheit, die man nur auf ganz wenigen Ambientplatten in dieser Güte zu hören bekommt. [Thomas Kerpen, OX-Fanzine]
"The sixth album from Mark Nelson's longtime solo project follows his Quiet City album on Kranky, and more recently the For Waiting, For Chasing release on the Mosz label." [label info]
"Labradford had long been the American precursor to the lugubrious noir that Bohren & Der Club Of Gore had masterfully grafted with doom. But now that Labradford has quietly ceased activities, guitarist Mark Nelson has fully embraced his solo project Pan American, which had been running concurrently with Labradford for the past seven or eight years. Without Bobby Donne's lonesome bass as a foundation to work with, Nelson's Pan American has relied heavily upon glitchy electronic rhythms and dub-injected studio tricks with varying degrees of success. Perhaps now that Labradford is no more, the Pan American project has taken on a greater sense of purpose as White Bird Release is easily the most accomplished Pan American record to date. There's much less of that dubby electronica to be found on this album; but when employed, Nelson's skeletal pulses enjoy a rich noir ethos resembling those scarce moments of darkened prog-rock dirge for organ and drums offered up on that Deathprod boxset a few years back. But for the most part, Nelson seems comfortable with the Fripp & Eno style streams of pastoral guitar ambience dotted with softened static, smokey vibes, and gracefully arcing drones. The album is based on a letter from Dr. Robert Goddard to H.G. Wells written in 1932 and concerned with the possibility of space flight. While many of the obvious references to White Bird Release harken to the deep space cosmology from the '70s (e.g. Fripp & Eno, Cluster, Schulze, etc.), Nelson's work is not a departure from this rock travelling around the sun, but rather a glance upward to the heavens, while remaining firmly grounded below. The cd has one extra track not to be found on the vinyl." [Aquarius Records review]
www.brainwashed.com/kranky
|
2009 |
€15.00 |
|
|
For waiting, for chasing |
LP |
„Mark Nelson, früher Labradford, hat es gefunden, so scheint es. Pan-American-Alben waren immer großartig, aber man spürte immer die Verbundenheit zu seiner alten Band, die Weite und Schwere der Songs. Das ist jetzt anders und es fühlt sich nach einem großen Schritt an. Nelson klingt elektronischer und denkt dabei immer noch akustisch, spielt seine dronigen Trümpfe anders aus, ist nicht mehr offensichtlich vom Berliner Dub beeinflusst, lässt das Knistern der Steine für Minuten im Track einfach stehen und betupft diese ungelenken Gebilde nur sehr zurückhaltend mit weichen Haltegurten. Die Sehnsucht nach Stille klang nie so aufregend. Ein großes Album.“ [Thaddi / DeBug]
"For Waiting, For Chasing was originally issued in a limited pressing by the Stefan Németh (Radian) curated Mosz label in 2006. This is the first time it is being made widely available and also the first time it is being issued on the vinyl LP format. As Mosz eloquently stated at the time of release, "...it is not about the process or the media, which have been used. It is about how elements and structures are put in a detailed relation to each other, ending up in a slow-moving, breathing organism. Filaments of percussive elements condense to polyrhythmic elements, layers of sound, instruments and field recordings merge to build up a mystic parallel, not so much fictional world." Perhaps the most skeletal and minimal of all of the works in the PanAmerican canon, it may also be the most compelling. Released on CD and 140g black vinyl." [label info]
www.brainwashed.com/kranky
|
2010 |
€15.00 |
|
| |
For waiting, for chasing |
CD |
„Mark Nelson, früher Labradford, hat es gefunden, so scheint es. Pan-American-Alben waren immer großartig, aber man spürte immer die Verbundenheit zu seiner alten Band, die Weite und Schwere der Songs. Das ist jetzt anders und es fühlt sich nach einem großen Schritt an. Nelson klingt elektronischer und denkt dabei immer noch akustisch, spielt seine dronigen Trümpfe anders aus, ist nicht mehr offensichtlich vom Berliner Dub beeinflusst, lässt das Knistern der Steine für Minuten im Track einfach stehen und betupft diese ungelenken Gebilde nur sehr zurückhaltend mit weichen Haltegurten. Die Sehnsucht nach Stille klang nie so aufregend. Ein großes Album.“ [Thaddi / DeBug]
"For Waiting, For Chasing was originally issued in a limited pressing by the Stefan Németh (Radian) curated Mosz label in 2006. This is the first time it is being made widely available and also the first time it is being issued on the vinyl LP format. As Mosz eloquently stated at the time of release, "...it is not about the process or the media, which have been used. It is about how elements and structures are put in a detailed relation to each other, ending up in a slow-moving, breathing organism. Filaments of percussive elements condense to polyrhythmic elements, layers of sound, instruments and field recordings merge to build up a mystic parallel, not so much fictional world." Perhaps the most skeletal and minimal of all of the works in the PanAmerican canon, it may also be the most compelling. Released on CD and 140g black vinyl." [label info]
www.brainwashed.com/kranky
|
2010 |
€15.00 |
|
| PANHUYSEN, PAUL |
A Magic Square of 5 to look at |
CD |
Endlose Zeitlupenwellen von langsam dahinächzenden Sirr-Teppichen, als konzeptuelle Grundlage der Klangkunst-Komposition diente ein „magisches Quadrat“ und die entsprechende Mathematik der „kosmischen Harmonie“... interessantes Konzept und überzeugendes Klangergebnis von diesem eher im Ausstellungs/Installations-Betrieb arbeitenden Klangkünstler..
“OK, for all the math freaks out there, this is a must have. This CD by one of the most famous Dutch sound artists with a resume as long as both my arms is one big mathematician's wet dream. The theory of a magic square is simple enough, but not so simple that I would be able to reproduce it correctly here. What Panhuysen has done is to transpose the theory to image and sound (all the details about this can be found extensively in the booklet). Sounds boring? Well, it may sound that way, but the result is great! Especially the resulting 30 minute sound piece is a sheer beauty. Sine waves are played according to the rules of the magic square and some additional rules and the result is a piece that is hauntingly evocative, yet dry as a desert. This strange contradiction gives the work its strength and tension. The piece was originally conceived as a four channel sound installation but works very well in the CDd format. Together with the booklet and text it is a very hermetic work of art, extremely modernist, and therefore a welcome statement in times of relatively random digital number crunching. A very good work.” [MR, Vital Weekly]
www.beequeen.nl/plink.html
|
2004 |
€13.00 |
|
| PAOLO CAMPANA |
VINYLMANIA (FILM) |
2 x DVD |
"A trip into the grooves, Vinylmania is a 75 minute feature length documentary about an object that has never lost its soul: the vinyl record. An epic love story, the film is filled with fascinating characters and internationally recognized artists including PHILIPPE COHEN SOLAL (Gotan Project), WINSTON SMITH (Dead Kennedys, Green Day record sleeve artist), PETER SAVILLE (Joy Division, New Order record sleeve artist) and DJ KENTARO (2002 DMC World DJ Champion).
Devotion, ecstasy, infatuation, agony – all feelings that the director of the film, Paolo Campana, has experienced from childhood and shares with like-minded record collectors, Djs, musicians and artists (the said vinylmaniacs) in the documentary. Set in 11 different cities worldwide, the director sets out on a global road trip to find out what role vinyl records play in the 21st century." [publishers info]
"Wenn das Leben mit 33 Umdrehungen pro Minute läuft: Doku von Paolo Campana.
"Als Kind wurde ich von meiner Mutter immer mit einer Schallplatte von Mozart geweckt", sagt Paolo Campana, Filmemacher und DJ aus Turin. "Seitdem läuft Vinyl durch meine Adern." Der italienische Regisseur möchte verstehen, woher seine große Leidenschaft für Musik und Schallplatten kommt. Also tauchte er für seinen Dokumentarfilm in diese Welt ein und bewegte sich sprichwörtlich undercover. In "Vinylmania" führt uns der Regisseur durch die Facetten eines Objekts, das nie seine Seele verloren hat. Er spürt dem nach, was Vinyl in einer digitalen Welt so legendär macht. An vielen Orten der Welt begegnen wir einer Gemeinde von Sammlern, DJs, Musikern und Künstlern. Die Zuschauer erkunden die Läden, in denen die Leidenschaft zum Fieber mutiert, und die Fabriken, die wieder damit begonnen haben, Millionen von Platten herzustellen. Denn: Die Vinylplatte ist zurück! ",Vinylmania‘ ist sich seines grundsätzlich nostalgischen Ansatzes bewusst, aber lässt sich dadurch nicht beirren. Das macht die Dokumentation zu einem großen Fernsehvergnügen." (Spiegel Online).
Extras: Limitierte Edition inkl. Bonus-DVD: 8 Musikclips (Berlin, Prag, Paris, London, Los Angeles, San Francisco, New York, Tokio); 15 Bonus-Tracks – Interviews mit Sean Bidder (Vinyl Factory), Richie Hawtin (DJ, Produzent), Peter Saville (Designer), Guy Schraenen (Kurator), John Stanley (Schriftsteller), Dubplate & Mastering, Laser Turntable, Matt Mikas (Sammler), V. Vale (Re/Search), Klaus Florida (Bassist Dead Kennedys), Luxuria Music (Webradio), Eilon Paz (Dust & Grooves), Cesar Montesano (Sammler); Google-Map ausgewählter Plattenläden weltweit
"›Vinylmania‹ ist ein wahres Vergnügen. Er spürt erfolgreich der kulturellen Explosion rund um das Wiedererwachen von Vinyl nach und behandelt darüber hinaus auch die Leidenschaft und Liebe zur Musik. Jeder Musiker und wahrer Musikfan wird den Film sehen wollen.“" Record Store Day
"„Wenn man einen DJ auflegen sieht, dann ist das, wie einem Küchenchef beim Kochen zuzusehen.“" DJ Kentaro
"„Vinyl ist wie Jazz. Seine Sound-Nuancen sind einzigartig.“" DJ Kobayashi
"„Das ist meine Kindheit, meine ganze Geschichte…“" Philippe Cohen Solal, Gotan Project
|
2012 |
€12.00 |
|
| PARKIN, NICK & TOM GILLIERON |
Red Shift |
CD |
Überraschende Verschmelzung von NICK PARKIN’s geheimnisvollen Sphären-Geräusch-Ambient Sounds mit schmissigen Break- und Techno-Beats. The absolute space-dance!
“Red Shift fuses blistering hypnotic break beats with dark atmospheric sound textures and derives its inspiration from the images of distant galaxies and planets captured by the Hubble Space Telescope. Imaginings of distant space are counterbalanced by the gritty reality of living and creating in the dense urban environment of London and the impact this has on everyday aural experiences. Beats and breaks are constructed individually and meticulously in the break beat science style and merged with sampled and synthesised sound to create a compelling sonic experience. Nick Parkin is well-known for his many CD releases revolving around atmospheric dark electronica and elemental electroacoustic soundscapes, including Island of Dust (1999), Entropolis (2001) and Geomorphic Resonance (2001), which were released by Soleilmoon. He was awarded first prize at Bourges International electroacoustic music awards in 2001 for his elemental electroacoustic work Magmas, which has since enjoyed considerable international airplay. He brings his long term experience of using elements of drum and bass within his commissioned music for dance and theatre companies to startling effect in Red Shift and has teamed up with Tom Gillieron, a DJ, House and Drum and Bass artist and producer. Tom has released a number of 12" singles on the Dutch Drum and Bass scene and remixed for people as diverse as BT in the USA and MJ Cole in the UK garage scene.” [press release]
|
2004 |
€13.00 |
|
| PARLANE, ROSY |
Iris |
CD |
Three movements of dense magic ambience with concrete / microtonal element from this New Zealand-artist, known from his SIGMA releases.
"Rosy Parlane lives in New Zealand; he began playing music with the avant-garde rock trio Thela. Thela released two CDs, Eponymous and Argentina on the label Ecstatic Peace! He subsequently began working with abstract electronic based music, both as a solo artist and as Parmentier with fellow Thela collaborator, Dion Workman. His full and intricate soundscapes are comprised of sample-loops, pianos, guitars, and field recordings manipulated via digital means. Parlane has released two solo albums on Sigma Editions, and a collaboration with Christian Fennesz on the Australian label, Synaesthesia [Live, SYN001]. Iris is the result of a concentrated period of activity and artistic development that will introduce Rosy Parlane to an audience hungry for innovative music. He both challenges and invigorates the current bias towards immersive sound, without ever losing sight of the human touch." [press release]
|
2004 |
€14.00 |
|
| |
Jessamine |
CD |
"Wie schon am ebenfalls bei Touch verlegten Vorgänger »Iris« finden sich auf »Jessamine« lediglich drei Tracks, nach der Betitelung wohl als Teile eines großen Ganzen zu hören, die vom Umfang her wieder eine Spieldauer von fast fünfzig Minuten erreichen. Dabei weisen deren durchwegs von Rhythmus und Melodie befreite Konturen recht eindeutige Züge klassischer Drones auf, die in den entscheidenden Momenten von monolithischem Dröhnen weg in Richtung konzentriert geschichteter Textur-Overloads tendieren und großzügig angelegte Spannungsbögen vornehmlich aus gekonnt inszenierten Intensitätsverläufen zwischen Loslassen und Verdichtung rekrutieren. Das dazu notwendige Instrumentarium ist zum Großteil akustisch und reicht von Gitarre und Piano bis hin zu Field Recordings, Radios oder verschiedenen Haushaltsobjekten. So bleibt auch nach dem digitalen Reißwolf eine, durch die glasklare Produktion eigenartig verstärkte, organische Grundstimmung erhalten, die durchaus im Widerstreit zur fokussierten, geradlinigen Ausrichtung der Tracks steht. Da gibt es kein Ausfransen, kein flächiges Abschweifen; Parlane entwirft einen beeindruckend konsequenten, fast schon ökonomischen Flow, zurrt die unruhigen Kleinstbestandteile, knackend, knisternd und Obertonfunken schlagend, zu drei hypnotischen HighTech-Ambient-Monstern zusammen und setzt auf die Dramaturgie der Dynamik. Oder umgekehrt? Während jedenfalls der erste Track noch vor dem Klimax ein trotzdem versöhnliches Ende findet und die große Erlösung im folgenden lediglich spärlich angedeutet wird, eigentlich nicht mehr als ein digitales Bäuerchen darstellt, explodiert das beinahe zwanzigminütige Schlussstück aus mittels Kaminfeuerknistern geerdetem, euphorisch verstrichenen Klanglayern zu einer wahrhaft infernalischen Wall of Sound, aufgezogen mit Hilfe von acht Gastmusikern, die ihre elektronisch verstärkten Streich- und Saiteninstrumente hier zu einem Crescendo auflaufen lassen, das seines gleichen sucht. Die Sicherheit und Konsequenz, mit der Parlane seine Soundskulpturen bearbeitet, sowie eine herbe, oft schwer fassbare Schönheit, die sich gleichermaßen durch harsche Noisewälle und entschlackte Ambientpassagen streckt, machen »Jessamine« zu einer enorm intensiven Erfahrung und darüber hinaus zu einem der besten Alben an den Outskirts elektronischer Avantgarde des vergangenen Jahres." [Tobias Bolt / Quietnoise]
"This is New Zealand-based (and former Thela member) Rosy Parlane's second full-length release on Touch. His previous album, Iris (2004), was hailed by Jim Haynes in The Wire who wrote: "Jon Wozencroft's impeccable photography and design packages Rosy Parlane's Iris inside a predominantly blue package, inextricably linking the music to the emotional resonance of the color... He flushes his soundfields with cascades of digital fragments which he separates into two distinct compositional categories. On the one hand, Parlane stretches sounds from guitar, piano and organ into unrecognizable drones that swell into dense layerings, every once in a while coalescing into fluttering half-melodies. On the other, he emphasizes the textural qualities of those digital fragments, simulating the natural acoustics of ice crackling from trees in winter or the gentle patter of rain on a windowsill. When fusing these together by placing the textures against the backdrop of the drone, Parlane effectively builds pointillist sound environments with a profoundly human melancholia." With Jessamine, Rosy develops these themes, and continues to incorporate new musical elements from unconventional as well as orchestral instrumentation. To him, everything is an instrument: from household objects to nature sounds. But it is the human element which gives his work such a distinctive sound. Ranging from ambient to noise, he gives full rein to textures of living; to start, languid and mournful; later harsh and assertive. Jessamine is a magnificent follow-up to a classic Touch debut. Rosy Parlane: electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw, amplified sawblade, bowed metal, household objects, contact microphones, field recordings, radio, computer. Additional contributions by Marcel Bear, Tetuzi Akiyama, Lasse Marhaug, Anthony Guerra, Michael Morley, Donald McPherson, Matthew Hyland, David Mitchell, Stefan Neville and Campbell Kneale." [press release]
"A little over two years ago, Rosy Parlane, made his debut on Touch with 'Iris', following solo releases on Sigma, and a membership of such bands as Thela and Parmetier. Three tracks back then, and on 'Jessamine' again three tracks. Rosy plays here electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw (an instrument designed by Marcel Bear), bowed metal, household objects, field recordings, radio, computer and contact microphone, and if that isn't enough there is also help from a whole bunch of people who played guitar. The first track starts out in common territory: ambient glitch made with bowed guitars, violins, but Parlane's music is more angular. It has a sharper edge, already in this first piece. Even a bit of old Organum could be traced in these scraping and bowing sounds. It's hard to say if all the instruments mentioned on the cover are also there, but guitars are definitely there. In the loudest part, 'Part Three' things become orgasmic loud, almost in a Merzbow manner, but Parlane keeps things nicely under control. Overall, Parlane has a richer sound than on 'Iris', there is more happening and he is stepping out of the more safer microsound glitch. Quite a leap forward!" [FdW / Vital Weekly]
|
2006 |
€14.50 |
|
| PARMERUD, AKE |
Growl |
CD |
"Composer Åke Parmerud is from Göteborg, which is also the home of underground labels such as Fang Bomb, Release The Bats, and Beläten, names on which we can always rely to provide solid blasts of depressive post-industrial noise and drone music. Parmerud isn’t exactly cut from the same cloth, being as how he’s a prize-winning and classically-trained electroacoustic maestro, but there are moments of tasty darkness on his Growl (empreintes DIGITALes IMED 15132) collection which appeal to a macabre chap like myself. La vie mécanique, for instance, is a pretty effective critique of modern industrialisation, or at least an observation on it, and takes the hoary old dystopian cliché of “modern man becoming machine-like” and dusts it down for an update that involves samples of machinery blended with Techno music. In this lively composition of clattering beats and metal, it’s far from clear where the factory machines leave off and the dancefloor begins; it’s intending to convey something about the body being broken down into smaller units, much like the cogs of a machine being taken apart. Parmerud also makes a commentary on the contemporary use of machines (laptops, presumably) for making music. I wish he’d be a little less equivocal about it, both in his notes and his music, but it’s a nifty statement.
Maybe serious composers shouldn’t dabble with Techno. However, if you think men of Parmerud’s generation should leave the kids’ music alone, you’ll be even more appalled by the idea of Growl itself, where he drily observes “metal music is big in Sweden” from his lofty position, and borrows some ideas from his youngest son who plays in a metal band. This might be Aron Parmerud who plays his “axe” for Marionette, a Death Metal band who made a couple of albums for Listenable Records. What the composer has done here is zero-in on the throat-shredding vocals that characterise a lot of the music in this genre, and through arranging samples of voices shrieking “Hell Is Us! Die We Must!”, has built a virtual “growlers choir”. With the dark techno backing, electronic effects, and gloomy ambient tones, this works surprisingly well, even if it sounds too “expensive” and well-produced for a genuine metal album and has far too many interesting dynamics. He also misses the claustrophobia and genuine sense of doom. But even so Parmerud turns in a strong piece of work, and in any case he wasn’t setting out to produce a metal album.
What else are the “young people” interested in these days? Vinyl records, of course! So listen in to 2011’s Grooves if you want to hear what Parmerud can do when sampling the black stuff. The source material for this was the vinyl collection of his friend Kai Hanekken; in fact the composition seems to have been a by-product of a digitisation project requested by said Hanekken, who urged the composer to pick up the gauntlet and create a composition. He gave in. What gets sampled are run-out grooves and vinyl “noise”, i.e. crackles and clicks and such; Parmerud seems to have been only too aware that doing this was already something of a well-worn cliché, but again he liked the challenge and wanted to see if he could invert it and bring new life into the idea. Although best heard at high volumes and played back through a multi-channel system, Grooves still succeeds on your home CD player and delivers a suffocating density which is clearly one of this composer’s trademarks. Continuity is severely disrupted by the multiple edits, and the speed with which the layers of abstract noise pile up is incredibly alarming. You’ll feel like you’re trapped on an enormous spinning black disc of death.
Also here: 2014’s Electric Birds derived from birdsong samples (yet another instance where Parmerud had promised himself he would never make a piece like this), and Transmissions II, the most recent composition. It derives from a multi-media work where, if seen live, a singing choir are able to manipulate sound signals in real time. Some fascinating complex electronic layers result, and it sounds a lot more contemporary than some of the formal music that often gets released on this label, and is every bit as convincing as any given Mego release from the last few years. Sometimes proper composers make a ninny of themselves when they try and get “with it”, but Åke Parmerud has nothing to be ashamed of here." [The Sound Projector]
|
2015 |
€14.50 |
|
| PATTERSON, BEN & BRANDSTIFTER / FRANZ KAMIN / KOMMISSAR HJULER |
SUXULFART |
LP |
A1 –Ben Patterson & Brandstifter silent refugee night
A2 –Franz Kamin BGESS #4
B –Kommissar Hjuler Der Jordt
LP in Fluxus +/- Series by Kommissar Hjuler / Psych.KG, limited to 75 copies, numbered and signed, black vinyl.
Front Cover shows part from a mixed media painting by Yukiko Nasu & Kommissar Hjuler (project BROTKATZE Collaborations).
Backside Cover shows Ben Patterson & Brandstifter at Kaiser & Cream, Wiesbaden, photo by Udo W. Gottfried.
Track "Silent Refugee Night" was recorded on April 24th, 2016 at Kaiser & Cream Wiesbaden by horstundireneschmitt for FLUX ON DEMAND, copyright by Ben Patterson & V.E.B. Freie Brandstiftung.
Track "BGESS #4" has been released on MC before by tENTATIVELY, a cONVENIENCE / Widemouth, copyright by The Franz Kamin Estate, Nor Hall and Marie Nesthus.
|
2016 |
€25.00 |
|
| PERLON |
same |
CD-R |
"Neben der hervorragenden BAD ALCHEMY 7" gibt es auch diese CD-R des Berliner Trios (guitars, electronics, percussion) auf eigenem Label, Zwei Stücke: "Terlenka" (47:33) und "Argon" (25:14). Die Musik könnte man als "strange & complex improvised atmospheric music with noisy outbursts" bezeichnen... mit viel sensiblem Gespür für Effekte und Entwicklung in den Kompositionen, verbinden PERLON alt & neu... hier treffen sich Geräusch- und Improvisationsmusik. Ähnlich von der Konzeption her, wenn auch völlig anders klingend, wie z.B. T. FURUDATE..
Berlin-based trio with first CD, a meeting of noise- & improvisationmusic, with very suspenseful moments." [Drone Rec. info 2000]
|
2000 |
€12.50 |
|
| PERRET, NICOLAS & SILVIA PLONER |
Nýey |
CD |
In 1963, off the coast of Iceland, an island emerged after an underwater volcanic eruption, a rare event that occurs on average twice a century. It was given the name Surtsey, after Surtr, the fire giant of Norse mythology. The surface of this new land grew after further eruptions until June 1967 when it had reached 2.65 square kilometers in size and poked 175 meters out of the sea. Surtsey has been an object of research as no other territory has been before, since it bares the unique possibility to study in-scale the creation of an ecosystem. Closed to the public since its birth, only a few scientists have access to the island once per year for four days. To this day more than half of the initial territory of Surtsey has disappeared. The violent waves of the winter degrade its coasts and the wind erodes its surface. Scientists estimate that in 2120, two-thirds of the surface will be gone and erosion will have laid bare its heart of palagonite, a rock that might withstand for a few thousand years.
Being the youngest member of the Westman archipelago, Surtsey serves science as a window to the past of the older islands. Reciprocally, those older islands are studied as windows to what Surtsey might become like in the future. Following this approach of the island as sort of “time capsule,” we investigated in Surtsey′s assumed past, present and possible future in exploring the sonic environment of Surtsey as well as the one of its neighboring islands. The resulting sound piece Nýey evolves around the motifs of creation, colonization and metamorphose of a territory.
Nýey is composed of:
Field recordings from Bjarnarey and Elliðaey, two older islands of the Westman archipelago.
Field recordings from the volcano Eldfell and the new territory its eruption created in 1973 on the island Heimaey.
Field recordings from Surtsey, recorded through a sound trap by Borgþór Magnússon (expedition leader on Surtsey).
The piece also contains words by three generations of scientists engaged with the island and samples from the original music of the movie “Surtur fer sunnan” (Ósvaldur Knudsen, Iceland 1964), composed by Magnús Blöndal Jóhannsson.
(Nicolas Perret & Silvia Ploner, March 2015)
++++
Additional Info
The radio version of Nýey was produced by the programme Klangkunst of Deutschlandradio Kultur (broadcast date: April 18th, 2014), with the support of “Du côté des ondes”, GMVL, Phonurgia Nova and the Surtsey Research Society. In 2014 the radio piece was awarded the first prize in the category “Radioarte” at the 10th Bienal Internacional de Radio.
About us
Nicolas Perret and Silvia Ploner – http://www.islandssongs.blogspot.com – work with recording technologies to sound out mysterious environments, remote territories and unknown phenomena. Envisaging the milieus they investigate as laboratories, their interest is drawn to the faint, the imperceptible, the unsuspected, the sonic detail, the inaccessible. Alongside scientists whom they share fields of study and methods of work with, they embark in long term projects. The resulting field recording based compositions and installations shape listening as a method of exploration. Nýey is their first common project. Their second project, ALL DEPENDS ON THE SUN, explores the acoustic phenomena related to northern lights.
www.unfathomless.net
|
2015 |
€14.00 |
|
| PETERS, STEVE |
The Webster Cycles |
maxi-CD |
Sehr ruhige, verhallte Trombonen-Drones und Harmonien, zum Teil polyphon überlagert - ein One-Tracker von fast 30 Minuten, der an PAULINE OLIVEROS Endlos-Hall Einspielungen mit Akkorden erinnert. Beeindruckende Weite wird geschaffen, so entspannt und doch kraftvoll...
"The Webster Cycles, a somewhat open-ended piece for any combination of wind instruments and/or voices, allows for a good bit of decision-making and improvisation on the part of the performer(s). In the present recorded version, six trombone parts were performed (via overdubbing) by noted composer/performer J.A. Deane. The result is a beautifully coherent yet ever-changing music that slowly shifts its texture and harmonic focus as if its individual parts were refractions of a giant aural prism. The wonderful, subtle inflections and tonal shadings that Deane brings to each phrase imbue the piece with a vibrant, palpable sense of energy and motion. The piece's score is constructed from a selection of words drawn from a Webster's dictionary. The words become pitch sequences or melodic phrases that are to be played within the duration of a long breath. These sequences are grouped into seven sections, which the performer(s) may perform in any order they wish while maintaining the internal order of phrases within each section."
"Deane is a soulfully expressive musician and, despite the calm and coolness of Peters's music, his interpretation has immediate emotional appeal as well as seductive depth." [Julian Cowley, The Wire]
www.coldbluemusic.com
|
2008 |
€9.50 |
|
| PG.LOST |
Oscillate |
LP |
"Hier ist Oscillate von PG.LOST - das neue Album der Band, welche pures Drama und Katharsis lebt. Ihr fünftes Werk - das erste seit dem erfolgreichen 2016er Versus - braucht mit ausgeprägtem Verständnis von Spannung/Entspannung einen Vergleich mit Mono, Explosions in the Sky und Godspeed You! Black Emperor nicht zu scheuen. Mit Einflüssen, die von der emotionalen Wucht von Big Thief über den erfinderischen Geist des Krautrock bis hin zur Brutalität von Neurosis und dem dunklen Experimentalismus von Coil reichen, verflechten sich diese schwereren Elemente und öffnen sich in der Weite gar bis Fennesz oder Tim Hecker. Eine neue Ausrichtung, welche eine schimmernde Schönheit und Tiefe enthüllt, wie sie in der heutigen überkomprimierten und überproduzierten Version "moderner" Musik selten zu finden ist. Das Titelstück beginnt mit einer blühend dunklen Ambientpassage, ein aufsteigender Gitarren-/Synth-Part, der die Spannung aufbaut bis die endgültige Befreiung durch einem großen Refrai und gigantische Wellen von Gitarrenklängen erreicht wird. Oscillate steht exemplarisch für das Album als Ganzes - massiv im Umfang und noch größer im Klang. Das Album wurde im eigenen Studio aufgenommen und von Magnus Lindberg von Cult of Luna gemischt und gemastert. Souverän in der Ausführung ist Oscillate höchstdramatischer Bombast und ein gewaltiger Schritt vorwärts für die Band - vier Jahre warten haben sich gelohnt. Für Fans von Mono, Explosions In The Sky, Mogwai, Cult of Luna, EF, Caspian, Russian Circles, Envy * Limitierte Single Colour White Vinyl-Version! * Band Info: PG.LOST wurde 2004 in Norrköping, Schweden, gegründet und besteht aus Mattias Bhatt, Martin Hjertstedt (ex- Ghost), Gustav Almberg (The Great Discord) und Kristian Karlsson (Cult of Luna). Auf der Suche nach einem einzigartigen Klang und der Liebe zu Post-Rock, Ambient und Shoegaze mit einem Hang zum Post-Metal, veröffentlichte die Band 2006 und 2007 ihre selbstbetitelte sowie die Yes, I Am-EP.2008 veröffentlichten PG.LOST ihr Debutalbum It's Not Me, It's You! Es folgten In Never Out, Key, die Split-LP mit Wang Wen und zuletzt Versus. Line Up: Mattias Bhatt: Gitarre, Martin Hjertstedt: Schlagzeug. Gustav Almberg: Gitarre, Kristian Karlsson: Bass"
Trapped in a cavern, it’s pitch black and the air is getting harder and harder to breathe. Disoriented, hands follow the walls to find what could be the ceiling, fingers digging into the rock to find something– anything– loose to help point toward a direction out. Suddenly, a rock frees itself and after clearing away some dirt, a pin of blinding light shines through the enveloping darkness. Clearing away soil and rock with more and more vigor, hope and salvation is just a short way from here.
This is PG.LOST’s Oscillate– the band’s latest LP packed to the gills with pure drama and catharsis. Their fifth overall and first effort since 2016’s much lauded Versus, Oscillate leans on an instrumental approach and while their keen understanding of tension/release may warrant comparison to the likes of MONO, Explosions in the Sky and Godspeed You! Black Emperor, PG.LOST is unafraid to move into exciting new directions. With influences that range from the emotional heft of Big Thief to the inventive spirit of krautrock to the brutality of Neurosis to the dark experimentalism of COIL, these heavier elements intertwine and open up into wide-eyed expansiveness of Fennesz or Tim Hecker, revealing a beauty shimmering underneath and a range of depth rarely found in today’s over-compressed and spit-shined version of “modern music.”
In making the new LP, PG.LOST opted to keep it simple and follow their gut. “On the previous records we have always tried to make it very basic and clean when it comes to production, not too many overdubs or add-ons,” reveals bassist Kristian Karlsson. “This time was more about not thinking about that at all. We don’t try to over analyse our records– it always starts with one or two songs and they often set the mood of the rest of the writing process.I think this album has more layers to it– you hear new things every time you listen. We’re really looking forward to hearing what the listeners think.”
Kicking off with a blossoming dark ambient passage on the title track, an ascendant guitar/synth part builds tension until final release is achieved with a massive chorus, waves of eye-opening guitars and elephantine tribal drums. It’s emblematic of the album as a whole– massive in scope and even larger in sound, Oscillate is the true definition of its title with incredibly tense swells to the point of collapse leading to a slow but pensive disintegration. And again. And again. Oscillate is not just instrumental music, it’s cinematic– it’s high drama, executed in IMAX with a pristine soundtrack blasting at 120db.
Due in November via Pelagic Records, the LP was recorded by the band in their own studio, and mixed/mastered by Magnus Lindberg from Cult of Luna. In creating the LP, the only hurdle seemingly was an internal one and making efficient use of individual scheduling. “When we formed the band we spent almost every night in the rehearsal space,” recalls Karlsson. “Nowadays we only rehearse for tours or when we plan to have writing sessions for example upcoming records. It is not as spontaneous as it used to be, but I think it forces us to really make the best out of it when we do see each other.”
Founded in 2004 in Norrköping, Sweden, PG.LOST is Mattias Bhatt, Martin Hjertstedt (ex- Ghost), Gustav Almberg (The Great Discord) and Kristian Karlsson (Cult of Luna). Formed in pursuit of a singular love of post-rock, ambient and shoegaze with a bent towards post- metal, the band released their self-titled and the Yes, I Am EPs in 2006 and 2007. From there PG.LOST dropped their 2008 LP It's Not Me, It's You! quickly followed by 2009’s In Never Out, Key, the Wang Wen split LP and Versus followed in 2012, 2013 and 2016 respectively.
Sovereign in execution and mammoth in scope, Oscillate is ten tracks of pure dramatic bombast and a massive step forward for the decades-old band. The four years away have been worth it.
https://pglost.bandcamp.com/album/oscillate
|
2020 |
€34.00 |
|
| PHALLUS DEI |
Black Dawn |
CD |
"Ein in dichte, undurchdringliche Dunkelheit gehülltes Szenario, in welchem sich nur schemenhaft kleine Details zu erkennen geben. Erst mit der Zeit scheint sich das Dunkel etwas zu lichten, nach und nach geben sich immer mehr Gegenstände zu erkennen, die langsam aber merklich in Bewegung geraten. Und doch bleibt all dies so rätselhaft und unklar wie zuvor, und ganz auflösen wird sich das Dunkel ohnehin nicht. Was bleibt ist der Eidruck einer diffusen Bedrohung. So in etwa könnte man sich eine schwarze Morgendämmerung oder ein schwarzes Erwachen vorstellen. Phallus Dei haben für ihr neues Album einen wahrlich passenden Titel gewählt.
Phallus Dei besteht als Projekt bereits seit Ende der 80er – damals noch als Solo-Projekt von Oliver St. Lingam, doch bald kamen andere Musiker hinzu, und seit langem bilden Lingam, Marc Ernsting und Richard Van Kruysdijk eine feste Band, die sich aber immer wieder Gassänger und andere Kollaborateure aus ganz unterschiedlichen Ecken ins Boot holt. Dies und ein wahrscheinlich ohnehin recht breit gefächertes Interesse an Musik sorgt bis heute dafür, dass die Gruppe ihren stilistischen Ort auf fast jedem Release immer wieder neu definiert hat, und so kann man auf Phallus Dei-Platten phasenweise rituellen Industrial, Ambient, Crossover oder, wie zuletzt bei „A Day in the Life of Brian Wilson“ melancholische Songs in teilweise akustischer Instrumentierung hören. In einer schwer zu definierenden düsteren Verschrobenheit findet man erst mit der Zeit ein vage verbindendes Element.
Das vor kurzem wieder beim alten Stammlabel Dark Vinyl erschienene „Black Dawn“ wirkt von der musikalichen Gestalt her wie eine radikale Antithese zum besagten Vorgänger, denn während „A Day in the Life of Brian Wilson“ äußerst eingängig war und einen leichten, luftigen Sound hatte, findet sich auf dem aktuellen Longplayer die schwerste Dröhnung, die man von der Band bislang zu hören bekam. Gleich das eröffnende „Slewed“ besteht vordergründig betrachtet aus einer tonnenschweren, statischen Klangdecke von zähem, klebrigem Material. Assoziationen zu mittlerweile klassischen Sunn O)))-Alben oder deren Zusammenarbeit mit Boris liegen nahe, auch wenn man aus Distinktionsgründen sicher obskurere Vergleiche finden könnte. Doch Phallus Dei klingen elektrifizierter, schaffen ein meliertes Amalgam aus Gitarrendöhnen, Beckenrauschen und Elektronik.
Am interessantesten jedoch sind die vielen Beigaben, die die vermeintliche Statik durcheinanderbringen und immer wieder für Dramatik sorgen: kurze, hektische Rhythmen, die so schnell von der Bildfläche verschwinden, wie sie erschienen sind, eine Schuttlawine aus bedrohlich heranrollenden Sounds, desolates, rituell angehauchtes Pochen, seltsame Hochtönereien. Ist „Slewed“ noch mehr „black“ als „dawn“, so ändert sich dies zumindest bei den nächsten beiden Tracks, bei denen sich die einzelnen Komponenten weit mehr an die Oberfläche wagen. Bei „Starman“ ist dies – nach einem längeren Vorlauf aus verrauschtem Pulsieren und hypnotischem Celloeinsatz – das Tenorsaxophon keines Geringeren als Peter Brötzmann, dessen Spiel perfekt mit dem Rest interagiert und zugleich für die emotional entfesseltsten Momente sogt.
Das Cellospiel von Jacqueline Hamelink prägt auch das folgende „Zauberwald“, das mit seiner beklemmenden Atmosphäre fast einen Gegenpart bildet. Durchgehende Rhythmen und die einzigen Sprachfetzen auf dem Album geben diesem Stück vorübergehend die Klarheit eines luziden (Alb-)Traums. Das fast zwanzigminütige „Krieger“, das Phallus Dei wieder im Alleingang bestreiten, knüpft in seinem zähen Bombast an den Opener an. Würde das Album nach der ersten Hälfte des Songs enden, hinterließe es den Eindruck eines äußerst fatalistischen Zyklus, doch entrückt über der Dröhnung schwebende Synthies und das Hauchen einer sanften Stimme lassen schon ahnen, dass die doomige Schwere nur ein retardierendes Moment darstellt – eine Erwartung, die sich im kraftvollen Drumeinsatz erfüllt. „Stigmata“ (das auf der mir vorliegenden CD-Version enthalten ist, auf der 2LP-Version findet ich stattdessen der Track „Corpus“) sorgt mit dem tiefen, ornamentalen Saxophonspiel Niels van Hoorns und verspielter Elektronik für einen ereignisreichen Abschluss. Letzteres stammt aus der Ideenschmiede Merzbows, der dem Charakter des Stücks jedoch keinen derart individuellen Stempel aufdrückt wie die anderen Gastmusiker.
„Black Dawn“ ist ein ungemein intensives Album, das garantiert ganz unterschiedliche Hörergruppen jenseits von Genregrenzen zu begeistern versteht, wenn es denn die entsprechende Verbreitung erfährt. Sanfte Gemüter, die beim Vorgängeralbum gerade die relativ leichte, stellenweise fast poppige Gestalt mochten, sollten sich diesen Brocken jedoch mit einer festen Grundlage im Magen zu Gemüte führen. (U.S.)" [African Paper]
|
2017 |
€13.00 |
|
| |
Black Dawn |
do-LP |
neues Album, Februar 2017, lim 250 copies in black vinyl, Gatefoldcover, with 16min Bonusmaterial "Corpus" (not on CD)
feat. Jacqueline Hamelink (Cello on Starman and Zauberwald), Peter Brötzmann (Tenor Saxophone on Starman), Niels van Hoorn (Bass Clarinet on Corpus) and Merzbow (Electronics on Corpus)
Review BLACK AUDIO / April 2017:
"With an extensive musical career behind them and releases stretching back to 1988, you could be forgiven for thinking that a band like this is way past its peak. Far from it, if this new material is anything to go by.
Droning guitars are savage in their approach on opening track, ‘Slewed’. Industrial clatters and Dark Ambient fill out the backdrop of a cavernous production that adds to the brutality. In stark contrast, the Darkwave synths of ‘Starman’ provide their own drones, doubling up in a loop with organic instrumentation. The resulting hypnosis, becomes all the more peculiar once the Jazz lunacy of saxophones, blare out unexpectedly, providing a visceral, apocalyptical backdrop to the proceedings. If anything this was reminiscent of some areas of SWANS’, ‘The Seer’. Great stuff.
The threatening atmospherics of ‘Zauberwald’ provide genuine tension; as layered instrumentation build into a huge monolith of sound, with only the whisperings of lunacy and distortion for company.
With the spacious ambient of ‘Krieger’ providing the only break in the proceedings; it’s worthy of note that this still also manages to belt the listener with hammer-like doom precision, leading up to the guitar noise of the end game that is ‘Stigmata’, that provides its own horrors.
In parts, ‘Black Dawn’ is heavier than a sack of spanners. The true genius lies in Phallus Dei’s attention to harmony amongst a sea of aural bloodshed; providing an intricately layered slab of an album that is as impressive as it is destructive. It could just be the best new album I have heard this year. (9.5/10)
Review BLACK Online Magazin: "Ganze 7 Jahre nach dem Album „A Day In The Life Of Brian Wilson“ und dem folgenden Remix-Album... erscheint jetzt endlich ein neues Werk von PHALLUS DEI. Nicht ganz überraschend schlägt das inzwischen 7. reguläre Album der Band mal wieder eine völlig andere Richtung ein und „Black Dawn“ dürfte wohl das bisher dunkelste wie harscheste Werk der Band sein. Bis auf wenige geflüsterte Worte im „Zauberwald“ und auf „Corpus“ diesmal komplett instrumental gehalten, gestaltet sich „Black Dawn“ als pechschwarzer Malstrom aus strudelnden Noise-Drones, scharfkantige Gitarren-Feedback-Riffs, wuchtigen Doom-Drums, hektischen Streichern und nervösen Free Jazz-Attacken. Als BOHREN & DER CLUB OF GORE treffen auf die SWANS, PAINKILLER und MERZBOW könnte man das Ganze recht treffend bezeichnen, wobei letzterer selbst auf dem abschließenden Track „Corpus“ als Gast vertreten ist. Dieser Track ist übrigens gegenüber der CD-Ausgabe exklusiv, auf welcher sich dafür aber „Stigmata“ mit ebenfalls MERZBOW-Beteiligung befindet. Ein weiterer illustrer Kollaborateur auf „Black Dawn“ ist dann Peter Brötzmann, der mit seinem schrillen Tenor Sax den „Starman“ in noch weitere Höhen treibt. Die Aufteilung der insgesamt 5 zum Teil sehr langen Tracks auf die 4 Vinyl-Seiten finde ich sehr passend, da man so nicht völlig von der dröhnenden Wucht im Ganzen erschlagen wird. So hat man auch genügend Zeit und Muse, sich in die einzelnen Stücke rein zu hören und dabei immer wieder neue Details wie Facetten zu entdecken, die sich beim normalen am Stück hören nicht gleich auf den ersten Blick erschließen. Ein wahrlich großartiges Album, dessen Sound übrigens ebenfalls absolut treffend durch das gesamte Coverartwork illustriert wird. Das Doppelvinyl im prächtigen Klappcover ist hervorragend wie sauber gepresst und es wurde hier selbst nicht an gefütterten Innenhüllen gespart! Neben der Auflage von 300 Stück im schwarzen Vinyl gibt es noch nur direkt über Dark Vinyl Records 49 Exemplare im marmorierten Vinyl zu beziehen." (Marco Fiebag)
|
2017 |
€22.50 |
|
| PHARMAKON |
Devour |
LP |
https://pharmakon.bandcamp.com/album/devour
Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: "Devour" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at "balancing feedback", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief- nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. "ABOUT THE SHALLOWNESS OF SANITY"... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self destruction are natural and inevitable responses to an unjust and disgusting world of our own making.
|
2019 |
€20.00 |
|
| |
Devour |
CD |
Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement:"Devour" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at "balancing feedback", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief- nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. "ABOUT THE SHALLOWNESS OF SANITY"... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self destruction are natural and inevitable responses to an unjust and disgusting world of our own making.
https://pharmakon.bandcamp.com/album/devour
|
2019 |
€14.00 |
|
| PHILLIPS, DAVE |
? |
CD |
"Assembled between April and June 2009 as part of a therapeutic process during a period dominated by severe disturbances of loss, mental abysses and despair, "?" is the new gospel from Swiss experimentalist Dave Phillips, co-founder of grindcore legend Fear of God, a member of the sense perplexing Schimpfluch-Gruppe and the pulverizing force behind the Rudimentary Peni one-man-doom-drone worship act Dead Peni, among numerous other projects.
"?" offers a 79 minutes album of field recordings oriented compositions that feature murky cello, piano and accordion parts, nocturnal voices, a vast array of concrete snippets and more resonances of existences that give Albert Aylers' "Music is the healing force of the universe" new depths and meanings. "?" sees Phillips observing and carefully dissecting his human psyche into ten intimate and innovative music pieces, confronting them with the bile and degradation of the omnipresent while deconstructing his own ravage with a binding urge to cleanse. And it's a fascinating insight to listen to." [label info]
www.HCBrecords.com, www.topheth.org
"Noise. There are people out there, mainly youngsters devoted to noise, who think that I don't like noise. They are mistaken, and should check their history lessons. But these days, noise doesn't have my full attention anymore. I just heard too much of that, I guess, in those grey forgotten days. However sometimes I see something that is maybe 'noise' live and sometimes it blows me away. Sudden Infant for instance, very recently, and last year Dave Phillips. The former member of Fear Of God, a grindcore band, is connected to the Schimpfluch gang these days and his concert was a carefully constructed set of noise and silence. I may not have cared for the political overtones of his work, his noise went down pretty well. Its therefore with some anticipation that I played his new CD '?'. It was recorded 'during a period dominated by severe disturbances of loss, mental abysses and despair' and yes, we are not in for some fun for the next eighty minutes. Normally I would complain about the
length of such a release, but somehow it all seems to make sense here. The shortest piece is just over one minute, the longest just under sixteen. And it seems to be without the sort of noise those earlier mentioned youngsters care about: Phillips uses loops, piano, concrete sounds, very little sound effects, so all the sounds are as a dry as possible, cello, accordion and voice material (sighing, moaning, crying) and the sounds of torture the human body. Like I said, nothing conservative noise here, but quite a depressing album altogether. Low bass sound here and there, obscured field recordings and such like make up the backbone, and top these repeating sound fragments of instruments and voices. Bleak, dark stuff. Not much information on the cover to go by, but depression has not be made that clear in quite some time. A creepy record, not for the weak of heart and mind. That's true noise for you." [FdW/Vital Weekly]
|
2009 |
€13.00 |
|
| |
Sixth Mass Extinction |
LP |
"black vinyl lp in embossed sleeve, edition of 300. comes with a free 8 page newspaper featuring articles that offer a broad view of what homo sapiens has achieved in terms of coexistence and in taking care of its home.
1.
Things Falling Apart 21:12
2.
Radical Hope 20:12
about
things falling apart - composition for three PA’s (stereo version):
the original 6 channel piece was commissioned by bad bonn kilbi festival düdingen switzerland 2018.
radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, it’s a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.
all audio by dp. decomposed may to november 2018 for schimpfluch. mastered by riccardo mazza. artwork by brett wagg using photos by dp.
https://totalblack.bandcamp.com/album/sixth-mass-extinction
Dave Phillips INTERVIEW by CHAIN DLK
( By Vito Camarretta - August 11, 2021)
dave dp phillips long story short
fields of re/search: existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilization, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged. sonic activism, ritual protest music, humanimalism
methods: audio de/construction, composition, sonic rituals, psycho-acoustics and performance
tools: voice, body, fieldrecordings, electronics, objects, video
reason for this interview: his recent release “to death” (7th July 2021, Misanthropic Agenda)
enjoy the reading!
Chain D.L.K.: Hi Dave! How are you doing?
Dave Phillips: Quite alright. I moved house earlier a month ago, I’m settling in…
Chain D.L.K.: I heard you recent ‘to death’ and I honestly think it’s a listening that I would likewise honestly recommend in this historical stage… but before focusing on it, even if those well-informed readers of our zine, whose memory has not been reset yet, don’t really need any introduction, how would you introduce yourself, your sound art and its direction(s)?
Dave Phillips: Puh. Well. My music is rather free, abstract, “cinematic”, and personal. It sounds more organic than it does electronic. What I seek in sound/music is altered states of consciousness, states of trance and liberation, cathartic and purging kind of highs, some sort of elevation. Sound for me is communication, so I like it to have some sort of narrative, intentionality, something shared. I’m interested in the effect of sound as much as its aesthetic form. Sonically I’m inspired by contemporary (classical) composition, the sounds of insects, traditional music, improvisation/free music, bass music, as much as the energy of radical punk and metal. Literature is a big inspiration too. My sound work is often accompanied by topical contexts that touch on environmental and existential issues but are more driven by the interconnectedness of things, the thing that some call chaos, this enormous ecosystem that we are a part of, the kind of free life that is uncontrollable and beyond our systems of control or scientific measurement or language. I call my music “ritual protest music” – I protest against the reduction and restriction of life – I describe my way of approaching sound as “sonic activism”. Uhm, long “introduction” but there you go…. just open ears…
Chain D.L.K.: The last outputs I vividly remember of yours, who reached somehow my desk (I often don’t know how or why some sonic entities reach my desk, besides the fact someone delivers them to my mailbox), has been a super limited split with Emerge on Nazlo, that was a tribute to Dmitry Vasilyev. Have you ever met him? Which tracks did he leave in your memory?
Dave Phillips: I met Dmitry Vasilyev a bunch of times. The last time was in September 2018 when Dmitry had organized a tour for me and emerge in Russia. We met in Sevastopol before embarking on a tour together. The day before our tour began, we went swimming in the Black Sea and Dmitry drowned. The tape you speak of is a reaction to that tragic loss. Dmitry’s enthusiasm for and energy invested in experimental music was amazing…
Chain D.L.K.: I have to amend… There’s also a CD from Attenuation titled ‘Post Homo Sapiens’, but I honestly haven’t unfolded it yet… What a shame! Can I get excused for that? What should I expect?
Dave Phillips: Of course! Post Homo Sapiens imagines a world where insects and plants rule.
Dave Phillips imagephoto courtesy of Jesse Newman
Chain D.L.K.: I enjoyed the reading of some of your texts (ref: https://www.davephillips.ch/texts), the last of which includes many interesting and praiseworthy ecologist thoughts and reflections, but it dates back to 2015. Are you writing some new text for the recent evolution of human history?
Dave Phillips: “For the recent evolution of human history”, haha. Besides writing, I collect and present texts too, and my texts sometimes take from articles and books that touch me. For the “sixth mass extinction” LP (2019) I collected a bunch of articles that together offer a picture of how humans are doing in terms of coexistence with other beings on this planet. It’s probably no surprise that we’re not faring very well – what we seem to be good at though is causing mass extinction and destruction. Said articles were accompanied by a profound text by professor Jem Bendell on “navigating climate tragedy”. For an upcoming split with sist en 343 called “thinking future coexistence,” I used a text by Charles Eisenstein on what happened since corona blessed us – this should be out in the autumn. I am supposed to write something for an upcoming compilation, but I haven’t got there yet…
Chain D.L.K.: So let’s go back (or forward) to ‘to death’. I remember the words of a Tibetan monk on this subject, who said that we have to notice that when a baby comes to life cries, and we smile, when a person comes to death (let’s say so) sometimes has a smiling expression on his/her face, while we cry. Is this somehow ironic viewpoint close to the meaning of death you were referring to on your last release?
Dave Phillips: Yes, very much so! Accompanying my father on his last journey was a profound experience that demystified death to an extent where it mostly wasn’t this “horrible thing” that people often seem to associate with it, but something quite different…. somehow magical, often peaceful and serene – my father was smiling a lot as he lay dying – and also somewhat unbiased, more to do with “life (in all its stages) never fails to amaze me”, where often opposing angles together make the whole.
Chain D.L.K.: I think that most of the weirdest consequences of this likewise weird pandemic crisis can be interpreted by using the filter of human fear of death. How did this situation influence your ‘to death’?
Dave Phillips: I was living in such intense reality bubbles at the time of the pandemic that the pandemic itself seemed to be happening on a side-stage, it didn’t seem to have that much impact on me. In hindsight, though, I realize it played into my perception more than I acknowledged. It affected my perception of the world. The slow dying of my father seemed to go hand in hand with the dying of something that somehow defines us as humans, as we grow more and more separate and distanced from one another and from purpose and freedom – as we have from the “natural world” at large, a separation that we are imposing on us more and more. That’s a slow dying. I mean, the empire is failing and falling, it will crash, no doubt, it’s just a question of when and how. And it sure won’t be pretty. People, please remove your filters!
Chain D.L.K.: I also enjoyed the fact that in the title, there seems a first part missing. You can expect an ‘Hymn to death’, an ‘Ode to death’ or even a ‘Yell to death’! But it’s as it is… just ‘to death’! How did you draw inspiration for it? I read it was somehow related to your father’s last moments (of course you have my deepest sympathy).
Dave Phillips: Thank you. Yes, it’s mainly inspired by my father’s illness, which was devastating and my being his carer for the last 15 months of his life. I witnessed his person being eaten away by disease – in a way, he was gone before death gave him peace. At the same time, I found myself in a role that made sense on so many levels, and somehow I managed to pull it through – I’m so glad I did. Taking care of the old is like taking care of the young, is like education, is like a purpose in life – outsourcing that to a paid service or a job or some system is missing out on profound experiences, on things essential, maybe on things that define us as animals or mammals or tribal beings. Something that teaches more than schools or universities can, but also demands more. So really it’s more about the journey, the path, the story of accompanying someone all the way “to death” and all that it sets free. My father’s wish was to die at home, and I’m glad that my siblings and I made that wish come true.
But this journey also leads to other related topics. There are many readings of the title. The ode/hymn “to death” is certainly in there, probably poking at the wish to demystify death as the huge taboo that it still is. the title also addresses what we’re doing to planetary life – to plants and other animals. Thus, also what we’re doing to ourselves: when I view my father’s disease in a global context, it’s a common cause – nowadays. The main causes of death in our times show us how sick our allegedly “civilized” way of life makes many of us. So much human waste. We are “civilized to death”. And then there’s what this is all doing to us emotionally and existentially – areas where many of us seem more dead than alive, where we merely function and follow rules. The slow death of human potential through our educational systems and through our imposed “normality” is part of that. The death of freedom through total control of life, as per recent events. I mean, life IS uncertain – that’s the exciting part, isn’t it? All our puny attempts to create “safety and security” are laughable if they weren’t so devastating in what they actually do to us – but we’re like animals born in captivity. Our established political and economic systems seem rather dead too – I mean, an economy that functions linearly is just grossly inadequate for a world and lives that happen in cycles. So there are many paths and pointers “to death”. I can also turn it around: if death is the only certainty in life, then a tribute to death is a celebration of life!
Chain D.L.K.: What are the reversed words in the opening ‘A Cycle Completed’ to say?
Dave Phillips: The tone matters more than the words. What do you hear?
Chain D.L.K.: Death is maybe the aspect of existence that keeps the strongest taboos still on. Do you agree with such a statement of not?
Dave Phillips: Yes, that’s also why I wanted to make an album that demystifies that, that steers us away from this taboo, from this conditioned denial or shame, this refusal to face all aspects of existence. I wanted to describe death as what it is, part of a cycle as natural as birth, something to encounter and to know, not something to primarily fear. On the contrary, I feel the awareness of death is one of the driving forces of life, it brings out deep emotions which frankly make me feel very alive. Death the experience has many beautiful aspects to it, at least in my experience. To reduce death – or this album – to just something “dark and scary” is merely scratching the surface – it’s looking away. If we could include death in the bigger picture as something normal, we may enjoy more freedom in our lives…
Chain D.L.K.: That piercing scary and somehow beastly scream on “To Death We All Go, The Sooner The Better”… how did you grab it, if it can be said?
Dave Phillips: I often start a recording based on notes I made or impulses, ideas about sonics, and sentiments. The tape starts running and… I try to put these sentiments into sound, and then… often things happen, I get carried away…. I go places, I enter different states of being, it’s like I travel like I’m somewhere else. Then sometime later, thump, I land again, it’s like I’ve returned from far… and sometimes it even translates onto tape ;o)
Like this album. I didn’t plan to do something about this particular topic, or about my father. I had a bunch of ideas noted, things I wanted to work into, but nothing like “to death”. Then I started recording. It was like a trance. It just poured out of me. The basic recordings happened within about ten days, basic structures of pieces were completed the following week. When I started listening back to what I had done, I was surprised. Then I realized what it’s about…
Chain D.L.K.: Paraphrasing and quoting the title of one of my favorite tracks of the album, what’s the real catastrophe you wanted to represent or maybe exorcize?
Dave Phillips: “The real catastrophe is that humanity continues”. It refers to the coronavirus and a reason why it might’ve appeared. I mean, we humans have vastly overpopulated this planet, and we are a very sick civilization, we’ve taken a couple of wrong turns too many, and we’re destroying not only our home but also that of all other inhabitants and them with it. It’s time we became extinct, or at least drastically reduced in numbers. We, humans, are the catastrophe… haha… it’s somewhat tongue-in-cheek, my sense of humor, though I reckon part of me means it ;o)
Chain D.L.K.: Is there any moment of ‘to death’ that you want to keep deliberately indecipherable?
Dave Phillips: Honestly, I try to be transparent with all that I do. My intentions, sentiments, feelings, it’s all there really. I don’t try to be cryptic or mysterious. On the other hand, it’s very subjective – I’ve put things out into the world that I thought were obvious and then find myself surprised by very different interpretations. So in this work, there are wordings, for example, that are only my own words for this particular moment, this context, they are subjective and not telling in terms of a narrative, so they needn’t be clear, they are only relevant in terms of opening spaces, it’s your own words or sentiments that take you through those spaces, and that’s fine.
Chain D.L.K.: Any plan to lend or adapt ‘to death’ for other forms of art (theatre or video art maybe)?
Dave Phillips: Not for now. The way this album poured out of me, the way it happened, this format is quite right for now. Emotionally, I’m quite elsewhere now anyway, also thanks to having this album happen.
Chain D.L.K.: Any work in progress?
Dave Phillips: Always :o) I’m currently finalizing two pieces for a 7″ for a young Portland label, and a comp track, but there are other pots cooking too…
Visit Dave Phillips on the web:
https://www.davephillips.ch/about
https://dave-phillips.bandcamp.com/
https://soundcloud.com/dave-phillips
vimeo.com/davephillips
|
2019 |
€20.00 |
|
| PHURPA |
LTA ZOR |
LP |
Zoharum is proud to present another ritual recording by Phurpa brought to you on beautiful 180g vinyl. After Rituals Of Bon I & II, “Lta Zor” is the third installment of mysterious Russian duo on Zoharum.
If you ever had the opportunity to experience Phurpa live you know how overwhelming experience this is as this is not a gig. This is a ceremony in purest sense of word. Overtone singing piercing through your mind and soul creating vibration that penetrates every cell of your body, occasionally accompanied by traditional Buddhist instruments (some of them made of human bones) all veiled with dense smoke of incense. This is what “Lta Zor” is like. It’s a spiritual transfer enclosed in an album format. This is the power of human voice. This is the power of sound.
Album mastered with care by Natt comes on 180g LP limited to 300 copies
https://zoharum.bandcamp.com/album/lta-zor
"And so, Phurpa are back. Like Russian Cenobites stepping slowly from the shadows and wreathed in a thick fug of juniper smoke, they are here once more to bathe us in their power and resonate our chakras in sympathy with the universal vibration.
For those not already familiar with Phurpa’s low-end majesty, they are a “roving monastic choir” from Moscow, led by the enigmatic Alexey Tegin and comprising a slowly-revolving cast of participants. Importantly, they are also devotees of a schismatic form of Bön, the ancient shamanistic spirituality of Bactria, in Central Asia.
Their music is a reflection, or probably more accurately an expression, of these beliefs, a transfer of spiritual energy and meaning shaped in sound and given form through a style of overtone singing called rgyud-skad, or “tantric voice”, all supported by an array of traditional Tibetan instruments: the dungkar (a horn made out of an enormous conch), the dungchen (a three-metre-long horn / trumpet), the silnuyen (flat cymbals), the nga (a double-sided drum), the damaru (a drum made from human skulls), the kangling (a human thighbone trumpet), the shang (a Bön tambourine) and an assortment of other cymbals such as the rolmo.
Powered by their physical and mental commitment both to Bön and to its musical embodiment, Phurpa are a band who do not dabble in half measures. Not only is their musical practice intense, but their life and lifestyles, their whole approach to physicality and mentality, are all tailored towards supporting the essential performance of the rites of Bön. This extends right down to the exercise and diet regime, Tegin once stating that:
There is power in food. If you want to feel wild like a tiger or shark you need raw meat, maybe a little salt and pepper. I like horse meat, in Moscow this is possible. When you eat it, there is fire inside you. Sometimes your body says ‘stop fire’, then you drink yoghurt. This is for PHURPA, action aspect – if you instead want information from space you drink only water and eat vegetables.
And so, like their namesake Phurpa Drugse Chempa, the God of resolved action, Phurpa’s live shows are more ceremony than gig per se, combining the hypnotic and transformative power of the music, with ritual, darkness, costume and smell. This is very much a Gesamtkunstwerk designed to overcome and still the restless conscious mind and allow the body to open up and receive the liturgy unmediated. In the correct setting and with the right approach, as Tegin explains, “if doctrines are powerful enough, they’re universal and can settle in other cultures”.
LTA ZOR captures one such ritual, spread across two dense, intense twenty-minute slabs of performance. And as with all such live moments transferred into the recorded medium, it pays dividends to approach it in the right way: put on some headphones, turn off the lights, lie on the floor. If you want to burn some heavy, musky incense whilst you’re about it, I think Tegin would probably approve. And a horse meat dinner beforehand? Well, that’s at your discretion.
Part I is almost entirely vocal driven, the mesmeric tones of aural energy pulsing with power, battering themselves slowly against your consciousness like a siege engine. When listening to this, I closed my eyes and decided to ponder the illustration given to explain the duration of the kappa, the Buddhist eon: “Suppose there were a city of iron walls one yojana (about 15km) in length, one in width, one yojana high, filled up with mustard seed. Therefrom a man were to take out at the end of every hundred years a mustard seed. That pile of mustard seed would in this way be sooner done away with and ended than an eon.” That is scale on which it seems fitting to imagine Phurpa’s resonances and messages.
Part II begins with a startling flurry of horn before giving way to an eerie passage of low drones and deep drum hits – for some reason redolent to me of the quiet yet foreboding shots of the Nostromo travelling in deep space at the beginning of Alien – and thence a collision of voices. This really is Phurpa at their absolute best, organic, acoustic, yet with such controlled power, operating at frequencies to which the body, however swaddled under the vestments of the modern world, cannot help but respond.
The voice and the drum are the primal instruments; they were our modes of musical expression before we even had language or the written word, and thus, when we attune ourselves to them, we can travel back into our own deep time. This is, I think, more than anything Phurpa’s message.
Given that none of us are likely to be getting back into a live venue again any time soon, LTA ZOR is the closest anyone will get to seeing Phurpa’s incredible ritual in the flesh for now. With our enforced focus inwards during these times, turn that from a necessity into an opportunity and embrace the power of Bön."
[David Solomons / FREQ] |
2020 |
€20.00 |
|
| PICCHIO DAL POZZO |
Abbiamo tutti i suoi problemi |
CD |
Wiederveröffentlichung der zweiten (und letzten) LP von 1980 von dieser legendären italienischen ProgRockExperimental-Band, die komplexe und unerwartete Arrangements und Strukturen, perfekt eingespielt, nur so aus dem Ärmel schüttelten... Anklänge an HENRY COW, ZAPPA, etc..
"One of the most original, impressive and highly respected of all the experimental groups to have come out of Italy in the 1970s, Picchio dal Pozzo were also one of the early invitees to the canonical 'Recommended Sampler', and would have been in RIO, had RIO lasted another year - and had the group not folded up and disappeared before anyone had realised it was there. In the last decade the record was reissued briefly in Japan, then It disappeared again. We have now re-mastered it and put it back into the public domain, where it belongs. Copying no one, though there is some Zappa influence - Picchio had a unique and highly developed style of composition that was not only out of step with it's own time but which sounds contemporary still. Highly composed and devoid of jazz phrasing and riffs with solos, this record achieves maximum musical effect with minimum instrumental means through close attention to timbre, dynamics and expressed tempi and a kind of deep complexity that sounds simple but changes with each listening. A lot of ideas subtly developed - rather than experimented with; a one-off classic." [label description]
|
2006 |
€14.00 |
|
| PICK-UP |
Mouthless |
LP |
"... So hat FdW neuerdings mit Martin Luiten, der vorher mit Girlfriends aktiv war, einen neuen Partner für ein weiteres Projekt namens PICK-UP, von dem nun gleich zwei Tonträger Kunde geben. Das Debut Mouthless (imprec 123, LP) erschien bei Important Records in
Newburyport, MA, einem Label, das mit seinem Faible für Psychedelic, Noise, Avantness und Orginalität Daniel Johnston, Jad Fair, Kimya Dawson, Diane Cluck, Merzbow, Acid Mothers Temple, Fe-Mail, Larsen, Angels Of Light, Kluster, Pauline Oliveros, Grails und Conrad Schnitzler zu Bettgenossen machte und auch schon einiges von Beequeen herausgebracht hat. Luiten spielt Gitarre & Electronics, so dass FdW, der diese Klänge, ein Fahey‘eskes Twanging und Picking, an seinen Laptop verfüttert, um gitarristische Loops und elektronische Drones mit zusätzlicher Modulation und Ornamentierung aufzumischen, quasi an sein Gitarrenprojekt Shifts anknüpft. Bei ‚Klemmend‘ vibrieren Stimmengewirr und Beifallklatschen als klickernder Rauschvorhang hinter Luitens countrybluesigem Strumming." [Bad Alchemy]
"Pick-up is a new duo of Frans de Waard (Beequeen) on laptop and Martin Luiten (Girlfriends, Uw Hypotheek Advies) on guitar. Limited edition of 300. Hand made cover artwork. This is the 9th release in our Arts & Crafts series which pairs music with handmade artwork by the artists responsible for the recordings." [label info]
"Hot on the heels of their first album comes this bright orange-colored vinyl follow up. 'Mouthless' however was recorded prior to their first release, so this is really - with some delay - Pick Up's debut. The concept of Pick Up is simple; the music is based upon the (resonator) guitar playing by Martin Luijten, which is reworked via Frans de Waard's laptop. At times field recordings are added. 'Mouthless' contains 4 long tracks. The title tracks opens the proceedings with gentle John Fahey-ish picking. Luiten uses a resonator guitar (also known as a Dobro) on this album. The body of this guitar contains one or more metal cones, instead of wood, which makes the sound louder and gives the guitar a distinctive blues-grass sound. The style of Luiten's fingerpicking is friendly and traditional, using the occasional slide. After a while looping and gentle feedback sets in, which makes 'Mouthless' a wonderful, restrained track. In contrast, the second track 'Klemmend' is far more chaotic with dominant field recordings of what sounds like a kindergarten. In the background the guitar is fighting to be heard. Side two opens with 'Magnifying Glasses', which features reflective guitar playing by Luiten only, showing his versatile skills. Very nice. If you like this sort of guitar picking I can highly recommend any of the early Takoma LP's by John Fahey. On the second track, 'Tracing', the electronics set in again with looping. A mirror image of side two, here too the sound is less structured. As a whole, this is a very fine album (with an original combination of electronics and resonator guitar), even though you could argue that it would have been an idea to put the two more quiet tracks on one side and the more chaotic tracks on the other. But that is just a thought. Packed in two heavy cardboard sheets (like the previous Pick Up album) with a hand-colored paste-on sheet, this looks very sturdy indeed. And, if you're lucky, you will find the album in luminous orange vinyl (the first 100 of a total of 300 copies) inside." [FK, Vital Weekly]
|
2009 |
€15.00 |
|
| PILIA, STEFANO |
Spiralis Aurea |
do-LP |
Venturing into untapped realms of creative exploration, the Genoa born, Bologna based, guitarist and electroacoustic composer, Stefano Pilia, returns to Die Schachtel with a double LP of material that intertwines traces of sacred geometry, collective experience and elusive connections between nature and human kind. “Spiralis Aurea” encounters the composer venturing into unchartered waters, exploring notions of spirituality via a body of twelve compositions, recorded in various combinations with a cast of all-star instrumentalist; Alessandra Novaga, iosonouncane, Silvia Tarozzi, Mattia Cipolli, Ensemble Concordanze, Elisa Bognetti, Enrico Gabrielli, Valeria Sturba, Giuseppe Franchellucci, Adrian Utley, and Cecilia Stacchiotti.
The roots of “Spiralis Aurea” rest within Pilia’s longstanding, personal engagement with the spiritual and an epiphany had during a visit to the Futa Pass cemetery, the resting place for German soldiers killed in Italy during the Second World War. Deeply moved, he reflected on the profound meanings laying below geometry of its design; “a place"crossed" by thoughts about the landscape, history, symbols, rituals. A work offering a reflection on life and death. A prayer for the living and the dead.”
Drawing its title from the Golden Spiral - also known as the golden ratio, golden section, golden mean, or divine proportion - a mathematical formula and geometric form that has maintained both mystical and creative significance for millennia, each of the 12 works that comprise “Spiralis Aurea” began with a figure or process that is both geometric and symbolic, drawn by Pilia, that slowly translated into tangible organizations of sound.
Displaying a deep resonance with works by La Monte Young, Arvo Pärt, Pauline Oliveros, Eliane Radigue, Krzysztof Penderecki, and Terry Riley, that have witnessed trajectories of experimental music delving toward the spiritual, divine, and metaphysical, Pilia’s “Spiralis Aurea” culminates as a series of sonic meditations, leaving room within their spacious forms to encourage active listening. Calling up echoes of ancient musics within their optimistic, forward thinking tones, across various arrangements of instrumentation - double cello quartet and bass, horns quartet and bass organ, string quartet, string quartet and organ, cello quartet, solo organ, cello solo and synthesizer, electric guitar quartet, guitar quartet and synthesizer, piano and violin - Pilia sculpts a striking intersection between acoustic and electroacoustic process, drone, and chamber music, harnessing the literal and abstract in search of order and higher meaning within a chaotic and uncertain world.
Overwhelmingly beautiful, conceptually rich, and marked by a profound sense of emotive tension, Stefano Pilia’s “Spiralis Aurea” is issued as a pure gold double vinyl LP in a limited deluxe edition of 250 copies, housed in a beautiful sleeve designed by Bruno Stucchi-Dinamomilano, painstakingly letterpress printed with a 1915 German press machine with a hand-painted and applied gold foil shining on a rust-coloured materic paper of Franciscan inspiration.
https://dieschachtelrecords.bandcamp.com/album/spiralis-aurea
|
2022 |
€45.00 |
|
| PIMMON |
Smudge another Yesterday |
CD |
"The Preservation label presents Smudge Another Yesterday from Sydney's Pimmon. Pimmon is the alias for electronic composer Paul Gough. In the last decade, Pimmon has forged an international reputation for creating dense, challenging and engaging electronic music. This release picks up and goes further from the point where the acclaimed Secret Sleeping Birds left off. Smudge Another Yesterday is an exploration of the song behind the noise; the secret whispers hidden in the static. Within these vast and spacious works are endless fragments shaped and distended into magnetic states of subtle movement and pulse. From beautiful, foreboding pieces sung by hidden choirs to crackling, lava-flow like ambience, the mood swings of Smudge Another Yesterday are steeped in bristling commotion and stirring intimacy. It is a startling return from an individual and distinct artist. Smudge Another Yesterday was mastered by renown Italian composer Giuseppe Ielasi. Pimmon has previously collaborated with other celebrated artists of his field -- including Fennesz, Oren Ambarchi, Kid606 and Keith Rowe -- and has recorded for various labels around the world including Tigerbeat6 and Fat Cat." [label info]
www.preservation.com.au
|
2009 |
€15.00 |
|
| PIMMON / JAMES PLOTKIN |
split |
12 |
"Endlich haben wir diesen Split-Release aufgetrieben – JAMES PLOTKIN erzeugt auf 3 Stücken auf seiner Gitarre ungewöhnliche Klänge, helle repetitive Klickmuster und Flächen, sowie fast schon Maschinenloops, die kaum noch an das Ursprungsinstrument erinnern... Mr. PIMMON dagegen kommt mit rein digitalen Mitteln zu ähnlichen Atmosphären, wobei er jedoch noch wesentlich abstrakter tönt... tolle Platte, nummeriertes, mit Löchern durchsiebtes Cover, Spielzeit einer LP !"
this is something you definitely NEED if you are searching for something unusuable ! JAMES PLOTKIN creates with his guitar on 3 pieces very unusual guitar-sounds, bright click-patterns and soundfloor and something like machine-loops, that nearly don’t remind anymore to the original source. Mr. PIMMON uses pure digital means and reaches similar atmospheres, but sounds much more abstract.. great records, comes in a numbered cover with holes.. plays as long as an LP !" [Drone Records info 2000]
|
2000 |
€10.00 |
|
| PITRE, DUANE / PILOTRAM ENSEMBLE |
Organized Pitches Occuring in Time |
CD |
Klassischer Instrumental- & "Tone Generator"-Drone, minimal und zart, wenig abgründig oder dark ambientig, hat eher etwas "chamber-music"- artiges, mit vielen tonal gleichschwingenden Mitspielern auf Klarinette, Saxophon und Violine, die Stücke sind durchkomponiert.
"Organized Pitches Occurring in Time consists of two 25 minute pieces of music, both spawned from the same conceptual composition/score by Duane Pitre, titled Ensemble Drones. With their form reminiscent of works by La Monte Young’s Theater of Eternal Music and their tonality touching on the floating works of Terry Riley, The Ensemble Chord in Eb with a Minor 7th and a Pump Organ Base & The Ensemble Chord in C with a Major 7th and a Guitar Base are aural tapestries based on a minimal tonal palette with their instrumentation consisting of guitars, alto saxophones, bass clarinet, violin, viola, cello, tone generator, and pump organ.
The Ensemble Drones composition varies from the traditional sort as it is rule-based with the score consisting of a set tonic, set pitch classes, playing methods, technique restrictions, and spontaneous conduction. The score is a structure for the performing ensemble to improvise on—order spawning chaos producing order that is different on each occasion of a performance or recording. Ensemble Drones is discipline and freedom, both within each other, the first major focus of the work. Variance is the second major focus of the composition; with instrumentation, ensemble performers, tonic, pitch classes, and the physical space varying from performance to performance, the results can never be the same.
One way to view Ensemble Drones is like a compositional “body,” as in the composition taking human form. The score is the skeletal structure that gives the "body" its general shape and feel. The pump organ, for instance, could serve as the circulatory system, the bass clarinet as the muscles, cello and saxophones as the internal organs, the electrically generated tones as the nervous system, guitars as the flesh, viola as the skin, violin as strands of hair, and the listener—the listener acts as the eyes. Not in the sense of vision, though—each listener will "view" the same compositional body differently, and, in return, the body will view itself differently with each new set of eyes. This helps to analogize the last major focus of the Ensemble Drones score/composition, which is perception." [label info]
www.importantrecords.com
|
2011 |
€13.00 |
|
| PLOTKIN, JAMES & BRENT GUTZEIT |
Mosquito Dream |
CD |
"Überraschung: der ex-OLD und SCORN-Mitstreiter JAMES PLOTKIN (bekannt auch von der Suggestion do-7") zusammen mit BRENT GUTZEIT... mit einem extrem meditativen und fremdartig schönen Album. Geisterhafte Dronesounds. Stehendes Wasser. Far-Away-Landscapes. Alles Sounds wurden laut liner-notes mit Gitarren erzeugt, was kaum heraushörbar ist. Fantastisch!" [Drone Rec. info 1999]
|
1999 |
€13.00 |
|
| PLURALS |
TriTone |
LP |
"Tri Tone is Plurals' first studio recording as a trio following the most recent releases which feature live or session material. The last studio release was 2014's Bugenès Melissae - two tracks of calmer, more reflective music, standing aside from the bulk of the group's output which tends towards noise as the ultimate splitting-point after a period of collected density.
On Tri Tone that density is an end in itself. It is slow music that maps out its space carefully in coming together. It may be the gentlest and most patient of Plurals' albums, though it required the longest and most detailed sonic wrangling to complete. Two pieces were chosen from three hours of recorded music, and were contracted and expanded again by turns until eventually the finished versions took shape.
Plurals' studio improvisations typically expel a significant amount of aggression and intensity in their early stages, holding closer resemblance to live performances. With such force expunged however, the following material sees them exploring lengthy passages of audio cogitation rarely delivered live.
Mastered & cut by Frederic Alstadt at Ångström Mastering, Brussels." [label info]
"Silken Tofu seems to be taken by the music of Plurals; as a follow-up to a double CD
'Atlantikwall' (see Vital Weekly 1076), they now release a LP. This LP is the first studio recording of them as a trio, and the first studio recording to be released since 2014. This trio of improvisers (Daniel Mackenzie, Michael Neaves and David Hamilton-Smith) use a variety of tools (guitar, synthesizers, keyboards, vocals, tape machines, radio and reed and string instruments) and then go about to do their improvised work. For this record they recorded some three hours of music and extracted forty-eight minutes spread out over the two sidelong pieces. I can't judge if that is a lot or not. The music on both pieces is quite dense, rich with sound and also mostly not too loud. That seems to me a bit of break with what I know from them so far, which was always bit more towards the noise of lo-fi drone music. Like
always the changes within the pieces is quite minimal; Plurals take their time to slow go from one point in their piece to the next. In 'Sun Lock' for instance a simple drone starts out and little by little they add more and more sound, while the original drone lingers on, and towards the end it is very much changed and no longer recognizable. It ends as quiet as it started. Hard to say how much post-production and
editing took place here. Surely something, I would think, but for all we know, it is released as it was played back then. ‘Bas Fond' on the other side is more from the drone rock side of Plurals with mildly distorted guitars played long form drones. A record with two sides, obviously, showing two different sides of Plurals, not as obvious. From what I heard from them, this is the most refined work." [FdW/Vital Weekly]
|
2018 |
€16.00 |
|
| POOK, JOCELYN |
Untold Things |
CD |
"The Real World Gold version of Untold Things includes two bonus tracks: Adam's Lullaby and Ave Maria, sung by Natacha Atlas.
"I wanted Untold Things to reflect the live work I'd been at the time," says the classically trained, thirty-something Londoner. Pook sees the recording as a natural progression from her long association with Real World, where she'd been a keen participant in the legendary creative jams that are Recording Weeks and worked as a string player and arranger for Peter Gabriel. (As a former member of The Communards and co-founder of the all-female sextet Electra Strings she has also helped flesh out the sounds of PJ Harvey, Paul Weller, Morrissey, Nick Cave and Siouxsie Sioux).
Where her previous albums, 1997's 'Deluge' and 1999's 'Flood', were written specifically for theatre and film - the former for Canadian dance company O Vertigo, the latter for Stanley Kubrick's 'Eyes Wide Shut' - 'Untold Things' is very much Pook's own creative vision. Encouraged by Real World's penchant for blurring boundaries, she channelled her trademark combination of classicism and innovation into an exhilarating gem of an album, one which pulls off that rare coup of putting listeners in touch with their deeper feelings. 'Untold Things' will, no doubt, be the source of many an epiphany. You could say that it has a spiritual, even magical, quality, as befits one who is constantly changing artistic shape - and whose surname is the Celtic word for fairy.
Pook's soft speech, translucent skin and Pre-Raphaelite curls might fit the stereotype of a classical musician (and, if you like, a latter-day Titania), but they belie a background in performance-based work that's seen her create 'atmospheres' from found objects like answer-machine messages and corrugated iron. And though Pook insists she is proudly rooted in the formal, classical music tradition, she still hankers after the cutting edge. Her influences - Laurie Anderson, Steve Reich, Holger Czukay and her friend Michael Nyman - are also shared by her like-minded ensemble. "Most of my string section are friends who go way back and who, like me, are also composers. I tend to work with people I've got chemistry with and then build around what they play. That means all sorts of instruments and voices creep in."
"There's a juxtaposition of vocal styles," states Pook, who has always favoured eccentric opposites. On 'Untold Things', she pits her English choral plainsong and early music leanings against multi-ethnic traditions, and offsets the spacious, tranquil nature of some tracks with the pulsing, dervish-style rhythms of others. It turns out the vocals are not words at all. "Because words are so incredibly powerful," Pook explains, "I tend not to use them. I prefer to treat voices like instruments. So we've used a made up language on two of the songs; there's one piece which developed from a phrase Parvin Cox once sang to me over the phone. On others I've recorded texts backwards, because I love the strange, kind of uneasy quality you get. I find it really peaceful."
'Saffron' is the title track for 'In A Land of Plenty', a major new BBC TV drama series which aired at the time of the album's release. "It's about a family who are my generation, born in the Sixties and growing up into the present day. It's very beautifully shot, very impressionistic, which is unusual for television" Pook states. But it started out as a poem written by a mother for her daughter, its lyrics reversed by Pook and Pappenheim before being featured in a short dance film. All of the songs on 'Untold Things' have been reshaped and sculpted to perfection. Or at the very least, as near to it as Pook will admit.
"I could go on fiddling with all these pieces for years," she grins. "But with what I've learnt over the past year, especially from doing 'Eyes Wide Shut', I've been able to go back and rework some of them. I'm more confident in what I'm doing now, which has really helped me to develop. And Stanley (Kubrick) was just so amazingly positive and flattering about my music. The experience of working with him was truly powerful."
"I'm not somebody who conceptualises," she offers. "I just do it and see the connections afterwards. I know people will think there's a religious element to this, which isn't something I want to comment on. But I do think there's a sense of faith, of loss and yearning, which is inherent in the music. Hopefully, it moves you." And in keeping with her Celtic surname, Jocelyn Pook has made an album with translucent wings." [label info]
www.realworldrecords.com
|
2013 |
€10.00 |
|
| POSCH |
Gruen_Anger Rudeboy |
CD-R |
Strangely deconstructed digital-Reggae (!) & dub-sounds, each track contains parts of BOB MARLEY’s „could you be loved“. The cool “laid back” feeling is somehow destroyed through the pure electronic / digital sound, really insane stuff ! Obscure Experimental-Electronica on Austrians TONTO-label, to be discovered.
"gruen anger rudeboy": ausgangsmaterial sind samples von northern-soul u. rocksteady-nummern, die durch den filter von liebenau-songstrukturen laufen und mit liebenau-samples durchmischt/ergaenzt/ersetzt werden. auch hier ist wieder in allen tracks bob marley´s "could you be loved" eingebaut. die enge verbindung der stuecke zur band liebenau wird im cd-titel angedeutet. waehrend liebenau ein bezirk/stadtteil von graz/das ganze ist, ist gruenanger der name einer siedlung in liebenau/ein teil davon. die im anglo-amerikanischen raum uebliche methode der regionalen zuordnung von musik als mittel zur schaffung von "credibility" (compton, kingston,...) wird 1:1 auf die oesterreichische situation uebertragen.“ [michi posch]
www.tonto.at |
2000 |
€11.00 |
|
| |
Triest! |
CD-R |
Further deconstructions from this Austrian experimentalist. You have been warned !
"triest!": 10 stuecke, die meine "schrebergaertner-trilogie" abschliessen. Das cover-foto zeigt die "record-muenz-waescherei" in der triester-siedlung im 5. grazer gemeindebezirk griess, meinem derzeitigen wohnsitz, die zum zeitpunkt der CD-R-veroeffentlichung bereits abgerissen war. ausgangsmaterial sind auch hier wieder liebenau - (auch: nachbarbezirk am anderen murufer) fragmente, die diesmal unter anderem mit chico hamilton-samples durchmischt werden. im unterschied zu den beiden vorgaengern erfolgt hier die aufloesung der song-strukturen aber wesentlich freier und weniger werksgetreu, wodurch etwas mehr platz fuer teilweise grosszuegige flaechen ensteht. alles in allem ein versoehnlicher ausgang meiner assoziativen reise durch die grazer "glasscherbenviertel".
[michi posch]
www.tonto.at
|
2002 |
€11.00 |
|
| POST SCRIPTVM |
Raspad |
CD |
"Post Scriptum fiel mir zuerst mit einer CD auf dem französischen Label Hermetique auf, das vor allem durch die Veröffentlichungen der Powerelektroniker Propergol bekannt sein dürfte. Bereits auf dem ersten Album waren dick verwobene Schichten von atmosphärischem Noise und gelegentliche energetische Ausbrüche zu verzeichnen, man hatte jedoch etwas das Gefühl, hier halte sich jemand bewusst zurück. Die aktuelle CD "Raspad", die nun auf dem Industrial-Kultlabel Tesco erschienen ist, knüpft stilistisch an das Debüt an, erscheint jedoch etwas differenzierter und dramaturgisch raffinierter. Man ist bei der bräunlich-monochromen Covergestaltung geblieben, die auf dem matten Digipak zu voller Geltung kommt. Der zunächst verhaltene Aufbau der Soundscapes erscheint hier als Methode, um eine fast nervenzerrende Spannung aufzubauen. Manche Störfrequenzen werden lange durchgehalten, so dass sie langsam ins Unterbewusstsein des Höreres einsickern. Vor allem das erste lange Stück 'crepusculum' erinnert so an die Hohphase von Schloss Tegal: morbid, befremdlich, düster. Wer mit Propergol nicht nur die krachigen Tanzflächenfeger kennt, wird die Verbindung zwischen beiden Projekten erkennen. In beiden Fällen geht man fast cinematografisch vor, was u.a. durch den massiven Einsatz von Samples bedingt ist. Auch sind die Strukturen von Post Scriptum nicht unbedingt immer repetitiv, wie man es von Postindustrial gewohnt ist, sondern abwechslungsreich, voller Entwicklungen. Positiv fallen die gelegentlich eingesetzten apokalyptisch-rauhen Metalperkussions auf, die man länger nicht vernommen hat in diesem Bereich. In Track 5 'Exacerbation' kommt dann alle aufgestaute Energie zum Ausbruch: mit flirrenden Hochfrequenzen, pumpenden Subbässen, Ethnosamples und verzerrt-aggressiven Vocals erinnert man hier zeitweise gar an Genocide Organ. Zugleich sorgten Propergol hier für ein kraftvolles Mastering, das die zahlreichen Stereoeffekte gut herausstellt. Es erscheint also wenig erstaunlich, dass Post Scriptum den Schritt in den größeren Aufmerksamkeitsbereich geschafft haben, denn 'Raspad' ist ein geschlossenes und stilistisch überzeugendes Album, das zahlreiche Hörer verdient." [IKONEN]
"Raspad is Russian for disintegration-zerfall. This is the third full length album by Post Scriptvm. It was mastered by Jerome Nougaillon(Propergol) Dense, thickly-layered industrial ambient music, exploring the abysmal pathology of modernity--illusion of progress, dissolution of memory, abandonment of higher meaning and paralysis of the will. The advanced lethargy of human spirit. Rich structure of music plays subtle tricks on the listener's subconsciousness, and the mood slowly drifts from quiet melancholy to visceral intensity. An example on how to use analog and digital equipment in creating a special way of sound, a brilliant example of innovative music outstanding form the mass of releases."
[label info]
|
2006 |
€15.00 |
|
| |
Gauze |
LP |
"LP reissue of the first full-length album by Post Scriptvm, recorded in late 2001 and originally released as CD-r. Unlike the project's later works that are characterized by subtlety and meticulous production, Gauze is an unvarnished, gritty 4-track recording of lo-fi death ambient from the wasteland of southern Brooklyn, NYC, enshrouded in the lingering haze of razed buildings and burnt human remains. The boundary between what is considered normal everyday life and sheer insanity, carnage, personal and social collapse-true horrible face of humanity-is but an ephemeral layer of gauze that can be torn in a heartbeat, throwing reality out of balance, violently and irrevocably. "This game is prompted by a rip in the fabric of life." [Gauze] has the same hypnotic and overwhelming power as a strong fever dream. It hauls you into a contorted world of loose association, an industrial landscape in which humans lose their form and randomly merge with animals and bizarre machinery, where perception is warped and hours flicker by in an instant. -Nulll Oppressive drones and bleak atmospheres, interjected with twisted samples and cavernous, haunted basement noises. [Gauze] has a very cool old school feel to it that's been sadly missing within the 'death industrial' genre. -Jason Mantis/Malignant Records "Gauze" is a hazy swirl of dark ambient, subtle ritual elements, esoteric samples and mild death industrial textures. The deep tones and the cryptic vocals samples and chants combine to make some truly eerie atmospheres. -Scott Candey/Worm Gear "Gauze" sounds quite a bit like a live recording, like being immersed in a real-time psychosis simulation. -Industrial.org Post Scriptum construct their pieces from a varied mixture of drones, analogue sounds, post-industrial samples, strongly maintaining a claustrophobic atmosphere at the same time...thick with an uneasy sense of a catastrophe about to happen. -Corridor of Cells Ragged dark ambience full of trepidation and strangeness, as scratched into the flesh of weird, dimly lit corners of aural resonance. -SEVEN Tracklist: Cunctator Trepan On the brink Pore The Binding Vox Calamantis Gentle Diversions."
www.tesco-germany.com
"Gerade hat Kollege ENDSAL die aktuelle Live-Werkschau "Séance" (Besprechung) des russischen Industrial-Duos POST SCRIPTVM gewürdigt. Nun möchte ich noch ein paar Infos zu "Gauze" nachschieben, um die Diskografie komplett zu machen. Es handelt sich um die allerersten Aufnahmen von POST SCRIPTVM, die ursprünglich im Jahr 2001 auf CDR erschienen sind. TESCO ARCHAIC DOCUMENTS, eine Serie des Mannheimer Industrial-Labels TESCO, presst hier ältere – teils auch unveröffentliche oder live entstandene – Werke auf Vinyl, und so ist auch "Gauze" als nicht mehr erhältlicher Baustein des Gesamtwerkes nun als LP wieder zugänglich. Womit wir auch wirklich alle Veröffentlichungen der in den USA lebenden Russen auf NONPOP geehrt hätten.
"Cunctator" (01) startet mit einem höhligen, gefährlichen und vibrierenden Drone. Dumpf klingende Sprachsamples und ein kratziges Geräusch ergänzen den Track, ab der Mitte tauchen sporadisch sakrale Mönchsgesänge auf; eher Atmosphäre als Musik, sehr stimmungsvoller Dark Ambient. Das Frickeln und Bratzeln in "Trepan" (02) formt sich nach und nach zu Frequenzdonner. Auch hier tönt eine Sprech- und später schamanische Singstimme aus der Gruft. Mit metallenem Scheppern ergibt sich auch ein erster Ansatz von Rhythmus, der in "On The Brink" (03) weiter verfolgt wird. Gelooptes Kratzen hält Drones zusammen, später übernimmt diese Funktion ein Herzschlag – das Stück ein geisterhaftes Schweben. "Pore" (04) besteht aus weitem, maschinellem Rumpeln und Dröhnen, dezent von noisigen Sounds unterstützt, die in "The Binding" (05) zunehmen: Zwischen Weltuntergangs-Blitzen ruft eine russische Frauenstimme ganz sicher den Notfall aus. Wasserplätschern, Wind und schwimmende Drones lassen "Vox Calamantis" (06) ruhiger wirken, in wiederholende Loops fügt sich eine nachdenkliche, mahnende russische Stimme ein. Und zum Schluss besteht "Gentle Diversions" (07), ganz klassisch, überwiegend aus rotierendem Dröhnen zwischen Noise und Industrial.
Für mich sind POST SCRIPTVM einer der besten und intelligentesten Industrial-Acts auf dem Markt. "Gauze" hat bereits alle Grundbausteine für die spätere Entwicklung. Klanglich noch recht roh und rau, man könnte auch sagen 'old school', wirkt das Album fast wie eine Liveaufnahme. So unmittelbar und direkt. Ich habe permanent das Gefühl, mich in einem dunklen Schiffsbauch zu befinden, schwankend, zwischen stampfenden Maschinen. Diese LP gehört natürlich, wie alle anderen Veröffentlichungen von POST SCRIPTVM auch, in den Plattenschrank. Nicht nur als abzuhakendes Frühwerk, sondern als spannender Ausgangspunkt für folgende Meilensteine." [Michael We. für nonpop.de]
|
2016 |
€23.00 |
|
| POTTER, COLIN & THE HAFLER TRIO |
A pressed on Sandwich |
CD |
Erste Zusammenarbeit der beiden Urgesteine britischer Experimental-Drones / Elektronik, ein one-tracker von ca. 53 Minuten Länge. POTTER bearbeitet die H30-Sounds, das sind organisch-elektronische Oberton-Klangstrahlen, die sich glitzernd & oszillierend ins Ätherische winden, ruhig & klar & zur Versenkung einladend....
"CD is packed in special paper wallet & released as the limited edition of 1010 copies. This nutritious fare was prepared by Colin Potter at IC Studio, Preston, UK in 2005, using the finest Icelandic ingredients supplied by The Hafler Trio." Colin Potter explains: "I attended The Hafler Trio performance of 'How To Slice a Loaf of Bread' in Preston and was very impressed on many different levels. During a discussion with Andrew McKenzie after the event, he suggested that we might try a joint project. Shortly afterwards he sent me some of the original source material from the performance. It was my intention to preserve the overall shape & sense of the material, but at the same time move it to another (sonic)..” [label info]
“Do any of these two artists need really an introduction? I don't think so. Both are big shots in the world of experimental music. Early 2003, shortly after the re-discovery of The Hafler Trio, the trio did a performance in Preston called 'How To Slice A Loaf Of Bread'. The performance was attended by Colin Potter, who lives and works in the same city. Afterwards it was suggested that the two should work together, but McKenzie being Iceland and Potter in Preston made a tete-a-tete not easy. Andrew McKenzie mailed Colin Potter the original source materials for the concert, which Potter happily reworked into 'A Pressed On Sandwich'. The original performance was also released (see Vital Weekly 404), so there is something to compare. Both The Hafler Trio and Colin Potter are masters of drone music, but there are some subtle differences. The Hafler Trio seem overall more monochrome in approach, with so it seems for the listener who doesn't know any better, whereas Potter seems to be using more sound effects to create the soundscapes that he does, maybe less organic and more electronic. As said, the differences are quite subtle here, and there is certainly no hierarchy, both are masters of the genre. Potter's mix is perhaps a bit more dense and obviously more concise (The Hafler Trio release spans three CDs), but it moves as gentle and dark as the original. Great collaboration.” [FdW / Vital Weekly]
"Fucking brilliant. Yeah, you should expect that these two high caliber sound sculptors would manage something great; and they do not disappoint. As for the obligatory introductions, Colin Potter may be best known from his ongoing contributions to Nurse With Wound over the past two decades, but has been privy to some of the finest in British dronescaping thanks to his work in Ora and Monos. The Hafler Trio is the creation of Andrew McKenzie, a sound research project which has been investigating the impact of sound upon the body, mind, and spirit through the lens of a Byzantine gnosticism. A couple years back, Potter had the good fortune of witnessing the Hafler Trio's How To Slice A Loaf Of Bread performance in Preston, England in 2003; after the show, Potter and McKenzie struck up a conversation, whence McKenzie suggested that the two collaborate. Shortly thereafter, McKenzie sent Potter a collection of the source material from that very performance as the foundation for their collaboration. Potter stated his intentions clearly, that he wanted to preserve the shape of the material while pushing it into another space. It's an understatement to say that Potter merely achieved his intention; as A Pressed On Sandwich ranks as one of the best things that he's worked on, on par with his work with Steven Stapleton on the existential void of Nurse With Wound's Salt Marie Celeste. Yeah, it's that good! Of course, McKenzie ultimately stretched out his own material of monumental dronings over a whopping six discs on the twin set of triple cds also entitled How To Slice A Loaf Of Bread (all of which are long out of print); so Potter's redux is a bit easier to digest, but certainly no less an album! You'll encounter the drone supreme here on A Pressed On Sandwich with electrified tonal vibrations, undulating phase patterns, and oceanic gasps of sublime expanses. The album starts off with a very cold, shivering feel but eventually transitions into a dynamic interplay of tones that simultaneously capturing the solemnness of church organ droning (with all of the overtones of holy symbolism) and the unnerving purity of feedback (with all of the allusions of technology on the brink of collapse). We mentioned it before, and we'll mentioned it again: fucking brilliant." [Aquarius Records]
|
2006 |
€15.00 |
|
| POUSSEUR, HENRI |
Musique Mixte 1966:1970 |
CD |
Zwei Stücke aus den 60ern, eine hochdynamisch-expressive Piano-Sprechgesang-musique concrete Mischung mit theatralischem Überbau...sehr extrem, fast unhörbar, noch immer radikal wie irgendwas!
“Mixed Music : voice, pianos, various electro-acoustic devices
We come back to our exploration of Henri Pousseur's works with a four-CD series which, along with what has already been released, will cover all his electronic music and his most radical works between 1953 and 1988 - 35 years of research and experiments....
The two pieces featured on Mixed Music (Voice, Pianos, Various Electro-Acoustic Devices) are magnum opuses in Pousseur's body of work, though they are seldom heard - Jeu de Miroirs de Votre Faust has been unavailable for a long time, while Crosses of Crossed Colors is released here for the first time ever.” [from the press release]
‘Already for Couleurs croisées (Crossed Colors, 1967), my initial idea was to add an amplified voice to the orchestra, a voice that could stand up to it and would clarify and explain the meaning of the piece, in the form of a black Baptist minister-style preach. So, besides the voice ("black," if possible), we have: 5 pianos, whose assembled parts reuse almost all the harmonic-rhythmic contents of the orchestral piece.’ [Henri Pousseur]
|
2006 |
€14.00 |
|
| PRIME / PREVOST / O'ROURKE |
Alpha Lemur echo two |
CD |
Auf MICHAEL PRIME’s Label erschien diese CD mit zwei langen, älteren Mitschnitten: LEMUR wurde 1994 in London aufgenommen und zeigt O’ROURKE, PREVOST und PRIME bei der „Arbeit“, bei ALPHA haben O’ROURKE und PRIME noch Verstärkung von ADAM BOHMAN und ANDY HAMMOND, aufgenommen 1991 in Catford. Improvisierte Musik mit verschiedenensten Elementen vermischt mit minimal-droniger Ästhetik..
Strong CD on Michael Primes own label, with two live-recordings.
|
2001 |
€13.50 |
|
| PRIME, MICHAEL |
Domestic Science |
CD |
Das aktuelle Album auf Prime's eigenem Label. Wieder benutzt er Umgebungssoundquellen, erschafft aber hier eine gänzlich andere Soundwelt als auf den anderen Werken. Als Soundquelle durften herhalten: ein "electric radiator" (Heizung), ein Kühlschrank, eine Waschmaschine, und..... Klingt zwar auf dem Papier trivial, das Endergebnis seines processing ist aber eine äußerst merkwürdige & reduzierte Soundsprache, mal zwitschernd wie mutierte Vögel (or whatever), dann hoch-frequentes Schleifen, brummiger White Noise wie Fahrtwind, alles sensibel und wenig brachial, eher kompositorisch wie TOY BIZARRE z.B. .. |
1998 |
€13.50 |
|
| |
Requiem |
LP |
Für „Requiem“ hat der unterbewertete Experimental-Composer aus England Sounds von NEGATIVE ENTROPY (sein Projekt mit Geert Feytons von den NOISE MAKERS FIFES), eine „sound sculpture“ von LEN LYE, und „the voice of Miro“ benutzt. Herausgekommen ist dabei eine fantastische, geisterhaft dröhnende Komposition die eine unglaubliche Weite und absorbierende Atmosphäre besitzt und sehr spannungsreich verläuft. Drown-Drones ! Schöne Artwork im Klappcover – ein Muss für jeden Drone-Freund!!
Fantastic new album by MICHAEL PRIME, creating ghostly, otherworldy dark drones which rich details and an unbelievable width and absorbing atmosphere ! very much recommended !
“A new album by Michael Prime who is another prolific sound composer for many years. Being an active member of Morphogenesis he also collaborated with among others: David Jackman/Organum, Jim O'Rourke, Eddie Prevost, David Toop, Adam Bohman. He's also one half of Negative Entropy a collaborational project with G. Feyton (Noise Makers Five) and is running his own label Mycophile. Recorded between December 1998and December 2000 'Requiem' is one of his most intense works so far and quite different from his more enviromental studies. Dedicated to M, H and LL. Pressed on 180 gramm vinyl the record is coming in a full color gatefold sleeve. Limited edition of 700 copies.” [label press release]
|
2002 |
€15.00 |
|
| PROPERGOL |
Paradise Land |
CD |
"new propergol...spec.pack. - incl. 3 postacrds ...A deaf & sepulchral sound // The door suddenly opens A voice announces : it's ongoing // Preparations in silence There will be no good bye // Defective electrical installations direction : airport // Anxiety-provoking situation Flight-plan : Direction> PN - (48° 52' 36'' S 123° 23' 36'' W) Feverous take-off then cruising phase // Engine shutdown... Silence... Fly over & scope of the disaster // In top view, mankind tears away A rupture, a break with civilization // Separation / isolation - arrival Final approach phase - Stabilization - Ejection... .. . What happens now? ----------------------------------------------------------------- end of transmission." [label info]
www.tesco-germany.com
"Allein, dass PROPERGOL ein neues Album veröffentlicht, geht fast schon als Überraschung durch. Liegt das letzte offiziell gelistete doch schon sechs Jahre zurück. Zwischendurch hat sich JÉRÔME NOUGAILLON mal um die Klänge von Kollegen (wie zum Beispiel POST SCRIPTVM aus Russland) gekümmert, aber ansonsten musikalisch recht zurückgezogen gelebt, 2012 immerhin ein Stück zu einem Sampler beigesteuert und den 25sten Geburtstag von TESCO – siehe Video unten – mit einem Liveauftritt gewürdigt. Nun ist eben "Paradise Land" erschienen, das aktuelle Werk des Ein-Mann-Projektes, schön verpackt im Din A5-Format, quer, edel und mit drei ästhetischen Postkarten.
Die eigentliche Sensation ist aber der radikale Stilwechsel. Weder Power Electronics noch aggressive Noiseorgien, sondern überwiegend angenehmer und warmer Ambient!
Stimmsamples, die nach Quietschen und animalischem Knurren einsetzen, spielen eine wichtige Rolle auf "Paradise Land" und tauchen deshalb gleich zum Beginn im Opener "Running Scored" (01) auf. Wehende Geräusch-Drones sorgen – hier wie auf dem gesamten Album – für eine sehr räumliche Atmosphäre, die Collagen – vor allem aus vielen Stimmen – und andere, meist natürliche Elemente wie zum Beispiel Uhrticken sorgen für Bezug zur Realität. "911 Dispatche" (02) verstärkt den Eindruck von Ambient; die wabernden, angenehmen, synthetischen Drones haben etwas Strahlendes, Kosmisches. Dazu stoßen weitere Stimmsamples, die für mich stets wie Bahnhofs- oder Flughafendurchsagen tönen, sowohl vom Klang als auch vom Stimmduktus her. In "Ymene" (03) steht längere Zeit eine Art Unterhaltung mit hallenden Stimmen im Raum, durchbrochen nur von wenigen Sounds, und geht über in eine lange Ambientfläche. Etwas bedrohlicher nun liegen wie Insekten vibrierende Drones über einem Grundbrummen. Regen und gewitterähnliche Klänge ("Torquenada", 04) bilden den Übergang zu sehr maschinellen, kurzatmigeren Gebilden aus Tönen.
Es folgen mal mehr geräuschorientierte, mal mehr flächige Ambientstrukturen, zwischendurch auch (wenige) noisige Elemente wie Pfeifen und Fiepen mit entsprechenden Verzerrungen. Rhythmische Strukturen hat sich PROPERGOL für "Bushman" (08) und "Impossible Landing" (09) aufgehoben, dann aber richtig losgelegt. Diese beiden Tracks sind als 'Songs' zu bezeichnen, haben etwas Technoides, bilden das Vorspiel zu einem nie einsetzenden Rhythmusgewitter mit tuckerndem Beat – groovender Minimal-Techno! Das längste Stück am Ende ("Bleu Nuit", 10) mischt noch einmal Vieles: eine verfremdete Stimme (die an Sprachausgaben alter Computer erinnert), Geräusche wie schweres Atmen (der Monolog eines Sterbenden?), weitere Solostimmen und Bahnhofsatmosphäre, um dann in angenehme und erneut rhythmische, federnde Ambientmusik überzugehen.
Es fehlen zwar inhaltliche Infos zum Album, woher zum Beispiel die Stimmen kommen und was genau die Thematik ist. Macht aber nichts. Die Klangmalerei funktioniert so gut, dass jeder Track ein Gemälde ist und eine Reihe von Assoziationen zulässt. Ich stelle mir ein Kontrollzentrum vor, und zwar in allen Facetten, mit Kommunikation, dem Raum selbst und den Informationen, die durch Leitungen übertragen werden. Einige dezente Hinweise (durch Titel und die knappe Labelinfo) könnten auch so verstanden werden, dass sich der Hörer an Bord eines 9/11-Fluges befindet. Dafür ist "Paradise Land" aber musikalisch fast zu gut verdaulich. Streckenweise könnten auch die Belgier von KRAKEN mit ihren Unterwasserthematiken Pate gestanden haben.
Sehr elegante, kluge und erzählende Ambientmusik mit vielen Stimmen und Field Recordings. Sticht in diesem Genre deutlich aus der Masse der Veröffentlichungen heraus. Fans älterer Alben sollten nur wissen, dass dieses ganz anders, viel weniger brutal klingt." [Michael We., NON-POP]
|
2012 |
€14.50 |
|
| PSEUDO CODE |
Europa |
CD |
"PSEUDOCODE (1979-1982) were a coherent unit of 3 individuals (Xavier S., Guy Marc Hinant and Alain Neffe), non-musicians even, combining emotions with electronic experiments, mostly improvised. They called it 'potlatch music' and were only trying to express themselves through
sound rather than pleasing an audience. Within just a couple of years they released a fine body of work on vinyl and cassette (Insane Music, Pseudo Records, Sandwich Records) and international network compilations (Datenverarbeitung, Ding Dong, Korm Plastics, Grafika Airlines, Third Mind, Trax,....) and were even noticed by fellow experimentalists such as Harold Budd or Stephen Mallinder (Cabaret Voltaire). They could have been bigger than.... Unfortunately the story didn't last for too much longer and everyone moved on with
his life before any breakthrough of some sort.... Buy with confidence: these classic tracks between hope and despair deserve a second
life within a renewed 'Europa', now much worse off than 30 years ago...." [label info]
www.eetapes.be
|
2010 |
€13.00 |
|
| PSYCHIC TV |
Batschkapp |
CD |
"Recorded at Batschkapp, Frankfurt, West Germany, 10th December 1984. Originally issued as a bonus CD for the first 1000 copies of 'Were You Ever Bullied At School - Do You Want Revenge?' (CSR27CD, 1999). That first edition sold out immediately and has not been available in any form for 12 years. Personnel: Genesis P-Orridge, Alex Fergusson, Paul 'Grimsby' Reeson and John 'Zos Kia' Gosling //
Aufgenommen im Batschkapp Frankfurt am 10. Dezember 1984. Ursprünglich war das gute Stück die Bonus-CD für die ersten 1000 Stück vom ,Were You Ever Bullied At School - Do YOu Want Revenge?" Album. Die erste Pressung verkaufte sich sofort komplett aus, so dass die Musik in dieser Form volle zwölf Jahre nicht zu haben war. Bis jetzt. Mit dabei: Genesis P-Orridge, Alex Fergusson, Philipp Erb, Matthew Best und Dave Martin." [label info]
www.coldspring.co.uk
|
2012 |
€10.00 |
|
| |
Alien Be-In |
12inch |
"Dark Entries Editions is venturing into new waters with a remix EP of Psychic TV’s classic Acid House song “Alien Be-In”. Psychic TV was formed by Genesis P-Orridge and Peter Christopherson after the breakup of Throbbing Gristle in 1981. After various line up changes, the band shifted direction to dance oriented songs influenced by the Acid House scene in America. By 1988 experimental electronic musician Fred Giannelli, of Turning Shrines, joined the band and over the next 2 years started to record songs for “Toward The Infinite Beat”. The album was a mix of deep, multilayered tracks full of bright and hypnotic dance numbers, providing the soundtrack to the rave culture that sprung up in the UK in the 90s.
“Alien Be-In” was written in early 1989 on an E-mu Emax Sampler and an Alesis MMT-8 sequencer. Vocal samples were taken from a tape American investigative reporter Don Bolles sent to Genesis. A didgeridoo rides throughout the song, heavily modulated by a Gristleizer creating a hypnotic effect. Near the end of the song the breakbeat slides out of time yet the band chose to leave this in because it sounded strange and fit the concept of the track. Genesis played a spaced out Echo Violin and the band used 360 degree panning rotation devices. For this reissue Fred Giannelli takes a stab at remixing the mono mix of the original sequence sourced from the Emax floppy discs. On the flip are two brand new mixes, the first from Los Angeles based producer, Silent Servant, who updates the classic with his modern brand of driving EBM techno. The second remix is a team effort from Silent Servant and veteran producer John Tejada, that re-creates the original melody using a Roland TR-808 and TB-303, paying homage to early Chicago Acid House artists like Lil Louis and Robert Owens.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in a mind-alerting, metallic silver die-cut sleeve and a neon green label that pops through, featuring the psychic skull transformed into an alien cone head label all designed by Eloise Leigh. Each copy includes a 2-sided 11x11 square insert with black and white photo of the band from 1988 and liner notes by Fred Giannelli." [label info]
www.darkentriesrecords.com
|
2015 |
€16.00 |
|
| PUNCTUAL TRIO |
Grammar |
CD |
Lou Mallozzi: turntables, CDs, Microphones, Oscillator
Fred Lonberg-Holm: Cello
Carlos Zingaro: Violin
Recorded by Pete Wenger at Experimental Sound Studio, Chicago, 28 May 2003.
Mixed and Masterd by Lou Mallozzi and Fred Lonberg-Holm at Experimental Sound Studio, Chicago, 23 June 2004.
Produced by Lonberg-Holm, Mallozzi and Zingaro.
@2003 Mallozzi / Lonberg-Holm / Zingaro
Lou Mallozzi (b. 1957)
Lou Mallozzi is a Chicago audio artist who has been dismembering and reconstituting language, sound, and gesture on stages, sites, CD, and radio since 1986. His background is in performance, intermedia and installation art, and since 1996 an increasing amount of his attention has been focused on improvised music. Using microphones, turntables, CDs and analog mixing, he collaborates with numerous instrumentalists in improvised frameworks. These collaborators have included Carlos Zingaro, Fred Lonberg-Holm, Michael Vorfeld, Mats Gustafsson, Jaap Blonk, Sebi Tramontana, Terri Kapsalis, Michael Zerang, Guillermo Gregorio, Birgit Ulher, Hal Rammel, and many others. He has performed in this context at the Come Sunday Festival (Munich), the Logos Foundation (Ghent), Podewil (Berlin), The Empty Bottle (Chicago), Candlestick Maker (Chicago), The Renaissance Society (Chicago), Kraakgeluiden (Amsterdam), and others. He has also composed several sound poems and structured improvisational works for soloists and ensembles, including Jaap Blonk, Barbara Lüneburg, and the ensemble Intégrales.
In addition to his improvised music projects, Mallozzi also produces intermedia and sound performances, radio art works, and sound installations. These have been presented at numerous venues since 1986, including the PAC/Edge Performance Festival (Chicago), the Chicago Cultural Center, Experimental Intermedia (New York), the TUBE audio art series at the Einstein Kulturzentrum (Munich), Spritzenhaus (Hamburg), Suoni/Sound 2000 (Isola d'Elba, Italy), The Subtropics Experimental Music Festival (Miami), the Fort Wayne Museum of Art (Indiana), Percorsi 98 Festival (Montegrosso d'Asti, Itlay), the Sound Canopy public art project (Chicago), Donald Young Gallery (Chicago), Gallery 400 (Chicago), the Bechtler Gallery (Charlotte), Randolph Street Gallery (Chicago), Aether Fest (Albuquerque), New American Radio, Bayerischer Rundfunk (Munich), Kunstradio/Radiokunst on ORF Vienna, Sender Freies Berlin, ABC Radio (Sydney), the Resonance FM Festival (London), and others. Among his collaborators in these realms are Sandra Binion, Mark Booth, Heinz Weber, Antonia Contro, and Maurizio Pellegrin.
Mallozzi has two CDs on the Penumbra Music label: Radiophagy (three radio works from 1990 - 1996) and Whole or By the Slice (electroacoustic collaborations with Hal Rammel). A CD of improvised music with Fred Lonberg-Holm and Carlos Zingaro is forthcoming on Rossbin Records (Italy). He also appears on Guillermo Gregorio's Faktura and Cornelius Cardew's Material (both on HatArt, Switzerland).
Mallozzi has received a number of grants and fellowships, including a residency at the Rockefeller Foundation's Bellagio Study Center (Italy), four Artist Fellowships from the Illinois Arts Council, and grants from the Richard H. Driehaus Foundation and the Governor's International Arts Exchange Program.
In addition to his artistic career, Mallozzi is co-founder and Executive Director of Experimental Sound Studio in Chicago, and he is on the faculty of the School of the Art Institute of Chicago.
Fred Lonberg-Holm
Composer, improvisor and anti-cellist Fredrick Lonberg-Holm currently resides in Chicago. Defying categorization, his work deals only with the context of the specific musical situation in which he finds/places/builds for himself. A former composition student of Morton Feldman and Anthony Braxton, and cello student of Ardyth Alton and Orlando Cole, his ongoing projects include the groups Terminal 4, The Boxhead Ensemble, Pillow, and the Lonberg-Holm/Kessler/Zerang Trio. He is also currently a member of the Guillermo Gregorio Trio, the Peter Brotzmann Chicago Tentet, XMARSX, and Witches and Devils (music of A. Ayler). He also has been coordinating and directing performances of his Light Box Orchestra, a non fixed structured improvising ensemble utilizing a light based cuing system . In addition he has also performed in ensembles led by Anthony Braxton, Ken Vandermark, Anthony Coleman, Georg Graewe, Wolfgang Fuchs, and John Zorn. As an improvisor he has recorded and or performed with numerous musicians including Jaap Blonk, John Butcher, Gunter Christmann, Axel Dorner, Hamid Drake, Barry Guy, Joelle Leandre, Paul Lytton, Jeff Parker, William Parker, Mischa Mengelberg, Ikue Mori, Mats Gustafsson, Paul Lovens, Paul Rutherford, Sten Sandell, Hamid Drake, Jim O'Rourke, David Stackenaas, Willie Winant, Carlos Zingaro, and many others. He has also performed/recorded with the rock groups God-is-my-Co-Pilot, Wilco, the Flying Luttenbachers, Chris Mills, Janet Bean, Super Chunk, Bobbie Conn, Ahmed Elmotassem's Legal Fiction, L'Altra, US Maple, Freakwater, Lake of Dracula, Plastic Scorpions, Zeek Sheck, Smog and others. Concert works have been premiered by William Winant, Carrie Biolo, Joe Fonda and Bottoms Out, Duo Atypica, the Schanzer/Speach Duo, New Winds, Paul Hoskin, Kevin Norton, the E.S.P. Ensemble and others. He has performed throughout the US and Europe as both a soloist and ensemble member. His scores for dance have been performed at the Brooklyn Academy of Music and Dance Theater Workshop as well as many other venues. Film credits include music for a Playboy Channel short and the independant feature Animals, by Michael DiGiacomo. He has recorded for the Avant, Pogus, Occa, miguel, Explain:, Locust, Meniscus, Nuscope, Curious, Random Acoustics, Skin Graft, Hat Art, Buzz, Knitting Factory Works, Drag City, Ecstatic/Yod, Nine Winds, Atavistic, Rastascan, Box Media, 8th Day, Tzadik, Truckstop and What Next? labels as well as many others.
CARLOS “ZINGARO”
Born 1948 in Lisbon, Portugal; violin, electronics.
Carlos Zingaro undertook classical music studies at the Lisbon Music Conservatory from 1953 to 1965, and during the two years 1967/68 he studied church organ at the High School of Sacred Music. Also, during the 1960s, Zingaro was a member of the Lisbon University Chamber Orchestra. In 1967 he formed Plexus, the only Portuguese group at the time to have developed a new musical approach based on contemporary music, improvisation and rock; the group recorded a 45rpm single for RCA-Victor in 1968.
From 1975 onwards Carlos Zingaro has performed with a wide variety of improvising musicians, including: Barre Phillips, Daunik Lazro, Derek Bailey, Joëlle Léandre, Jon Rose, Kent Carter, Ned Rothenberg, Peter Kowald, Roger Turner, Rüdiger Carl, Dominique Regef, Evan Parker, Günter Müller, Andres Bosshard, Jean-marc Montera, and Paul Lovens. In 1978 he was invited by Wroclaw Technical University in Poland to participate in the 1st Instrumental Theatre Meeting, and in 1979 he won a Fulbright Grant and was invited by the Creative Music Foundation in Woodstock, New York to participate in meetings, classes and performances with such composers as Anthony Braxton, Roscoe Mitchell, George Lewis, Leo Smith, Tom Cora and Richard Teitelbaum (a regular collaborator). He also gave lectures on New Notation Concepts, Movement and Sound, and the inter-relationship of Improvisation and Body Attitude. As a soloist, or with other musicians and composers, Carlos Zingaro has performed at many of the most important new music and improvising festivals in Europe, Asia and America.
A substantial level of Carlos Zingaro's musical activities are associated with theatre, film and dance. In 1975 he completed Stage Design studies at the Lisbon Theatre High School and later served on the board of directors of the School. From 1974 to 1980 he was musical director for the Lisbon-based theatre group Comicos, being responsible for most of the original music scores performed during the period. In 1981 Carlos Zingaro received the Portuguese Critics Award for best theatre music and in 1988 he worked with the Italian theatre director Giorgio Barberio Corsetti on his Kafka Trilogy. He has also been stage and costume designer for several other theatre productions. He has produced several film scores and worked extensively with dancers and dance companies such as the Gulbenkian Dance Company, the Opéra de Genève Dance Company, Michala Marcus, Aparte, and Olga Roriz.
Carlos Zingaro was a founding member of the Lisbon-based art gallery Comicos, his work has been exhibited, and he has received several prizes for his cartoons, comics and illustrations, samples of which can be seen on a number of CD sleeves, for example, Musiques de
scène.
www.rossbin.com/rs019.htm
"Is there a mode (maybe mood, posture, or circumstance) in which you are required to set yourself in order to appreciate (maybe absorb) freely improvised music? If you are attending a live show, the location, smells, company, and certainly the visual aspects of the show contribute to your "experience." When you are merely listening to a purchased recording, what are the rules for your listening experience?
Do you meditate in a quiet room? Can you listen to it in your car? Walking with an iPod? Washing dishes? How does the experience of the improvisation mesh with your current environs? Don't ask me for answers, but consider all the stimuli that invade your senses every hour of every day. Maybe that's why the relentless beat-beat-beat of pop music is so simple... because no one's actually listening.
My point is this: no two listeners can have the same response to very highly interpretable music like what the Punctual Trio produces on Grammar.
The cast of players includes cellist Fred Lonberg-Holm, the newest member of Vandermark 5 (plus Wilco, Terminal 4, The Boxhead Ensemble, Pillow, and the Peter Brotzmann Chicago Tentet, to name just a few); Lou Mallozzi, a sound artist from Chicago who lists Mats Gustafsson, Jaap Blonk, Sebi Tramontana, Michael Zerang, and Guillermo Gregorio as collaborators; and Portuguese violinist Carlos Zingaro, who has partnered with the likes of Anthony Braxton, Roscoe Mitchell, George Lewis, Leo Smith, Tom Cora, and Richard Teitelbaum.
Simple review: you cannot dance to this disc, but I give it a ten.
The trio benefits from its choice of instrumentation. Lonberg-Holm's cello, which is seemingly at home in a range of settings from jazz standards to rock to free music, mixes well with Zingaro's violin's scraping, plucking, single notes, and complex travels. They are attuned to silence and space, as on the opener, or odd pulse and song forms, as with "Punctuation. Mallozzi doesn't drown you with samples or electronics; he places them in the mix as if he were Treg Brown, the sound editor of 1950s Warner Brothers cartoons. If you listen closely to "Punctuation, you may find yourself actually embedded inside a cartoon.
But then again, your experience with these sounds will probably be nothing like mine." [All About Jazz]
|
2004 |
€6.00 |
|
| PURE |
Home is where my harddisk is Vol. 1 |
CD |
Eine Label-Neugründung gibt es von Peter Votava, dem Mann hinter PURE, zu vermelden. Die dritte VÖ auf dOc RECORDINGS stammt von PURE selbst, mit zwei Live-Aufnahmen vom Winter 2001/2002 aus Hamburg (HÖRBAR!) und Porto.
“Consisting of two recordings of PURE´s live appearances in winter 2001/2002. The first track is the entire recording of a gig at the HÖRBAR, a monthly club in Hamburg, Germany that takes place in a small old cinema. Playing in the movie room created a very intense atmosphere as compared to other venues. The 38 min improvised piece interweaves low frequencies with orchestral sounds into dense, unsettling structures, only to dissolve them in its peaceful finish. The second track is an excerpt of a concert given at ANIKI BÓBÓ, Porto, Portugal. Its minimal algorithmic patterns slowly evolve into a swaying string figure that is finished by processed vocal parts.” [label info]
|
2002 |
€13.00 |
|
|
Noonbugs |
CD |
Minimaler Dark Ambient von diesem österreichischen Projekt, besonders gefallen die Parts mit Streichern...
“ Pure's debut full length on Mego continues to explore realms of sinister sonic's and edge of the equation audio initially previewed on the highly regarded "the.end.of.vinyl" 3" CD / 12" pic disc.
As a complete serve the full extent of this world is revealed to be an elaborate exploration - rich in texture, variation, mood and quality. In some ways this release can be seen as a take on the darker edge of 20th classical / avant garde as seen through a 4th generation raised on industrial/electronic mediums. Comprising of a continuous work and what seems to be minimal process,
this is by no means an unfolding minimal record along lines of Alvin Lucier or Elaine Radigue. Changes are more immediately discernable (whilst avoiding noise, distortion or any other 'immediate' tactics). The result is in an unsettling journey throughout an array of balanced elements: looped violins sway amongst ringing tones, a distant police siren adds an element of isolation to washes of dark frequencies. Fragments of suspense
guide the listener on a series of subtle subversion's coming together as a dynamic thematic whole. A see-saw of subversive sonic's which make for some prime late night ambience. One could say this is as close to dark ambient as Mego has come, but like all the best Mego releases Pure's is one that questions the exact nature of the genre from which it has sprung whilst incorporating certain signifying elements in an entirely new way.” [press release]
|
2002 |
€13.00 |
|
| |
Ification |
CD |
"Mir ist PURE durch seine Releases auf Mego, Feld und dOc Recordings ein Begriff, andere kennen Peter Votava schon aus Ilsa-Gold-Zeiten, als Loop- und Sub/Version-Macher und Electronica-Veranstalter. Auf Ification (Crónica 038) schafft der Ex-Wiener und jetzige Berliner erneut mit dröhnminimalistischen Mitteln sieben Soundscapes. Die lassen einen eintauchen in dark-ambiente Dunkelwolken (‚Blind Flight‘) oder lethargisch und wie unter einem Bann dahin driften durch eine Nacht, die kein gutes Ende verspricht (‚End‘). ‚Iron Sky‘ ringt mit zähen und drückenden Verstrickungen wie Laokoon mit den Schlangen, die fatalen Beats schlägt - wie auch bei ‚After the Bomb‘ - Martin Brandlmayr, die Stimme ist die der Bolzn-Screamerin Alexandra. Die hatte auch schon in der Geisterbahn von ‚Sonomatopoeia‘ gestöhnt, zu giftigem Sirren, Theaterdonner und Gewummer, während die krachig verzerrten und gewellten Impulse des Auftakts ‚Fire‘ auf der Gitarre von C. de Babalon basieren. Die dystopische Melancholie von ‚After the Bomb‘ entsteht durch gedämpfte Drones, silbrig durchfunkelt, voller sirrender Frequenzen und mit dem fernen Nachhall von Sirenen und Gefechtslärm, den Brandlmayr mit Besenschlägen und Cymbalbeats andeutet. ‚Approximation‘ nähert sich mit dunklem Stöhnen - wie von den Sirenen der Titanic oder Tubas des Jüngsten Gerichts - und diskant schrillenden Strings, spärlich durchsetzt mit perkussiven Akzenten, dem Bereich der Klassik, mit offenbar ungescheutem pathetischen Effekt. Wer in Pures Elevator
Noir einsteigt, muss sich auf einen Trip ans dunkle Ende der Gefühlsskala gefasst machen." [Bad Alchemy]
"After more than ten CDs and several vinyls under different aliases, projects or collaborations that ranged a multitude of musical styles over the last 15 years, Pure's newest release is now proudly presented by Crónica. Three and a half years later than scheduled, and six years after his previous studio CD release “Noonbugs” on Mego, Pure returns with his fourth solo full-length album — “Ification” — the outcome of a long period of live work (documented in the first two volumes of the “Home Is Where My Harddisk is” series), residencies — in France, with Johnny Dekam, where the “Reqoil Displaced Peaceoff” DVD was produced — and collaborations — the “Heart Chamber Orchestra” with Erich Berger, an audiovisual performance based on the heart-beats of an orchestra of 12 musicians. “Ification” presents a collection of seven highly diverse tracks that revolve around dense, filmic and eerie atmospheres, without ever drifting into obvious or simple harmonies. As in his previous work, Pure takes from music history whatever serves his narrative needs and appropriates it through his." [label info]
"Something entirely different is the latest album by Pure, from Vienna. He works under various guises, and this is fourth Pure CD, following 'Noonbugs' on Mego for four years ago. Seven pieces of electronic music, six of them recorded with the help of others, like Christoph de Babalon on guitar samples, Martin Brandlmayr on drums, the screams of Alexandra von Bolzn and Anke Eckardt on bass guitar. What Aubrey lacks in variation is made up here by Pure. The heavy start of 'Fire', into to post nuclear war zone with no survivors of 'After The Bomb' (an appropriate title), Pure takes the listener on a ride that ranges from subtleness to the utter crude, which ends with the nightmares of 'Iron Sky'. Excellent music for b-movies that deserve a-music. Certainly not always 'pleasant' in terms of nice background music for your living room, but unpleasant music to make your life a bit easier and less painful." [FdW, Vital Weekly]
www.cronicaelectronica.org
|
2008 |
€14.00 |
|
| PYRAMIDS WITH WRAITHS |
Magpie & Raven |
LP |
"Einseitig bespieltes, opakes Vinyl in bedrucktem Transparentpapiercover in PVC-Hülle plus Downloadcode auf Aurora Borealis. Von der Optik ganz eindeutig ein Sammlerstück, musikalisch ein weiteres Beispiel für die Art und Weise, wie Pyramids andere Musiker in ihre Ideen einbinden und dann trotz deutlich erweiterten Musiker-Line Ups fokussierte Werke entstehen lassen können. Wer die „Pyramids with Nadja“-Zusammenarbeit mochte und da besonders diese Stimmung dauernd vor dem Ausbruch, mit hervorgerufen und unterstützt durch diese windartigen Sounds, der sollte sich auch auf „Magpie & Raven“ (musikalisch) zu Hause fühlen: am Anfang sind da diese Klavierakkorde und ein erstes Erscheinen der Stimmen, die für die Stimmung des Gesamtstücks noch sehr wichtig werden sollen und überraschenderweise, kaum dass man sich auf diesen Auftakt eingelassen hat, setzt die volle Orchestrierung ein und steckt das Dynamik-Feld ab. Auf diesem herrscht im Weiteren eben wieder dieser Wind, hier unter einem offenen Himmel voller Graustufen mit diesen einsamen Stimmen und ihren Anrufungen als Zentrum, bald wieder unterstützt durch das Piano des Auftakts. Diese wenigen Elemente (und der Reiz des Wechsels zwischen Männer- und Frauenstimme) reichen völlig, die absolut unwirkliche Stimmung über die gesamte erste Hälfte von „Magpie & Raven“ zu tragen, bis sich der Wind wieder stärker aufschwingt und sämtliche Gitarren und das Schlagzeug ein zweites Mal anruft. Was dann folgt ist ein Beispiel, wie musikalisch Noise klingen kann, wenn er denn so erzeugt wird: ein Mahlstrom von Feedbacks unterschiedlichster Couleur, die so klingen, wie ein Loch in einem Staudamm (vermutet) klingen würde. Darauf irrlichternde Treble-Fetzen, die bald so etwas wie eine eigene Struktur über dem Ganzen bilden und der Rücksturz in die (Un-) Wirklichkeit. Nicht ohne eine letzte Ansage der Priesterin. …Statement." [N / Blackmagazin]
www.aurora-b.com
"Magpie & Raven' sees Pyramids at their most sprawling and with moments of ultimate bombast. With piano provided by Clay Ruby (Burial Hex) as an integral part, the 25 minute plus track weaves around this motif with massive guitars and a spoken word performance that is truly epic before everything dissolves in a maelstrom of organic noise as Wraiths eviscerate the previous musical section to its very atomic particles before all comes together again and the track ends with a sense of calm conclusion.
This amazing release is presented as a limited edition one-sided clear vinyl LP in a signature AB vellum-style sleeve with artwork by noted tattoo artist Simon Erl. The multi-layered artwork can all be seen as one whole when held up to the light. Comes with an MP3 download card. Housed in heavy PVC outer sleeve. Edition of 350." [label info]
|
2012 |
€20.00 |
|
| QUELLET, ISRAEL |
Soni Sclavus |
CD |
Already the second album from this young Swiss composer, and like "Oppressum" its quite a beast on 11 tracks, using sounds going direct into your face, piercing pulsing organ-tunes, rumbling distorted rhythmic excesses, loopy metallic bangs, all kinds of impetuous weird sounds in between, animal sounds, backwards voices & whisphers and something like sound poetry. Very difficult to classify, "experimental" in the truest sense, after this session you maybe simply don't know if you like it or not, but it was NON-ORDINARY music like hell!
"Israël Quellet: a short biography. Born in Neuchâtel, Switzerland, 1972. He worked in the psychiatric field for several years. at 16, he discovers on his own some different soundworlds, such as Miles Davis's electric era, Sun Ra, Dub, German cosmic music, Magma, Zappa and many more. In 1997, he stepped into the action and, following the advice of a sound engineer friend, bought microphones, a digital mixing board, and studio monitors. Basically, he turned part of his basement into a soundsmithing studio. That is when he started to create, out of his immediate surroundings, sound works that have little to do with what is "normally" being done. Appreciated by composer Jorge E. Campos, Quellet is supported by the Centre Pierre Schaeffer in Paris. In 2003, he contacted Sub Rosa. Three years later, he was releasing his first public recording. This present one is the second (probably of a trilogy). It explores the very common object and have a great deal with the problem of saturation and noise." [label info]
"Israel Quellet's 2nd album for Sub Rosa is not the unexpected surprise from an unknown artist that this Swiss sound-maker's debut disc was (for both us, and the label, read our review of it to see what we mean, we started off by saying "who the heck is Israel Quellet?"). But, that's because THIS time 'round, when we saw
Quellet's had a new recording coming out, we were already eager to hear it. Much like its excellent predecessor, it's about compositions
(improvisations? explorations?) limited to specific sound sources, each track featuring the use/abuse of a certain instrument or two, or perhaps a non-instrument, and to Quellet, his methods are his music, this is the focus, to the extent that the tracks are identified
thusly... For example, track 1 is "for organ and percussion". Track 3 is "for fitness rower". Track 7 is "for footsteps and knocks on stairs, and vented carbon dioxide". He makes use of organ on here quite a bit, as well as percussion and less frequently voice,
electronically treated (and in French). Actually much of this seems electronically treated, or in some way distorted, with "saturation" factoring into several of his pieces, occasionally achieving Merzbowian levels of noise (on track 6, "for percussions and saturation" especially!). All in all, this disc can be heard as one man's playful but moody, quasi-industrial homebrewed take on 20th (now 21st) century classical music. With so much somber organ and repetitive thunderous percussion, many of these tracks seem quite
ominous, you can start imagining DIY Nitsch-style "aktions" happening in Quellet's backyard.
As with Quellet's prior album, this is varied and fascinating throughout, and surprisingly listenable. Truly experimental (and
successfully so) music for curious ears made by someone with curious ears too. Recommended!!
Oh, and by the way, on our list this week there IS a cool Sub Rosa disc from a hitherto unknown (to us) artist, look for Pierre Berthet's Extended Loudspeakers, it's also AQ recommended." [Aquarius Records]
www.subrosa.net
|
2009 |
€13.00 |
|
| R.O.T. |
L'Ecurie |
LP |
Eine wunderbare, sehr mysteriös und seltsame tönende Platte! Auch nach mehrmaligem Hören weiss man noch nicht so recht, was hier eigentlich passiert. Sehr dronig und ambientös und vielschichtig "folkig-organisch"; etwas low-fi & fliessend improvisiert erscheinen die Dronescapes, dick & undurchdringlich und auch psychedelisch...erinnert an ruhigere VIBRACATHEDRAL ORCHESTRA z.B...
"r.o.t. has gained a quality reputation in the underground scene during their six years of existence. this led to a splendid cdr- and tape discography. "l'écurie" is their first long player. each side contains two jams that sound like calm and fluently movements through sound at one time, then like a somewhat more brutal treatment at another point. the album shows nicely how r.o.t. works as a (live) band. it's not about well-thought sound poetry here, but about spontaneous improvisation where random incidents are considered as an extra band member. a slow bass that wanders gently through the acoustic droning, when suddenly an alarm clock starts to ring, followed by new almost-quietness and laidback noise. r.o.t. stands for an original approach of sound sources and a continuously seeking for the "moment". side a was recorded in an abandoned administration building in jette, a small town near brussels. the space was run by young students for six months and renamed the place "l'écurie", the french for stable. r.o.t. improvised in the dusty kitchen during three long days, mostly during the nights as well. the tracks on the b side are takes from improvisations in an horse stable. there again the album's title refers to l'écurie. this time at an old farm which is called ferme du biereau (louvain la neuve). the farm is also known as a nice venue and spot for artists en musicians." [label info]
www.kraak.net |
2006 |
€13.00 |
|
| RABELAIS, AKIRA |
Elongated Pentagonal Pyramid |
CD |
“We are really "receivers" floating through a kaleidoscopic sea of frequency, and what we extract from this sea and transmogrify into physical reality is but one channel from many extracted out of the superhologram” “Seperateness is an illusion”. AKIRA RABELAIS, ein Anhänger der holographischen Theorie (beruft sich auf DAVID BOHM, KARL PRIBRAM und STANISLAV GROF), spiegelt mit seiner Musik das “fundamental something” hinter allen Dingen, das, was alles zusammenhält...
"Rabelais has collected his own electronic compositions on Elongated Pentagonal Pyramid, a self-produced, limited edition CD, where he gingerly teases out the tissues of surface noise in a similar vein to the likes of Terre Thaemlitz, Achim Wollscheid and Mego's Rehberg & Bauer. But simply because he insists on placing individual clarity of vision at the center of the creative process, rather than be enslaved and driven by the technological toys and tools of the day, he will always remain a liberating remove from any definable 'scene'." [Rob Young, The Wire]
|
1999 |
€13.00 |
|
| RACHEL'S |
Selenography |
do-LP |
"Die Gruppe aus dem Chicago/Louisville-Umfeld (SHELLAC, RODAN, JUNE OF '44, SONORA PINE, etc..) mit ihrem 4.ten Album (nach´Handwriting', 'Music for Egon Schiele' und 'The Sea and the Bells'). Eine instrumentale, herbstlich schimmernde Mischung aus klassischer Kammermusik und Geräuschparts, alles rein instrumental. Viel Piano & Streichinstrumente, wunderschöne Cover-Artwork. Deeply recommended!" [old Drone Rec info]
"The fourth album from these deft neo-classicists brings a collection of songs that have been staples of their breathtaking live performances, yet had never made it to tape. An integrating of live and electronic textures recorded in various locales between july '97 and January '99." [label info]
www.quarterstickrecords.com |
1999 |
€21.00 |
|
| |
The Sea and the Bells |
do-LP |
"Ihr '96er Album, klassisch angehauchte Instrumentalmusik von warmer Melancholie & Nostalgie, mitunter mit exprimentellen Drones angereichert... in Vinyl gegossene Schönheit! Wäre auch perfekte Filmmusik..." [old Drone Rec. info]
"Rachel's is a collective of musicians based in Louisville, KY. Since releasing their first Quarterstick Records cd in 1995, the group has performed in libraries, churches, rock dungeons, ballrooms, gardens, bowling alleys, and movie theaters across North America and Europe. They have often worked with filmmakers, dance companies, stage productions, printmakers, and photographers. Their recordings and shows have elicited numerous descriptions including "subversives with a cello”, “classical post-rock," "post-classical”, and "lo-fi Louisville loafers." [label info]
www.quarterstickrecords.com
|
1996 |
€21.00 |
|
| RADIGUE, ELIANE |
Songs of Milarepa |
do-CD |
MILAREPA war ein legendärer tibetischer Heiliger und Lyriker, der im 11. Jahrhundert (stets in Versen und Gedichten sprechend) bis zu 100.000 Stücke komponiert haben soll, um seine Lehren zu verbreiten. ELIANE RADIGUE hat hier mit Hilfe von LAMA KUNGA RINPOCHE fünf der oral überlieferten Stücke bearbeitet (inkl. englischer Übersetzung) – natürlich mit Drone-Untermalung. Die Stücke wurden bereits 1981-1983 aufgenommen und erschienen auf inzwischen vergriffenen VÖs bzw. noch gar nicht. Der hier präsentierte Gesang ist einlullend, repetitiv, und strahlt große Ruhe und Sanftheit aus. Die zweite CD mit einem einzigen langen Stück ist dunkler und archaischer......faszinierend !
“telling of the story of the great saint and poet of Tibet who live in the eleventh century as sung by Lama Kunga Rinpoche (in Tibetan) and Robert Ashley (in English) over the austere minimal electronic backdrop created by Radigue (who was Pierre Henry's assistant). collects the out of print LP, the CD "Mila's Journey Inspired by a Dream" and two unreleased pieces.” [Anomalous Records]
|
1998 |
€26.00 |
|
|
In Memoriam-Ostinato / Danse des Dakinis |
LP |
"Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics." [label info]
"There is no artist, working in the contemporary field of experimental sound, that is more important than the French composer Éliane Radigue. She is a shining light, who, for more than half a century, has quietly blazed trails with a body of work that is as creatively visionary as it is sublime. Back in the 2010s, Alga Marghen launched a crucial archival series, dedicated to some of Radigue’s earliest and previously unavailable works, many predating her first LP, 1983's “Songs of Milarepa”, by more than a decade. Having already delivered four LP of this material, they return with their fifth and final instalment in the series, “In Memoriam-Ostinato / Danse des Dakinis”. Perhaps the most fascinating of the group, the first work was composed in 1969 in the period between the creation of two of her earlier works comprised within Alga Marghen’s initiative, “Jouet Electronique” and “Opus 17”, while the second draws on material recorded during the 1960s and then further intervened with, “Danse des Dakinis” was conceived and created in 1998 by Radigue as a self-portrait in sound. Absolutely essential on every count, we couldn’t think of a better place for this series to end, further illuminating the remarkable beginnings of one of our greatest living composers in truly eye watering ways.
Born in 1932, Éliane Radigue began her musical endeavours in Paris during the late 1950s and early '60s, working under Pierre Schaffer and Pierre Henry, before quickly outstepping her mentors. Initially working predominantly in tape, during the early 1970s she made the radical switch to modular synthesis, beginning a decades long exploration of the ARP 2500 that drew on her practice as a Buddhist and pushed the notions of musicality endlessly forward, taking the entire landscape of experimental sound with her through a series of sonic mediations that bound life and art.
During the early 2000s, Radigue set aside her synth, embarking upon a hiatus from music, before taking the unexpected step of beginning to compose works with and for acoustic instrumentalists. By the the early 2010s, this new phase in her career had begun to emerge as the sprawling work, “Occam Ocean” series, arguably bringing her more acclaim and adoration than any other point in her long career. Fittingly, it was during roughly this same moment, beginning with “Jouet electronique”, that Alga Marghen embarked upon their archival series dedicated to Radigue’s earliest and previously unavailable works, offering a unprecedented and much needed sense of dimension to the breadth of her career. Followed in rapid succession by “Feedback Works”, “Vice-Versa, etc…”, and “Opus 17” - each mining the period when the composer worked predominantly with magnetic tape - it’s been nearly a decade since the last LP appeared, making the emergence of their final instalment in the series. “In Memoriam-Ostinato / Danse des Dakinis”, that much more sweet.
Comprising two free standing works, the first, “In Memoriam-Ostinato”, foreshadows the pacing that would soon come to define Radigue’s unique approach to composing sound. Measured and slow, it is an immersion into an extending state of contemplation, manifested in organizations of sound; a game of mirroring symbols that bend and elongate time, inviting the ear to get lost. As Radigue recounts: “This piece was commissioned for a Happening, Mémorial. It was a sort of secular procession to the castle of Verderonne, a beautiful place. The pools bordering the edifice were lit, and everyone was dressed or draped in mauve. It terminated in one of the grand salons of the castle where I played “In Memoriam-Ostinato”.”
While considerably more concise than many of the durational works through which Radigue would come to make her name, the 23 minutes that make up “In Memoriam-Ostinato” are not encompassing or lacking in depth. Where it differs is within the presence of slighter darker temperament and mood. Across the work’s length, low rumbles of textural noise form a bedrock - feeling a bit like the death knell of dying electronics - into which strange, warbling tones of feedback pulse and dance with a palpable sense of tension. Like so much Radigue’s work over the years to come, “In Memoriam-Ostinato” actively obscures a consciousness of the artist’s hand. It's so elegant and risk laden, that were it encountered by chance, without context, it might be perceived as the generative form of an abandoned radio station within an alien landscape.
Rounding out the collection and not to be confused with the third part of “Adnos III”, which bears the same name, “Danse des Dakinis” is quite possibly the only work of its kind in Radigue’s remarkable body of work. Drawing on a wealth of tapes she created during the 1960s, the work was created in 1998 as a kind of self-portrait in sound; a kaleidoscopic vision of Radigue's sensibility for sound, a memoir, and a hall of mirrors prismatically reflecting the multiples sides of self. The piece, because of the many phases in her career from which it draws, is a fascinating hybrid that uses field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea and capturing the sound of a creek recorded at Mills College campus, feedback elements from 1969, as well as later interventions on her ARP 2500 synthesizer.
Standing outside her larger body of composition, while intrinsically bound to it, “Danse des Dakinis” nods toward the dakini, a female deity in Vajrayana Buddhism or a female demon in Hinduism, establishing a curious bond between wrathful female forms and the elements of nature which double, in Buddhism - a central force in Radigue’s life and work - as the absence of ego or mental obstacles, where nature itself is revealed. Here, once again, we encounter the composer in a darker meditative state, weaving the sounds of nature into those of her Arp and feedback to create a complex internal world that blurs the lines between abstraction and raw emotion, electronics and organic sounds.
It’s hard to not feel a little bitter sweet about the long overdue emergence of Éliane Radigue’s “In Memoriam-Ostinato / Danse des Dakinis”. On one hand, it’s a truly incredible and deeply illuminating body of work. On the other, it signals the end of Alga Marghen’s decade long immersion into the composers crucial, previously unreleased body of feedback works from the 1960s. Still, we couldn’t think of a better way to end than here. It’s one of the most intriguing and engaging of the group. Absolutely fantastic from the first to the last." [Soundohm]
|
2022 |
€24.00 |
|
| |
Feedback Works 1969-1970 |
LP |
Feedback Works 1969-1970
However mesmerizing they may be, the works of Éliane Radigue which could be found on record were quite rare when I met her in 1998: “Trilogie de la Mort”, “Biogenesis”, impressive pieces composed on the ARP 2500 synthesizer between 1970 and 1990. There was also the very rare double 7" “Σ=a=b=a+b”, edited by the author and then brought out by the Yvon Lambert Gallery in 1969, which seemed to unveil a turbulent side of the composer’s youth. This work was intended to be presented as a sonic environment and had been composed with nothing but feedback effects on magnetic tape… a relatively crude piece compared with those for synthesizer, difficult for me to relate to. I hastily concluded that Éliane had dabbled with feedback for its hot-tempered quality, a bit like her colleagues Robert Ashley or Alvin Lucier, before passing on to something calmer (in her case, the rounded and peaceable harmonics of the synthesizer)… my mistake. “Σ=a=b=a+b” was but a small part of the group of works based on feedback, just one of the more rough nuances from that so-rich period.
When I visited her in her Paris apartment for the first time, what made an impression on me were the immense shelves taking up the entire entryway, filled from floor to ceiling with tapes. All those sounds… the whole life story of an electronic composer. Immediately I became overcome with curiosity as to the beauties hidden within those boxes, no way not to find treasures within. I did not know anything as yet.
Éliane lives in an eternal present, one could almost say. I had never met someone who at her age was not busy digging around in their past. She, on the other hand, simply considered that she always had “her whole life in front of her”.
Éliane, always inhabited by music, usually lives with a new project in mind. Even if not at all stingy in responding to questions about her rich past, one would not say that she tried to evoque times gone by.
I quickly proposed to convert her magnetic tapes to digital. Not only to create an archive but also and especially to search out all the details, the secrets of this unique body of work. For years all I got were polite but firm refusals. She wanted to convince me that there was nothing but never-ending dust, and babbling, risky if not primitive… Things only changed suddenly after a return from Chicago in 2002 for the release of “L'Île re-sonante”. Delighted with the experience, she described the evening of the concert. She had been overwhelmed by the presence of very young people who came up for a signature on the boxset of “Adnos” trilogy (realised between 1974 and 1982 and published in 2002 by Table of the Elements. This time when I said that these works of the past were in effect full of passion and so it might be the time to put in order the archive, she said laconically, but with enthusiasm: “Oh, alright! But you do it, you know where everything is”.
The big job could begin; I was enchanted and am still. I expected to find other works on the rough side, like “Σ=a=b=a+b”, but with surprise quite another thing came forth.
The digital versions were all done in Lyon, at Lionel Marchetti’s. His interest in and knowledge of Éliane’s music, along with his detailed work, made for a most enjoyable activity. I recall the silence in the studio when we uncovered works surely never listened to after their first public performance, not to say ever presented... Sounds older than I was, for sure. Certain of these works had something of the traumatic about them: my goodness, she made these magnificent sounds with only three pieces of string!
Thus were the works of the feedback period of Éliane Radigue revealed, as we gradually got them digitized, extending over five years approximately: “Omnht” with its broad tectonic vibrations, the celestial voices of “Usral”, the dense silences of “Jouet électronique”, “Stress Osaka” massive chant, the horizon moving in “Vice-versa, etc.”, the magnetic bewitchments of “Opus 17”… each one brought its load of surprises and burst a well filled time bubble. So did we rewind the thread of her biography, discovering obvious connections even in the texture of the sounds themselves, which joined that period to the synthesizer one.
There is nothing anecdotal in the feedback period of Éliane Radigue. A good dozen pieces were composed between 1967 and 1970 in which most of the characteristic originality of her works had their beginnings. It is moreover continually amazing that she could build such formidably organic sonic edifices with the primitive machines which were hers: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. A home studio certainly primitive, but there were not any home studios to speak of in the sixties, the cost of materials being too high. To compose electronic music, or “concrete” or “experimental” (what distinctions!) you had to have access to an institutional studio (At the time usually located in the large radio studios, or certain universities). Indeed, a large part of Éliane’s possessions came from Pierre Henry.
She met him at the “Studio d'Essai” of the R.T.F. in the middle of the 50s, after having met Pierre Schaeffer almost by chance (if such a chance does exist) who invited her to learn the techniques of musique concrète. In fact, from 1955 to 1957 she learned all about these techniques there, “in the shadow of the masters” she says. Éliane emphasizes that she could be there as a “quiet little mouse”, because she cast no shadow on the masters of the place. She learned, as she says, that she was only there as a student. During the 50s no avant-garde musician could imagine a woman seriously competing with them… Jokes erupted: “At least when Éliane comes to the studio it smells good!” etc. Nevertheless Pierre Henry liked one of Éliane’s montages and wanted to use it in a piece he was working on, “L'Occident est Bleu” (1957). From 1957 to 1967 she no longer had access to a studio. During these ten years she will be travelling, taking care of her family, and composing a few graphic scores which will never be published, or even played: “Asymptote Versatile” in 1960, or yet “Chess Game” (based on a chess match between Marcel Duchamp and her then husband, Arman). She was biding her time.
She was to once again assist Pierre Henry from 1967 to 1969, and there she made her first tape compositions. During the last stage of mixing “L'Apocalypse de Jean”, in 1968, Pierre Henry brought to her some of the materials which would become her studio, so that she could continue working on some parts of the “Apocalypse” he asked her to work on, while he continued working at Studio Apsome. These things remained in Éliane’s house and she bought what was lacking to work autonomously: one more tape recorder, a microphone, and then, in 1971, the ARP 2500 synthesizer. Even if these first compositions date from the end of the 60s it seems evident the entire creative process in Éliane Radigue’s work had begun in the Studio d’Essai in 1955.
What I always find striking when I listen to the first piece “Jouet électronique” (realized in 1967 at the Apsome Studio and published in 2010 by Alga Marghen) is the maturity and expressive force in this short composition. There is already a tension and poetry proper to her own. Similarly, “Jouet électronique” seems to contain the germ of all which is to come. Or at least it opens all the paths which she will follow indefatigably. It is as if her musical work in some way contained a martial arts discipline on which she meditated for 10 years before striking the first blow, with an impressive precision… Right away her music separates from the explorations of musique concrète, from any academism, or whatever style then in vogue. Her adventure is intuitively going towards flux, towards contemplative stasis. A music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. One could say that in one sense it is the very texture of the sounds which leads the form in her compositions. At the same time this approach favors an intense sensuality in the listening. The fluidity of form in Éliane Radigue’s music has more to do with certain world music traditions, composed of drones, resonances, pulsations (although I cannot be sure that this was really the inspiration). A music in which time is suspended, but not stopped, rather unfolding with an intoxicating slowness, engendering fascination rather than boredom.
Between 1969 and 1970 Éliane Radigue gave up measured durations and composed works which flirted with eternity: “Usral” (1969), “Labyrinthe Sonore” (1970). and “Omnht” (1970). They are generally made of several tape loops of clearly different duration read simultaneously. In this arrangement, simple and ingenious (close to the usage of Steve Reich in his youthful pieces), the fixed sounds go slowly out of synch, in a play of perpetual mutation. From this appears a sonic landscape whose temporality, as well as its materiality, could be described by these verses by Paul Verlaine:
“…who, each time, is never quite the same, nor completely another…”
The terms “Sound Art” and “Sound Installation” are in vogue at this moment. There was nothing like it at the time. A way of describing this new approach had to be developed. So she presented her works under the description “Propos Sonores” (Sonic propositions) or sometimes “Music without End”. These works were unveiled to the public both in the places consecrated to music as well as museums and galleries (Yvon Lambert, Lara Vincy, etc.). Nothing surprising in the fact that these “Music without End” at times, like a halo of the infinite, accompanied works of such visual artists as Marc Halpern or Tania Mouraud. For all that, without minimizing the interest of these collaborations, it seems important to add that the sounds she used have in themselves a completely “plastic” quality.
This is the context in which Éliane composed “Omnht” in 1970 for one of the architectonic spaces of the visual artist Tania Mouraud, “One More Night”, presented at the Gallery of the Rive Gauche in Paris. With Jean Heuzé, one of Pierre Henry’s co-workers who helped out on this project, Éliane had the idea of screwing the speakers into the partitions so that they would be invisible with respect to the immaculate exhibition space. Due to this the sounds could vibrate within walls which become resonant surfaces. This description caused me to “leap up to the ceiling” because it is a technique that I used myself in my sound installation work… only twenty years later. I quickly felt it necessary to present this piece anew. In 2006, thanks to an active competition by the Consortium Art Center and the association “Cumulus” in Dijon (organizers of the contemporary music festival “Why Note”), it was possible to do a version among the old industrial buildings of “L'Usine”. Large plaster partitions were already in place and formed an ideal group of surfaces for the installation of loudspeakers. Resounding in these grand rooms, “Omnht” seemed to shake the entire building, thus creating a sonic architecture of time and space… A vast edifice of vibrations, built like a mirror of frequencies in which were reflected our inner worlds. It was admirable to see how much this work had resisted time; the fascinated reception by the public left no doubt as to its poetic force. After this public presentation I set up a stereophonic synthesis of that installation in my studio, by combining the original sounds with those taken at “L'Usine”. I felt a lively need to hear those magnificent sounds again. I realized moreover that the sonorities of “Omnht” survived the reduction quite well, and I found once more with happiness the unique intensity of this spatial composition.
Some time later, Éliane offered me one of the 10 copies of “Vice-versa, etc.”: a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at Lara Vincy’s gallery in 1970, which contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forwards or backwards, as well as any combination of two channels, on several recorders, “ad libitum”… A present which touched me profoundly. I took up the game and rapidly made mixings following the indications to the letter, respecting the composition methods of Éliane Radigue. Need I say that to work with such lovely sounds was a real pleasure?
Then I decided to do the same with all her sound installation works: slices of time from those sonic environments dedicated to space and infinity. There are so few spaces devoted to Sound Art, so the occasions for presenting such work to the public are rare. It seems evident to me that if we waited for that to happen very few people would have access to that part of Éliane’s work. Fundamentally, these stereophonic syntheses should have been made and published a long time ago because this compilation offers a simple way into the home of this passionate time.
Therefore, I proposed that we listen to them together, because of course the idea should seem legitimate to her. Knowing her to be extremely critical towards her past work, and ready to renounce certain aspects of it, I confess to being a bit anxious as to her reaction. Neither did I know how she would react to my taking the initiative in making such syntheses. Contrary to my apprehensions we passed a marvelous day. Éliane had forgotten practically everything of the sonic textures she made then, and discovered evident links with the sounds she realized later on with the synthesizer.
In her compositional work Éliane Radigue developed her own characteristic “footprint”: an art of imperceptible transition from one kind of movement to another. It is very difficult to know at what moment things change, because they are continually changing without one’s really being aware of it… a little like a natural phenomenon in perpetual mutation. This is doubtless one of the magical constituents of her music and it engenders the loss of any temporal reference point. If you look over the whole from her first compositions to the most recent ones for acoustic instruments, passing through the imposing electronic period, it seems evident that this way of gentle transition is a characteristic of her entire work. Not only within the compositions but also from one composition to another. We do not confront a collection of isolated experiences but rather embark on a patient and minute exploration of a vast poetic territory.
At the end of the day it was clear to her, just as it had been for me, that these syntheses had to be complied and published. This certainly does not replace the necessity of in-situ presentations; all of the music of Éliane Radigue is destined to vibrate spatiously and this is all-the-more so for the installations. And in any case, this collection gives a good overview of the intense beauty of these “Propos Sonores” composed so long ago with such reduced means.
By her original approach, Éliane Radigue held herself, as she still does, outside the dogmas of her epoch and therefore had to sometimes face some lack of understanding. Intuition is however her force, and she has known how to continue until today composing in full independence of spirit; her aesthetic gives forth a body of work unique in its genre, honorably recognized and appreciated today.
We are among the many who see her as a pioneer capable of revealing a precious territory of sounds, one that she seems alone to occupy. To us to enjoy this publication of the first remarkable steps of a figure who holds the music of our time in her spell.
Emmanuel Holterbach
https://elianeradigue.bandcamp.com/album/feedback-works-1969-1970
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2022 |
€24.50 |
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| RADIOHEAD |
In Rainbows |
CD |
„Ihr bestes Album seit ‚OK Computer’“
.... so oder ähnlich war es der Presse zu entnehmen, als "In Rainbows" im Oktober 2007 digital veröffentlicht wurde. Die Presse war nicht nur ob der neuartigen Veröffentlichungswege der Band begeistert, sondern auch von der Qualität der Musik überzeugt. Der deutsche Rolling Stone kürte das Werk denn auch umgehend zum Album des Monats, und auch Spiegel Online vergab die selten gewordenen 10 Punkte.
Nun hat die Kultband um Mastermind Thom Yorke doch noch einen klassischen Plattenvertrag unterschrieben und erlaubt XL Recordings, CD und LP in den Handel zu bringen. Und beschert uns sicher die letzte Veröffentlichung in 2007 und den ersten Chartentry in 2008.
"Natürlich, Radiohead haben alles schon einmal gemacht, was auf "In Rainbows" so schön ist: der Kitsch, das Experiment, das Liebeslied, die Symphonie, die Elektronik, das Enigma, das Lärmende, das Zarte, das Ausladende, das Einladende. Aber besser macht es sonst niemand." Rolling Stone 11/07
|
2007 |
€16.00 |
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| |
The King of Limbs |
CD |
"Unbezwingbare Größe: achtes Studioalbum der englischen Alternative-Rock-Helden.
Sie gelten als stilprägendste britische Band der 90er-Jahre und haben sich mit Alben wie "The Bends" und "OK Computer" in jede 90er-Jahre-Best-of-Liste gespielt. Die Rede ist natürlich von Radiohead. Die 1986 in Oxford von Sänger Thom Yorke gegründete Band veröffentlicht mit "The King Of Limbs" ihr achtes Studioalbum. Die acht Stücke des Albums wurden erneut vom Erfolgsproduzenten und Quasi-Bandmitglied Nigel Godrich betreut, der bereits "OK Computer" produzierte. Die Internetplattform "Laut.de" urteilte: "Mit jedem Durchlauf wächst der tiefe Schatten, den Radiohead mit ihrer zeitdiagnostischen Qualität samt eigenbrötlerischen Veröffentlichungswillen auf die Musikindustrie geworfen haben, bis zur unbezwingbaren Größe heran." [label info / Indigo]
www.xlrecordings.com |
2011 |
€16.00 |
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| RAINEY, BHOB & RALF WEHOWSKY |
I don't think I can see you tonight |
CD |
Schon lange nicht mehr hat man RALF WEHOWSKY (aka RLW) so höchst verzückt abstrakt, sphärisch & dröhnminimalistisch erlebt. Seine Collab. mit BOB RAINEY lebt von sirrenden, flirrenden, kurz unbeschreiblichen Soundeffekten, die in eine Drone-Geäst gewebt werden, dass es eine reine Freude für den brachliegenden Geist ist. Mitunter werden field recordings und benutzte Instrumente erkennbar..
Daneben gibt es eine Fülle von auch sehr konkreten Geräuschen, Wendungen, cut-ups, etc.. hier kann man sich nicht einlullen lassen, diese 3 Kompositionen erfordern (& erzeugen?) höchste Bewusstheit und Konzentration!
"The Bhob Rainey/Ralf Wehowsky collaboration overcame many gruelling attempts, musical dead-ends and a five full years to realize its outcome and man, was it worth the wait! Both artists sit firmly in their unique and highly regarded (and earned) musical positions these days and are both truly fearless in attempting and pursuing new musical activities for themselves. Here are three powerful, often hair-raisingly intense pieces that allow no room for complacency on the part of the listener.... at all. Here is what Dan Warburton says in the newly posted February issue of Paris Transatlantic: 'Listen to how the title track emerges slowly from a shell into which fragments of recognizable noises are being sucked as backwards sound files, taking nearly seven minutes to reach the open air, where distant sounds of children at play, footsteps and tiny smears of saxophone multiphonics and all manner of sonic building blocks both recognizable and tantalizingly inscrutable are gradually brought together to construct the musical equivalent of a Gothic cathedral... from where I'm sitting this is one of the most important works of electronic music (or musique concrete, if you prefer) to appear this decade.'" [label info]
|
2006 |
€13.00 |
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| RAMESES III |
I could not love you more |
CD |
"Ein derart vom Rest der Welt abgekapseltes Album gab es lange nicht mehr. Wie ein endloser Fluss ziehen die Tracks ihre Kreise, lassen sich durch nichts stören und wollen niemandem irgendetwas beweisen. Alles hört auf den ganz eigenen Puls der Bandmitglieder Daniel Freeman, Spencer Grady und Stephen Lewis. Ob die der Hektik ihrer Heimat Croydon bewusst etwas entgegensetzen wollen, tut hier eigentlich nichts zur Sache. Perfekte Welt? Der perfekte Moment? Was auch immer hier mit den zurückhaltenden Ambient-Hymnen bespielt wird, wir müssen alle danach streben. Rameses III … das ist der Himmel auf Erden." [thaddi / de:bug]
"Das Londoner Trio entzückt mit Ambient und pastoralem Folk: Mit ihrem tiefgründigen und originellen Umgang mit Ambientmusik haben Rameses III bewiesen, dass aus Croydon mehr als Dubstep kommt. Daniel Freeman, Spencer Grady und Stephen Lewis haben bereits einige Veröffentlichungen für Labels wie Important Records, Digitalis und natürlich Type Records hinter sich, es ist aber das Album "I Could Not Love You More", mit dem sich das Trio in die Musikgeschichtsbücher einschreiben wird. Ein Album, das den Sound der Band zwischen treibendem Ambient und postoralem Folk neu positioniert. Man vernimmt Gitarrenechos von John Faheys legendärem Takoma-Label, aber auch Schatten früher 4AD-Produktionen, was etwa das schimmernde Hintergrunddröhnen anbelangt. Über allem schwebt der Geist Brian Enos, der erfolgreich zur Selbstbeherrschung mahnt. "I Could Not Love You More" hätte aber auch mit seinem elektrischen Klavier, dem Mellotron und den Gitarren Mitte des 20. Jahrhunderts entstehen können. Wer aber hätte gedacht, dass es 2009 aus dem übel beleumundeten Süd-London kommt?" [label info]
"..While even some of our favorite modern ambient music relies on layers and layers of digital processing, Rameses III maintains a
certain acoustic integrity by layering strictly live instruments. Electric guitars, electric pianos, and mellotrons produce a warm,
ethereal wash that brings an otherworldly depth to their sound, a depth that digital processing could never recreate.
Ghostly and melodic, mysterious and heavy, ambient and thoughtful, I Could Not Love You More is no doubt the trio’s finest
work and a perfect addition to the Type catalogue, highly recommended!" [Aquarius Records]
www.typerecords.com
|
2009 |
€16.00 |
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| RAPOON |
Time-loop Anomalies |
CD |
"Time-Loop Anomalies", the next Rapoon offering on Zoharum after "Disappeared Redux", contains more than an hour of eerie, ethereal music lingering on the borderlands of dreamworld and reality. Robin Storey, the man behind the moniker, delivers yet again a subtle woven masterpiece, both being a bold step into the new world and in the vein of his earlier projects continuing recurring themes in his artistic work.
Robin says:
"Time-loop Anomalies" is a collection of single tracks and 'starts' in the creative process drawn together and composed into a cohesive collection of pieces. Many times in the method of composing new works different directions and musical elements are created and then honed down into a direction which is built upon and re-enforced throughout the "narrative" of a album. "Time-loop Anomalies" is a collection of short stories put together and given a unifying theme which binds the various elements.
The pieces span a wide timescale, but, in the spirit of quantum mechanics, they are tossed together and create new and different perspectives through the workings of chance and composition. There are hundreds more "starts" that resurface and disappear as time goes by. These are some that made it to the final stage of the creative method and got to be published.
Sputnik remix is my own personal favourite as it is autobiographical, in the sense that I remember looking into the starry skies when I was very young and seeing the little pinprick of light travel through the heavens. It left a deep impression of loneliness and separation upon me ...bleak but beautiful..." [label info]
www.zoharum.com
|
2012 |
€12.00 |
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|
To West and Blue |
CD |
"Not a reissue, not a compilation, but something complete new. "To West and Blue" is 50th Rapoon album and 5th Rapoon release on Zoharum label. And this one will become a staple in our CD players for long time. 7 long, slowly evolving tracks appealing to your subconscious side. An album that is definitely not to everyone's tastes. This one gradually grows on you until you are captivated by its haunting beauty. But there is an underlying uneasiness in it. A sort of clash between reality and a ghost world or a world that is long-gone. With choral voices hidden beneath layers of treated sounds, "To West and Blue" is a stand-out album among Rapoon numerous releases.
Robin Storey talks about this album: These pieces are about the area grew up in in the UK. A peninsula of land which stuck out into the Solway Firth. Surrounded by the sea when the tide was in and surrounded by endless mudflats when the tide was out. When the water covered the ground the line between the sea and the sky was almost non-existent. A diaphanous boundary. The sea came in from the West where the huge skies hung without end in a vault of blue.
The 7 tracks presented on "To West and Blue" were mastered by Maciej Bartkowiak. The cover is based on photos by Robin Storey and the design was handled by Maciej Mehring. The whole production process was overseen by Michał Porwet.
The CD is housed in gatefold sleeve in the vein of Japanese-style vinyl replica and is strictly limited to 500 copies." [label info]
www.zoharum.com
|
2013 |
€13.00 |
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|
The Fires of the Borderlands |
do-CD |
"It's been 16 years since the release of Rapoon's masterpiece entitled "The Fires of the Borderlands".
This special edition is comprised of two discs. The first is the main album which is mastered from the original tapes, therefore, it sounds significantly better to the 1998 version. The bonus disc is a 40-minute live recording for the San Francisco-based radio KFJC which again proves that Robin Storey has mastered the ability to creating haunting sonic atmospheres.
This expanded edition of the album is packaged in a digipak sleeve and is limited to 500 copies worldwide." [label info]
www.zoharum.com
"In the wake of so many dreadfully digital concoctions of insipid ambient music from the mid to late '90s, a good Rapoon album was a breath of fresh air. The warmth of his analog processes, tape-loop and delay mechanics, and some good-old cassette grit thrown in for good measure was a gnostic beacon to the days of a post-industrial zeitgeist from a previous decade, or century, or millennium for that matter when it came to the best albums from Rapoon. Any sense of timeloss and historical displacement would be considered a victory for most artists; but for Robin Storey and his long-standing Rapoon project, that's been a common parlance from his work. The Fires Of The Borderlands may be Rapoon's best known album, as it was put out originally through the Relapse subsidiary Release back in 1998. It's long been out of print; and it also ranks as one of his better releases. Here, we've got the Polish 2cd reissue of that album, fleshed out with a remastering job from the original tapes and a bonus disc featuring an hour long performance on KFJC down in Silicon Valley.
The album is flush with slow-motion billowings, night-ocean tidal wash, and sibilant blurs, all crafted from Storey's refined use of tape-loops and delay pedals. There's nary a reference to anything infernal or hellish to the hypnogogic cascade of Rapoon despite the album's title. At times, Storey engorges his reverb-drenched loops into a galvanized thrum of drone portent equivalent to the bunker hermeticism of Maeror Tri. But as with most of Storey's work he transcends a gothic nihilism through his application of ghostly dub reflections that could harken to the echoes of some pneumatic lung wheezing in the corner or a derelict monk chanting to a long-forgotten deity. Beautiful stuff.
The live in the studio session is equally as good with Storey lining the wash with distant tribal rhythms and wooden flute gestures thrown in for good measure." [Aquarius Records]
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2014 |
€16.00 |
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Blue Days |
CD |
"After three well-received, new albums ("Time-loop Anomalies" [2012], "To West and Blue" [2013] and "Fall of Drums" [2014]) and a series of reissues and archive collections, Rapoon returns to Zoharum with a brand new album. "Blue Days" is completely different from those previous releases. While on those three albums long, slowly developing compositions dominated, here there are as many as fourteen of them with the longest being less than eight minutes long, and the two shortest only forty seconds long. This is a record of ideas, sketches. The album is dominated with conciseness; however, all the songs compose one bigger piece. They show that Robin Storey is constantly looking for new artistic paths." [label info]
www.zoharum.com
" „Blue Days“ ist eines von ganzen vier neuen Alben, die 2015 von RAPOON veröffentlicht wurden, sodass den Hörer angesichts der Masse des jährlich neuen Materials doch zusehends Bedenken beschleichen könnten, ob man dem allem noch in Gänze folgen soll.
Will man das Album atmosphärisch einordnen, so kommen einem aufgrund der an die dunkle, melancholische Winterzeit gemahnenden Titel wie „Winters Chime Deep“, „On Frozen Air“ oder „Long Time Ago Now“ Gedanken an eben diese. Die Kälte und Tristesse dieser Zeit, auch als Spiegelbild der eigenen Gemütsverfassung, werden dann auch nicht mit luftigen Ethno-Rhythmen und exotischen Gesängen musikalisch ausgekleidet, sondern es dominieren, raue, kantige, auch mal etwas unrund erscheinende Loops, dunkle Chöre und glatte, frostige Synthesizerpads. Natürlich tauchen auch hier und da Samples von exotischen Instrumenten und ethnisch angehauchte Rhythmen auf („In Black“, „With Dance Of Trees“, „Black Shadows“), die das Ganze klanglich etwas auflockern – aber leider auch teilweise eher unpassend zum Rest wirken und die Stimmung brechen. Neben der Instrumentierung bringt sich ROBIN STOREY allerdings auch stimmlich mehr ein als sonst schon einmal. Hier und da wird die Musik mit seinem Raunen unterlegt bzw. beim absolut gelungenen Titelstück „Blue Days“ kann man fast schon von Gesang sprechen, wobei die Tracks mit dem raunenden Sprechgesang wie „Long Time Ago Now“ auch ansonsten positiv auffallen. Angenehm ist außerdem, dass die Stücke maximal 7-8 Minuten lang sind – oft auch kürzer – sodass ein dynamischer Eindruck des Albums verbleibt.
Dem guten Eindruck wirkt lediglich das doch unterkomplexe bis allzu simple Klangkonstrukt „On Frozen Air“ das unglücklicherweise auch noch direkt an zweiter Stelle nach dem Intro platziert ist, entgegen. Davon sollte man sich allerdings nicht abschrecken lassen, auch wenn natürlich nicht alle Tracks durchgehend zünden bzw. manchmal etwas unfertig im Raum stehen („With Dance Of Trees“, „Black Shadows“). Am Ende ist „Blue Days“ ein solides, aus meiner Sicht eher leicht zugängliches, klanglich nicht zu minimales RAPOON-Album geworden, dem es hier und da allerdings an atmosphärischer Geschlossenheit fehlt und an der Person, die schwache Stücke oder sinnfreie Fragmente auch einfach einmal aussortiert. Das scheint gerade im Ambient- und Electronica-Sektor aber manchmal schwer zu sein, wie mir scheint."
[Tony F. für nonpop.de] |
2016 |
€13.00 |
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|
Downgliding |
CD |
"This is the third release on our Carpe Sonum Novum sublabel.
released September 28, 2015
These recordings began with playing Xpand 2, the software instrument included in Pro Tools.
I was listening to the electric piano instruments and tried out a few different settings until I got the sound that became the inspirational building block for these compositions.
A kind of sonar ping.
Lost, lonesome.
A sound resonant with searching and finding.
A hopeful enquiry sent into the depths awaiting reply.
I was reminded of listening to Pink Floyd's Meddle when I was a youngster and the emotional impact sounds and music had when i was just a listener.
Just listening is an important part of composition. Karlheinz Stockhausen said as much.
So did the guys in Can.
Just listening is sometimes the hardest thing you can do.
Just listening is sometimes the most important and rewarding thing you can do.
In these recordings I tried to just listen.
The sea ebbed and flowed." [label info]
www.carpesonum.com
|
2015 |
€14.00 |
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|
Un Flic |
CD |
Cigarette smoke curled into the air which was filled with the sound of many typewriters, all clattering away, yet the sheets of paper remained blank. Everything was black and white and every shade of grey in between. The men and women wore pristine white shirts and black trousers. The ceilings were low and opressive. The cigarette smoke hung in the metal rafters. These was the offices of the Existential Police force. The sign, which curved in an arch above the exterior entrance, read “We Know you Did It” Officer Delane Trelawney looked down at her next interrogation sheet. She was tired. It was almost the end of her shift. The space which was labeled “suspects name“ read Elizaveta Ektimova. The space which was labeled :”reason for interview” read Dissident. Officer Trelawney sighed and looked across the desk at the figure sitting in the upright chair opposite her. The figure was that of a thin young woman with very black hair and very pale skin. Her eyes were set far apart and deep.They were almost black. Officer Delaney spoke: “Give me the answers....................Give me the answers” a long pause... “You know why you are here...............give me the answers” The young woman leaned forward slightly and when she spoke it was as if from very far away. Her voice sounded like a badly tuned radio, her words modulated on a carrier wave which came from another place, perhaps even another time,. “there are no answers”..... “we live in the dark”........ “we live in a dream”........ The words sent a chill through officer Delaney and a thought rose from deep within her ,like a bubble rising up from the depths of a dark lake. It rose and rose until it burst on the surface and for a moment Delane Trelawney saw above her a beautiful blue sky with pure white cotton wool clouds floating in it. Along the shore of the lake arose green hills and behind them mountains towered up into the vault of blue. Topped with snow they were pink in the afternoon sun. Delane Trelawney gasped at the beauty and just before she began to sink again into the inky depths she said “I remember “............ “I remember ”............. “tell Charlene”........ ” tell Charlene”......" Robin Storey, 2017 Brand new album by the legendary Rapoon. Robin Storey, co-founder of Zoviet France and a very prolific solo artist since his departure, is combining his love for krautrock with his love for French film. An hommage to the Nouveau Vague cinema with a soundtrack that for the first time incorporates real drums! Another radical change for Rapoon. Always evolving, always progressing.
|
2017 |
€14.50 |
|
| |
Skulls on the Plains of Turkey |
CD |
On the latest album, Robin Storey once again invites us to a musical journey closer to the exotic world of the Orient, sparkling with many delicately woven miniatures, based on fragments of melodies, heard as if in the deep sleep phase, when sounds and images reaching us from a distance gently fill the space, giving the impression of an integral part of it. Out of nine tracks filled with tribal rhythms, vocals and a wide palette of colors, an extremely coherent, slightly pulsating ambient emerges in the spirit of the best Rapoon albums. "Skulls On The Plains of Turkey" is also a kind of musical story, inspired by one of those moments when the surrounding space and seemingly ordinary events make us reflect deeper, and which the musician remembers more or less like this: Sitting at a table in front of a bar by the sea in Chania, watching the crashing waves and enjoying the beauty of this place, I watched a ball of white light moving from behind the eastern headland and disappearing behind the west. She was moving at speeds impossible for a boat or plane.
I looked around to see if anyone else noticed ... but everyone was just staring at the glass screens of their phones.
In Terminator 2, young John Connor asks the terminator "we're not gonna do this, are we?" I mean people.
All this can be read somewhere in the small phrases and compositional structures on which this meditative, slightly reflective concept was based.
Album available on CD and in digital version.
https://zoharum.bandcamp.com/album/skulls-on-the-plains-of-turkey
|
2022 |
€13.00 |
|
| RAPOON / RELAPXYCH.0 |
Amplified Transparency Reflection / Lost Terrain |
LP |
"Auf „amplified transparency reflection", der dronig-ambienten white label seite der rapoon / relapxych.0 lp auf dröhnhaus sind sie da. diese ausgefransten, oszillierenden ränder die der ruhe des kerns trotzen. und wie kleine fische immerzu um den rand des großen dunklen kerns huschen. und eine ruhige unruhe einbringen, die von der erfahrbarkeit des zentrums ablenkt. wie ein wispern, das da ist, aber nicht zu verstehen. und genau deshalb alle aufmerksamkeit auf sich zieht. mit dem unterschied, dass die wispernden flächen der „amplified transparency reflection" ihr geheimnis auch dann nicht preisgeben wollen, wenn sie verschiedentlich an kraft gewinnen. noch mit den rändern beschäftigt müssen die ohren stattdessen irritiert feststellen, dass auch dieser vermeintlich ruhige kern weder das eine noch ein homogener monolith ist: einzelnes pulsen, wie ein hervorplatzen, an- und abschwellende präsenz, alles oft unter dem deckmantel des wisperns; abgelenkt durch die ränder. und plötzlich verlässt die dunkle kugel ihren standort, besetzt harmonisch andere bahnen, fällt wieder zurück, eine ½ sekunde perkussion, wie vom himmel gefallen. und aus.
auf der black label seite dann zwei exkursionen ins „lost terrain": aufschiefernde klaviertöne mit gehaltenem pedal, sich selbst zerschleifend. dazu botschaften jenseits von verständnis, der collagenhafte bruch und sturz in den sumpf einer wirbelnden fläche (+, entschuldigung, muss aber sein, so eine irgendwie klf / „chill out" referenz)und zack, das (wann?) verlorene terrain zurückgeholt. schnellst beendet, um platz zu machen für den zwilling (als „spatialXpansion remix): schräger, verstimmter, tiefer im spiegelkabinett. ausserweltlicher, unwirklicher; der zwilling, der sich zurückhält, nur um bei genauerer betrachtung noch viel mehr tiefe zu haben als der, der immer zuerst spricht. aber eben auch eine mit den gefährlichen stellen, den untiefen, den abgründen.
individualbearbeitungscover, farbinlays, 200 stck. perfekt." [N, Unruhr.de]
"...eine 3 Track LP , die Gestaltung der Cover wurde von behinderten Kindern übernommen und alles im Allen dient einem Caritativen Zweck , auf 200 Stück limitiert , jedes Cover ein Unikat." [label info]
www.psych-kg.de
|
2009 |
€20.00 |
|
| |
Amplified Transparency Reflection / Lost Terrain (standard ed.) |
LP |
"Auf „amplified transparency reflection", der dronig-ambienten white label seite der rapoon / relapxych.0 lp auf dröhnhaus sind sie da. diese ausgefransten, oszillierenden ränder die der ruhe des kerns trotzen. und wie kleine fische immerzu um den rand des großen dunklen kerns huschen. und eine ruhige unruhe einbringen, die von der erfahrbarkeit des zentrums ablenkt. wie ein wispern, das da ist, aber nicht zu verstehen. und genau deshalb alle aufmerksamkeit auf sich zieht. mit dem unterschied, dass die wispernden flächen der „amplified transparency reflection" ihr geheimnis auch dann nicht preisgeben wollen, wenn sie verschiedentlich an kraft gewinnen. noch mit den rändern beschäftigt müssen die ohren stattdessen irritiert feststellen, dass auch dieser vermeintlich ruhige kern weder das eine noch ein homogener monolith ist: einzelnes pulsen, wie ein hervorplatzen, an- und abschwellende präsenz, alles oft unter dem deckmantel des wisperns; abgelenkt durch die ränder. und plötzlich verlässt die dunkle kugel ihren standort, besetzt harmonisch andere bahnen, fällt wieder zurück, eine ½ sekunde perkussion, wie vom himmel gefallen. und aus.
auf der black label seite dann zwei exkursionen ins „lost terrain": aufschiefernde klaviertöne mit gehaltenem pedal, sich selbst zerschleifend. dazu botschaften jenseits von verständnis, der collagenhafte bruch und sturz in den sumpf einer wirbelnden fläche (+, entschuldigung, muss aber sein, so eine irgendwie klf / „chill out" referenz)und zack, das (wann?) verlorene terrain zurückgeholt. schnellst beendet, um platz zu machen für den zwilling (als „spatialXpansion remix): schräger, verstimmter, tiefer im spiegelkabinett. ausserweltlicher, unwirklicher; der zwilling, der sich zurückhält, nur um bei genauerer betrachtung noch viel mehr tiefe zu haben als der, der immer zuerst spricht. aber eben auch eine mit den gefährlichen stellen, den untiefen, den abgründen." [N, Unruhr.de]
www.droehnhaus.de
|
2009 |
€10.00 |
|
| RATKJE, MAJA S. |
Sult |
LP |
Composed, performed, mixed and produced by Maja S. K. Ratkje Based upon Ratkje's music created for the ballet "Sult" ("Hunger") by profiled director Jo Stromgren for the Norwegian National Ballet, this is a departure from records and live settings normally associated with Maja S. K. Ratkje, as we find her placed behind a modified, wiggly and out of tune pump organ, singing songs and improvising. Metal tubes, PVC tubes and a wind machine were built into the organ; guitar strings, a bass string, a resin thread, metal and glass percussion and a bow are also utilized. With little or no previous experience, she had to learn to play the thing live, using both hands and feet at the same time as singing. Maja played live on stage during every performance, but later modified and recorded the music especially for this record, with Frode Haltli co-producing. It's a freestanding document, an entity of its own, but the atmosphere is very much the same as in the play: the dusty city of Kristiania in the 19th century, the street noises and the sounds.
|
2019 |
€25.00 |
|
| |
Mara |
pic-LP |
"Maja S. K. Ratkje is at the forefront of the musical avant-garde. Her music is bold, original and it is meant for sharing. At its heart lies Ratkje's own voice, an open door to her individual musicianship and a constant tool for realigning her work with natural expressions and human truths. On Mara, layers of vocals overlap and layer their way through the reverberant woodwork of an early baroque parish in Austria. At times slow and beautiful, other times frantic and sinister, this live recording is full of depth, passion and life. Live-recording at Pfarrkirche, Lockenhaus at Kammermusikfest Lockenhaus July 9, 2018. Recorded and mixed by Peter Laenger and Andreas Ruge from Tritonus Musikproduktion. Mastered by Maja S. K. Ratkje at Svartskog 2019. All music created and performed in real-time by Maja S. K. Ratkje, except sung parts from the Norwegian traditional Hanen sten på stabburshella and the American traditional Mining for Gold. Maja is using voice processing software created by Øyvind Brandtsegg. Picture disc; edition of 300."
https://importantrecords.com/products/maja-ratkje-mara-picture-disc-lp-pre-order
|
2020 |
€25.00 |
|
| RATS WITH WINGS |
Aide-Memoire |
do-LP |
A collection of material taken from diverse CDR-releases from this die-hard experimentalism project from Australia. Always disturbing, always challenging, always low-fi & mysterious, always unsettling, strange & alien in an almost absurd way. You could compare it to MLEHST or LICHT-UNG maybe, speaking of the approach....electronic micro & macrosounds, crackles, hums, squakings, sounds from objects, field recordings, drones... do not try to understand or analyse this, just let it in. This is one of the not-understandable records that will be searched for in maybe 20 years. Or maybe not. We think its great stuff ! Import from Australia in a tiny edition, handmade cover with broken CD on it.
"double LP of material taken from CD-R releases: The Fish Rots From The Head (unreleased), Southern Oscillation Index (HoLR) CDR-RWW (MIR), Ratified Loopholes (AEN), Ashtray Cabbage (Fiend), Get And Put (Deadline), Out Vile Jelly! (Gold Soundz), Night Science and Underground Australia compilations (Cipher Productions). [package has a damaged CD glued to the cover]" [label info]
|
2006 |
€20.00 |
|
| RATSIMANDRESY, NADIA / MATTEO RAMON AREVALOS |
Messiaen et autour de Messiaen for Onde Martenot and Piano |
CD |
"A signature collection of exquisite works for onde Martenot and piano by Olivier Messiaen, N'Guyen Thien Dao, Jacques Charpentier and Tristan Murail, exploring the many voices of this extraordinary instrument. The onde (or ondes musicales or le Martenot) was first demonstrated at the Paris Conservatoire in 1928 and immediately attracted the attention of Varese, Milhaud, Koechlin, Jolivet, Honegger and Messiaen, who all wrote for it - cumulatively ensuring its survival. Seven years younger than the theremin, the onde is a far more sophisticated, complex and versatile instrument, not least because of the combination it offers of pitched and glissando tones, and the wide range of filters and different resonating media through which it can sound: loudspeakers, gongs, sympathetic resonating strings and reverberant enclosures. The compositions here exploit every unearthly aspect of the instrument and are beautifully performed: a remarkable and exquisite collection." [label info]
www.rermegacorp.com
|
2009 |
€14.00 |
|
| RAWLINGS / STELZER / TALBOT // GRIVAS / ZIOUTOS / MALEVITSIS |
live documents |
CD-R |
Experimentelles Trio mit dem Intransitive Records – Betreiber, diffizile Knirsch-, Knack- und Kratz-symphonien, die zeigen wie unglaublich experimentell-elektronisch-akustisches Sounddesign heute klingen kann !
"This boston trio uses turntables, tapes, cello and electronics to squeak and scratch out bizarre soundscapes. – also highly recommended." [label description]
|
2002 |
€8.00 |
|
| RECCHION, TOM |
Oaxaca Dawn |
pic-LP |
"Elevator Bath's ongoing series of picture disc LPs (each record being adorned with full-color artwork by the recording artist) continues with Tom Recchion's lovely Oaxaca Dawn | Bamboo. Originally slated for release nearly ten years ago, this pair of humble field recordings is now finally available.
Oaxaca Dawn and Bamboo are two raw, unadulterated, and unpretentious snapshots of specific moments in time and space: the early morning cracking of dawn in Oaxaca, Mexico and a windy afternoon in a Hana bamboo forest on Maui, Hawaii. Individually these audio documents are gorgeously simple, matter-of-fact presentations of travels. Together they are a recollection of their natural beauty, impossible to adequately render by any other means.
"I was struck by the cacophony of sounds at the dawn of light in the 'suburb' of Oaxaca where I was staying. It woke me everyday of my week long stay. It was like a barnyard turned up to 11. I brought a DAT machine and two Audio Technica microphones for the purpose of making field recordings on the trip. I woke up before the sun came up and set up the equipment in the dark. The first sound on the record is the moment the sun came over the horizon.
The bamboo forests on Maui were seared into my memory from my first time in Hawaii. On my second trip, armed with a first edition Edirol digital recorder, I hung out in the forest for a couple of hours to make the recordings. I noticed 3 distinct sounds (though there are more). The wood block clunking of the stocks, the squeaking of the thin branches flicking and slipping off neighboring plants and the white noise rustling of the leaves on top of the giant clusters."
This beautiful LP features site-specific recordings and photographs by Tom Recchion, a sound and visual artist/composer/potter/art director and graphic designer. He is the co-founder of the legendary Los Angeles Free Music Society (LAFMS) and has been an active, integral participant in the arts for more than forty years. Recchion lives in Pasadena, California.
This picture disc LP has been released in an edition of 250 copies. Every copy purchased directly from Elevator Bath will include a download code for high quality files of the entire audio content of this LP."
www.elevatorbath.com
|
2016 |
€20.00 |
|
| REDOLFI, MICHEL |
Desert Tracks |
LP |
"In 1987, Michel Redolfi hit the California Desert road during the Fall, to catch those hypothetical poly-sensorial desert tones. He visited the Mojave Desert, Death Valley, Palm Canyon and came back with an extraordinary album of early electronic music, sparse and bright to express the crude light and the divine silences.
Released in our Early Electronic series
Michel Redolfi (Marseille 1951):
In 1969, with the co-foundation of the GMEM, Groupe de Musique Expérimentale de Marseille, Michel Redolfi pursued his passion for electro-acoustic music at an early age. During the 80s and 90s he composed collaborative works with
Luc Ferrari, Bernard Parmegiani, Pierre Henry and Jean-Claude Risset. Resident of the United States from 1973 to 1984, he carried out his
research with several new music centers, including the CME at the University of California in San Diego and California Institute of the Arts. Also during this period he developed several collaborations with American
composers. The natural elements highlighted by technology are a constant in Redolfi's catalogue: many electroacoustic pieces stylize and orchestrate sound matter, recorded in remote locations (Pacific Tubular Waves, Desert Tracks, Jungle).
He currently heads a major studio in sound design, Audionaute, based in Nice, France.
tracklisting CD
1 opening 5'49
2 mojave desert 7'11
3 death valley 11'26
4 palm canyon 10'20
5 too much sky / 10'00 extra track CD only
tracklisting LP
side 1
1 opening 5'49
2 mojave desert 7'11
side 2
1 death valley 11'26
2 palm canyon 10'20
............................................................................................................................................
MICHEL REDOLFI
Desert Tracks
ref
SRV418 LP
ref
SR418 CD
file under
Michel Redolfi
GRM
Early Electronic Music
stock date OCTOBER 12 2016
www.subrosa.net
|
2016 |
€16.00 |
|
| REFORMED FACTION |
I am the Source of Light, I am not a Mirror |
3 x CD-box |
Das dritte Werk der ehemaligen 2/3 von ZOVIET FRANCE, die sich nicht mehr "REFORMED FACTION OF Z.F." nennen dürfen und nun kurzerhand als "REFORMED FACTION" weitermachen. SOLEILMOON hat sich wieder eine besondere Artwork / Verpackung ausgedacht: Eine schmucke Alu-dose mit Prägung, darin drei CDs, ein Button mit dem ans RAF-Logo angelehnten R.F.-Zeichen, ein Klamottensticker, Farbbooklet, und eine golden bedruckte Inlaykarte.
Auf den 3 CDs sind ganze 52 (!) Stücke verteilt, das wirkt manchmal wie ein hochkreatives, experimentelles Potpourri, eine Wundertüte aus Ideen, Fragmenten & Skizzen und ist wohl (wie auch früher bei ZOVIET FRANCE) in langen Sessions entstanden. Neben gesampelten Material jedweden Ursprungs & Synths kommen vielerlei Instrumente, auch Drums, Bass & Gitarre zum Einsatz, oft wird es rhythmisch oder loopig (manchmal tribal, dann wieder eher Electronica-lastig), orientale Anwandlungen (Sitar) sind vorhanden, die Fülle von Stilen & Genren, die hier berührt werden ist schlicht überwältigend, irgendwo im multidimensionalen Musikraum zwischen RAPOON, ZOVIET FRANCE und den chaotisch-rhythmischen Sachen von DOWNLOAD oder BEEHATCH. Wow.
"Reformed Faction are Robin Storey and Mark Spybey. Their new release “I Am The Source of Light, I Am Not a Mirror” follows their 2007 Soleilmoon release “The War Against”, and is their third album. Their debut release “Vota” was released in 2005 by Austrian label Klanggalerie. The band has played live in both North America and Europe. Reformed Faction did not set out to record a triple album, but that is exactly what they have done. Reformed Faction do not talk about making music. They make music. They assemble and record and use improvised material to stimulate the development of composed pieces. The music was assembled in the same way that the CD package was: through active collaboration. “What folks probably don’t realize is that we have always embraced technology. We use technology, we aren’t governed by it. We have to learn how to use equipment in our own way, which means that instruction manuals are never referred to. We make music. We try not to theorise, and we avoid interpretation or analysis of our music like the plague.” This is an homage of sorts, to the last 40 years of music making. Robin began as a guitarist, Mark as a drummer. Throughout their careers they have neither deliberately nor consciously eschewed the use of conventional instruments or traditional compositional techniques. They do not regard themselves as an “experimental” band, preferring to leave the laboratory safe in the hands of physicists and technicians. A long time ago :zoviet-france: declared that they could, if they wished, create the perfect pop record or the archetypal country record. Both Mark and Robin were profoundly influenced by the music of rock bands in the seventies while boldly assimilating ideas from world music in the belief that all musical sources exist to be appropriated. In the same way, over the years, they have embraced technology. This is “anti-restictivist” music. “We realized a long time ago that as soon as we left :zoviet-france: our cover was blown. We could no longer hide under the false mantle of anonymity.” For Reformed Faction, each album is an attempt to develop ideas. The three CDs that comprise “I Am the Source of Light, I am Not a Mirror” are collages, each intended to be listened to in their entirety. The contributions of various friends have been assimilated into the recordings. The East German band Scatology and the American band Not Breathing both contributed to the process. Tommy Grenas of the Los Angeles band Anubian Lights, who Mark met through Damo Suzuki, came to stay with the band and also joined in the recording sessions. The recordings took on a life of their own. Picture the backdrop: the rainy landscape of northern England, the collection of classic seventies albums from the likes of Faust and Can, and the band’s preoccupation with the cultural and political legacy left by the dissolution of the eastern block countries. Reformed Faction spent time in the city of Dresden, where they met the artist Ira Tannheuser, who supplied the images used in the booklet accompanying the CD. The finishing touches were generated by Shaya, an enterprising Afghan trader and fan of Reformed Faction who trekked through the fabled Thar desert in the Sind province of southern Pakistan, and there discovered a long-forgotten depository of hand made metal boxes that had been manufactured 30 years ago in the town of Mithi. They were initially made for storing detonators but had never been used. Shaya had them embossed with the Reformed Faction logo by a local metal worker and then shipped them half-way around the world to Soleilmoon and told us to do something with them. The boxes are still partially encrusted with the sand of the Thar desert. “I Am The Source of Light, I Am Not a Mirror” is released in two configurations. Both come with three CDs in screen printed slipcases, a 12 page full-color booklet featuring the work of East German artist Ira Tannheuser, a screen printed insert describing the edition, a metal badge and a sew-on cloth patch.The first edition is limited to 100 copies and is available exclusively via Soleilmoon’s mailorder service. Besides the aforementioned goodies it includes a 3 inch CDR with an unreleased track presented in a hand numbered screen printed slipcase. The box is made entirely of sand-cast aluminum, and features the Reformed Faction logo on the lid. The second edition, which comes with everything included in the first edition except for the 3 inch CDR, is limited to 300 copies and is presented in a box made from sand-cast aluminum sides attached to a sheet metal top and base. The lid is embossed with the Reformed Faction logo. We are Reformed Fraktion. We are from the North of England. We travel. With open eyes." [label info]
www.soleilmoon.com
|
2009 |
€44.00 |
|
| REICH, STEVE |
Four Organs / Phase Patterns |
LP |
"This classic minimal music album is now available again on vinyl for the first time since the 70s.
In recent decades Steve Reich's music has been presented internationally at major venues, performed by high-profile musicians including the Kronos Quartet, guitarist Pat Metheny, and the San Francisco Symphony Orchestra. But in 1970, when the music on this LP was recorded, Reich's audiences gathered in museums and art galleries to hear his work interpreted by the composer himself and a group of friends.
"I am interested in perceptible processes" Reich had written in 1968. "I want to be able to hear the processes happening throughout the sounding music.' Four Organs is a radical realisation of this goal. Against the steady rattle of maracas, individual tones within a single chord are gradually lengthened. No changes of pitch or timbre occur, and the drawn out nature of the process provoked outrage at some early performances, when audiences found themselves caught up in a decelerating loop, being dragged towards stasis. Phase Patterns, composed a month later, relies on a phasing technique developed during Reich's earlier experiments with magnetic tape recordings, which he allowed to drift out of sync. Identical figures initially in unison shift out of phase, generating unexpected patterns.
When these pieces first appeared, on the adventurous French record label Shandar, they were regarded as defining works within a musical movement that had developed during the late 1960s. Reich was seen as a pioneer of minimalism, along with La Monte Young, Terry Riley and Philip Glass, whose music also featured in the Shandar catalogue. With hindsight the term is inadequate and inappropriate when applied to much of Reich's subsequent oeuvre, which includes rich and varied works such as The Desert Music for voices and orchestra, Tehillim - a setting of Psalms, and his multimedia opera The Cave. But these two works from 1970 are purely minimalist, in a way that the visual artists and sculptors who formed Reich's early audiences would have recognised.
These pieces may have clear affinity with conceptual art as well as the minimalist aesthetic, but Reich's allegiance is to making music rather than sound art or acoustic research. Characteristically, after creating Four Organs Reich looked for antecedents in musical history, and found them in the medieval organa of Léonin and Pérotin. His subsequent work has found acceptance and a substantial following within the established institutions of composed music. He has become a major composer.
In the same year that these Four Organs and Phase Patterns were written Reich travelled to Ghana to study with a master drummer. On his return to New York he started work on Drumming, an hour-long distillation of his interest in African and Balinese music and their polyrhythmic processes. It forms an impressive culmination to his use of phasing technique and is widely acknowledged as a minimalist masterpiece. But if it is the radical edge of uncompromising hardcore minimalism that you are after, this reissue of Four Organs and Phase Patterns delivers two key examples.
"Obviously music should put all within listening range into a state of ecstasy" Steve Reich in 1969." [label info]
www.aguirrecords.com
"Two of our favorite pieces of all time from minimalist composer Reich, available again! Both pieces were recorded in 1970, one at the Guggenheim in NY and the other at the University Museum in Berkeley. This is electric organ overdrive! Four Organs not surprisingly is a piece played on four electric organs (with Reich playing one as well as his good friend Philip Glass...), while beneath the organs is the repetitious shaking of maracas. The short pulsations of the organ gradually stretch out, lasting longer and longer, creating a totally dynamic tension that evokes standing in a massive and grand church that's empty except for the mesmerizing sounds of the organs lulling you into some sort of a trance. Phase Patterns manages to increase the tension with the four players using identical organs and playing to a precise strategy that Reich has calculated. These pieces predate and predict so much of the minimalist electronic and experimental music to come over the next three decades." [Aquarius Rec.]
|
2016 |
€22.50 |
|
| REIDER, C. |
Some things I did when I lost my mind |
CD-R |
Der Titel ist durchaus ernstzunehmen: Ein sehr authentisches experimentell-atmosphärisches Album von C. REIDER aus Colorado, aufgenommen in einer depressiv-psychotischen Phase, wo sich die Wahrnehmung seiner Aussenwelt radikal veränderte... aus dieser Zeit stammen die hier dokumentierten Aufnahmen aus knarzigen Drones, fremdartigen Stimmensamples, ständig steigen störende Sound-Effekte an die Oberfläche, eine fremd-organische Bedrohung ist direkt spürbar in dieser Musik... ein surrealistisch-klaustrophobischer Trip !
“Towards the beginning of the year 2001 I was suffering in the depths of the longest, worst depression of my life. This depression had become indescribably severe, my life had completely crumbled. Things got so bad that what I'd now call 'reality' began to kinda slip. Severe depression with psychotic features, I guess you'd call it.
All that I clearly remember from that time is that I spent most of my time weeping fitfully. I was generally still aware of what was going on around me, I went to work, came home and ate and stuff... like normal, but things were not normal. Truthfully, I don't directly remember much of what happened or much of the effect of the sickness. In fact, with every passing day, some part of me tries to convince myself a little more that it didn't really happen, that I made the whole thing up for attention. maybe that's true.
I remember the psychotic effects secondarily, from the writings about it that I did at the time. I could not discern color. People were very difficult to make out with any of my senses, their shapes were blurry and garbled, into what I described in my writing as squiggly, echoing lines. My interpretation of speech was messed up as well. I was able to understand most of what was said to me, but the nature of the sound was different... I described the sound of speech in writing of the time as "murmers, buzzes and crackles."
I almost describe this here as though it were a "cool trip," but there was nothing fun about this experience. It was THE WORST time of my life. I cut myself a lot. I thought about driving into frozen-over Lake Estes -- I thought about that a lot.
I'm better now, I promise, I'm better.
For whatever reason, I decided then to spend my lonely evenings putting sounds together, I guess I fell back on something that had always given my pleasure as a kind of therapy... because conventional therapy had gotten me nowhere.
At the time, a romantic idea had occurred to me of making a whole cd of very plain, stripped-down drones, so I started making drones through my various methods.
In one of my famous digressions (I digress a lot), I also became very involved in making electronic buzzes and crackles, and so I ended up making a very strange sounding, noisy, yet ambient set of recordings.
It was probably the only good thing that happened to me while I was sick. I am proud of it, and a little afraid of it. Sometimes it makes me cry. These recordings represent what I thought sounded right while I was waiting out the bio-chemical storm. They are queezy, non-melodic drone-loops with glitching electronic buzzes, murmers and crackles at the foreground. very zoned-out, yet difficult experimental, electronic-abstract sound works intersecting noise and ambient. Unsettling atmospheres, surreal electronic crackle, flitting shadows of voices. A difficult suite of music from a disturbed state of mind." [C.Reider]
“A new collection of instrumental and experimental soundscrapes (yes, you read that correctly) from this Colorado-based writer/musician. 'Some Things I Did...' begins on a relatively harsh note and continues much in that fashion, carving out it's own language of dense, claustrophobic electronic passages and deeply mysterious textures. Distant rhythms and playful, almost innocent patterns emerge from the seeming chaos, only to be swallowed up by larger, more sinister demons (the kind that inhabit the farthest reaches of consciousness). This is the soundtrack to a perfectly surreal nightmare, where nothing is as it seems and walls evaporate into viscous plumes of toxic fumes. reider's ever-evolving walls of post-industrial sounds are abstracted and fogged, yet they never get tedious or monotonous. He has a keen ear for creating cinematic moods and hallucinogenic collisions of sound. Fine work here.“[Godsend-online]
|
2002 |
€8.00 |
|
| RENOU, CHRISTIAN |
Ex-Voto |
CD |
In den Liner-Notes zu EX-VOTO erklärt CHRISTIAN RENOU das Scheitern seines Anspruchs, mit Beendigung von BRUME alle narrativen & lyrischen Elemente hinter sich zu lassen und die reine "Struktur von Klang als Molekular-Zustand" zu erforschen (seitdem benutzt er Computer zur Sounderzeugung & Aufnahme). Alles Nachdenken und Philosophieren über Musik half ihm nicht, den "wahren" Kern zu finden, denn "Mikro"- und "Makro"-Struktur sind letztlich ein und dasselbe, selbst die abstrakteste Form von Klang erzeugt Narration sobald sie ertönt. Diese frustrierende Erkenntnis führt aber zu einer neuen Freiheit in der Komposition, letztlich ist all seine Musik einfach "Seelen-Musik" und nichts anderes.
Auf EX-VOTO geht RENOU neue Wege und benutzt geräuschhafte Feldaufnahmen aus einer Kirche (dort gespielte Violinenklänge & Gesang). Es gibt wunderbare melodische Parts und elektro-akustische Noise-Elemente, Wasser- und Strömungsklänge, irgendwo taucht pathetischer Frauengesang auf, Verfremdung und Re-Kontextualisierung setzt RENOU wieder in sagenhafter Art und Weise ein. So viele verschiedene Ebenen & Stimmungen hier sind zu erfahren , kurz: EX-VOTO ist ein beeindruckendes Werk mit mehreren Bedeutungs- & Erfahrungsebenen, für mehrmaliges Hören wie geschaffen..
Wie auch für viele der BRUME-Alben gilt: unsere wärmste Empfehlung !
"Ex-Voto - a votive offering to a saint or divinity. ‘I see words’. With ‘ex-voto’, Christian Renou has forsaken his analogue machines to encourage a fresh approach via digital technology. As Renou states in his liner notes – he cannot escape narrative structures in his music – his sounds are so evocative of soundtracks without an actual film – encouraging the listener to conjure their own accompanying images.
Yes, it is incredibly melodic, hauntingly so, though at times this is broken by shards of noise and implacable clicks. Midway through ‘ex-voto’, alien beats provide a base for further evocative outpourings of human vs. machine visions. The introduction of strings brings an elegiac quality to the composition. Renou, when creating this narrative, did not deny the ghosts of history in the name of progress…
The disintegration and contamination of a guitar motif appears alongside chopped rhythms and often indistinguishable words. These distant, half-remembered voices babble incoherent noise which battle against the sweet, sweet cracked melodies which pitter-patter and dance around your head. An underlying, delicate metallic whirring plays against a near indecipherable reverie, before the initial guitar melody rears its head for a final time. Layer upon layer of hubble, bubble, toil, but no trouble, ensures this body of work to be Renou’s masterpiece [Frans de Waard / Vital claimed that this more melodic route was something that he’d like to hear more of, whereas Barry G. Nichols / Whiteline blog / Spekk recording artist, extolled the virtues of Renou’s ‘genius’ with this recording] 'I see death'. The cd is packaged in the usual high standard expected of elsieandjack. spot varnish and silver ink over beautiful photography and simple layout, printed on thick cardstock - plus Renou’s liner notes printed on a vellum overlay.
Remember, there is a hand-numbered edition of 100 with laser-etched jewelcases only available direct from Christian Renou and elsieandjack." [label info]
www.elsieandjack.com
|
2007 |
€13.00 |
|
| |
7 kisses |
CD |
Nachdem es lange Zeit still war um BRUME, erscheinen nun eine Reihe von Arbeiten unter seinem bürgerlichen Namen. Ein Unterschied zwischen BRUME und RENOU ist schwer auszumachen, vielleicht arbeitet er konzeptueller: hier benutzt er nur nicht-analoge Quellen und bewegt sich wieder in einem großen dynamischen Spektrum zwischen dark ambient und noisiger Elektro-Akustik: atmosphärische Musik mit digital-konkreter Note, wobei er eine extrem warme, organische und emotionale Tönung erzeugt.
”Computer music, originally composed and recorded in early 2000 at Brume Records. Final master recorded in February 2002.
These recordings were the first experiments made with old, defective and more recent computers. No analog stuff used. A new adventurous work by Christian Renou (ex-Brume), French master of abstract music! The CD comes in a deluxe offset-printed cover in 7” format, silver print on black cardboard.” [press release]
www.eetapes.be
|
2003 |
€13.00 |
|
| RENOU, CHRISTIAN & ANEMONE TUBE |
Transference |
CD |
"Die wahrscheinlich letzte VÖ des guten, aber leider nie wirklich bekannt gewordenden süddeutschen Experimentalprojekts ANEMONE TUBE, hier von CHRISTIAN RENOU vormals BRUME dekonstruiert & re-komponiert. Neben geräuschhaft-konkreten Stücken begeistern lange melancholische Drone-Stücke... kommt im Postercover mit neon-farbener Papierumhüllung." [old drone rec. info]
“ final recordings by anemone tube, reworked by mister brume christian renou. sonic deconstructions and dense soundscapes. a bit of noise is thrown in but, overall the atmospheric sound prevails. comes in special poster cover wrapped in transparent green envelope with graphs designed by stefan hanser.” [press release]
|
2003 |
€13.00 |
|
| REPTILJAN / IBRAHIM TERZIC |
Pangrenade / Yuck Brij |
7" |
Finnland. DEATH METAL nochmal durch den Effektfleischwolf gedreht. Unglaublich. REPTILJAN.
IBRAHIM TERZIC. Computer-Collagen-harsh-noise in aberwitziger Abfolge und Geschwindigkeit.
“ A split 7" from the cold land of the fins. Reptiljan is Niko Skorpio's plunderphonic project, whose 'Pangrenade' samples death metal too death. A fierce onslaught on the ears. It remains strongly in the digital domains, but not as digital sounding as the b-side by
Ibrahim Terzic. His 'Yuck Brij' is a highly distorted computer noise, which sound, when played at the right volume, quite alright. Both
pieces are sure to break down any party you have going on. Address: www.someplaceelse.net „ [FdW / Vital Weekly]
|
2003 |
€6.00 |
|
| RESIDENTS |
Not Available |
CD |
"Aufgenommen 1974, ursprünglich 1979 veröffentlicht und jetzt als Re-Issue mit sieben zusätzlichen Minuten, die ursprünglich herausgeschnitten wurden. Während es mindestens eine Million Geschichten über die RESIDENTS gibt, gibt es eine über die Entstehung ihres zweiten Albums ,Not Available", die heraussticht. Die Karriere der Band war noch jung, als der deutsche Avantgardist N. Senada der Band seine ,Theorie der Obskurität" darlegte. Sein Plan umfasste die Vervollkommnung von Projekten, die von niemand anderem als dem Schöpfer selbst gehört werden sollten. Die RESIDENTS sahen den Kern dieses Ideals: dass es nicht einfach ist, Musik aufzunehmen, ohne die Zielgruppe dafür im Kopf zu haben. Die Band beschloss, dass ein solches Projekt ihnen dabei helfen würde, selbständiger an die Musik heranzugehen. ,Not Available" wurde 1974 aufgenommen und gelagert. Einige Jahre später, 1978, gerieten die RESIDENTS in Zeitdruck, als darum ging ihren Opus ,Eskimo" aufzunehmen. Die Plattenfirma holte ,Not Available" aus den Archiven und veröffentlichte es. Überraschenderweise störten sich die RESIDENTS gar nicht daran, da die Aktion ihrem ursprünglichen Plan in keinster Weise entgegenlief. www.myspace.com/theresidents" [label info]
|
2011 |
€13.00 |
|
|
Coochie Brake |
CD |
"Vor einer Million Jahren fiel einen riesiger Felsbrocken aus dem Himmel und landete mitten in Louisiana. Naja, zu der Zeit war es noch nicht einmal Louisiana. Was auch immer: der Felsbrocken stürzte auf die Erde, schlug hart auf und ließ einen riesigen Abdruck zurück. Nach und nach füllte sich Abdruck mit allerlei Dingen, doch es ließ sich nicht leugnen, dass der Abdruck noch immer sichtbar blieb. Der Abdruck füllte sich genug mit Wasser, um einen urzeitlichen Sumpf namens ,Coochie Brake" entstehen zu lassen. Ein paar Jungs schlugen im Coochie Brake ihre Zelte auf. Sie kletterten auf die riesigen Granitbrocken, die nach gesundem Menschenverstand gar nicht da sein sollten. Sie erforschten die Höhlen. Sie saßen still und ließen ,The Brake" sprechen, wie nur dieser Sumpf es kann. Diese Teenager wurden erwachsen. Und wurden zu THE RESIDENTS.
A million years ago, a big rock fell out of the sky and landed right in the middle of Louisiana. Well, it wasn't Louisiana at that time. But that rock fell, and it hit hard making a giant dent. It gradually filled in but no matter what, it still left a dent. And that dent held just enough water that it became a primeval swamp known as Coochie Brake. Some young guys used to camp in Coochie Brake. They climbed the massive granite boulders that common sense said should not be there. They explored the caves. They sat still and let the Brake speak to them as only the Brake can. Those teens grew up to become The Residents. Vinyl version." [label info]
www.mvdb2b.com
[label info]
|
2011 |
€12.00 |
|
|
Coochie Brake |
LP |
"Vor einer Million Jahren fiel einen riesiger Felsbrocken aus dem Himmel und landete mitten in Louisiana. Naja, zu der Zeit war es noch nicht einmal Louisiana. Was auch immer: der Felsbrocken stürzte auf die Erde, schlug hart auf und ließ einen riesigen Abdruck zurück. Nach und nach füllte sich Abdruck mit allerlei Dingen, doch es ließ sich nicht leugnen, dass der Abdruck noch immer sichtbar blieb. Der Abdruck füllte sich genug mit Wasser, um einen urzeitlichen Sumpf namens ,Coochie Brake" entstehen zu lassen. Ein paar Jungs schlugen im Coochie Brake ihre Zelte auf. Sie kletterten auf die riesigen Granitbrocken, die nach gesundem Menschenverstand gar nicht da sein sollten. Sie erforschten die Höhlen. Sie saßen still und ließen ,The Brake" sprechen, wie nur dieser Sumpf es kann. Diese Teenager wurden erwachsen. Und wurden zu THE RESIDENTS.
A million years ago, a big rock fell out of the sky and landed right in the middle of Louisiana. Well, it wasn't Louisiana at that time. But that rock fell, and it hit hard making a giant dent. It gradually filled in but no matter what, it still left a dent. And that dent held just enough water that it became a primeval swamp known as Coochie Brake. Some young guys used to camp in Coochie Brake. They climbed the massive granite boulders that common sense said should not be there. They explored the caves. They sat still and let the Brake speak to them as only the Brake can. Those teens grew up to become The Residents. Vinyl version." [label info]
www.mvdb2b.com
|
2011 |
€15.00 |
|
|
Mush-Room |
CD |
"Musik ursprünglich geschrieben für die 2013er Performance MUSH-ROOM von Grace Ellen Barkey und Needcompany (einer belgischen Theater/Tanz Company).
THE RESIDENTS inspirieren mit ihrer Mischung aus Percussion und Elektronik zur Bewegung und vereinen klassische Einstellung mit moderner Experimentierfreude.
Ein Muss für jeden, der die Performance gesehen hat oder jeden, der sie nicht gesehen hat und seiner eigene Choreographie vor dem inneren Auge entwerfen will." [label info]
www.crypticorp.com
|
2013 |
€13.00 |
|
| |
Duck Stab! Alive! |
2 x 10inch / DVD BOX |
Als The Residents im Jahr 1978 die 33-RPM-EP "Duck Stab!" Im 7" Format veröffentlichten, war das für die Gruppe eine nette Abwechslung von den sich über Jahre (1975 -1979) hinziehenden, anspruchsvollen und experimentellen Aufnahmen an ihrem epochalen Eskimo Album. Außerdem brauchte das Label Ralph Records, eine Einnahmequelle um die lange Phase ohne ein "echtes neues" Album zu überbrücken.
Zur allgemeinen Überraschung wurde die EP ein Hit und verkaufte mehr als 50.000 Einheiten in wenigen Monaten. Die Nachfrage ließ auch in der Folge nicht nach und so drängte Ralph Records The Residents eine zweite EP - "Buster & Glen" - aufzunehmen, die dann schlussendlich zusammen mit "Duck Stab!" als LP-Release zu einem Klassiker und großem Verkaufserfolg wurde.
Einige Jahre später, zwischen 1981 und 1988 übernahm Night Flight, eine damals populäre Sendung im US-Kabelfernsehen, Video-Clips von The Residents in ihr reguläres Programm auf - insbesondere "Hello Skinny", das legendäre Video zum "Duck Stab! / Buster & Glen" -Album. Für viele Fans der Band war Night Flight der erste Berührungspunkt mit The Residents.
Im Jahr 2016 feierte der Sender unter dem Namen Night Flight plus fröhliche Wiederauferstehung als Internet Streaming-Service und bat The Residents anlässlich des 40ten Jubiläums des Programms um einen Video-Beitrag. Da die Gruppe ohnehin an einer Live-Version von "Duck Stab!" als Teil ihrer 50ten Jubiläums-Tour im Jahr 2022 arbeitete, bot sich "Duck Stab! Alive!" als eine naheliegende Wahl an, um daraus eine Show für Night Flight plus zu produzieren. Und so begaben sich The Residents unter der Leitung von Regisseur John Sanborn und Kameramann Frazer Bradshaw vom 19. bis 21. Mai 2021 in die 25th Street Studios in Oakland, Kalifornien um die neu ausgearbeitete Performance "Duck Stab! Alive!" live im Studio aufzunehmen.
Die spektakulären Ergebnisse dokumentiert auf zwei 45 RPM 10"-Vinylplatten sowie einer Video DVD bilden den Inhalt dieser aufwändigen und limitierten Sammler-Box.
Weltweit auf 3.000 Stück limitiert!
The Residents released DUCK STAB! as a seven inch, 33 1/3 rpm EP in 1978. For the group, the relatively lighthearted EP represented a break from the much more experimental Eskimo recordings which consumed the majority of a four-year period from 1975-79; for Ralph Records it was a much-needed revenue source at a time when the band was not producing much product. To everyone’s surprise, the EP was a hit, selling 50,000 copies in a few months. The demand was so high that Ralph insisted the band record a second EP, Buster & Glen, which they paired with DUCK STAB! to make an LP, which was also quite successful.
Several years later, Night Flight, a program featuring alternative programming on the USA cable channel, aired Residents’ video, including the Hello Skinny music video based on a song from the DUCK STAB! / Buster & Glen album. The program aired from 1981-88 often highlighting The Residents to the extent that many of the group’s fans cited Night Flight as their initial introduction to the band.
Fast forwarding to 2016 when Night Flight resurrected itself as a streaming video service, Night Flight Plus. In recognition of their long-standing connection, Night Flight invited The Residents to create a program in celebration of the service’s 40th Anniversary on June 5, 2021. Since the band was already rehearsing DUCK STAB! as part of their upcoming 50th Anniversary Tour, the forty-year-old EP/LP seemed like a perfect choice for Night Flight.
With a professional camera crew, led by director John Sanborn and director of photography Frazer Bradshaw, The Residents performed the reworked DUCK STAB! ALIVE! music over three days from May 19-21,2021 at the 25th Street Studio in Oakland, CA. The results, as you can hear and see on the discs of this limited boxed set, are spectacular.
https://www.grand-chess.com/duck-stab-alive
|
2021 |
€79.50 |
|
| REUDENBACH, MICHAEL |
Szenen, Standbilder, Werke 1991-2009 |
do-CD |
"zur selbstverständlichkeit wurde, dass nichts, was die kunst betrifft, mehr selbstverständlich ist, weder in ihr noch in ihrem verhältnis
zum ganzen, nicht einmal ihr existenzrecht." mit diesen worten eröffnet adorno ende der 1960er jahre seine "ästhetische theorie".
"An Klangsetzkästen aus Zeit lassen diese Stücke denken: äußerst sparsam bestückt mit munkelnden Tonzeichen, Geräuschfundsachen, ins Irreguläre kippenden Pulsationen, skelettierten Nachtschattenereignissen. Und in dem, was an Stille ins Unendliche sich weitet, kann man lauschend den Nachhall eines existenziellen Bebens gewahren. Die Interpreten agieren hochakkurat und mit heilig-nüchternem Ernst." (Für die Jury: Helmut Rohm; Quelle: Preis der Deutschen Schallplattenkritik, Bestenliste 2-2013)
CD 1
trio. studie für klavier, violine und violoncello 10:49
choral für stimme und fünf instrumente 7:49
und aber. musik für streichquartett 16:24
kommen — überschreibungen für 5 stimmen 11:36
trio 3 für bassetthorn, bassklarinette und klavier 10:08
mirlitonnades pour petite flûte 2:45
59:43
CD 2
zählergesang für ensemble 10:47
schnitt & fortsetzung für flöte, harfe, gitarre, klavier und pauke 10:26
duo pianism für zwei klaviere 8:12
ahto. musik für 8 instrumente 12:30
stratton für ensemble 11:34
szenen, standbilder für vier instrumente 9:24
62:55
[label info / credits]
www.edition-rz.de
|
2013 |
€21.50 |
|
| REUTOFF |
Gute Nacht, Berlin |
CD |
Zweites Album der russischen dark ambient Industrial – Koryphäen, eher ruhig–introvertiert-melancholisch wie auf den frühen Tapes, mit deutlichem WW II - Bezug. Die Musik wirkt wie ein Epitaph, das voller niemals zu überwindender Trauer die Erinnerung an die Schrecken der jüngeren Geschichte wach halten will...
“....Fifth opus from the Russian trio, 'Gute Nacht, Berlin!' as the previous 'The Fourth Face' 10" and 'ReuTRauM III' 7" is also released by the Austrian label HauRuck! This is the 2nd CD in the Reutoff discography. Released just a few months after 'Unseen Rituals', 'Gute Nacht, Berlin!' is musically very close to the previous mentioned album. The ambiances are the ones we expect when listening to this band: sometimes ritual, hidden... sometimes floating, atmospheric... but always with the undescribable 'something' specific to Reutoff that sets them apart from other bands...
No need to give more details, as the whole album is brilliant. Nevertheless I can't prevent myself from underlining the beauty of the second title 'die sunden der vater'. Just let yourself be carried away by the magnificent soundscapes and the drawn out melody... A very long (11 minutes) industrial ambient piece that is certainly one of the very best Reutoff titles I have ever heard!
The album also features two new versions ('Libera me (edit)' and 'Allegoria No. 3') of excellent tracks present on the first tape of the band ('Das Absterben' released in 1998), re-released a few months ago on CD-R by the Italian label By Blade. For those who do not own this tape or the very limited CD-R, this an excellent opportunity to listen to two compositions based on ancient works...
'Die rote fahne' also deserves to be mentioned... Built upon a combination of small, minimalist and repetitive noises with a rather epic Russian song (extracted from or mixed with a film?), this original composition will endlessly intrigue the listeners... The CD comes in a nice full-coloured digipack and is obviously highly recommended, while waiting for the soon to be released fifth part of the ReuTRauM series...” [NathalieF., Heimdallr]
|
2003 |
€13.00 |
|
|
Regno Di Pianta |
CD |
CD-Wiederveröffentlichung der ersten REUTOFF CDR von 1999!
"Endlich, die erste CD-Veröffentlichung des russischen Trios, nach der 7" auf Drone (DR-46)!
REUTOFF could be seen as one of the followers of a "real" industrial-approach, aesthetically and soundwise, but without just copying any of the old classics. As with previous cassette-only albums, this is a surprise again, as they move mostly in ambient industrial fields (dark synths, speech-samples, chorals, sound-effects), but sometimes they break in with very experimental or noisy rhythmical tracks, to cover the whole spectrum of industrial as we knew it. The overall atmosphere is again dark & gloomy, sometimes even melancholic and yearnful. 10 tracks, for industrial-lovers something to discover!" [Drone info 1999]
|
2004 |
€13.00 |
|
|
Deprivatio |
CD |
Ganze fünf Jahre nach "Gute Nacht, Berlin" endlich das neue Album der Moskauer Ambient Industrial / Elektronik Band, die es wie wenig andere verstehen eine wirklich hoffnungslose Atmosphäre zwischen Misantrophie und trister Melancholie aufzubauen...
"... Reutov ist eine von Moskaus kleinen Satellitenstädten, die haupt-sächlich aus Industrieanlagen besteht. Ihr wird von den Band-mitgliedern, die alle in der Nähe leben, eine ganz besondere Atmosphäre zugeschrieben, die man beim Hören der Musik als trübe Industriemelancholie zwischen Zerfall und Science Fiction begreifen könnte; eine Stimmung, wie sie in Deutschland manche alte Häfen oder Güterbahnhöfe ausstrahlen. Ein Faible für den Klang der deutschen Sprache, das sich auch in vielen deutschen Songtiteln ausdrückt, hat aus dem 'v' am Ende der Stadt das doppelte 'f' für den Bandnamen werden lassen.
Wie immer ist auch dieses REUTOFF-Album eine Antwort auf die Frage, wozu eigentlich Dark Ambient erfunden wurde. Die fantastisch-düstere Stimmung erwächst stets aus der Musik der Russen selbst, und nicht – wie bei vielen Genrekollegen – aus den großen Worten, die begleitend zur Musik gemacht werden. Aber – endlich eine Veränderung – "Deprivatio" ist nicht mehr so durchweg archaisch wie noch die ersten Arbeiten, es ist ebenfalls nicht mehr so homogen industriell wie die beiden letzten Alben "Unseen Rituals" (2002) und "Gute Nacht, Berlin!" (2003). Die neue CD ist die bislang dynamischste, abwechslungsreichste, aufregendste und futuristischste Veröffentlichung von REUTOFF.
Hypnotisch ist der Beginn. Zum Dauerloop eines Kindersummens gibt eine rauchige, weibliche Sprechstimme auf Englisch Anweisungen, was zu tun ist: "Stellen Sie Sich vor, Sie sitzen in einem riesigen Theater mit schwarzen Sitzen und können nur eine einzige Sache sehen..." So düster und geheimnisvoll die ersten Sounds, so beruhigend sind die Worte. Später passt sich die Musik an und entspannt sich Richtung Downbeat, garniert mit verhuschten Männerstimmen und noisigen Geräuschen. Der Opener bereitet die futuristische Atmosphäre, die das ganze Album durchzieht. Noch häufiger im Verlauf der knapp 73 Minuten kommt sich der Hörer vor, als würde er durch einen von STANISLAW LEM entworfenen Park lebender Maschinen wandern. Auch das intelligente Songwriting – wenn man bei einem zehnminütigen Dark Ambient-Track davon überhaupt sprechen kann – offenbart sich gleich zu Beginn. Überraschungen wie eine eingeflochtene und beinahe folkige Akustikgitarre sowie versteckte und vertrackte Melodien und Rhythmen machen aus einem langen auch einen sehr abwechslungs-reichen Soundteppich. Es folgt ein eher klassisches Dark Ambient/Noise-Stück, dessen Drones in Verwandtschaft zu SAL SOLARIS gleißen und schimmern wie Sonnen im Weltall. Großes Kino, im wahrsten Sinn des Wortes, denn REUTOFF-Alben werden immer gerne mit der Stimmung von Filmmusiken oder Filmen – unter anderem "Stalker" von TARKOWSKIJ – verglichen. Und selten traf dieser Vergleich so zu wie bei "Deprivatio", auch bedingt durch die technisch hervorragende, satte Produktion.
"American Whores" geht dann wieder einen gänzlich anderen Weg. Die Collage bringt zu einem Bass, der auch MASSIVE ATTACK oder MOBY alle Ehre machen würde, ganz unterschiedliche Samples zusammen. Musik der 1920er-Jahre, fast eine Minute lang solo. Dazu verdichten sich die Trainerin eines Fitnesskurses und ein Kirchenprediger mit Chor – in Kombination mit dem Namen des Songs – zu einer infernalischen Amerikakritik. Nie wirken solche Samples belanglos, sie unterstützen bei REUTOFF immer die Atmosphäre des Tracks.
Auch der einzige deutsch betitelte Song, "In Die Leere Gehen", ist eines der Highlights: Hier ein strahlendes Universum mit synthetischen Engelschören, dort düstere Gewittercluster, die glauben machen, dass sich die Hölle öffnet – fehlt nur noch ein Sample von Luzifer persönlich. "Sun Of Sleepless" ist mit seinen knallenden und knirschenden Beats eine weitere Empfehlung für die Macher des nächsten Endzeit-Streifens; mit laut wehenden Fahnen geht die Welt unter. Und zum Abspann verglüht "25-th Hour" wie die letzte Moll-Hoffnung eines im futuristischen Kerker eingesperrten VANGELIS. Für so viele Höhepunkte übersieht man gerne die wenigen schwächeren Momente, etwa die Mischung aus Ethno und Dark Ambient mit piepsigen Loops menschlicher Geräusche ("Nemesis").
Alles an "Deprivatio" atmet russische "Metropolis"-Atmosphäre. Das Individuum zwischen Experiment, größenwahnsinniger Industrie, Verlassenheit und Zerfall. Damit ist die neue REUTOFF-Veröffentlichung längst nicht mehr nur ein Stimmungsbericht aus Reutov, sondern ein Abbild des neuen, modernen Russlands. Genreuntypische Experimente, die gekonnte Verknüpfung diverser Samples und Abwechslung in Tempo und Klangbild sorgen dafür, dass "Deprivatio" eines der besten und ausdrucksstärksten Dark Ambient-Alben der vergangenen Jahre ist. Es macht außerdem sehr neugierig auf die angekündigten Kollaborationen im Herbst." [Michael We. für nonpop.de]
"Finally, since five years after their 2003 “Gute Nacht Berlin” on Albin Julius HauRuck!, here is the long-awaited full-length solo CD from this most well-known Russian industrial project worldwide. “Deprivatio” is a sad story of a person surrender to the enemy environment, it’s about idle struggle with time and fatigue, about constant withering of passions and imminent vitality deprivation. Being maybe the most hopeless and sad work for the band, this album is paradoxically their most rhythmic and dynamic. There are more noisy drum loops and electro sounds here than martial drum patterns and old school noise, but their unique deep and profound melodic main themes are still remain as the basement for the brilliant new tracks of despair and downfall. The ascetic b&w artwork was done by Murad Ibatullin known for the recent “Iznutri” compilation. The release comes as a jewel box with 6 panel booklet, the first 100 copies come with 33x21 two sided poster." [label info]
|
2008 |
€12.00 |
|
| |
No One's Lullabies |
CD |
"No One's Lullabies" is the 9th album by Reutoff, one of the best-known Russian projects on the international post-industrial scene. Over the course of one hour they will be performing their "lullabies" which won't let you sleep though... The whole panopticon of borderline mental states will unfold before the eyes of our attention. Every track is a masterfully performed decadent dance of emotions and feelings. Steady industrial rhythms, an unhasting but assertive semi-drunk waltz, circus-like grotesque with wicked medieval shades, comatose jazz swinging in dark tones and epic electronic doom that could also fit well in the repertoire of their brother-project Otzepenevshiye - all imbued with remarkable spirit and slightly inflamed imagination.
The material entitled "No One's Lullabies" was initially produced as a cassette mini-album by the German label Sea State in 2014 in a small edition of 80 copies in unconventional handmade packaging. The extended version with four additional compositions was put out by Reutoff on their bandcamp page as a web-release. Now we're glad to present the CD version of the album for the happy owners of CD-players and optical drives! The CD-edition contains an exclusive bonus track with a live version of one of Reutoff's rare compositions. The disc is packed in a matte 4-panel cardboard digisleeve, artwork features paintings by Fabrice Billard, the chef of Divine Comedy Records.
http://zhb.radionoise.ru/
"If someone were to ask me, which post-industrial artist gives you the biggest pleasure when you listen to their music, I would never mention Reutoff. If somebody else were to ask me which project is in my opinion the most daring in its experiments or simply the most innovative in the scene, Reutoff wouldn’t be my pick either. But if you were to ask me about the musician who combines experimental with so-called “catchiness” the most effectively, well, I’d have to think about mentioning this Russian duo.
They’ve been active for about 18 years, releasing a variety of materials, also in collaboration with other artists in their famous Kreuzung series: a collection of names such as Deutsch Nepal, Troum or Der Blutharsch. “No One’s Lullabies” was originally released on tape, thanks to the Sea State label from Leipzig. Zhelezobeton gives us an extended edition on CD, with five additional tracks and a cover image painted by Fabrice Billard, the owner of the Divine Comedy label.
For many years Reutoff’s line of work and constructing additional sound structures has more or less been the same. They take a nicely crafted industrial background, a mid-tempo rhythm theme, often looped and encrusted with other trinkets and little diamonds, so that most of the tracks possess a slowly yet nicely building tension that leads to a culmination, abundant in sounds and atmospheres. Not all of the tracks though: Reutoff is not a project that always chooses the easy and proven ways – check this splendid dark ambient of a non-obvious feeling in “Nameless Tune With No Fate”.
This is also one of Reutoff’s huge advantages. That you can’t describe their atmosphere in one or two words. You need to build the whole story in your mind, different for each track. It may be dystopian sci-fi straight from Orwell or Bradbury novels; a dark yet epic, sometimes even strangely romantic story, similar to, say, “Blade Runner”. After all, titles like “New World Disorder” or “Requiem for Android” cannot be a coincidence. On the other hand in some track you may notice a somehow optimistic… no, not a good word – a note that breathes with hope. Saying that not everything is lost, that there are still new and mysterious worlds to explore even though our planet is lost.
I feel this modern sci-fi element is pretty solid in Reutoff’s works, which is even more interesting considering the fact that when it comes to technical matters a strong analogue vibe emanates over the whole of “No One’s Lullabies”. This is specific for many post-industrial artists coming from Russia, that while they’re faithful to classic samplers and synths, they’re able to achieve such a fresh effect. Reutoff, Cyclotimia, Sal Solaris, some Cisfinitum efforts. This offering is no different, and once again provides us with a certificate of the uniqueness of the Russian post-industrial scene." [Stark/Santa Sangre mag]
|
2015 |
€13.00 |
|
| REVELL, GRAEME |
The Insect Musicians / Necropolis, Amphibians & Reptiles |
CD + BOOK |
GRAEME REVELL might be known as the mastermind behind the seminal Industrial project SPK.
Or for the many sound-tracks released for the movie industry, for films such as:
Body of Evidence / Boxing Helena / The Crow / Street Fighter / From Dusk till Down / The Craft / the Negotiator / Red Planet / Collateral Damage / High Crimes / Sin City / and many, many others....
- THE INSECT MUSICIANS album is important for severeal reasons:
§ "The Insect Musicians" propably is the first album created with computer only, it was released back in 1986!
§ Years before Matmos, Lopez or Autechre, Revell created microtonal music - not only using samples of micro-sounds (here are sound of insects), but also experimenting with nature of sound itself.
§ Newst technology is mixed with nature, all material comes from the natural environment.
Insects plays, but Revell rearanges it to some kind of weirdo symphony.
An incredible album to be listened very carefully for capture the many different sound-shades.
Probably best result is listening on good headphones.
- NECROPOLIS, AMPHIBIANS & REPTILES:
this used to be a compilation involving also NURSE WITH WOUND and DÉFICIT DES ANNÉES ANTÉRIEURES dedicated to ADOLF WÖLFLI.
ADOLF WÖLFLI was born in Bern.
He was abused both physically and sexually as a child, and was orphaned at the age of 10.
He often attempted to perform sexual acts on young girls – often getting away unpunished [citation needed].
Eventually, he was caught in the act and institutionalized for his doings.
After being freed, he was re-arrested for a similar offense and in 1895 was admitted to the Waldau Clinic, a psychiatric hospital in Bern where he spent the rest of his adult life.
He was very disturbed and sometimes violent on admission, he suffered from psychosis, which led to intense hallucination.
At some point after his admission Wölfli began to draw, incredible drowings!
His first surviving works (a series of 50 pencil drawings) are dated from between 1904 and 1906.
Special CD-Digipak + 40 Pages' Booklet + Slipcase
Tracklist:
§ The Insect Musicians
1. Nocturne (On An Oriental Theme)
2. The Sleeping Sickness
3. Melancholia
4. La Danse Des Ténèbres (Dance Of Shadows)
5. Variation On The 'Sakura' (Japanese Traditional)
6. Nature Morte (Still Life)
7. Balinese Twilights
8. Phobia (An Australian Theme)
9. Invaders Of The Heart
10. Et Spiritus Sanctus
§ Necropolis, Amphibians & Reptiles
11. Necropolis, Amphibians & Reptiles 4:13
12. Countess Saladine 2:31
13. Chimpnags-Apes Of The Union Canada: America 4:38
14. Allgebrah 2:41
15. Ebony Tower In The Orient. Water Fanfaare No.1 3:50
16. The Bälli 2:19
|
2020 |
€18.00 |
|
| REYNOLS |
|
CD-R |
Die REYNOLS haben wieder zugeschlagen mit ihrer Mischung aus surrealem und chaotischem low-fi noise, der sicherlich regressive Tendenzen fixieren helfen kann. Außerdem: El terrorismo subliminal es provocar una falla en el sistema para que despues se propague. Sin mala intenction"... "Ten new pieces recorded at Mofifero Studios, Buenos Aires, by Tomasin/Conlazo/Courtis, including smash hits like "_ _ _ _ _" and "_ _ _".
special low priced. BACK IN STOCK SOME COPIES !
|
2000 |
€7.00 |
|
| REYNOLS / DAN WARBURTON |
I am NOT sitting in a room with Reynols |
CD-R |
The REYNOLS are dead! Long live the REYNOLS! Sicher wird es auch nach der Auflösung noch einige Veröffentlichungen der ewigen argentinischen Seltsamkeitsaward-winner geben. Diese CDR ist vom Konzept & Klang besonders skurril, und deshalb lieben wir sie so !! Hier mixt DAN WARBURTON diverse Interviews und Live-Aufnahmen zusammen, bis ein undurchdringlicher Morast entstanden ist, in dem sich atonale Gesänge, Gitarren und Perkussions-sounds und alle möglichen anderen nichtdefinierbaren Geräusche verbinden.....
“Maybe you are familiar with Alvin Lucier's 'I'm Sitting In A Room', in which he speaks a short text and then plays it back in the room,
and re-records it with the room acoustics, and then repeats this a couple of times? Something similar is done here. Dan Warburton
interviewed Reynols and subsequentely adds sounds from other tapes to it, until he has about twelve different recordings on one cheap cassette, which he edits into a 43 minute piece. At the same time a recording arrives from a Reynols concert in France, which lasts also about 43 minutes and then the two recordings are joint on this release (I recall Lucier's original on Lovely Records also lasts
about 43 minutes). The resultant release is indeed a most strange recording. It has the usual ingredients of Reynols live, the
improvised rumbling on guitars and drums which never get me going really, but in combination with the tapes provided by Waburton this
is an even stranger recording of outsider music. Noises that seem to swirl in and out all the time mix nicely with the original Reynols
recording. Now things make more sense...” [FdW / Vital Weekly]
Address:
|
2004 |
€8.00 |
|
| RGV |
Aliseum |
mCD-R |
RGV = Ruben Garcia. Wieder ein neuer Name auf Dreamland! ALISEUM ist die Umsetzung von Impressionen (oder auch Sounds) des Timanfaya Nationalparks in Lanzarote. Mächtig dronende, kilometerweit entfernte, mit hell klingenden Schwingungen versehende Kraftfelder, alles gerät in hellste Schwingung und Vibration, erinnert an MNORTHAM, LOPEZ! TIP !!!
„ a drone of low density & depths, invoking hard sand and rock soil, only the intense temperatures beneath our feet remain to haunt.”
[label info]
|
2003 |
€5.00 |
|
| RHEIN_STROM (SIEFERT & RIEK) |
Von der Rheinquelle bis Hafen Karlsruhe |
CD |
How can we as humans in this day and age foster a relationship with the Rhine River, without lapsing back into modes of romanticism, when witnessing its remaining beauty in some rare places; without turning away in frustration and disillusionment, when confronted with the irreparable interventions it has undergone?
What is disclosed if we shift the focus from the dominant sense of vision to hearing?
Would you recognize the Rhine by its sound?
What other senses are helpful here?
Do I have enough senses at my command to answer this question?
Do I have to and can I develop further senses?
With these questions as a starting point Thomas M. Siefert and Lasse-Marc Riek have approached the Rhine acoustically and visually on various locations and seasons during the last seven years. This resulted in the close examination of the ambient sound, the soundscape and the “sound entity” of the Rhine.
The “Rhine-soundscape” does not only sound like flowing, gurgling or slowly bobbing water. The soundscape also includes animals and humans who live by the river, who move and rest there.
In addition to the sound of the present, also the sound of the past was sought out: a listening back to what has remained; a listening forward to what could come.
Siefert’s and Riek’s formal approach to the soundscapes demands from the artist to step back behind the recording. In the foreground of their artistic practice stands the unprocessed sound- and visual-recording of a specific situation.
Tracklist:
01 vorderrheinquelle (region)
02 rhein bei tschamut
03 rheinschlucht nähe versamer tobel
04 kanalrhein bei balzers
05 rheinbrech bodensee
06 stein am rhein
07 rheinfall bei schaffhausen
08 basel hafen (nähe wiesemündung)
09 petit camarque d´alsace
10 staustufe ottmarsheim
11 restrhein bei fessenheim
12 staustufe und schleusenanlage fessenheim
13 staustufe marckolsheim
14 ile de rhinau
15 staustufe rhinau
16 fähre kappel – rhinau
17 kanufahrt im naturschutzgebiet taubergiessen
18 ile de langgrund
19 staustufe strasbourg
20 staustufe gambsheim
21 karlsruhe hafen
21 Tracks (73′25″)
CD (500 copies)
www.gruenrekorder.de
|
2016 |
€13.00 |
|
| RICHTER, MAX |
The Blue Notebooks |
CD |
"Following releases by Set Fire To Flames and Sylvain Chauveau, Max Richter’s ‘The Blue Notebooks’ was the fourth release on FatCat’s 130701 imprint, established as an outlet for more more orchestrated, instrumental material.
Richter is a British-based, German-born pianist and composer. Following 2002’s highly-acclaimed ‘Memoryhouse’ - performed by the BBC Philharmonic Orchestra and released on the BBC’s classical label, Late Junction - ‘The Blue Notebooks’ is his second solo album, a distinctive and adventurous work that is beautifully recorded and cinematic in scope.
Opening with a text from Franz Kafka over a sparse piano melody, the album moves through gorgeous, heart-wrenching string swells of ‘On The Nature Of Daylight’ (which quotes a tune from ‘Memoryhouse’); through to sparse but lyrical piano pieces; hazy, swirling atmospherics, avalanche pulse-beats and partially occluded melodies that recall Aphex twin’s ‘Ambient Works’ albums; and to reverberant organ / choir recordings.
Utilising piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording, other sounds were generated via old guitar pedals and vocoders. The organ music was made for a chapel near Tourtres in South-West France, whilst the environmental sounds are mainly recorded around London. The tone of the album is generally domnbeat – a series of bittersweet articulations that seem suspended somewhere between a certain dreamy sense of wonder / awe and a heavy melancholia.
Peppered across Richter’s music like diary entries (and backed with attendant typewriter clatter) are a number of literary texts or ‘shadow journals’ (lifted from Kafka’s ‘the Blue Octavo notebooks’, and from Polish author Czseslaw Milosz’s ‘Hymn Of The Pearl’ and ‘Unattainable Earth’). Apparently chosen by Richter on instinct, they were recorded by acclaimed British actress, Tilda Swinton, who has starred in films including ‘Adaption’, ‘Orlando’, ‘The Garden’, and ‘The Beach’. These brief passages muse over time, memory, and the impermanent nature of things.
With Richter playing piano, the other featured players here are his regular collaborators, Louisa Fuller (violin), Natalia Bonner (violin), John Metcalfe (viola), Philip Sheppard (cello), and Chris Worsey (cello).
Born in 1966, Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with with Luciano Berio in Florence. The Richter family moved to the UK from Germany when Max was a young child, leaving the wider part of his family distributed around Germany. This sense of a lack of roots had an effect on his musical formation - “I have always had a sense of belonging, in some way, to the middle of Europe but not specifically to any one place…” he explains.
On completing his studies, Richter co-founded the immensely successful contemporary classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich. Richter was also pro-active in developing the group’s use of live sampling.
“I have always listened to a broad range of music. In my early teens I was listening to a lot of classical standard repertoire as well as 20th century work. During this time I also built and customised a number of analogue electronic instruments and was immersed in the early electronic music scene.” In 1996 he worked closely with The Future Sound of London on their release ‘Dead Cities’. Initially involved as a pianist, he ended up co-writing a track (which they subsequently titled ‘Max’).
Following this, Richter collaborated with FSOL over a two-year period on the album ‘The Isness’, with his input ranging from programming or piano playing to arranging, mixing, co-producing and co-writing various tracks. Max’s orchestrations have also graced ‘In The Møde’ by drum’n’bass pioneer Roni Size." [label info]
www.fat-cat.co.uk |
2004 |
€15.00 |
|
|
Elle s'appelait Sarah - Bande Originale |
CD |
"This French drama directed by Gilles Paquet-Brenner is a quality adaptation to the New York Times Best Seller, Sarah's Key, by Tatiana De Rosnay. Starring Kristien Scott Thomas, the film follows follows her journalist's present day investigation into the Vel' d'Hiv Roundup, and a story of a young girl's experiences during the Nazi occupation of France.
Max Richter (Waltz With Bashir) has composed an emotional and beautiful score which plays a central role in the film. Viewers will notice it." [label info] |
2010 |
€14.50 |
|
| |
Sleep |
9 x CD-BOX |
"Der britische Komponist Max Richter, der zuletzt durch seine Re-Komposition der Vier Jahreszeiten von Vivaldi für Furore sorgte, hat das wohl längste je aufgenommene einteilige
klassische Musikstück geschrieben.
Sleep dauert acht Stunden – und soll den Zuhörer zum Einschlafen bringen. »Es ist ein achtstündiges Wiegenlied«, erklärt Richter.
Das Werk ist für Klavier, Streicher, Elektronik und Gesangsstimme geschrieben und ist Richters »Manifest für eine langsamere Gangart des Lebens«.
Sleep ist zum einen ein Experiment, mit dem Richter herausfinden will, »wie das Gehirn Lebensraum für die Musik sein kann, wenn unser Bewusstsein Urlaub hat«.
Während der Komposition befragte Richter den angesehenen amerikanischen Neurowissenschaftler David Eagleman, um mehr über die Gehirnfunktionen beim Schlafen
zu erfahren. Musikalisch steht das Werk durch seine Länge in der Tradition eines John Cage, Terry Riley oder LaMonte Young, als Wiegenlied blickt das Werk auf eine jahrhundertelange
Geschichte zurück, angefangen mit Bachs Goldbergvariationen, die für einen schlaflosen Grafen geschrieben wurden, bis zu Gustav Mahlers Nachtmusik 1 und 2 aus der 7. Symphonie,
um nur einige prominente Beispiele zu nennen."
|
2015 |
€60.00 |
|
| RIEDL, JOSEF ANTON |
Klangregionen 1951-2007 |
do-CD |
"Wie kaum ein anderer hat J.A.Riedl sowohl mit seinen zahlreichen Werken als auch
mit seinen kulturpolitischen Aktivitäten das Musikleben der Bundesrepublik Deutschland
nachhaltig geprägt.
As almost no other, with his many works and his cultural activities, J.A.Riedl has left an
indelible mark on musical life in the Federal Republic of Germany.
ed. RZ 1020-21 2CD
Josef Anton Riedl: Klangregionen 1951 - 2007
Neuerscheinung: Siemens-Studio für elektronische Musik, Studio für konkrete Musik (J. A. Riedl)
Cover Design: Ott + Stein, Berlin; Scan: Christine Berkenhoff
CD 1
* Paper Music I 1961/70
* aus Folge von 4 Studien: Studie 59 I 1959
* Zeichnen - Klatschen/Zeichnen - Zeichnen 1979/81
* aus Landschaftsbeschreibung I 1973
* Mix Fontana Mix 1974/76/79
* aus Silphium Metallophonic 1969/70
* aus Lautgedichtfolge g) 1977/79/98
* Ausfluss, Niederschlag, Spur, Nachhall I 2000/02/07
* Douce-Amère 1972/74/81
* Komposition Nr. 2 1963/65
* Polygonum 1968/70
* aus Leonce und Lena 1963/64
* Vielleicht - Duo 1963/68/70
* Musique Concrète - Studie II 1951/59
* Musique Concrète - Studie I 1951/59
* Leonce und Lena b 1963 ·
* aus Folge von 4 Studien: Studie 62 I 1962
* aus Folge von 4 Studien: Studie 62 II 1962
CD 2
* Komposition Nr. 3 1965/67
* Ideir notna fesoj Radiophonisches Porträt von Helmut Rohm 1996
* aus Folge von 4 Studien: Studie 61 I 1961
* Klangsynchronie I Studie 59 1981
* Elektronische Musik - Studie II 1959
* Elektronische Musik - Studie I 1958
Gesamtspielzeit: CD 1 ca. 68:00 | CD 2 ca. 70:00 | insgesamt ca. 138:00"
"Edition RZ presents a 2CD collection of work from German electronic and multimedia composer Josef Anton Riedl. Spanning the diverse breadth of his musical output from 1951-2007, Riedl has left an indelible mark on music history in the Federal Republic of Germany with his many works and cultural activities. A pioneer in early concrète and electronics, Riedl joined Pierre Shaeffer's Groupe de Recherches Musicales from 1953-1955. He worked at various music studios including the NWDR (Northwest German Broadcasting) studio in Cologne, and was the artistic director of the Siemens Studio For Electronic Music from 1959-1966. During the same period he founded the Neue Musik München/Klang-Aktionen concert series, and established the Musik/Film/Dia/Licht-Galerie, which has presented multimedia compositions ("sound/light/scent-games"), audiovisual environments, events, exhibitions ("Paper Music I," "Optische," "Akustische Lautgedichte") and installations at important national and international festivals. This collection samples some of Riedl's most compelling work, including his "Paper Music" and musique concrète experiments." [label info / credits]
www.edition-rz.de
"Eine fulminante Werkschau in gewohnter EdRZ-Qualität, man muss es so sagen. Schickes Design und informatives Booklet; ein Release mit dem man wahrlich in eine andere Klangwelt eintauchen, eben in neue Klangregionen vordringen kann. Das Beste aber ist: Riedl funktioniert auch nackt! Seine verschwurbelten Wagnisse sind forschender Bruitismus, feinste Punzmunster auf unseren Trommelfellen. Montierte und studiobearbeitete Sprachklänge, sirrende Electroacoustics und erweiterte Kammermusikskizzen sind alle auf dieser Doppel-CD zu finden, die um einige Radioarbeiten und Versuche aus dem Siemens Studio München komplettiert wird." [Zipo, Auf Abwegen]
|
2009 |
€23.00 |
|
| RIEK, LASSE-MARC |
Helgoland |
CD |
"A place can inspire us in many different ways. Whether it be painting, photography, poetry or sound, all of these outputs are driven by a desire to preserve the essence or spirit of the landscape that has touched us. Lasse-Marc Riek chose the medium of sound to demonstrate his love for the natural history of Helgoland, a small German archipelago in the North Sea. Over the course of two years, Riek gathered together a series of field recordings that move from the majestic to the intimate. The delicate sweep of sand particles caught in the breeze sits alongside the harsher sounds of a passing storm battering the land with an unrelenting force. Some recordings demonstrate the overwhelming presence of seabird colonies, alive with the vocalisations of Black-legged Kittiwakes, Common Guillemots and Northern Gannets. This all-encompassing cacophony of growls, cackles and screeching calls creates an evocative and imposing sound picture, yet other recordings allow us to experience each of these species at closer quarters. We are able to listen in on the conversations of Black-legged Kittiwake and Northern Gannet families and experience the harsh cries of Arctic Terns calling to each other over the sound of crashing waves. One of the most moving recordings captures guillemot chicks taking to the water for the first time. The parent birds can be heard calling to their young, encouraging them to take that all important leap. The incessant, high-pitched calls of the chicks are occasionally accompanied by rapid fluttering and a gentle splash, signifying the successful jump of a chick onto the water. Birds are not the only inhabitants of Helgoland though, and several tracks are dedicated to the mournful wails of the Grey Seal. The calls are almost human like, especially those of the pups, and it comes as no surprise that these sorrowful sounds have links with ancient legends of mystical people found along the shoreline. The final recording in the series features the sound of a plane starting its engine and then taking to the sky, leaving behind nothing but the rhythmic breaths of a Grey Seal bull asleep among the dunes. Humans are not necessary here. Though they may inhabit the islands, the land is not really theirs. The land belongs to nature. Long may that continue." [Cheryl Tipp / Curator, Wildlife Sounds, The British Library, England]
www.gruenrekorder.de
|
2013 |
€14.00 |
|
| RILEY, TERRY |
Poppy Nogood and the Phantom Band All Night Flight |
CD |
Wiederveröffentlichung der Cortical Foundation-CD mit einem live-Mitschnitt (man hört nicht dass es live ist, die Soundqualität ist perfekt!) vom 22. März 1968 aus Suny, Buffalo, USA. Polymorph tänzelnde Sopran-Saxophon-Schlangen, Orgel und "Time-Lag Accumulator" sorgen für wunderbar komplexe, dronige, höchst schwebende Minimal-Musik, die alles andere als statisch ist.
"The live recording of Poppy Nogood and the Phantom Band All Night Flight taken from a 1968 concert titled "Purple Modal Strobe Ecstasy with the Daughters of Destruction" is the perfect trigger for what anthropologist Jean Rouch called 'The Strange Mechanism,’ the trance state which most of this decade's electronic music aspires to induce. The immediacy and the spectral filigree--the dervishes summoned during Riley's nocturnal concert--have been faithfully preserved on this CD.” [Richard Henderson, The Wire]
|
2006 |
€14.00 |
|
| RIMBAUD, ROBIN |
The Garden is full of Metal - Homage to DEREK JARMAN |
CD |
Robin Rimbaud was both a friend and collaborator over the years and this CD is his tribute to an important figure in both his life and others'. Using recordings of Jarman's voice as well as location recordings around his home, he creates a graceful and delicate sculpture in sound. This is a close friend's tribute, backed by a profound understanding of the filmmaker's sense of intimacy, atmosphere and drama.
2014 - on the 20th anniversary of the passing of Derek Jarman and this reissue Robin Rimbaud (aka Scanner) reviewed many of the materials in his archive and discovered four selections that were originally off the release but feel now that they offer another viewing.
"This is a creative mind and man I still miss, but who thankfully and finally seems to be receiving the accolation he should have received long ago." (Robin Rimbaud)
"A beautiful and fragile tapestry. Reflective, tactile and emotional."The Wire
"This music operates a certain unsettling, eerie magic on the listener, sneaking out of the speakers surreptitiously and filling the room like a sudden burst of sunlight. Even those unaware of Jarman's flicks will be moved." NME
This album is a collection of memories taking recordings from spaces that Jarman inhabited or experienced - from the walk to the sea's edge from his cottage in Dungeness through to the roar of London congestion around his Charing Cross flat - Robin has attempted to create a fluid, elegiac sound portrait, a form of resonant landscape painting that weaves through recordings of Jarman's own voice. Robin applied the term 'sound polaroids' to describe these intimate, isolated, improvised moments, the same way a polaroid camera captures an image for a moment, almost dispoable, forgotten, a tiny epiphany that dwells within but surfaces at unexpetcetd triggers.
The majority of the sound here is abstracted and processed through modest means, cutting, stretching and editing tape - acoustic data like this once digitised dissolves into a form that one can mould and re-shape in an almost scultural manner.
Derek Jarman 1942-1994
Derek Jarman was one of England's greatest cinematic visionairies. Spanning painting, theatre, film, he comfortably moved between genres, seemingly shape -shifting at will. From designing ballet and theatre in the sixties for Frederick Ashton and Ken Russell, through to his own films in super-8 and seminal features such as Sebastiane (1976), Jubilee (1978), The Last of England (1987) and Blue (1993), Jarman explored a unique and compelling vision until his death from AIDS in 1994.
This record was an homage to film director Derek Jarman. It was released with a short film by Guy Marc Hinant shot on location in Jarman's garden. Published in 1997, it was the second full-length album by Robin Rimbaud / Scanner on Sub Rosa.
FEATURES
ROBIN RIMBAUD aka SCANNER
TRACK LISTING CD - 13 TRACKS
01 Open 5.08
02 Experience 7.49
03 Drop
04 Waterbrush 4.56
05 Their own Space 3.27
06 Fravaer 7.03
07 Rosa Rugosa 7.44
08 A Walk through St James 5.58
09 Always Fading: Sedum Acre 3.22
2014 BONUS TRACKS:
10 Circles of Stone 4'22
11 I Waited a Lifetime 3'19
12 Translucence 2'33
13 Garden (redux) 5'34
www.subrosa.net
|
2014 |
€13.00 |
|
| RITSCH, WINFRIED |
Woodscratcher |
pic-LP |
"This release turns out to be the best way to celebrate little GODrec anniversary: the tenth release of the label! Woodscratcher (Scratching Wood) is a composition and sound generating machine from Austrian composer, media-artist, sound-sculptor and performer, Winfried Ritsch. Already known as collaborator in different projects with Bernhard Lang (pieces from his series Differenz/Wiederholung, Trike), Peter Ablinger (Klavierautomat), Ritsch created 'my own dedication to noise pieces of experimental music from 70s onwards'. This machine cuts a 2-5cm thick disk of a wooden trunk in a circular line along the growth rings of the wood, which makes this nothing else then monumental turntable. At the same time, the wood is amplified with four pickups (sensors) and the signals picked from microphones are spatialized over four loudspeakers in the corners of the room which spans acoustically the slice of the wood. This scratching in the concert is done until the inner part of the disk falls to the ground and the piece ends. The movement of the cutting tool behaving like an over-sized record player needle, has the performing function and is an allusion of the production of records, as well as playing them. The woodscratcher pretends to extract and play the information which resides in the piece of wood cutting it in an excessive performance. The wood is heard as acoustic material with inhomogeneities annual rings by superimposing a loops of the cutting process. With the progression of the cutting process the sounds evolves of the pieces in more and more rubbing and squeezing sounds. The audio signal filter functions of the wood is heard like repeatedly changing formants, almost imaging voices in the noise. Composition : With this performances not only the machine as performer is broached as the issue, also the exploration of unknown material is an artistic statement as also defining the structured and timing of the piece. The aesthetics lies in the excessive performance beyond feasible by a human actor or musician and also, links the many possible associations and associative to the world of music performance. One of them is the sound based on the noise of the experimental music pieces since the 70s and another with ideas of Herbert Bruen's computer music project sawdust from that time, when the rejection of oscillators as a tone generator for free definition of single events down to the scale of samples as a liberation of note-oriented Music generation. The transition in algorithmic composition to the composition of processes as instrument like done in live composition is expanded to the construction of a mechanical machine which is the live composer. The main aspect of this is that the process does the composing and the machine is composed for executing the process of extracting the piece out of the disc of wood, destroying it and defining the audible result of the piece. So composer becomes a mechanical engineer and inventor of machines and the musician the operator as machinist. The picture vinyl release is vinyl simulation of woodscratcher: a vinyl record has a picture of a wood on itself and recorded sound of scratching the wood." [label info]
www.godrec.com
|
2012 |
€20.00 |
|
| RLW |
Contours Imaginaires |
10inch |
RLWs Beitrag für unsere Reihe über das 'Unsagbare' benutzt als Klangquelle nur ein kurzes Piano-Extrakt mit Stimme, aus welchem dann drei Stücke sozusagen re-fragmentiert werden, die intensive und hochspannende Trips in RLWs "Imaginäre Konturen" ermöglichen...
Titel & Klangmaterial stehen dabei in komplexen Inter-Relationen, sehr emotional & tief gehende Sounds und ein ausgefeiltes Konzept stehen hier wieder in einer perfekten Balance. Das ganze auf gelb-orangenem Vinyl mit ungewöhnlicher Textur, das Cover kommt vom Oldenburger Artworker OLIVER JAKOBI.
"After a break SUBSTANTIA INNOMINATA is back with a terrific 3-track 10" by the prolific german composer RLW (who started his activities back in the early 80's and was the main member of the legendary german experimental outfit P16.D4). The full title is: CONTOURS IMAGINAIRES. The whole composition is based on only few seconds of piano-sounds and vocals (the rest is "imagination") and the track-titles & pieces offer strong inter-relations in a complex way.
The used sounds develop through imagination & decay ("denaturing transformations") and appear in the pieces with different emphases. The "classical" piano-sounds and its highly processed permutations are set in contrast with the highly emotional voice-material, like entering a convoluted labyrinth of voice-frazzles, drones & fragmented strange sounds......
Being on a microlevel ("phantasized cell"), judging the decay of shadows. Are these the memories of single cells? The shadow of abrasion-processes? The slow decay of imaginations? A fantastic work where conceptual thoughts and emotionally driven acoustics merge in a perfect way.
500 copies, colour-vinyl, full colour artwork by Oliver Jakobi" [label description]
"Drone Records, best known for a long line of drone 7"s, started already a while ago with a new series: Substantia Innominata, in which artists deal with the unknown, in whatever way they feel ('unnameable, unspeakable etc). For someone who likes his imagination go wild, Drone Records made a fine decision in choosing RLW to be part of the series. On the cover it says 'built from a few seconds of piano and vocals. Everything else: imagination'. Quite right. Good music is like a good movie: you create images that might not be what they seem to be. And musique concrete, since this is what is primarily the concern of RLW, is always a good way of imaging. You hear music, which could be voice, which could be piano, but then it could also be something else. Deceiving music. That is what RLW does best. In none of the three pieces it's easy to determine what the original sound is, or how it was treated. No doubt inside the bits and bytes these days (unlike the good old days of four track and reel to reel, where RLW learned the trick of the trade) things are transformed to such an extent that your imagination is free to run wild. It makes a movie in your head. For me an abstract movie, of squares and circles, using only a few colors and they spiral around, bounce off screen and back in. And no doubt it might be something entirely different for someone else. A great record. One that leaves more space to guess than some of the work RLW has recorded in the past, usually with others. His solo work goes out to no man's land more, which is great." [FdW / Vital Weekly]
"Die A-Seite dieser 10″ wird beherrscht von kontemplativen Stromwerken, besinnnlich hin- und herlappend, bis am Ende Wut auszubrechen scheint und seltsame semantiklose Verzerrungen dem Schrei irgendeine Weisheit versagen. ‘Ombre d’érosion’ heißt der Track passend. Die B-Seite beredet sich während ‘Cellule Imaginaire’ weitaus angestrengter, wenn auch unbehaglicher. Stetiges Zellteilung mag nicht immer erwünscht sein und kann offensichtlich höllisch wehtun. Das abschließende ‘Erosion d’imagnaire’ zerbröselt Vorstellungskraft in Hilfeseufzer, schwärmende Painosaiten, Radiofehler bei minimalen Rauschzuständen. Fantastisches Vinyl ! Übrigens: RLW ist Ralf Wehowsky aus Mainz, ohne Frage einer der wichtigsten zeitgenössischen Elektroniker." [Ed / De:Bug]
|
2007 |
€12.00 |
|
| |
Funeral Parties |
LP |
When Bhob Rainey had moved to New Orleans late in the first decennium of the 2000's we were talking about an eventual new collaboration. The idea to work with the confrontation of New Orleans based jazz funeral music versus the European tradition of composed funeral music came up and sank down no later than Bhob's next move - to Philadelphia. Nevertheless I felt fascinated by plunging into the funeral theme and laid down some drafts of pieces. When Bhob visited in March 2013 he did some sax-improvisations along the lines of these drafts. Electronically transformed excerpts from these recordings have been injected into and morphed with the drafts. The reference to New Orleans has been lost completely midway, like the plan of an equal-part collaboration. Nevertheless Bhob and me totally agree about many things. Like our disagreement concerning the importance of Dj Screw.
Judge for yourself !' LP edition of 200.
www.musica-moderna.org
|
2016 |
€16.00 |
|
| RLW + SRMEIXNER |
Just like a Flower when Winter begins |
CD |
"Recorded by RLW (Ralf Wehowsky of P16.D4) and srmeixner (Stephen Meixner of Contrastate) between 2010 and 2013. The first emanation of the project came up with two versions of one mutual piece (Sunglasses by rlw, Wishing by srm). The core structural elements of the release can be seen in srm's meditation on sentiment (old hearts) and rlw's textased pieces (Prach-tjunge, Alle, Definition). More instrumentally based are Gummidorf (srm) and Spaßbremse rlw). Beyond this a signment both artists have touched all pieces in various ways, as indicated indirectly by the following pandects & interpolations: RLW (Dec 2010) 'Some weeks ago I did a horrible dj-set for a 75th birthday celebration, including Heino and other German schlager cruelties. it was so terrible ! maybe I'll go back to the pieces i used for this event some day. This stuff is awful enough to make another use of it. SRM (Jan 2011): I have been thinking about your description of German schlager cruelties and how horrible it was and awful enough to do something with. Maybe there is a possible project there?" [label info]
www.monotyperecords.com
" "Wie eine Blume am Winterbeginn / Und so wie ein Feuer im eisigen Wind / Wie eine Puppe, die keiner mehr mag /Fühl ich mich an manchem Tag" (meaning "Just like a flower when winter begins / And just like a fire in an icy wind / Just like a doll that nobody wants anymore / That's how I feel on some days"), said the first strophe of the song "Ein bisschen Frieden" ("A little bit of Peace") by which Nicole Seibert, better known as Nicole, won Eurovision Song Contest 1982, rised UK single chart up and became quite famous due to a number of translated versions. This buttery and somewhat controversial (just check lyrics) song became the emblem and the title of this lampoon of pop hit songs - mainly German schlager, but there are also quotes and samples from other traditions together with some German musical atrocities which could have been exported by immigrants, such as the sample of Italian song "Mamma" by Claudio Villa in the disturbingly funny "Old Hearts Rejuvenated" - by Ralf Wehowsky aka RLW, member of the forerunning collective P16.D4, and Stephen "srmeixner" Meixner of Contrastate. Their humorous collage which turned a set of samples from a number of gutted pop hits, plunderphonics, industrial-like sonorities, electroacoustics and vocals which sound like radiophonic captions into a sort of creepy show, whose core elements are srm's meditiation on sentiment ("Old Hearts Rejuvenated"), which are somehow closer to his "permutative distorsions", and rlw's textual pieces ("Definition (Konsumation)", the disquieting swarm of "Alle (Everyone)" - it's really funny the list of names of German pop stars, where the female speaker turns into a devilish one -, the initial "Blumen fur den Prachtjungen") as well as some instrumental forays ("Gummidorf", "Spassbremse") or post-industrial unnerving activated sludges ("Wishing To Be Entartained", "The Man with the Sunglasses"). I could imagine that what you're going to listen on "Just Like A Flower When Winter Begins" if you woefully end up in a German schlager with drunken cockscomb, nazi loggers, twinkly blond milks and a lot of cholesterol while you were searching for a loo in order to sober up after a pitiless barman put an acid pill into your glass of milk." [CHAIN D.L.K.)
|
2013 |
€13.00 |
|
| ROCCHETTI, CLAUDIO |
These are the days |
LP |
CLAUDIO ROCCHETTI (von 3/4HADBEENELIMINATED) benutzt auf dieser LP sein MC- & Vinyl-Archiv als eine Art Gedächtnisspeicher in Verbindung zur Welt; die hier gespeicherten Informationen sind auf vielfältige Weise verbunden mit den Vorbesitzern & ihrer Aura. Auf "These are the days" werden Teile davon collagenhaft neu zusammengesetzt und ganz neue Geschichten "erzählt", es wirkt wie kurze Schnappschüsse des Unterbewussten ins Verborgene der Alltagsgeräusche, kaum fassbar und doch nicht chaotisch, mit viel Raum für Pausen und Rauschen, Knirschen, Crackles... eine besondere Scheibe, die mit mehrmaligem Hören an Schönheit gewinnt!
"These are the days" is a collection of short pieces all around of memory concept... a sort of back-up of experiences on Claudio's preferred media (tapes and vinyls). Tapes and vinyls are here used in a double way: in their common way, the Universal recognized one. As sound reproducers, as technological element of our day-life with their own personal story linked to all the people who owned them... they are full of memory, they are part of our World. But if you change the rules and use the machines in an unusual way, the story change and also the result. Driving them over the limits we can discover unexpected borders... "...I'm attracted by places where the human presence is denied or cancelled, but where you can still hear their vibes. Abandoned flats, tube stations in disuse, spaces in which Nature grows between asfalt and cement, resuming what men has stolen..." CR. Limited to 300 copies." [label info]
www.asilentplace.it
|
2007 |
€14.00 |
|
| ROCKENSCHAUB, GERWALD |
Private Pleasures |
CD |
Sowas wie auf dieser CD kommt vielleicht heraus, wenn man den jungen Pop-TIETCHENS (Sky-Phase) zusammen mit einem angetrunkenen SIGTRYGGUR SIGMARSSON und FELIX KUBIN auf Designer-Drogen sowie INOX KAPELL (ohne Drogen, nur natur-stoned) in einen Raum sperrt und einfach machen lässt. Obskur-infantiles elektronisches Rumgefrickel und Gesampele z.T. mit cheapo-Beats versehen – kann man nicht wirklich ernst nehmen, aber genau darin liegt der Reiz !
"gerwald rockenschaub is one of the most wellknown visual artists, currently living in berlin. apart from making art he has been deeply involved with music from the start, playing in bands, dj-ing, organising parties in his former hometown vienna and occasionally composing music which got released mostly through his own definitely something label. "private pleasures" is his first album in more then 5 years, a perfect showcase of his weird and very personal hybrid of half-defunct techno rhythms and a great sensibility for electronic music. comes with beautiful artwork designed by the artist himself." [label info]
|
2004 |
€10.00 |
|
| ROGERSON, DIANA & ANDREW LILES |
No Birds do Sing |
CD |
"... vom neuen album behauptet ehemann Stapleton, es sei das beste, das je eingespielt wurde. an der seite seiner frau tritt Aandrew Liles ins rampenlicht. er zählt zu den experimentierfreudigsten der gegenwärtigen elektrobastler und klangkünstler. soundcollagen, drone music sind sein metier und er wird in eine reihe gestellt mit größen wie heemann, chalk, basinski. so bildet sich ein duo, das kaum interessanter sein könnte, dem man mutiges und zugleich bewegendes, weil bisher nicht dagewesenes zutraut... konzentrationsfordernd ist es, daneben gilt es körperliche berührtheit zu ertragen, dem ansinnen zur flucht zu trotzen, dann wieder müheloses hin-hören, also eine mehr als dynamische rezeption einfordernd. launige samples neben aggressiver stimmung, hier geht so einiges zusammen, was scheinbar nicht zusammen gehört." [Das Klienicum]
"Everyone’s belle de jour Diana Rogerson and Andrew Liles got together to create what we regard as one of the most considered and well conceived albums Liles has been part of. 'No Birds do Sing' can only be described as a hallucinogenic voyage of disconcerting mysticism and cosmic pandemonium and is a recording he's very proud of. This disc is a completely black and comes in a stunning super high gloss digipack with wonderful artwork by Babs Santini." [label info] |
2008 |
€14.00 |
|
| ROIGK, STEFAN |
Worte wie Schall und Raum |
CD |
"1. "Vom Sagen Hören" 20:16 min
2. "Schweigen Ist Gold" 8:02 min
3. "Worte wie Schall und Raum" 33:30 min
Fotokarten: 1 Titel, 1 Abbildung "Vom Sagen Hören", 3 Abbildungen "Schweigen Ist Gold" und 3 Abbildungen "Worte wie Schall und Raum"
Ein ruhig gelesener Vortrag, ein lebhaftes Zwiegespräch und ein expressives Stück Sprechtheater deklinieren die Möglichkeiten einer rein auf Sprache basierenden imaginären Musik. Miteinander, gegeneinander und aneinander vorbei wuchern die Stimmen in Feldern aus hypnotischem Flüstern, eklektischem Wüten, kaskadenartigem Plappern und beruhigendem Erzählen. Die Texte erläutern zeitliche Strukturen, Spannungsbögen und Klangverhältnisse, zeichnen Klanglinien und Punkte und erschaffen gemeinsam eine Art Kopfmusik, welche ihre klanglich-musikalische Ebene erst im aktiven und extrem subjektiv-semantischen Prozess der Rezeption durch den Hörer enfaltet.
Die einstündige CD sowie die 8 Fotokarten im Format A5 dokumentieren die Installationen "Schweigen Ist Gold" (2015), "Worte wie Schall und Raum" (2015) sowie die Lecture Performance "Vom Sagen Hören" (2012-15). Alle Kompositionen befinden sich in vollständiger Länge als Stereomix auf der CD. Die Veröffentlichung erscheint im Rahmen des internationalen Stipendiatenprogrammes für Klangkunst "Braunschweig Projects" – Künstlerförderung des Landes Niedersachsen an der HBK Braunschweig 2014- 2015.
Berlin 2016, Audio CD + 8 Fotokarten DIN A5, 62 min."
www.revolver-publishing.com
|
2016 |
€15.00 |
|
| |
De-Composed |
BOOK + 2 x CD |
„de—COMPOSED“ — New artist's book by Berlin-based sound artist Stefan Roigk. The catalog documents acousmatic compositions, sound installations, musical graphics and text-sound compositions of the years 2005 to 2023 on 144 pages and 2 Audio-CDs.
A complex assemblage, composed of documentation photos, texts and drawings, becomes an interlocking whole in its dynamic flows and fields and animates the paper as a vibrantly structured visual composition. A piece of music for the eyes, in which the boundaries between documentation, draft and work become blurred in a surreal mesh of the concrete and fictional. Here, the reader generates their own individual temporal axis based on their speed of observation and focus on the optical elements, thus becoming a mixing board for a composition realized as a catalogue.
Three text pieces give a deeper insight into Roigk's understanding of sound as material and the translation of sound events into other media.
As an equivalent to the visual approach of the catalog and in order to adequately convey the sonic dimension of the artistic work, (sound) fragments of all the works covered in the catalog were transferred into a dynamic collage-like arrangement with Roigk's typical aesthetics and are included with the catalog as an independent listening experience in the form of two audio CDs.
„Stefan Roigk, de—COMPOSED (Audio Extracts)“ is published in conjunction with the catalogue "Stefan Roigk, de—COMPOSED" / published 2023 by Errant Bodies Press, Berlin / ISBN 978-3-9823166-8-0 / for further information please visit : www.stefan-roigk.com / www.errantbodies.org / © 2023 Stefan Roigk + Errant Bodies Press / This Publication was supported by Stiftung Kunstfonds
https://stefanroigk.bandcamp.com/album/de-composed-audio-extracts
"In a plastic bag, we find the following: a softcover book, 21x26 centimetre, 144 pages, 2 A5 postcards and a double CD. All of this is by Stefan Roigk, a Berlin-based composer born in 1974. I mention that year because, much to my pleasant surprise, the first time his name popped up in Vital Weekly was in issue 109, which must have been around 1997, which started, also very funny, with "Can you believe that in today's digitalized world there are still existing people who start a cassette-label?" Over the years, I reviewed his various releases, and his language, German, is essential to him. However, unlike some of his previous works, these two CDs aren't all spoken word, which is excellent. More to enjoy if the language is a barrier. What I didn't know, or perhaps I wasn't as aware, is that Roigk is also a visual artist and that many of his music pieces come with installations, or vice versa. The book is a catalogue of these installation pieces, the oldest from around 2007. Even when these pages are stills and not the real thing (or, in the case of a DVD, a registration of the real thing), it gives an excellent overview of his work. Like his music, many installation pieces are also collages of everyday objects in a new context. Some pieces on these CDs have been released before, so one could say this is a greatest-hits package. The downside is that the order on the CD is different than in the book, so one goes back and forth, learning about the material used in these pieces. Roigk uses musique concrète techniques of superimposing elements, intricate cuts, montage and altering his sounds. Of course, over two hours of music
is quite a stretch, but sitting back with the catalogue certainly works very well. I took away from it that Roigk creates a very coherent body of work in which music, visuals and text play a homogenous role." [FdW / Vital Weekly]
|
2023 |
€28.00 |
|
| ROIGK, STEFAN / FROMBERG, DANIELA / CLAUDIA HINSCH / PIT NOACK |
Habitat |
CD + leporello |
Documentation of an exhibition by Daniela Fromberg, Claudia Hinsch, Pit Noack and Stefan Roigk at Kubus gallery, Hannover, Germany, November 2018.
Fullcolour 8-page leporello (A5) with photos and text. Sound by Stefan Roigk.
Copies from Rumpsti Pumsti (Musik) are signed by Stefan Roigk.
"HABITAT - eine Ausstellung von Daniela Fromberg, Claudia Hinsch, Pit Noack und Stefan Roigk. KUBUS Freispiel #05 — städtische Galerie Kubus Hannover vom 10. bis 25. November 2018.
Nischenbildung, Wucherung und Durchdringung sind die Leitthemen der Gruppenausstellung HABITAT.
Der KUBUS wird zu einem Lebensraum, der von vier Positionen aus dem BereichInstallation und Klanginstallation bewohnt wird. Daniela Fromberg (Berlin), Claudia Hinsch (Hamburg),Pit Noack (Hannover),Stefan Roigk (Berlin) variieren repetitive skulpturale Elemente, welche den Raum überwuchern, sich berühren und punktuell gegenseitig durchdringen, aufeinander reagieren und so visuell wie akustisch Strukturfelder zwischen Ordnung und Chaos bilden.Wie in einem biologischen Lebensraum wird so eine komplexe Verwobenheit produziert, ohne Zentrum und ohne bevorzugte Lesart.
Die Ausstellungsdokumentation besteht aus einem 8-seitigem Leporello im Format A5 sowie einer Audio CD.
|
2019 |
€13.00 |
|
| ROSE, JON |
Rosin Box |
4 x CD-BOX & BOOK |
60th anniversary limited edition set
3 CDs, 1 data disc and a book
DVD style compact multi-case.
"Jon Rose is one of the most productive, original and focused people I know; he’s also an extraordinary musician and an inspired composer. To mark his 60th anniversary we are releasing this 3 CD box of previously unreleased works ranging from radio documentary and radio fiction to virtuoso performances - taken from all manner of contexts, using both the acoustic violin and the hyperstring interactive bow system. There’s a remarkable improvised violin concerto (the rest of the mini-orchestras’s parts are written out), as well as collaborations with Australian locals (multiple brassbands, musical whips, lounge pianists, aboriginal choirs, orchestrated corrugated iron, musical gum leaves, auctioneers, chainsaws, singing dingos, bowed saw orchestras, and so on). There’s a duo with George - an Albert’s Lyrebird, and concerts with contemporary ensembles and heavy earthmoving equipment. It comes accompanied by a great deal of extraordinary film - and some purely audio - material collected together on a supplementary data disc. Plus there’s a generous booklet of texts, documents and photographs and, of course, a souvenir sample of bow-hair." [label info]
www.rermegacorp.com
|
2013 |
€30.00 |
|
| ROSE, JON / CHRIS ABRAHAMS |
Peggy |
CD |
Jon Rose and Chris Abrahams (of The Necks), after four decades of being parts of other projects, finally got around to recording as a duo. Jon uses a number of violins, including the bird - a specially made tenor hardanger fiddle with sympathetic strings; his tunings are non-standard, and create complex microtonal dissonances with the standard keyboard. Abrahams is unfazed and somehow manages to make the conversation coherent; they’re still speaking one language – probably because these are both virtuosi and they’ve been around the block a few times. So this is not easy music; the simple problems aren’t stimulating, so these negotiations begin at masterclass level. Though pitch and counterpoint are the main topics, the third extended piece pushes timbral exploration to the edge; piano and violin are typecast as ‘classical’ but here they sound more electronic and industrial. Probably not for everybody, but the real innovators seldom are.
/
THE NECKS-Pianist CHRIS ABRAHAMS trifft in dieser spannenden Zusammenarbeit auf JON ROSE. ´Peggy´ ist der Komponistin PEGGY GLANVILLE-HICKS gewidmet und erscheint als CD auf RECOMMENDED. Avantgarde trifft auf Contemporary Classic. JON ROSE und CHRIS ABRAHAMS kennen sich seit fast vier Jahrzehnten. In dieser Zeit haben sie in einer Reihe von Formaten zusammengearbeitet, darunter z.b. bei ´Violin Music in the Age of Shopping´. ´Peggy´ ist allerdings das erste Mal, dass sie als Duo zusammen arbeiten. Man merkt den beiden Musikern ihren reichen Erfahrungsschatz an. Mühelos spielen Piano (ABRAHAMS) und Geige (ROSE) zusammen, klingen dabei harmonisch und (gewollt) dissonant. Das Album ist PEGGY GLANVILLE-HICKS, einer angesehenen Musikkritikerin (New York Herald) und Opernkomponistin gewidmet, die ihr Haus, nach ihrem Tod, Musikern und Künstlern zur Verfügung stellte.
|
2018 |
€13.00 |
|
| ROSENFELD, MARINA |
Teenage Lontano |
LP |
Teenage Lontano and roygbiv&b, from 2008 and 2011 respectively, comprise two key works by composer and artist Marina Rosenfeld. Both works are choral compositions imagined for and enacted by teenagers.
Premiered in New York’s immense Park Avenue Armory, Teenage Lontano is Rosenfeld’s groundbreaking "cover version" of Hungarian composer György Ligeti’s 1960s classic for orchestra. Teenage Lontano is reimagined as an immersive sound environment bisected by a column of teenagers in headphones. Beneath a loudspeaker rotating at the phonographic speed of 33 1/3 rpm, the teens' collective voices produce a hauntingly vulnerable account of Ligeti’s dissonant polychords. Teenage Lontano has been performed on three continents, including a French premiere in 2020 as part of Musica Strasbourg.
In roygbiv&b, asynchronous, sometimes raucous incantations of song fragments swell and dissipate, loosely organized around a purposeful mis-hearing of the acronym ROYGBIV: in Rosenfeld’s version, “r” evokes ‘are' (as in, "Are you that somebody...”);, o is 'oh' (“Oh, oh, oh…”); y becomes 'why' (“Why should my heart...); g is 'je (sus)', and so on. The extra 'b' in the work’s title pays homage to the ‘blue(s)’ of r&b.
Rosenfeld’s punning, spectral composition had its debut performance at the Museum of Modern Art in 2011. The recording featured on this edition took place at the South London Gallery in 2014 realised by local south Londoners, the recording highlighting their style and genre affiliations. Both works have remained unpublished until now.
Side A
Teenage Lontano, 2008
Recorded on March 8, 2008 at the Park Avenue Armory by Arup Acoustics for the 2008 Whitney Biennial. Special thanks to Art Production Fund, Bob Bielecki, Raj Patel and all of the NYC performers
Side B
roygbiv&b (Version for South London), 2014
Recorded on June 11, 2014 at South London Gallery, London by Mick Ritchie. Special thanks to Simon Parris, Avid Williams and the talented vocal stylists of Peckham and Brooklyn
Mastered by Lawrence English at Negative Space
https://room40.bandcamp.com/album/teenage-lontano
|
2021 |
€26.00 |
|
| ROSS, LESLIE |
Drop By Drop, Suddenly |
do-CD |
"The first CD starts with the shortest seed pieces that play primarily with the timbral and microtonal differences highlighted between tone-holes, forming a layered, pseudo-multitrack effect while playing with only one fingering, single note or multiphonic. They range from the more strictly tonal or modal pitch-centered to the thicker atonal and dissonant collection of frequencies found in some multiphonics. Pieces progress to longer complex ones by the second CD, some of which have as minimal material as the shorter ones, but make more extensive use of live multitrack recordings and frequency filters to further bring out changes in frequencies or accentuate beatings inherent in specific multiphonics. The electronics used were created explicitly for each composition using the computer-based program MAX/MSP.
Save for the unconventional 15 microphones of the “prepared bassoon”, these recordings include pieces with no sound processing whatsoever, as well as pieces that do involve sound processing and multi-tracking. Importantly, however, any processing (timed entrances of microphones, overdubbing, looping, spectrum filtering, pitch shifting...) is made in real time, not post-recording. All recordings are single-take recordings where four speaker channels along with room microphones have been mixed down to stereo. Key clicks occasionally get picked up in a loop recording to return sometimes processed, sometimes not later; in circular breathing a multiphonic might drop out a moment before sounding again –what might sound like clicks or occasional drop outs on some of the recordings are not overlooked mastering faults but the result of this live processing and playing as would be experienced in performance.
With a formal background in classical music and early performance practice Leslie Ross took a plunge into the free improv scene of downtown NYC in the mid 80’s and has immersed herself in experimental music ever since. Her connected, parallel, work as baroque bassoon builder also opened up into explorations of invented instruments and sound installations at the same time. She has presented solo programs, both acoustic and electro-acoustic with laptops or electronics throughout Europe and the US over the past three decades. In the mid 2000’s she returned her music focus to a detailed exploration, analysis and understanding of bassoon multiphonics, the details of which she has made freely available on her website. It is through this exploration of multiphonics and the subtle changes made when playing with resonance keys that she was brought to the multiple-mic project of this CD." [label info]
https://xirecords.bandcamp.com/album/drop-by-drop-suddenly
"In my desperately insufficient erudition, the sum of “bassoon” and “woman” gave “Lindsay Cooper” as the most likely result until three days ago, when – while rummaging across the piles of promos received in 2018 – I retrieved this 2-CD set by Leslie Ross. Haven’t been listening to anything alternative since. More than the trademark biography-in-pills used by the official specialists to fill half of a writeup, let me urge you to check this article to understand the kind of creative individual we’re dealing with. An instrument builder, inventor and skilled player who lives surrounded by canaries and cats, and produces valhallas of tones, microtones and illusory tones from a single source. What’s not to like?
A resort for brains who don’t content themselves with shabby explanations, Drop By Drop, Suddenly comprises tracks of length varying from 5’13” to 27’37”. An attentive look at the program reveals that the pieces are ordered from shortest to longest, as if Ross wished to take the hand of the listeners to gradually immerse them into oceanic clusters to reach mental emptiness. We also noticed that the harshness deriving from certain pitch contiguities tends to decline (not always!) with the temporal extension. What Ross is telling us – perhaps without realizing – is that every apparent strain can be alleviated or, at the very least, considered under different perspectives with the acquisition of fundamental psychoacoustic data. Especially when lulled by such a concentration of upper partials, occasionally suggesting fragments of near-immobile melody (“Closed Circuit, A Pastoral”) or simply lifting us from the chair (“Water”).
Amazingly, everything heard occurs in real time. Even when veritable legions of bassoons (and relative key clicks, and whatever else one can hear, including the aforementioned birds) are perceived in the stereo field. It’s all born from an expert positioning of the microphones – Ross amplifies the unthinkable, besides the “normal” – and loops, natural or less: what do we know, poor guitarists deprived of the chance of circular breathing? The aim of the composer – subjecting the audience to a feeling close to the vibrational totality experienced by the performer – is achieved in full. Equally notable is the cross of inner stability and disregard of corporeal issues generated by the superimpositions; but we’re on Phill Niblock’s label, therefore we were expecting it, in a way.
And so, another case of droning wonderment. However – trust this madman – that’s just the beginning of an utterly enriching voyage. Sometimes being a canary implies receiving incredible rewards." [Touching Extremes]
|
2018 |
€17.50 |
|
| ROZENHALL, DANIEL |
Forecusst |
CD |
"Auch für Forecusst nutzte Rozenhall wieder das EMS in Stockholm als Klanglabor. Weißes Rauschen prasselt wie Sturzregen. Die Luft brodelt und zischt, dass man reumütig ein Königreich für eine Arche bieten möchte, wenn man nicht wie gelähmt sich ducken müsste unter einem himmlischen Zorneswolkenbruch, wie ihn Bußprediger nicht ‚göttlicher‘ sich wünschen könnten. Man meint schon das Geheul der Verdammten zu hören. Die hellen Jauler und Triller eines kurzen Zwischenspiels geben nur unzureichend Entwarnung und noch weniger Beruhigung. Track 3 setzt dann auch wieder den Presslufthammer an der verstockten Seele an, zumindest an dem vermeintlich sicheren
Boden unter den Füßen. Soll man sich so eine neuzeitliche Version des Fegefeuers vorstellen, als Werkhallen der Läuterung, mit Gehämmer, Schweißbrennern und Fräsen? Pulsierendes Sirren nimmt im vierten Abschnitt wiederum bald bedrohliche Dimensionen an, auch eine ungute Schärfe. Diskantes Georgel in schneidenden Registern, ein Brausen, das Geheul mit sich führt und endlich doch abflaut, um in ein zweiminütiges Loch abzutauchen.." [Bad Alchemy]
"...Here his various interests blend together nicely: there is a fine balance between ambient sounds and noise bits into compositions that sound as compositions, and not a bunch of sounds let loose in the computer, running around on end. Quite cinematic music in approach, I could imagine this would work well as a soundtrack to science fiction movies of spaceships in pitch black skies and enemies firing laser guns, before landing on a radio active waste dump - an empty planet was used for this - and geiger counters running amok. Rozenhall's ambient industrial sound has certainly matured over the years, and will no doubt continue to grow. 'Forecusst' is the start of that growth." [FdW / Vital Weekly]
www.kningdisk.com
|
2008 |
€13.00 |
|
| ROZMANN, AKOS |
Mass / Massa |
7 x CD BOX |
Ákos Rózmann (1939-2005) - Mass
Ákos Rózmann’s Mass consists of twelve electroacoustic compositions created between 1989 and 2004 in the composer’s studio and at EMS in Stockholm. Like most of Rózmann’s compositions, Mass is a long-form work with a duration of around seven hours.
We can describe Rózmann’s Mass as an enormous fresco of personal observations on the two first parts of the Catholic Mass, Kyrie and Gloria. The intensely subjective perspective on the texts of the Mass is underlined by Rózmann’s freezing images – in his own words – “tropes”, i.e. meditations in Swedish, Hungarian and Latin over particular words in the mass text or connection to it. A few passages have nothing to do with the mass text: Organ piece VI in Gloria I (also performed with the subtitle Nocturne in silver and dance) is a sort of lament based on the phrase “Natten gråter” (the night is crying). We find the composer’s peculiar sense of humour in the intermezzo following Gloria I – a composed version of the intermission common in Swedish concert houses, complete with clashing coffee cups and empty chatter from the bureaucratic music establishment.
The overarching formal structure of Mass is an intricate one, with the various parts functioning simultaneously as independent pieces and as parts of sub-groups within the whole structure of the piece. As independent pieces, some of them go under the name Organ piece. For example, the three pieces included in the first Gloria part of mass form another independent composition named Triptykon, first performed as a separate work in 1996.
In the earlier parts of Mass, a battle fought between Positive forces is represented by the words in the Mass text and Negative forces represented by various challenging sounds, such as scornful laughter, grunts, burps, nauseous choking and vomiting sounds. First, the Negative powers drag down the Positive forces into a “black hole” or in pockets. Then the Positive forces return to dominate the remaining parts of Gloria. This formal narrative is nuanced by the composer, who, in interviews, offer a less dualistic, more complex viewpoint on the conflict central to the Mass:
“It’s presumable that everything in the general sense is about the notion of positive or negative because everything in the world is structured like that. But it’s not that simple in the Triptych [the first three pieces of the Gloria-cycle]. Different forces stand against each other, but their interrelation is more complex than that of good and evil.”
The most prominent sound sources in the work are the organ, a Hungarian zither and human voices. Throughout the whole piece, there is a vocal group from a village church in Corsica, singing the Latin mass texts solo and chorally. Other participants are Schola Gregoriana Holmiae under the direction of Viveca Servatius, a group of German Benedictine monks and – in the role of a sort of master of ceremonies, Thomas Hammar.
Ákos Rózmann was born in 1939 in Budapest, Hungary, where he studied composition at the Bartók Conservatory and the Liszt Academy. In 1971 he received a scholarship to come to Stockholm and completed his compositional studies with Ingvar Lidholm at the Royal College of Music in Stockholm and then settled down in Sweden. He was the organist at the Catholic Cathedral in Stockholm for a long time. His early encounter with electroacoustic music gave a new direction to his composing. Except for a few early pieces, Rózmann composed solely electroacoustic music – often preferring a monumental form, usually with the organ and the human voice as the most crucial sound sources in a complex, penetrating musical language loaded with symbols. As a composer, he worked involuntary seclusion, uncompromisingly and with great originality. Rózmann’s music is about the fundamental questions of existence, often on an ethical or religious (Catholic or Buddhist) basis, for example, in the enormous suites Images of the Dream and Death and Twelve Stations, both previously released on Ideologic Organ.
7 CD’s packaged in a hardcover slipcase with a pull ribbon, 12 and 20 pages booklets.
Boxset contains an extensive essay on the composition by Gergely Loch and additional texts by Göran Bergendal and Mats Lindström, and visual documentation.
https://ideologicorgan.bandcamp.com/album/mass-m-ssa
|
2022 |
€50.50 |
|
| RUHR HUNTER |
... ritual before the hunt |
CD |
Das musikalische Betätigungsfeld des GLASS THROAT REC.-Betreibers Chet Scott bietet dark Industrial mit zynisch-ironischem Einschlag und noisigen Passagen.."...RUHR HUNTER'S first full length explores the depths of dark minimalism fused with rich ambient soundscapes. An apocalyptic journey through somber moods that swell without warning into abrasive, violent sound...Limited press of 1000 copies." |
1998 |
€12.00 |
|
| |
Torn of This |
CD |
Ungewöhnliches neues Album von RUHR HUNTER aka Chet W. Scott, der auch das GLASS THROAT-Label betreibt. Viel weniger noisig als zuvor, bewegt sich „torn of this“ in eher meditativ-ambienten Sphären, mit so bemerkenswerter Instrumentierung wie „Antique Autoharp“, „War Drum“, „Energy Chimes“ und „Hammered Dulcimer“.
[Drone Rec. info 2002]
“Isolationist composer Chet W. Scott, has blossomed with his most passionate and personal collection of melancholia to date. "Torn of This" RUHR HUNTER'S sophomore solo release, brings a whole new set of dynamics to the soundscape table...Featuring nine beautifully flowing and timeless compositions, with a minimalist sound design, traditional folk elements and contemporary acoustical instrumentation. RUHR HUNTER'S "Torn of This" provides not only another audible journey for the listener to experience, but an absolute look into the composer's personal history, inspired through childhood emotions and experiences, geographical relations and the simple spirit of being. An evocative, sonic portrait of an essence, it's past and it's future...” [label press release]
|
2002 |
€12.00 |
|
| RUIZ, MIGUEL A. |
Grosor |
CD |
MIGUEL A. RUIZ gehörte zu den aktiven spanischen Experimental-Komponisten der 80er & 90er Jahre und betrieb das TORACIC-Tapelabel. GROSOR besteht aus 14 Stücken düsterer Sample-Elektronik, die eine postindustrielle, apokalyptische Atmosphäre heraufbeschwören. Erinnert durchaus an z.B. ASMUS TIETCHENS.
Ein Teil des Materials erschien 1991 auf der “Encuentros en la Tercera Edad” LP. MONOCHROME VISION ist ein russisches Label, das sich auf die Wiederzugänglichmachung vergessener Klassiker spezialisiert hat!
“This is the new, remastered version of classic material recorded back in 80s, next to postindustrial aesthetics priority in electronic music. Rigorous and austere, ascetic but dynamic, this music rearranges everyday being into mindchallenging imagination, reserving the leading parts for the habitual processes and domestic objects.
From the deep underground of Spanish industrial music, it comes to be rediscovered after 15 years. Release date is 10 December 2005. Limited edition of 500” [label info]
|
2005 |
€13.00 |
|
| RUTMAN, ROBERT |
1939 |
CD |
Wiederveröffentlichung der vergriffenen Pogus-LP von 1989, sowie ein Bonus-Track "live in Berlin". Mit Tablas, "Buzz chimes", Rutmans "Single String Steel Cello", "Bow chime", Rutmans gurgelnder tiefer Mönchsstimme und einem tibetanischen Horn werden hier ethno-dronige & rhythmische Stücke improvisiert, die einen speziellen Zauber ausstrahlen!
“ This release reissues Robert Rutman's Pogus lp (P201-1) and includes an additional track. Rutman (b. 1930) has been building and performing on his homemade metallic instruments for many years. This recording features his buzz chime, steel cello, and bow chime, along with tabla, Tibetan horn, and Rutman's vocal chants. Rutman caresses the metal, drawing out eerie drones and overtones that buzz and trumpet. The music in turn can be as fragile as glass or reach the depths of resonance, as if one has just come upon singing whales at sea. Beautiful music and long overdue on cd.“ [label description]
|
1998 |
€13.00 |
|
| RYN (or R.Y.N.) |
Whistle and I'll come to you (SOLD OUT) |
7inch |
Britisches “Power-Drone”-Duo mit erstem Vinyl! Metallisch-rauhe Fliess- & Vibrierkräfte schwemmen die Ratio hinweg und schaffen eine willkommene Leere im Hirn! Cover kommt in 2 Ausführungen: Mit Vollfarb-LaserArt oder s/w eissem Siebdruck!
“RYN is a quite new british duo (with members also active as MARZURAAN) and this is after few CDR-outputs their first vinyl release. Their drone-style could be described as “power-drone”, using solely field recordings (here: electric shaver vibration on bits of metal & refrigerator hum) for these two pieces presented here. These energetic sound-sources build masses of heavy clouds in movement that flood your mind away, pure metallic flood-noises that brings a most welcomed VOID into your head. Filed under: Power-Void-Drones
PURPLE VINYL. HAND-PRINTED FULL-COLOUR ART SHEETS & SILKSCREENED COVERS” [press release]
|
2006 |
€6.50 |
|
| SAARIAHO, KAIJA |
New Gates |
CD |
Vier Stücke der finnischen Komponistin, uns bekannt von der fantastischen INA GRM–economique maxiCD „Six Japanese Gardens“ ! Spannungsgeladene, eindringliche, transzendierend-unheimliche Neue Musik-Kompositionen für Streicher, Gesang, Flöten, Harfe, mit ausführlichen Liner Notes auf Englisch, Deutsch und Französisch.
“Kaija Saariaho is the most successful of contemporary Finnish composers. She has won a number of international composition prizes, among them the Prix Italia in 1988. Her compositions have been recorded by, among others, Esa-Pekka Salonen and Los Angeles Philharmonic, Dawn Upshaw and the Kronos Quartet. She studied in Freiburg, and finally settled in Paris, at IRCAM, the centre for computer music. Saariaho continues to live in Paris.
"In Cendres, musical tension is created by sometimes bringing the instruments as close together as possible in all compositional aspects (such as pitch, rhythm, dynamics, articulation, color), sometimes letting each of them express the music in their own most idiomatic way. In between these extremes one can find an unlimited number of possibilities to create more or less homogenic musical situations. The awareness of this variety was the rope on which I was balancing when working on the piece." (K.S.)
"Grammar of Dreams was born from my curiosity of the relation of human voice to instruments, a subject which I had put aside for many years. As the title of the piece proposes, another source of interest here was the structural life of dreams." The major part of the text is a collage from the texts of Paul Eluard.
"Solar was written for Champ d'Action. Solar is based on the idea of a permanent harmonic structure, which spreads its own image all around and continually brings the harmony back to its original form, as if obeying the laws of gravity. This idea gave the work its title."
New Gates is based on a ballet with no story line: the general theme is passing from one state to another, opening doors, gates, falling, crossing the water, etc.- themes often found in mythologies. As the title suggests, the music moves towards gates, opens them showing us new landscapes, and continues then again towards new gates.
The above quotes are taken from the liner notes, written by the composer.
The Belgian ensemble Champ d'Action takes its name from Umberto Eco's influential book Opera Aperta, which refers to new ways in which to understand the relationships between science and the arts. After more than a decade of intense activity, the ensemble still owes its relevance in the musical world to this meaningful term. Champ d'Action realizes high quality performances and recordings of such music by working directly with the composer. Conductors are carefully selected on the grounds of their working relationship with the composer. This is the first of a series of CDs for Mode, which will also include portrait-CDs of Luc Ferrari and Iannis Xenakis, among others.” [label info]
|
2001 |
€15.00 |
|
| SAINT PETERS CROSS / KRABATH / JOAN MIRO |
The Wrath / Arum Rapasopis / Artist |
CD-R |
"6th release of Metarealist Records presents 3 projects from Ukraine. The split is opened by Saint Peters Cross - orthodox death-industrial / ambient project of label owner - K. Saint Peters Cross continues the path of Mental Destruction who started in early 90s, but makes it in his own way, only taking the overall ideological attack vector from the Swedes. Next comes Krabath - with renewed sound and ideas. Now the connection with the same-named Czech animation film is lost, and Krabath tries to develop the idea of descructive discrepancy between educational programmes of modern society and natural impulse of childhood. Musically all compositions are woven from the sounds of various toys and voices of children of various age. Fans of dark experimental ambient should definitely appreciate "Arum Rapasopis". And the closing act is Joan Miro - noisy power electronics, insane brainchild of Pt74 also standing behind Krabath. "Artist" has already been released as a split with Moscow based project Fungoreia. Blind fury, insane atrocity with industrial sounds of a broken meat grinder - all this will bring pleasure to the lovers of formalistic art." [label info] |
2013 |
€10.00 |
|
| SAKELLARIOU, YIORGIS |
In Aulis |
CD |
In June 2015 I was invited by Implode, an artistic platform dedicated to new forms of sound and visual arts, to participate in “Sonic Topographies”, an artist residency that focused on locations of major importance in Ancient Greek history. I worked at the ruins of the temple of Artemis in Aulis, an archaeological site closely related to religious history and sacrificial rituals, and responded artistically to the location by composing In Aulis.
The composition explores the connection between myth, sacrifice and music and is inspired by the historical and religious background of Aulis and the temple of Artemis. According to the myth, the Greek fleet gathered in Aulis to set off for Troy and force the return of Helen. While there, king Agamemnon killed a stag that was sacred to goddess Artemis. The enraged deity ceased all winds, thus preventing the ships from sailing. This eventually led the Greeks to agree in sacrificing Agamemnon’s daughter Iphigeneia, in order to propitiate Artemis and ensure a favourable wind for their fleet. At the very last moment the goddess felt compassion for Iphigeneia and replaced her with a stag which was killed instead of the girl.
Iphigeneia’s dramatic story is described by Euripides in his famous tragedy Iphigeneia in Aulis which he wrote in 406 BC. The play was written during a period of conflict, political turmoil and instability and it arguably functions as an allegory in which Euripides – exiled from Athens at that time – warns his fellow Athenians about the consequences of war and the thirst for power and dominance as well as the hypocrisy of military and political leaders.
Is there a connection between the sacrificial act and musical performance? How is sound utilized in ritualistic murders? In his book “Noise: The political economy of music”, Jacques Attali writes that “listening to music is to attend a ritual murder”. He explains that in the physical world a ritualistic murder purifies violence and in the sonic world music does a similar thing. As the story of the Greeks in Aulis shows, sacrifice is performed when a problem requires a radical solution; the wind must blow and Agamemnon’s guilt must be transformed into redemption. With sacrifice a tension leads to resolution. In music, as Attali argues, it is noise and dissonance that become harmony when the chaos of sounds is organized and put into order through the act of music-making, when a sonic condition of anxiety and alert is transformed into joy and exaltation.
Silence
There is not a sound from the birds
or the sea. The winds are hushed
and silence holds the strait of Euripus.
Euripides, Iphigeneia in Aulis, line 9-11
In these lines Agamemnon describes the sonic atmosphere of Aulis, an eerie silence caused by the absence of wind. For the Greeks, this stillness created discomfort as they were unable to mobilize and sail to Troy. Around 2,500 years after these lines were written, I was at the same location, attempting to listen to the echoes of myth and history resonating in the present-day soundscape of Aulis.
Nowadays there is little left of the ancient buildings. Only their ruins continue to remind the importance and history of Aulis. Any visitor can simply push aside a half-broken wire fence and enter the archaic holy grounds, lying between a highway and a local road leading to a disused cement factory. Walking through the flora that is gradually covering the ruins, one can witness the blending of nature with human-made constructions and the folding of the distant past with the modern era.
In praise of Artemis
In the core of the sacrificial act is the setting of relationships which expand from the world of gods, or the unseen and ethereal, to the world of humans, the rest of the society. Simultaneously, music making is a socially constructed activity that brings communities together. Euripides provides an insightful example of this. When Iphigeneia finally accepts her fate, she addresses the chorus and says:
And you, young
women, sing a propitious song for my fate, a song in praise
of Zeus’ daughter Artemis. Let the Greeks keep propitious
silence.
Euripides, Iphigeneia in Aulis, lines 1467-1470
These lines reveal that sound is utilized in sacrifice to bridge the divine with the human world. Through singing and listening, music is creating social bonds, manifests a divine presence and establishes a relationship with it.
Ultimately, the Sonic Topographies residency was not a mere study and collection of information about Aulis and the temple of Artemis but an empirical interaction that transmuted it from a field with abandoned ancient ruins to a space for action and contemplation. Field recording and composing was triggering an ongoing dialogue between myself and the explored environment and deepened my relationship with it on a physical and sentimental level. The research about the temple and the fieldwork at the ruins expanded from investigating its history and recording sounds for an electroacoustic composition to a contemplation on passing time and an exploration of the depths of human soul.
(Yiorgis Sakellariou, 23 August 2017) |
2018 |
€14.00 |
|
| SAL SOLARIS |
Die Scherben 2004-2010 |
CD |
"kultFRONT and ZHELEZOBETON labels are glad to announce the new CD by one of the most outstanding Russian post-industrial projects - Sal Solaris. This release follows the logic of the "Der Ruf" compilation CD (2006, Der Angriff) and collects the tracks recorded at different times on various occasions. Among other tracks the disc contains compositions from the compilations "The Black Square" (2006, kultFRONT), "Iznutri" (2007, Ewers Tonkunst), "Rush for Black Celebration" (2008, kultFRONT), "Heliophagia III" (2009, Heliophagia), "Art of Caring the Dead" (2009, Dodozavr), "Heliolatria" (2010, Heliophagia), also tracks from the split 10" record with Stahlwerk 9 (2004, Der Angriff) and several previously unreleased compositions.
When describing the sound of Sal Solaris reviewers often mention the neologism "power ambient" and we can't but agree with this term. The music of this duet coming from Rostov-on-Don and Moscow combines the elements of dark, often space ambient, post-industrial and power electronics, a collage approach and a dense saturated atmosphere, not relaxing but rather stimulating the listener. A collection of works created during various years allows to trace the live dynamics of the project - from the austere ideological persistence of the "early National-Bolshevist period" to the more sculpturesque and psychedelic compositions, including some naive but remarkable exercises.
The works feature contributions from many band friends, including Russian cosmist writer Ivan Polikarov, lead artist of "Crazy Pierrot Cabaret" Sergey Vasilyev, piano player & composer Anna Antropova, decadent cynic and erudite DJ Deutschmark, master of noises Nikolay Lepesa, trombone player Seung-hui Cho and even Pyotr Ilyich Tchaikovskiy.
The artwork is done by the famous visual artist and media philosopher Oleg 'cmart' Paschenko (http://holesk.in | http://www.conclave.ru).
With this CD kultFRONT & Zhelezobeton labels open the series named "Die Zeichen" aiming to publish the archival works of Russian post-industrial projects." [label info]
|
2013 |
€12.00 |
|
| SALA |
En-trance |
CD |
Zweites Album dieses Projekts auf AUTARKEIA, dem litauischen Label. Wilder und perkussiver als „Shcut ente..“, werden hier schamanistische Tänze & Ekstasen aufgeführt, alles handgespielt und ungeordnet, Blasinstrumente, beschwörende Vocals & Geschrei.... im gleichen Geiste wie Z’EV, 23SKIDOO, alte PSYCHIC TV, aber auch VIBRACATHEDRAL ORCHESTRA oder wilde MAEROR TRI oder rituelle HYBRYDS kommen einem in den Sinn... und wieder duftet die CD nach MANDELN.
“En-trance” was recorded, but still wasn’t released by the magic-practising artists almost a decade ago. This album compiles two lasting live-recorded tracks. Ritual pulsing, archaic sound of wind instruments, deep-dark “ambient” and surrealistic, unexpected music bends immersing the audience to the swirl of phantasmagoric moods. There are some movies classified as of the “noir” stylistics, the main feature of which is highly forcible and strong atmosphere. If the records also have the classification of the “noir”, “En-trance” could be considered one of the most emphatic works of this style. Emotions generated by the “En-trance” music could be compared with the psychedelic atmosphere of the first albums of NWW, Hybryds. Interesting record and mystic ritual having sustained the challenge of social disregard during the years.
Album's tracks listing:
1. neophile gets ex-sited
2. and now s-he starts laughing
Album lasts for 40 min. 36 sec. It’s packed in a nontypical black plastic DVD case. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.“ [label info]
www.autarkeia.org
|
2005 |
€12.00 |
|
| |
Shcut enteRing worts |
CD |
Wer auf beschwörenden Okkult-Ambient-Industrial steht, ist bei SALA genau richtig. Geisterhaft tönende Loops & verfremdete Stimmenfetzen, Glöckchen- oder Triangelsounds, alles in sehr hypnotischer Bewegung irgendwo im Hallraum tauchen seltsame Geräusche auf (Akustikgitarren).... gewidmet Jhonn Balance!
“Shcut enteRing worts” consists of two forceful tracks of “ritual ambient” style. They are not distinguished in the compact disk as the ritual couldn’t and shouldn’t be accelerated or perceived in separated pieces. Starting from hypnotic “mantra”, music gradually unravels to the strong and mystical “ambient”, the main feature of which being reiteration transmitted by the sound loops. These are organically supplemented by the tabors, bells, magic spells and mysterious sounds floating from the distance and generating only the strong mystic mood of the audience. Actually, concerning the impact, this music is in line with the works of world’s famous artists acting in this field – Coil, NWW, Omenya, Hybryds, Deutsch Nepal. The “Schut enteRing worts” album was recorded by the participants of SALA project when experimenting with Brion Gysin’s dream machine, which formerly inspired the well-known William S.Burroughs and had a strong psychedelic effect.
Album's tracks listing:
1. His: Entering The Dream
2. The Last Words Of Hassan Sabbah
Album lasts for 36 min. 26 sec. It’s packed in a nontypical black plastic DVD case. We recommend you to listen to “Schut enteRing worts” only on Hi-fi stereo. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.” [label info]
www.autarkeia.org
|
2004 |
€12.00 |
|
| SALAKAPAKKA SOUND SYSTEM |
Barbed Wire Boogie |
MC |
New self-released tape "Barbed Wire Boogie" is out! 40 minute pro-duplicated (by BSM-studio) cassette of tracks made 2013-2015. This was originally intended to be released as a split cdr release with/by another artist but after about a year of waiting I grew tired of that laissez-faire attitude and decided to put it out myself with a few added tracks. Once again DIY proved to be THE most satisfying way, even though it means limited quantities (it's limited to only 50 copies) and much more limited exposure... you know, I'm not a 'networking' type of person.
Track list:
A1 Fetus
A2 Afraid of sunlight
A3 Man builds a house (pre-mix)
A4 Terror da mort
A5 In praise of Jean Tinguely
B1 Iceland
B2 If the world should end in fire and ice
B3 No input (radio friendly edit)
B4 Don't call me friend, we barely know each other
A1 is a disturbing song about a pregnancy gone wrong. A2 is something you could call apocalyptic ambient (bit like Homeinen kuu on "Accident Worhip" CDr and The end of the world on the following tape, where is also a cleaner final version of A3 here (hence the pre-mix on a title). A4 is based on a sample of the great Coffin Joe. A5 is inspired by the exhibition of Jean Tinguely's works which I found quite inspiring. Here I use mostly the sounds which I recorded at the exhibition. B1 is based on a sung poem which I found accidentally somewhere. I have no idea what does it tell about but I found it quite fascinating. Just one of the examples where vocals is just another instrument, words lose meaning when you understand absolutely nothing of the language. I appreciate if there's someone who understands Icelandic and could tell me something about the poem. B2 is a sort-of-remix of a certain popular song. B3 is only using a feedback as a sound source. Original track is much more longer but in hope for a decent amount of radio play I decided to include here an edited friendly version, heh. B4 is something I made while I was kind of frustrated and annoyed about people using the word 'friend' in a very loose fashion. You know, Facebook 'friends' etc. - "Hey boss, I am your friend. A special price only for you." Yeah... fuck off... 'friend'!" [label info]
ikuinen-kaamos.blogspot.com
|
2015 |
€7.50 |
|
| SAMARTZIS, PHILIP |
Soft and Loud |
LP |
SOFT AND LOUD ist eine Klangkunst-Installation für 8 Lautsprecher, die auf verschiedensten ‚environmental recordings’ aus Japan basiert. Aufnahmen von Tempelplätzen, Wäldern, Marktplätzen, U-Bahn, Vorstadt-Noise, wobei sich aber das „typische japanische“ als Klangfokus herauszentriert, betörend schöne fliessende Sounds wechseln mit lauteren Alltagsmomenten & -geräuschen ab. Das ganze klingt sehr konkret und komplex zusammengefügt in dynamischer Bewegung & Effektierung.
“Originally conceived for eight-channel surround sound playback, Soft and Loud is comprised of field recordings made in Japan between 1999 and 2001 that were later arranged and mixed in Melbourne over a three year period. The objective of the field recordings was to document a variety of common environments in order to investigate the behaviour of singular events and their relationships to other sounds occupying the Japanese soundscape. Of particular interest is the cohesion with which artificially generated sounds are incorporated within the generally subdued natural acoustic environment. However intriguing the artificial is, the strangely muted quality of Japan is also a source of fascination. A massive city like Tokyo can be thunderously noisy, however it has a calmness to it that can be quite unsettling. It is the intersections where the distinctions between the artificial and the natural, noise and silence are blurred that drew samartzis' interest when constructing this work.” [label info]
|
2005 |
€18.00 |
|
| SAND |
Desert Navigation (clear) |
LP |
"Texture and feeling of 1975 with boosted audiophile sound quality. Previously unreleased album by German trio Sand, recorded 1973-1982. Live events in the quarry and an archaic sound formed the background music of the young atomic age. In the meantime, after endless trance garage sessions, Sand drifted from the mythical landscapes to Berlin and mingled with various oriental influences. Vultures were scudding along the urban canyons while burning houses illuminated the skyline. Sand navigated in obscure spheres and discovered Tendrara. There is something magical and inexplicable in creation, and Sand absolutely manifest these mysterious phenomena. Storytellers, musicians, shamans, geniuses -- Sand were known, at the end of the '60s, as P.O.T. (Part of Time). Then Sand -- Ludwig Papenberg, his brother Ulrich Papenberg, and Johannes Vester -- developed a more avant-gardist, proto-industrial, visionary, experimental approach, becoming a truly unique entity in the history of music. Not dependent on a classic krautrock style, Sand is nevertheless part of this movement of German cosmic/psychedelic bands, in addition to being the originators of proto-industrial musics. Live events in the quarry and an archaic sound formed the background music of the young atomic age. In the meantime the desert storm accumulated in endless trance garage sessions. Then Sand drifted from the mythical landscapes to Berlin and mingled with various oriental influences. Vultures were scudding along the urban canyons whilst burning houses illuminated the skyline. Sand navigated in obscure spheres and discovered Tendrara. "
|
2017 |
€25.00 |
|
| |
Golem (clear) |
LP |
"Sand’s 1974 debut album Golem is an excellent oddity in the Krautrock canon. The album eschews the normal reliance on chugging rhythms to provide the backbone of their sound. Instead they use space and more importantly headspace to create their psychedelic platform. The album was recorded by Klaus Schulze in a format described as “Artificial Head Stereo Sound” (which sounds like a psych band in its own right). Immediately plunging into opener “Helicopter,” the band creates a cavern of sound that was made for headphones. It was an attempt at surround sound before there was a market, improving on Quadrophonic and dunking the listener head first into the band’s creeping psychedlics.
Golem is as uncharacteristic of Krautrock as it is of the rest of Sand’s catalog, which would largely become more proto-industrial, roping in factory field recordings and ambient noise to their sound. Here they incorporate picked acoustics that roll into menacing cradles of tone, enveloping the listener in anxious waves, curling and uncurling their grip on the throat. Then they completely break out for a wistful romp on “On The Corner.” Its atypical of its peers but it stands as an important rung on the ladder connecting the audio tissue between Ash Ra Temple, Pink Floyd, Träd, Gräs och Stenar, and naturally their mentor Klaus Schulze and Tangerine Dream. There have been several reissues but Rotorelief’s 2013 version (still available) is probably the most deluxe and well presented. If you have a soft spot for 70’s excess and German Progressive rock, then this one is a must have." [Raven Sings the Blues]
|
2017 |
€25.00 |
|
| SARNO, LOUIS |
Song from the Forest: The Soundtrack |
CD |
"This is the soundtrack album to the film “Song from the Forest”, which tells the story of Louis Sarno, an American who has lived for thirty years among the Bayaka pygmies in the Central African Republic. No outsider has had such access to this beautiful and musical culture, and this selection of the best of his recordings presents the sounds of this amazing people and their environment with a depth and richness never heard before.
SONG FROM THE FOREST: THE FILM /// Premieres in Germany: Showtimes
As a young man, the American Louis Sarno heard a song on the radio that gripped his imagination. He followed the mysterious sounds all the way to the Central African rainforest and found their source with the Bayaka Pygmies, a tribe of hunters and gatherers. He never left.
Today, twenty-five years later, Louis Sarno has recorded over 1,500 hours of unique Bayaka music. He is a fully accepted member of Bayaka society and has a son, Samedi. Once, when Samedi was a baby, he became seriously ill and Louis feared for his life. He held his son in his arms through a frightful night and made him a promise: “If you get through this, one day I’ll show you the world I come from.”
Now the time has come to fulfill his promise, and Louis travels with Samedi, age 13, from the African rainforest to another jungle, one of concrete, glass, and asphalt: New York City. Together they meet Louis’ family and old friends, including his closest friend from college, Jim Jarmusch.
Carried by the contrasts between rainforest and urban America, with a fascinating soundtrack and peaceful, loving imagery, their stories are interwoven to form a touching portrait of an extraordinary man and his son.
A modern epic set between rainforest and skyscrapers.
FROM THE DIRECTOR
In the fall of 2009, I was traveling in the Congo River Basin when by chance I heard tales of a white man who was said to have lived for decades in the rainforest with a tribe of huntergatherers called the Bayaka Pygmies, for decades. I went to look for him. A few days later, I was standing in a clearing when Bayaka came running at me from all directions, brandishing spears and screaming. Suddenly, the noise ceased, and a tall figure detached itself from the undergrowth: a white man, two heads taller than everybody else, a Bayaka baby in each of his arms. Before me stood a legend: a lost, forgotten man, reborn in the Central African jungle. A man who once ate tadpoles for a month, who married a Bayaka woman, who survived malaria, hepatitis, typhoid, leprosy, and has recorded more than 1500 hours of unique Bayaka music. Before me stood the musical Herodotus of the Central African forests, the white Bayaka—Louis Sarno.
When we shook hands in this clearing, I instantly felt that something really big had happened in my life. How could I know that this was the beginning of a journey which would turn me—a writer and journalist—into a film-maker and which would take me across the globe for years to come? To me—a person without a real home, driven from place to place, a passionate hunter-gatherer of stories who has spent the past twenty years traveling to the most remote corners of the Earth—Louis Sarno is the most fascinating person I have ever met. He took a radical leap, accomplishing what I often imagine myself doing when I am on the road: leaving it all behind, starting over, becoming someone else. More than everything else I am impressed by his life’s work: the fantastic recordings of Bayaka music that we are proud to present in this soundtrack from Song From the Forest. (Michael Obert)
FROM THE CURATOR
Beautifully mapping the entire range of music-making of a single community of hunter-gatherers across more than a generation, the Louis Sarno collection of Bayaka music and soundscapes is extraordinary, unprecedented, and unrepeatable. No field recordist has ever matched the depth and sensitivity of Sarno’s commitment to presenting a record of what it sounds like to live with an indigenous community. Sarno has developed a uniquely sensitive recording approach, refined through an acute listening that is only possible through permanent immersion in a culture.
Nearly all of the recordings on this soundtrack have been drawn from the Louis Sarno collection of Bayaka music at the Pitt-Rivers Museum in Oxford. Louis continues to donate his exceptional recordings to the Museum with the long-term intention that they will benefit the community whose musical life they so beautifully present. (Noel Lobley, Ethnomusicologist, Pitt-Rivers Museum, Oxford University)
FROM THE MUSIC SUPERVISOR
Through Louis Sarno’s recordings, Bayaka music has become famous around the world. I first spoke to Louis about his endeavours in the mid-nineties when I was putting together “The Book of Music and Nature”, which included some of his work. When I heard he was still down there, twenty years later, and that a film wasnbeing made about his life, I knew I wanted to help.
Central to Bayaka music is a sonic integration with the rhythms and melodies of the forest itself. We have tried to include selections from the vast archive that highlight the ways the human sounds fit into the natural sounds, as an inspiration for how human life as a whole might better be part of our surrounding environment, our true home. (David Rothenberg)
TRACK NOTES BY LOUIS SARNO
1. Yeyi-greeting / 4:30
Yeyi just means ‘yodel,’ and this is one of my favorite forms of Bayaka music. They used to go on all night, slowly moving through the village, and at dawn they’d be going on one last time, throwing leaves on the roof of each house. The new generation doesn’t do it the way it used to be done. This is the most recognizable sound in Bayaka music, pure vocal music, very beautiful songs. When they sing you can hear the forest all around them.
2. Women Sing in the Forest / 4:55
This is recorded in a bimba forest, where there is not much undergrowth, so you hear the singing echoing as if you were inside a natural cathedral. The Bayaka have this way of wandering into the forest, taking music from different forms, and improvising together as they collect water or gather mushrooms. I love the sound of women’s voices in the distance in the forest. The forest without that sound is incomplete. These are the most lovely voices on Earth.
3. Tree Drumming / 3:08
There is a certain kind of tree, the gooma that has big buttress roots. You hit it and it really resonates. Whenever the Bayaka come across a tree like this on the trail they hit it and play a little music. It’s kind of irresistible. Then they move on.
4. Bobé Spirits Calling / 5:53
I remember that camp, it was a beautiful one. The first evening, as the sun was setting, I saw this fire in the distance between the bimba trees. But it turned out to be the sun, at ground level in the forest, and you could barely see it through the trees at the horizon. The Bobé were really wild, spinning around and dancing wildly. That was the time when they buried Samedi’s grandmother. I had just came back from America, and I walked fifty kilometers in one day, and I heard she had died. The next day I set up to find this camp. We didn’t know where to go exactly, and it took us three days to find it. I was so moved by the place. The ceremony went on for two or three nights. This is a typical esimé, when the women move on from the usual melodic singing into something polyrhythmic. The Bobé are not human, they are animal spirits, and they use sounds that are beyond language. The Boyobi ceremony is not just music, it’s theater, dance, and myth, all blended together. Sometimes the Bobé spirits are naked in the moonlight, smeared with bioluminescent fungus. No crew has yet been able to film this!
5. Bayaka Night Insects / 4:52
Insects, yes, but also a few birds. That’s a type of cuckoo. I call it the “ngon go go” bird. There are two cuckoos and the rest is insects, with maybe a few tree frogs. Sometimes you get these moments in the forest where everything seems to come together like that. That’s why I spent so much time in the forest, because most of the time nothing much seems to be happening. But once in a while you get these beautiful moments, which you can only get by spending a lot of time out there. Years.
6. Louis Sarno Speaks / 2:32
Ewunji was an incredible guy, Samedi’s great-grandfather. He was known to go very deep into the forest, way into what’s now the Nouabalé-Ndoki National Park in Congo, and we just wandered around with spears, no hunting nets. You couldn’t survive like that now. The small animals have been decimated by poachers. Taking care of this should be the responsibility of the World Wildlife Fund, but they prefer to concentrate on big charismatic animals like elephants and gorillas, instead of the animals that the Bayaka depend on, small forest antelopes and monkeys. The Bayaka are no longer allowed to go into the park, but the poachers still go in there with shotguns.
7. The Flutes We Hear No More / 5:12
That was the only time I ever heard two flute players playing at the same time. Momboli and Gongé playing mbyo duets on Dec. 22 nd 1992. You are supposed to hear this music in your dreams, that’s why they usually play it alone at night, so it can get into your dreams. They play more or less in unison even though the Bayaka love vocal polyphony. This is a music you no longer hear anymore, since the last flute player died a few years ago. He gave me his flute and I had it in my house and could get a bit of a sound out of it. But when the Séléka raided my house last year during the insurgency, they destroyed everything, and they smashed the flute. This is a sound we will never hear again.
8. Net Hunt / 3:00
Well, that’s not actually a net hunt. That’s actually gida-gida, it’s a gorilla hunting game, they imitate chimpanzee noises. That’s from 1987, the very first time I went out into the forest. Just the men and boys are singing here. They make these fake spears and pretend to kill.
9. Earth Bow / 2:09
To make an earth bow the Bayaka take a sapling and bend it over, then attach a piece of twine to one end of the sapling, tie the other end to a piece of bark and hold it over a hole that they dig in the ground. This was Boungingi, and those are the same guys who were playing the tree drum. Just takes them a minute or so to make this instrument. Usually one person plays it, but there is always some extra percussion in the background.
10. Geedal / 2:28
That’s Balonyona, one of the greatest masters of the bow harp, the geedal. I recorded many hours of his playing, he really was the best player of this instrument. In 1991 he even went to Paris to play. It has six strings, you find it all over Africa. But the Bayaka way of playing is a bit different. They use fewer notes, and more rhythms. They play along with the pulses of the forest. It fits right in.
11. Flute in Forest / 5:16
That is a beautiful melody, the flute sounds so beautiful in the forest in the distance. That sound brings back so many memories of so many good times. Momboli played that melody a lot, and I recorded it often in the distance. You hear the night ambience swelling with insects, frogs, cuckoos, and the distant flute. So many good times… This music is really part of the whole forest world.
12. Water Drumming / 2:55
When the women bathe, they are always playing water drum. And sometimes they get these percussive melodies, this is a music for girls, and they are much better at it than the boys. Women will do it, too, and sometimes I’ve been far away when you can only hear the deepest sounds, and I think it’s the drum, and when I get closer, I realize it is women playing in the water. It is one of the few instruments Bayaka women are allowed to play.
13. Lingboku Celebration / 5:36
Ah, the Lingboku – women’s music. That is the one spirit they still have. They claim all the others have been stolen from them by the men. A lot of the lyrics make fun of male sexuality, it’s really an expression of female power. The men don’t like women to do it. But they don’t stop them. The men are not supposed to be present when they sing it. “The penis has no endurance and dies right away, but the pussy is always ready to keep going.” You ought to mark this song “explicit” on the CD. The dancing is quite explicit, too, the women look like they’re humping each other and if they catch men looking at this they’ll chase them away.
14. Moukouté’s Lament / 1:52
Ah, that’s little Moukouté. He appears in the film. At the time you recorded him for the film, he really wasn’t all that good at the geedal. But since then, he’s gotten a lot better.
15. Yeyi-Farewell / 5:32
What can you say? It’s beautiful. Yeyi. It’s the most pure Bayaka music. I never get tired of hearing these songs. They bring back so much musical wealth of these people. I don’t make recordings anymore. In some ways it’s easier to make recordings with today’s new technology, but I don’t love it the way I love those old cassette recorders. How do you write numbers on those tiny SD cards! They’re always getting lost. Many of the people I used to record are no longer alive. The new generation is just not the same." [label info]
www.gruenrekorder.de
"One of the various releases this week that is supposed to be a soundtrack. Here no film either, but just the recordings made by Louis Sarno, made in Central Africa with Bayaka Pygmies, a tribe of hunters and collectors. Sarno is not a visitor, but he lives there as a member and married, has a son and recorded 1500 hours of music and sounds. That's what the documentary by Michael Obst is about, about this rather unique field recordist. Sarno, who guides us through music from Bayaka and the place they live in, documents each of the fifteen pieces here in word. Flutes, tree drumming, singing, games, celebrations and such like are what we hear on this disc. Sometimes recorded from a distance, with the rainforest adding a whole additional layer of sound, which works very well. The 'Tree Drumming' reminded me of earlier Etant Donnes. I very much enjoy a release like this. Not because I know a lot about the subject of tribes or Non-Western music, and I am the first to admit I can't say
anything worthwhile about this, other than: I think this is a fascinating trip. Maybe it's because I was on holiday just now, and perhaps I would like to evoke the memory of holiday a bit longer? (I doubt whether Central Africa will ever be a point of holiday for me however). Just for now I can really enjoy all of this a lot. Strangely fascinating music. A sound documentary as well as something that you can enjoy from a purely musical point of view. Very nice variation in the world of field recording." [FdW/Vital Weekly #946]
|
2014 |
€14.00 |
|
| SATO, MINORU (M/S, SASW) + ASUNA |
Texture in glass tubes and reed organ |
CD |
"Die Kollaboration von MINORU SATO (m/s, SASW) + ASUNA für Texture In Glass Tubes and Reed Organ (KK012) folgte akribisch phonologischen
Konzepten, die in den Titeln auch schon angesprochen sind: ‚Superimposing five harmonic states‘ und ‚Weaving seven resonances: with
raw stereo material‘. Eine musikalische Phänomenologie, für die das Wort ‚experimentell‘ tatsächlich mal zutrifft. Die beiden dabei minutiös geschichteten oder verwebten Klangquellen, Glasröhren und Saugwindharmonium, sich klassische Dröhner. Sie erzeugen wunderbar harmonische Schwingungen,
die als Wellen im Raum ‚stehen‘ und wabern. Die ebenso raffinierten wie minimalistischen Anordnungen zeitigen idealtypische Resultate - Deep Listening à la Pauline Oliveros, Phill Niblock, Osso Exótico & Verres Enharmoniques.
Obwohl nichts anderes als Nüchternheit und Präzision am Werk sind, quellen klangwolkig und sanft schwingend alle nur denk- und fühlbaren
Konnotationen von Sphärenharmonie, Nada Brahma, Meditation und Immersion auf." [Bad Alchemy]
"We have been performing “music” focusing on the materialistic nature (physical phenomena) of sounds by utilizing the reed organ and glass tubes. Our music is composed and constructed in such a way that however the phenomena we use reacts with the circumstances of the space – the situation of the site including the audience – our live performance involves and uses these conditions. Since these compositions are studio recordings however, we decided to exclude acoustic spatial matters and the ‘one-time-ness’ of live performances and instead composed the structure of resonances within certain divisions of time. This is similar to textiles – weaving “resonances”, rather than thread, in certain patterns.
"Superposing five harmonic states" was developed by recording five harmonic states separately. Each of the harmonies was obtained by finding the characteristic sound effects made by the relationship of the chords of the organ and resonances of the glass tube. It was constructed by layering the recordings regularly in certain passages of time. The resonances of the organ and the tubes are left as they were originally recorded and the result is five separate recordings woven into a single piece.
"Weaving seven resonances: with raw stereo material" was developed by recording a state where the resonances keep a subtle balance between the relationship of the organ and the glass tubes. From the originally recorded material we found seven characteristic frequencies and reconstructed them into a piece, by giving each individual volume a transition using optionally assigned periodic variations. Thus this composition, made of a single recording, is like a piece woven by one string.
If our live performances were to be evaluated as music where we are presented with one-time incidents – i.e. reflecting the real time phenomena as ‘now and there’ in the music – this CD could be evaluated as music to analyze the sound structure of these phenomena and to make those aspects audible. It is intended to create a narrative about the phenomena which resonate through constructed sounds." [Minoru Sato]
www.spekk.net
|
2007 |
€15.50 |
|
| SATORI |
Kanashibari |
CD |
"Das Cover dieses Satori-Albums ziert ein Gemälde von Henry Fuseli namens "Der Nachtmahr". Um einen Albtraum geht es auf "Kanashibari" auch, sogar um einen real existierenden. Das japanische Wort "Kanashibari" steht für den Begriff Schlafparalyse, den Zustand der Bewegungsunfähigkeit während der Traumphasen. Diese Unfähigkeit sich zu Bewegen ist ein unbewusster Zustand. Es gibt aber Menschen, die sich dieser Paralyse durchaus bewusst werden und das ist wahrhaft ein echter Albtraum.
Diesen haben Satori, man kann es nicht anders sagen, perfekt in ihrer Musik festgehalten. Düster und brodelnd gestaltet sich das Album, Drone Ambient mit tiefschwarzer Attitüde. Aber "Kanashibari" begnügt sich nicht mit bloßen, tiefen Tönen, nein, rituelle Trommeln beschreiben den dramatischen Kampf, sich bewegen zu wollen, es aber nicht zu können. Rauschen, Zischen und andere ähnliche Geräusche transferieren direkt einen beklemmenden Eindruck. Die nicht zu entziffernden, entstellten Stimmen könnten Traumfetzen sein. Aber zusammen mit den Geräuschen dürften sie eher für die halluzinogenen, auditiven Wahrnehmungen stehen, die mit der Schlafparalyse einhergehen können. Wie man es auch dreht und wendet, Neil Chaney (Pessary) und Justin Mitchell (Cold Spring Chef) haben ein herrlich düsteres Stück Musik geschaffen, das bei nächtlicher Rezeption wiederum zu Albträumen führen könnte.
Nach ihrer Japan-Tour im April 2007 mit Sutcliffe Jügend veröffentlichte das japanische Label Dogma Chase "Kanashibari" auf einer auf 300 Stück limitierten LP. Cold Spring zog dann Ende 2008 nach und veröffentlichte das Album auf CD und spendierte sogar noch einen Bonustrack, "Pavor Nocturnus"." [Veit, Medienkonverter]
"CD version of the 2007 album from UK dark ambient/Fortean electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss), originally issued on LP by Dogma Chase, Japan. "Kanashibari" is the Japanese term for sleep paralysis (literally "bound or fastened in metal"). The album explores this phenomena, manipulating Fortean sounds and deep dark ambience." [label info]
|
2008 |
€13.00 |
|
| |
Contemptus Mundi |
CD |
"Neben der Wiederveröffentlichung der "Kanashibari"-LP auf CD, gibt es vom englischen Duo Satori auch noch etwas Neues zu hören. Es handelt sich zwar lediglich um einen Song namens "Contemptus Mundi", aber der bringt es zusammen mit einem Remix auf Albumlänge. Neil Chaney von Pessary und Cold Spring Label-Chef Justin Mitchell nehmen einen gesprochenen Auszug aus einem von Magus Peter H Gilmore, Hohepriester der Church of Satan, verfassten Essay und lassen um diesen von Peter H Gilmore selbst gesprochenen Text herum eine dunkle Schattenwelt entstehen. Gilmore richtet seine überbetonten Worte gegen den Kontrollwahn in der modernen Welt, gegen die Versuche, die Menschen vor allem Übel zu bewahren und sie damit einzusperren und ihrer eigenen Meinung zu berauben. Eine Sichtweise, deren darwinistische Ausrichtung in den heutigen Zeiten wieder Anhänger finden dürfte.
Satori lassen Posaunen erklingen, Chöre und Pauken. Tiefste Drones, immer wieder auftretende, kleine Unterbrechungen und metallische Geräusche geben dem Song etwas abgrundtief Schwarzes und Unheimliches, auch wenn bei über 20 Minuten Spielzeit etwas die Abwechslung fehlt. Die bringt dann der "Nameless Wrath Mix", der ohne Gilmores Pamphlet auskommen muss und etwas industrieller ausgerichtet ist. Die Posaunen sind durch Rauschen ersetzt worden, die Pauken durch dumpfe Schläge. Der Mix rumpelt mehr, wirkt bedrohlicher, erreicht aber nicht die atmosphärische Dichte des Originals. Schön düsterer Drone Ambient, der darauf hoffen lässt, dass Satori bald mehr veröffentlichen." [Medienkonverter]
"Brand new CD from UK dark ambient/Fortean electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss). This is a collaboration between Satori and Magus Peter H. Gilmore, High Priest of the Church Of Satan. Satori provide their trademark deep, underground, pounding electronics, here with a ritualistic dark soundtrack atmosphere, while Gilmore bestows a seething tirade against the weakness of the modern world! Two 20+ minute tracks, the 2nd being a deeper, instrumental mix of the title track." [label info]
"... "Contemptus mundi" is another very dark effort from the two british composers, this time in collaboration with the high priest of the church of Satan, Magus Peter H. Gilmore. While the joint venture behind Satori create dark ambient of low end rumbles added processed choir, bells and ochestral brass, Magus Peter H. Gilmore accompanies with spoken words focusing on the weakness of modern world. Underneath the multilayered dark ambient some slow and heavy rhythms creates a ritualistic atmosphere on the album. After the lengthy track "Contemptus mundi" running 26 minutes, comes a remix with an exclusive focus on the instrumental side and with more concentration on noisy elements. Where the opening track belongs to the dark ambient-style this so-called "Nameless wrath mix" is more towards the ambient-noise-style. Never the less two interesting ambient-based works from Satori that will appeal to listeners of projects such as Inade, Brighter Death Now and Lustmord." [NM, Vital Weekly]
www.coldspring.co.uk
|
2009 |
€12.00 |
|
| SAVAGE REPUBLIC |
1938 |
CD |
Eine DER Überraschungen des Jahres 2007 war das neue Album der "Art-Punk" Band aus L.A.!
"Eigentlich könnte die kalifornische Band Savage Republic heutzutage auch eine große Legende in Sachen Art-Punk und experimenteller Indie-Musik sein, so wie Sonic Youth, Minuteman oder die Einstürzenden Neubauten. Warum man diese Band normalerweise nicht in einem Satz mit diesen Genre-Größen nennt, ist wohl eine ungerechte Laune der Musik-Geschichte, standen Savage Republic doch in den 80er Jahren eben mit diesen Bands zusammen auf einer Bühne. Savage Republic sind deshalb auch so etwas wie Art-Punk-Pioniere, die auch nicht vor den schrägsten musikalischen Einflüssen zurückschreckten. Da wurde der frühe West-Coast Hardcore-Punk genau so angesehen wie 60’s Psychedelic oder Ethno-Folk. Dick Dale gehörte genau so zu den Vorbildern wie Ennio Morricone oder Mikis Theodorakis. Vielleicht war es diese Verschrobenheit und Kreativität, weshalb der Band aus Los Angeles ein größeres Publikum verwehrt blieb. Nun nach 18 Jahren Pause gibt es endlich mit „1938“ ein neues Savage Republic Album. Und zu welchem Label würde dieses Album besser passen, als zum Neurosis-Label Neurot Recordings? Eben. Trotz seiner enormen Spielzeit von ca. 70 Minuten treten beim Hören von „1938“ an keiner Stelle Ermüdungserscheinungen oder Langeweile auf. Da finden sich auf dem fast instrumental eingespielten Album Industrial-Sounds, mittelalterliche Klänge, Folk-Elemente, Psychedelic, Kraut-Rock, Impro-Musik oder auch mal jazziges. Ein besonderer Fokus wird dabei auf die Percussion- und Schlagzeugarbeit gelegt, sodass Savage Republic trotz seiner Ausgefallenheit ein sehr rhythmisches Album ist. Freunde von Bands wie Pere Ubu, Can oder den Butthole Surfers könnten bei „1938“ ihre helle Freude haben. Die Betonung liegt dabei auf „könnte“, denn Savage Republic sind einfach zu Eigenständig und als Solitär im Musikgeschäft anzusehen, dass man diese Band nur mit Vorsicht in gewisse Schubladen stecken sollte." [Independentkicks.de]
"Los Angeles art-punk pioneers Savage Republic have come roaring out of obscurity with 1938, their first full-length album of new material in 18 years-- hot on the heels of this spring's powerful Siam EP-- both on Neurot Records. Throughout the '80s Savage Republic was a deep-underground phenomenon, playing highly unorthodox shows in remote desert locations, abandoned factories, skid-row parking lots, and grimy bars across the US and Europe with such luminaries as Einstuerzende Neubaten, Minutemen, Sonic Youth, and Live Skull as well as hardcore-punk slugfests with the likes of Bad Religion, Angry Samoans, and Final Conflict. Known for their oddly tuned guitars, tribal beats, shouted vocals, metal percussion (typically 55-gallon oil drums and items gleaned from dumpsters and junkyards), and Morricone-meets-Dick Dale melodies, their performances were at times ritualistic and occassionally involved fire and explosives.
In their current incarnation, Savage Republic core members Thom Fuhmann, Ethan Port and Greg Grunke are joined by UK punk-rock veteran Val Haller, whose resume includes stints with Wayne County, Flying Lizards, Lords of The New Church, and X-Ray Spex, and noted drummer and percussionist Alan Waddington, known for his tenure with The Unforgiven as well as live and studio work with everyone from Willie Nelson to Gwen Stefani. The album also features contributions by guest artists including multi-instrumentalist Tara T. Tavi, classical violinist Julia Zuker, and drummer Bryan Taylor.
While staying true to their roots, Savage Republic have updated and expanded their singular Mediterranean-surf-soundtrack-folk-noise blend into a musical hybrid both contemporary and timeless. Trademark scrap-metal percussion and layers of guitar drone are now joined by spooky ambient textures evoking sonic landscapes exotic, dreamy and sinister. An undercurrent of dread is never too far away. In keeping with their tradition of graphic excellence, the album is packaged in a tri-fold cover designed by and featuring the photography of Ramona Clarke-Fuhrmann. " [press release]
www.neurotrecordings.com
www.mobilization.com
|
2007 |
€13.00 |
|
| SAWAKO |
Bitter Sweet |
CD |
"Die Musik der Japanerin wurde in BA 49 als „Gänseblümchenikebana“ und in BA 56 als „sonntäglich versonnener Nachmittag eines kulleräugigen Manga-Mädchens, das mit dem Laptop wie mit Puppen spielt“ in die niedliche Ecke gestellt. Sie bleibt sich treu und würzt ihre dröhnminimalistischen Tagträumereien erneut mit Zimt und Zucker. Akustische Gitarren (von Radiosonde bzw. Ryan Francesconi, die bei ‚April - From Sea Shell‘ bzw. ‚Utouto‘ auch als Co-Autoren genannt werden) oder das Cello von Jacob Kirkegaard blinken und summen Licht- und Schattenspiele für Sawakos ‚Deep Under‘- und ‚Ex.o.tico‘-Dreamscapes. Katzen träumen von Vögeln, Mädchen von ‚Hugbugs‘, die sie kitzeln, Fische singen ihren Nachtgesang, Sawako haucht ‚A Last Next‘. Sagte ich ‚niedlich‘? Seit der Entdeckung des Kindchenschemas hat das Niedliche seinen Zauber verloren (Herodes)." [Bad Alchemy]
"New York/Tokyo-based Sawako is a musician, software designer, and multimedia artist whose multi-disciplinary works intermix and pollenate her music with inspiration ranging from nature, science, academia and poetic motion. Following releases on Anticipate and And/Oar, Bitter Sweet is Sawako's 2nd release on 12k after the critically-acclaimed Hum in 2005. Her music is fragile and intimate, delicate, ephemeral and resonant. Bitter Sweet is unmistakably Sawako but finds itself moving into much, much deeper territory than her previous works. Building on her past forays into experimental pop, she uses low and mid-frequency drones and soft, melodic highlights to shape beds of stripped-down, hypnotic and very linear tracks that fill the space in which they exist. Bitter Sweet is more drone and tonal-based than Sawako's previous works. However, these gentle movements are punctuated by field recordings and acoustic instrumentation with cello provided by Jacob Kirkegaard and guitar by Radiosonde and Ryan Francesconi who also co-write two of the pieces on the album. In what has become a bit of a signature, Sawako lends her own voice to the ending lullaby, 'A Last Next.' These combinations produce rich results. Bitter Sweet's diffuse and hazy soundscaping is Sawako's most mature work to date, relying less on her previous child-like melodies while remaining feminine and tender. She has come into her own after having established herself for a number of years as a New Yorker where she has tirelessly performed, studied and created as an important member of the city's electronic music community. Bitter Sweet is packaged in a 6-panel digipack with photography throughout by Brooklyn-based artist and photographer Maki Kaoru." [label info]
www.12k.com
|
2008 |
€13.00 |
|
| SCATTERED ORDER |
Adjust the Terminology |
CD |
"Wir sind stolz, das brandneue Album der australischen Kultband SCATTERED ORDER ankündigen zu dürfen. Die Gründer des legendären M Squared Labels hatten großen Einfluss auf die heutige Postpunk-Szene. Ihre Debutlalbum "Prat Culture" ist ebenfalls erhältlich als Klanggalerie-CD (mit Bonus Tracks). Auf "Adjust the Terminology" ist die Band in Höchstform: ihr Sound ist ein Mix aus Industrial, Postpunk, EBM und sogar Rock. Harte Rhythmen treffen auf Vocal-Samples über sägenden Gitarren. Industrial Cut Ups verschmelzen zu soundtrackartigen Melodien. Ein Album, das sich nicht leicht in ein Genre pressen lässt. Eine phantastische Mischung und eine perfekte Erweiterung jeder Scattered Order-Sammlung." [label info]
www.klanggalerie.com
|
2010 |
€15.00 |
|
| SCHEFFNER, PHILIP |
Fon |
maxi-CD |
Erste Veröffentlichung für das neue Berliner Label PONG. PHILIPP SCHEFFNER versucht hier, hörspielartig mit musikalischen Mitteln eine Story zu erzählen.. sehr interessant und außergewöhnlich.
First release for new Berlin based label PONG by P. SCHEFFNER who already created music for several film-productions. This work has Hoerspiel-like qualities, like the “cinema pour l’oreille”-series.
“For „fon" Scheffner developed for the first time a soundtrack without a film. Over and over modified soundscapes and acoustic „accidents", recorded and re-arranged in analog and digital technology, have been created as a subtle drama structure, which the six different tracks follow without narrating a clear story. Comfortably situated in the electronic home after a while a certain restlessness is noticed by the inhabitant. The attempt to contact the outside becomes a journey through ether waves and wires and gets stuck between beats and loops. A real outside world seems more and more unlikely to exist. The cinemascope-version of the story could be totallly different: A catastropy has happened in a small town, USA. A single survivor is sitting in his detached family house, seeking desperately for signs of life. In this version the hero would probably leave the city at last. Close Up. It is raining. Long fade out.” [press release]
|
2001 |
€11.00 |
|
| SCHEICH IN CHINA |
Scheich in China |
LP |
"Killer album of ferric, monotone, fizzing electronics, slowed down bunker Techno and heavily atmospheric field recordings unearthed and compiled by Golden Püdel's impeccable selector Nina (veteran of mixes for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner's VIS label. Highly Recommended if you're into Alessandro Cortini or fellow Pudel compatriot Helena Hauff.
Scheich in China make exactly the kind of stuff you’d hope to hear during one of Nina’s far-reaching but focussed DJ sets and comes from another one of the club's elusive and extended possee, someone who alongside their nocturnal activities apparently spends their time beekeeping.
Their self-titled LP bluntly stakes out malefic intent to hypnotise thru their unflinching style and greyscale, atonal palette that’s deeply entrenched in a bunker mindset.
On the A-side they lash us into a trio of ever-decreasing drone techno circles primed for the grungiest DJs and clubs that crave a bit of murk on the ‘floor, but the record’s biggest attraction in undoubtedly the B-side’s 18 minute tract of treated and re-wired field recordings, all processed with a cold, hollow, metallic finish that make us feel like some invisible entity haunting the Hamburg docks and Reeperbahn at 6am.
If you fell in love with Alessandro Cortini's impeccable run of releases over the last few years, this one's a must." [Boomkat]
https://v-i-s.bandcamp.com |
2016 |
€16.00 |
|
| SCHIMKAT, ANNA |
Brot und Ro-sen |
LP |
Anna Schimkat's "Brot und Ro-sen" (Bread and Ro-ses) explores the connection between music, collective memory, and women's struggle for recognition through interviews with women from East and West Germany. The piece includes a score of sound and text fragments based on the interviewees' memories, which was first performed as a sound installation at the ODP Gallery in Leipzig, Germany. It was later performed live by young women at the Gallery for Contemporary Art Leipzig as part of the "Conscious Inability - The Archive Gabriele Stötzer" exhibition. The accompanying booklet includes Marcel Raabe's "Sound Space Body," (“Schall Raum Körper” in German language) and the vinyl's B-side features Schimkat and Raabe's interview collage "Takt halten kann ich nicht" (I can't keep tact).
Edition of 300 copies on black vinyl. Including 12pp booklet with score, photographs and liner notes by Marcel Raabe (in German).
Singers: Henriette Aichinger, Clara Ehrenwerth, Kristin Elsner, Marie Kraja, Lea Oelkers, Johanna Posenenske, Josefine Poser, Juliane Schmidt, Vera Seyffert
Interviewees: Gabriele Stötzer & Verena Kyselka, Bettina Schröder-Polten & Annette Benjamin, Bettina Schimkat, Ingrid Schmidt-Viertel, Dr. Eva Gutheil, Renate Gieg.Musical
Assistance: Michael Barthel
Mastered by Giuseppe Ielasi
Design by Marian Reinig
https://fragmentfactory.bandcamp.com/album/brot-und-ro-sen
|
2023 |
€20.00 |
|
| SCHNITZLER, CONRAD |
Auf dem schwarzen Kanal |
12inch |
"Auf dem schwarzen Kanal" ist eine der herausstechendsten und gesuchtesten Veröffentlichungen in Conrad Schnitzlers umfangreichem Katalog. 1980 als einzige von Schnitzlers Platten bei einem Majorlabel veröffentlicht, war diese Maxi und insbesondere das Titelstück ein Flirt mit dem zeitgleich aufkommenden experimentellen New Wave und klang dennoch so eigenwillig wie keine andere Musik zu jener Zeit. Die zusammen mit Wolfgang Seidel entstandenen und in Peter Baumanns Berliner Paragon Studio aufgenommen vier Tracks sind ein bissiger, dissonante Mutant Disco Trip, der bis heute nichts von seiner Faszination eingebüßt hat. Bureau B freut sich dieses lange vergriffene Werk endlich wieder verfügbar zu machen!
https://conradschnitzler.bandcamp.com/album/auf-dem-schwarzen-kanal
|
2020 |
€11.50 |
|
| SCHWARZ, JEAN |
The Sea Maid's Music |
CD |
"Werk von 1990 für "solo voice only": Die Solistin ELISE CARON spricht, flüstert, stöhnt, singt klassisch & bluesig, und wird von JEAN SCHWARZ mit dem INA GRM-Synthesizer "SYTER" in "realtime" effektiert & bearbeitet. Die gelesenen und gesungenen Texte sind Shakespeare's "Mittsommernachtstraum" entnommen... poetisch und doch grenzüberschreitend experimentell.." [Drone Rec. info 2000]
|
1992 |
€16.00 |
|
| SCIAJNO, DOMENICO & RALF WEHOWSKY |
Gelbe Tupfen |
CD |
Zum Weihnachtsfest 2003 erschien in der (Anti)-Xmass-7"-Reihe von Meeuw Muzak eine kleine wahnsinnige Single von RALF WEHOWSKY mit Bearbeitungen von IHR KINDERLEIN KOMMET, basierend auf Original-Aufnahmen des RLW-Töchterchens Sonja. Dies führte dann sukzessive zu weiteren Bearbeitungen anderer Klangforscher (und zur RLW-CD "I.K.K.-Purpur" auf SIRR) und einem sehr langen (34.30min) Stück des italienischen Bassisten DOMENICO SCIAJNO, welches hier verewigt ist. SCIAJNO hat das Material bis zur Unkenntnlichkeit auseinandergenommen und ein spannendes Geräuschmusikstück kreiert, welches durch stete Wechsel der "Weite" der Klangräume, von ganz nahen konkreten granularen Sounds bis hin zu weitflächigen dreidimensionalen Hallen, besticht.
RLW führt in der nachfolgenden Bearbeitungen das ganze noch weiter, wenn er sich selbst bei der Bearbeitung des Stückes im Studio aufnimmt und dieses wieder einarbeitet - einen endlosen Zirkel von Rückbezüglichkeit schaffend. Seine 22 Minuten (in 3 Teilen und mit einem Schlussteil) präsentieren feinste "RLW"sche konkret-Atmosphären mit unglaublichem Detailreichtum, das gebanntes Lauschen fast erzwingt.
Wieder ein Geniestreich von einem von Deutschlands kreativsten Klangbastler, der nie ohne hintersinnige Konzepte agiert ! TIP !
"A work is never finished. Last week we noted that the 'self-remix' by Norbert Möslang that is an act that is hardly done these days, but that Ralf Wehowsky makes this stock trade and takes matters always further. This new CD with Domenico Scianjo is another aspect of life started with the release of his Christmas 7" for Meeuw (which is dutch and not belgium, as its wrongly noted on the cover) and that was recently continued with a CD on Sirr-ecords. On that CD, various composers take their hands on the original 7" (which was composed by Christoph Schmid in 1794 and sun by Wehowsky's daughter) material, but perhaps the piece that Domineco Scianjo was either too long or it arrived too late? His piece is thirty-four minutes and is entirely made with self-made Max/msp patches, which transform the original sounds into a big electro-acoustic cloud of sound. None of the original is to be recognized here. Scianjo recommends headphones here and normally I wouldn't bother with that, but I must admit that the stereo field is wide apart, which, played with headphones adds a rather hallucinatory effect to the piece. It moves away from Scianjo's previous noise related works into the world of serious, almost academic sounding pieces. As such it's one of the best pieces I heard from him. Wehowsky of course is also present here with another piece, 'based on sound fragments from I.Dk.Sk, a recording of my myself sitting in the studio and working on the piece, plus some new transformations of Sonja's original take'. This piece is shorter and focusses more on RLW's recent interest of drone like material, that is of course RLW's private version of drone music. Sounds are clustered together until they form densely patterns, of sound blocks that glide together until the collide onto eachother and they start moving in separate directions. It's drone music that is based on collage methods, but that form a homogeneity through the piece. A captivating piece with a funny coda at the end." [FdW / Vital Weekly]
|
2006 |
€13.00 |
|
| SCOPOPHILIA |
Violent for being sexually desired |
CD |
Violent For Being Sexually Desired is the debut album by SCOPOPHILIA, the collaborative project from Harriet Kate Morgan (aka MILITARY POSITION) and Ester Kärkkäinen (aka HIMUKALT).
One cannot write about Scopophilia without discussing the female condition, as both artists sublimate their own biographies and biologies into sound.
Literally, 'scopophilia' means an extreme sense of the male gaze, with the woman bearing nothing but her own sexuality.
Yes, this album is a fractured autobiographical rendering on the inherently fraught situation of being a woman; but more so, it is a raw production of power electronics, industrial decadence, and provocative discipline.
Although leading different lives in separate countries, the two share a number of similar influences, SPK, Atrax Morgue, Brainbombs, Lustmord, Vatican Shadow.
Their respective solo work is largely industrial and can be quite minimal in comparison to Scopophilia.
In the album's dark techno rhythms - heard on tracks such as "I Would Die For You" and "She . Her . Myself. And I" - Scopophilia create a unique and completely different sound altogether from their solo work.
These tracks are lurid, sensual, intimate, and violent all at once, stirring visual images and narrative fragments through the noise.
Both Morgan and Kärkkäinen have a past experiences as sex workers, and they believe this album could be their own private soundtrack to a strip club or a dungeon.
The album is more than a synthesis of the bruised noise from Military Position and postmortem electronics from Himukalt, through an uncanny communion of misery, mania, sexual addiction, innate trauma, the loss of self, the aftermath of abuse or controlling situations, the horror of being in a female body and the subsequent feelings of entrapment this brings.
The record has an element of complete sadness and abandonment but also embodies some sort of empowerment - a moving forward, a sense of revenge.
Violent From Being Sexually Desired brings forward a definite vignette of female sexuality but framed more as a sort of ailment, a disease, something that isn’t desired or warranted and the thoughts that run through one’s mind as a result.
It acts as a sort of diary, a commentary on their past and their subsequent feelings of disempowerment as well as thoughts on what it is to be a woman and industrial artist.
CD comes in a six panels digipak plus 12 pages booklet.
Tracklist:
01. Wortless bitch
02. I would die for you
03. Pristine
04. Violent for being sexualy desired
05. Maybe she was asking for it
06. She. Her. Myself. And I
07. Lipstick
08. Casting Disperisions
https://www.oldeuropacafe.com/catalog/cd/violent-for-being-sexually-desired.html |
2021 |
€16.00 |
|
| SCOTT, SIMON (SIMON SCOTT) |
Insomni |
CD |
"Couldn't sleep arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop
Dawn and morning light allowed more sound and the guitar, in its case, beckoned
From darkness to light
Guitars: Guild 12 string D-125 & Vintage Guild 6 string GF-25. Mics: Induction coil pick up & Hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider & Logic Pro.
Simon Scott (b. 1971) is a British multi-instrumentalist who is currently based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition and sonic art.
Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012 as an 80-page journal and seven track CD. It explores the aesthetics of active listening, sound ecology and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analogue and digital timbres, the man-made and natural world sounds, captured in his local sunken landscape of The Fens in East Anglia, create a fusion of digital signal manipulation combined with organic acoustic textures.
Since the late 1990's Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions and digital multi-media projects.
He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 'Souvlaki' album. His track 'Für Betty' was included on the German label Kompakt's 'Pop Ambient' (2014) compilation series and his solo music has also been previously released on recording labels 12k, Morr Music, Miasmah, Sonic Pieces and Ghostly International.
Scott is also a freelance composer and sound recordist for film and television and recently appeared on the BBC program 'Springwatch Unsprung' recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught Music Technology and sound recording in Cambridgeshire and lectured at Cambridge University.
In 2008 he established the KESH recording label, releasing global artists audio and visual projects and he has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan and James Blackshaw." [label info]
"There are people who know Simon Scott as member of the renown shoegazer band, Slowdive. I have, unfortunately, never got into their music during their reign (even now I can see Rafael Anton Irisarri glaring down at me for this comment). I have, however, come upon Simon Scott's music back in 2009, where, for the first time since his playing drums for Slowdive, he has ventured out to release a solo album. Since then, Scott's music appeared on many of my favorite labels, such as Miasmah, Low Point, Slaapwel, and even 12k. Scott also runs and releases on his very own imprint, Kesh Recordings. His latest full length, Insomni, lands courtesy of Ash International, a long running outlet for Mike Harding, who is already busy with curating releases for Touch.
Insomni opens up with a slowly rising guitar strum slash drone slash noise, perfect as a soundtrack for my early morning walk, as I step out towards a lethargic and barely visible sun. The volume ascents with the climbing star, and soon envelopes every cell of my body. Gentle ambient soundscapes are intermixed with growling distortion, and it is this cocktail of dynamically opposing sonic vibrations that awakens my neurons, and a smile creeps in. The thunder eventually dissolves into a field recording of chirping birds, and Scott's guitar chords tell their story. Those awakened in the midst of night will recognize this texture of insomnia, mixed with fleeting thoughts within an empty chalice of a mind, and distant sounds of the universe unfolding on its own... all on its own...
Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light… -Scott
Insomni pursues its tale through a set of repetitious passages, shimmering light and lo-fi fabric. These are accented with environmental sounds (including the pickup of a cellular electromagnetic interference), wrapping this reverse lullaby into an organic aural pillow of music to wake up to. My favorite moment on the album enters with Scott playing his acoustic guitar (the press release credits a Guild 12-string D-125 and Vintage Guild six-string GF-25) - this is where Scott's talent as a multi-instrumentalist truly shines - it feels like Simon Scott is all this music, all these sounds, all this one. This is a beautiful record to add to your collection, and if you buy directly from the label you will receive two bonus tracks not available anywhere else. Highly recommended for fans of Rafael Anton Irisarri, William Basinski, Lawrence English and Christian Fennesz."
[headphone commute] |
2015 |
€15.00 |
|
| SECONDS IN FORMALDEHYDE |
Construct |
m-CDR |
"Construct offers a 22 min journey through nice shimmering drones that have a quiet romantic glitch appeal. Euphoric but at the same time fragile. This release marks the highlight of SiF's quiet young career" [label info]
www.waterscape.de
|
2007 |
€7.00 |
|
| |
Inaudible |
CD-R |
"Auch "Inaudible" besticht wiederum durch die angenehm- zurückhaltende Art des Künstlers, musikalisch, wie auch im persönlichen Auftreten. "Inaudible" beginnt mit sanften Drones die irgendwo da zuhause sind, wo die Grenze zwischen Himmel und Ozean am Horizont verschwimmt. Grenzgang wie Naturerfahrung gleichermassen. Lange Akkorde tragen den Hörer durch weite, spärliche Klangfelder. Die wohl grösste Neuerung diesmal sind die minimalen, auf leichten Füssen daherkommenden Beats, sowie die Percussion Loops, die an minimalistische Elektronische Musik erinnern. Ich mag es, wenn sich Künstler, die sich einem bestimmten Genre zugehörig fühlen, trotzdem den Mut haben, neue Schritte zu gehen, andere Wege zu beschreiten. Wer würde bei Fear Falls Burning, Aidan Baker und Konsorten damit rechnen, dass eine Platte plötzlich Beats aufweist? Wohl eher niemand. Um so interessanter dies nun bei Seconds In Formaldehyde verfolgen zu können. Die Beats sind sehr dezent und gekonnt zurückhaltend gestreut, was den typischen ruhigen Drone-Klangforschungen keinerlei Abbruch tut. Dennoch, es ist hier Vorsicht geboten, denn die Beats haben leicht die Tendenz, zu artifiziell und generiert zu klingen. Etwas mehr erdig-lebendiges ist hier gefragt, um die eben oben genannten Naturerfahrungen im Geiste entstehen zu lassen und weniger das Gefühl von, auf die Schnelle, ganz pauschal: "Computermusik. "Inaudible" erscheint in einer Kleinstauflage von 60 handgemachten Digipacks auf dem Suggestion Underlabel Verato Project." [Creative-Eclipse]
"Inaudible" features 3 new tracks that will show a new side of SiF. Guitar drones mixed with some minimal beats and tribal percussion. Fans of Aidan Baker and Fear Falls Burning should like this tunes. First edition will be released in a handmade digipack artwork!" [label info]
www.verato-project.de
|
2007 |
€9.00 |
|
| SEETYCA |
The Lake (SOLD OUT) |
7inch |
Erstes Vinyl für dieses ostdeutsche Projekt, welches fast lyrisch zu nennende akustische Stimmungslandschaften erschafft, organisch und geheimnisvoll, von dunkler expressiver Kraft....
"Another German project dealing with language, poetry and sound is SEETYCA. They use their own orthography and publish lyrics and prose on their projects website. Seetyca’s musical interest lies more in creating "acoustic landscapes" or moods than in telling stories. They’re especially interested in unconscious archaic states of the mind. The two pieces on "The Lake" relate to a sacral approach of experiencing nature. When beautiful (classic?) samples are set into a sphere of extremely wide spaces and reverbation, when these clouds of sounds spread out in infinite refulgence, moving like slow surging billows, a point of utmost inner calmness can be reached.....
File under: mysterious organic drones
BLACK MARBLED DARK GREEN VINYL, HANDSPRAYED COVERS WITH COLOUR PHOTO, INLAY" [press release]
|
2007 |
€7.00 |
|
|
Klangschafft I: Weite |
CD-R |
"die klancschafft weite wurde schon im herbst 2005 erarbeitet, musste aber mehrfach nachgemischet werden, was eyne verzögerung erbrachte. seetyca spielt hier nur e-maschinen in dem etwa 71 minuten daueren werck. ziemlich lanc. doch es muss so. weils nutzt." [label info]
www.seetyca.org
|
2007 |
€12.00 |
|
|
Mbira |
CD-R |
"mbira ist seetycas beytrag zum label-jubileum und rein technisch gesehen eyn gigantischer remix von verschiedenen auf mbira records bisher erschienenen tracks, verwoben zu etwas ganz neuem. vielleicht erkennt wer was wieder? eyn paar neue sounds sinds auch darunter.
aufgenommen und geremixt im frühjahr und sommer 2015 im mbira v.08 mit unterstützung von artin mucht und dr. dipl.-ing. johann e. mildenberg." [label info]
www.seetyca.org
|
2015 |
€12.00 |
|
|
Seetyca 2 |
CD-R (MP3!) |
"diese mp3.cd ist aufgenommen von winter 2001 bis frühjahr 2002 @ mbira world studios zu gotha und apelnstedt. e-maschinen, akustische instrumente und ambiance ausgedacht, arrangiert und eingespielt von seetyca.
seetyca_2 ist ambiant music, geschrieben für grössere räume oder hallen, in denen kunstausstellungen stattfinden. ursprünglich entstand das projekt für die gothaer hauptmarktgalerie. die langen stücke sind repetitiv und minimalistisch angelegt und sollen durch ihren mantraartigen charakter wirken."
www.seetyca.org
|
2002 |
€18.00 |
|
|
Remnants of Carbon Beauty |
do-CDR |
disk one of this 2-cd-set contains music from the cd-rom-projekct ein audiovisueller spaziergang durch die sammlung of the paläontologisches museum of the tübingen university. here we have the original soundtrack plus unreleased additional material, alternate versions and new mixes. the music was conceived between november 2004 and february 2005, recorded and mixed in mbira world studios by seetyca. produced by seetyca.
disk two contains original music and bonus material mixed into a suite called remnants of the mesozoic. recorded and mixed with the help of dr. dipl.-ing. johann e. mildenberg in march 2005. produced by artin mucht and seetyca.
this work was inspired by wolfgang gerber, achim reisdorf and the paintings of zdenék burian.
www.seetyca.org
|
2005 |
€19.50 |
|
|
Dühringa Aorta 2 |
CD-R |
dühringa aorta 2 ist eyne weiterentwicklung des vorgängers. das album wurde ausschliesslich aus dem klange von seetycas stimme generirt. so umlebt er seyne welt mit dem hauch der stimme.
aufgenommen und gemischet im frühjahr 2007 von seetyca und artin mucht. seetyca spielt keine instrumente, trimmt jedoch seyne stimme mit den e-maschinen zurechte.
www.seetyca.org
|
2007 |
€12.00 |
|
| |
Dühringa Aorta 3 |
CD-R |
dühringa aorta 3 dauerte über eyn jahr in der schöpffung. auch hier wurde alles aus stimmen gebastlet. eyne hauche, klinge welt.
aufgenommen und gemischet wurde zwischen november 2010 und frühjahr 2012. seetyca nutzt dabey die stimmen von marí soalris, dem hamburger chor open voices und die von sich selbsten. gemischet und gemastert hats artin mucht. eyn schönes design hat sich edward varelans III. ausgedacht.
|
2012 |
€12.00 |
|
| SEIDL, HANNES |
Befreit die Maschinen |
CD |
Das Versprechen war lange Zeit, dass Maschinen uns von der müßigen Arbeit befreien. Sie sollen uns die Schufterei abnehmen, so dass wir uns den schönen, angenehmen und erhabenen Dingen zuwenden können. Und Musikmaschinen haben lange das Versprechen mit sich getragen, dass sie allen ermöglichen, Musik zu machen. Jede Musik, die erdacht und geträumt werden kann, soll erklingen können. Aber weder arbeiten die Menschen heute weniger, noch ist die Faszination am echten Virtuosentum verschwunden. Im Gegenteil scheint die Möglichkeit einer Welt, in der die Apparate unsere Grundbedürfnisse befriedigen, heute fast schon als naiver Traum. In seinem Radiostück hört der Frankfurter Komponist Hannes Seidl den Maschinen zu. Was ist aus dem Versprechen geworden? Verschiedene Computerprogramme erzeugen die Klänge, von denen Seidl selbst „nur“ noch auswählt, welche von ihnen es in das Stück schaffen. Mit „Befreit die Maschinen“ verschiebt er das Musizieren vom Virtuosentum hin zu einem „nachdenkenden Zuhören“. Diesen automatisierten Klängen stehen Ausschnitte aus einem Vortrag des Philosophen Michael Hirsch gegenüber. Dieser macht sich Gedanken um die Frage nach einer Gesellschaft, in der Lohn und Arbeit voneinander entkoppelt sind. Zentral für Seidls Stück ist Hirschs Forderung „weniger Arbeiten, damit alle arbeiten und besser leben können“.
Komposition, Produktion: Hannes Seidl
Alle Texte sind Ausschnitte aus dem Vortrag „Die Überwindung der Arbeitsgesellschaft.
Eine politische Philosophie der Arbeit“ von Michael Hirsch, Leipzig 19.11.2016
Redaktion: Stefan Fricke
Gestaltung: Marc Behrens
„Befreit die Maschinen“ ist eine Auftragskomposition von hr2-kultur,
© Hannes Seidl 2021
https://www.gruenrekorder.de/?page_id=20033
|
2023 |
€13.00 |
|
| SEKTOR 304 |
Soul Cleansing |
CD |
"In three decades, Industrial music, due to its tangible form, has given birth to numerous interpretations and splintered factions.
What’s indisputable, is that most of what is actually defined as “industrial” has ultimately become more about entertainment than
confrontation and far removed from the original intent. This is the context in which Sektor 304 has appeared. Equipped with a frightening
and impressive array of primitive instrumentation pulled from junkyards and scrap metal heaps, this Portuguese outfit has delivered an astounding formal debut ¬ a heady mixture of truly old school industrial in the vein of Einsturzende Neubauten, Test Dept , and S.P.K, and the grinding, bass heavy dirge of vintage Swans and Godflesh. These are anthems to the past, but geared towards an apocalyptic and bleak future… a form of counter-culture using what is most evident in modern western society: the debris, the abandoned objects, the waste, the noise, and the interference.
With a solid foundation of rusty, oil drenched percussion, Sektor 304 adds layer upon layer of squalling industrial clangor, hammering metallic noise, grimy atmospheres, heaving masses of haunted factory drones, and threatening tribal batter, with a strong and commanding vocal presence. The sound here is almost physical in nature - provocative, persistent, and demanding. An organic impulse filled with shamanic drifts in which the noise barrage allies itself with metallic rhythmics and the use of concrete elements in the compositions. Junk, plastics, amplified objects. A change of scale. A manipulation of
non-musical sounds in search of visual inductions trying to bring forward
the sequences of Tsukamoto or situations invoked by J.G. Ballard. The conflict between man and machine as a metaphor of the struggle of man against himself. A mix and weight of three decades of sonic subversion.
It can be said that to find the future of music, one must look to the past, drawing influence from prior achievements, yet forging a new identity, and sculpting something completely unique and distinct. With Sektor 304, the future is now, and it’s not entertaining. In 6 panel digipak, mastered by Steel Hook Audio." [Malignant Records]
"Epic crushing metallic industrial heaviness, the kind of thing
we thought they just didn't make anymore, but this is total Swans /
Godflesh / Cop Shoot Cop worship, pounding metallic percussion,
soundscapes of whirring drills, blown out low slung bass, howled
distorted vox, the whole thing so repetitive and mantric, thick slabs
of distorted rumble wrapped around tons of damaged electronics,
bleating horns buried beneath reverb drenched beats, some songs are
full on walls of twisted electronic crunch, others are brooding,
droning skeletal sprawls, laid over deep blurred basslines, and tribal
rhythms, some are dense whorls of deeeeeep sinister black ambience,
all darkly drifting layers, and distant bits of clang and shimmer. For
a few moments here and there, the sound gets downright poppy, like
some sort of washed out post industrial deathrock, but even then, it's
shot through with a seriously menacing sonic undercurrent that seeps
into every beat, and every note. Filthy, crusty, heavy, haunting,
crushing and brutal, the perfect mix of old school industrial pound,
and more modern bleak blackness. Fucking fierce and frightening, grim
and punishing, and we're digging it like crazy." [Aquarius Records]
|
2009 |
€13.00 |
|
| |
Subliminal Actions |
CD |
"The follow-up to the highly acclaimed Soul Cleansing CD finds Portugal's Sektor 304 expanding on all aspects of their debut, once
again channeling the essence of the old school guardians (Test Dept, SPK, Crash Worship), while simultaneously exploring new, uncharted
territory. Comparatively speaking, Subliminal Actions is a more complete and focused album, with an even better flow than Soul Cleansing and more attention paid to detail, unleashing a cacophonic whirlwind of buzz saw grind, loops, power tools, and scraping, junk metal debris, clashing head on with exertive tribal percussion, clanging oil barrel rhythms,
and industrial clamor resonating over a sprawling, post apocalyptic wasteland. Some tracks, such as the opener, "A Carving on Metallic Flesh", heap on the scorching noise, while others, such as the resounding, rhythmic driven "By The Throat", "A Vessel of Guilt", or
"Vultures" are delivered with factory-line precision, laced with grimy layers of bass-heavy dirge, bleak, reverbed squall, and distortion filled, atmospheric drone. Among the many highlights, is the albums closer, "A Prismatic Sun", a 10 + minute epic excursion into a nightmarish world, populated by whispered vocals and uneasy drift that
slowly rises and grows in intensity, climaxing into a blissfully dark and sweaty orgy of low slung bass, ominous, ceremonial drumming, and
suffocating darkness. Subliminal Action not only compliments Soul Cleansing, but takes the
Sektor 304 sound to new heights, delivering yet striking record sure to solidify their standing as one of premier, truly industrial acts in
operation today. 10 tracks, 63 min., in 6 panel digipak, mastered by James Plotkin." [label info]
www.malignantrecords.com
http://soundcloud.com/malignantrecords/sets/subliminal-actions-by-sektor
|
2011 |
€12.00 |
|
| SELAXON LUTBERG |
Simboli Accidentali |
LP |
"SELAXON LUTBERG ist das Ambient Projekt des zurückgezogen lebenden italienischen Künstlers Andrea Penso. Nach zwei Alben, einem weiteren Album in Kollaboration mit Subinterior und verschiedenen EPs, erscheint mit SIMBOLI ACCIDENTALI (Zufallssymbole) sein drittes Album und die dritte Veröffentlichung bei Denovali Records. Wie viele seiner Arbeiten, steht auch das neue Album in enger Verbindung mit Andreas Biographie. 'Während ich das Album komponierte, habe ich versucht mich auf Zufallssymbole zu konzentrieren, die meiner Kindheit entstammen und näherte mich ihnen an - nicht um sie im Detail zu studieren, sondern damit ich ihre Essenz herausfiltere. Diese 'subjektiven Sounds' des Albums gehen aus eben jenen Gedanken und Erwägungen hervor." Um dieses Motiv zu unterstützen, beinhaltet auch das Artwork eine impressionistische Geschichte aus Andreas Kindheit. Simboli Accidentali besteht aus acht Tracks, die allesamt zwischen 2010 und 2012 bei Andrea zu Hause aufgenommen wurden. Die typisch warmen und umhüllenden Songs sind größten Teils auf bearbeiteten, kaum wiederzuerkennenden Gitarren, einer alten billigen Orgel sowie Loops aus zerstörten Tapes und Schallplatten entstanden. Der daraus resultierende Sound findet sich wieder in der weiten Landschaft aus Ambient/ Postrock, bekannt durch Musiker wie LABRADFORD und SLOWDIVEs Pygmalion Ära, den analogen und verfallenen Loops bei PHILIP JECK und WILLIAM BASINSKI oder auch dem cineastischen Gefühl von STARS OF THE LID oder DAVID LYNCHs Drones. Es ist an der Zeit in all dies einzutauchen." [label info]
www.denovali.com
|
2013 |
€20.00 |
|
| SERENE FALL // CARSTEN VOLLMER / GEHIRN.IMPLOSION |
Stern |
7inch |
"Die Triple Single V.A. STERN ist der dritte Teil der Konzepttrilogie von Dirk Dietzel. Zu hören sind vier bewegende und ganz persönliche Geschichten der beteiligten Künstler und Bands. Das EA 80 Seitenprojekt SERENE FALL wartet auf der A-Seite mit 2 Songs auf. Diese beiden Nummern beweisen erneut, dass es keine andere Band derart versteht, Kraft, Melancholie und Verzweiflung, Wave und Punk so stimmig zu einem ganz eigenen düsteren Sound zu verschmelzen. die Vollblutelektronikfrickler CARSTEN VOLLMER und GEHIRN. IMPLOSION sind mit je einem Song auf der B-Seite vertreten. Mit dem gleichen Herzblut bearbeiten die beiden Künstler die Songs und Noisescapes. Dabei dekonstruieren sie Klanglandschaften und erschaffen sie neu." [label info]
www.majorlabel.de
|
2009 |
€6.50 |
|
| SEVERIN BESTOMBES (VOM HORSE GORE CLUB) |
Auszug & Abgesang |
LP |
„Wenn man zu vorgerückter Stunde der verdächtigen Phantasterei anheim fällt, der heimische Plattenteller würde ungeklärterweise das Dunkel des Raumes wie von Geisterhand erleuchten, dann liegt das in erster Linie nicht an der falschen Sorte Pilze, die man unter Umständen mal wieder zu leichtfertig verzehrt hat, nein, es sollte sich lieber schnell besonnen werden, dass die lang erwartete dreizehnte Punch Productions Platte nun endlich von den Nadeln malträtiert werden darf, auf dass das fluoreszierende Plastik wahlweise in giftgrün oder türkisblau erstrahlt. Als wäre das nicht schon reizvoll genug, bietet uns die erste Manifestation des seltsam-mysteriösen HORSE GORE CLUBs zudem unerhört exquisite Tonkunst. SEVERIN BESTOMBES ist das dreihundertsiebenundfünfzigste Pseudonym eines gewissen Herrn Jürgen Weber, der, so erzählt die Legende, im vergangenen Jahrtausend in einer nicht unbekannten österreichischen Metropole, respektive dem slawischen Bezirk "Neue Welt", mehrere Hundert der denkbar wildesten musikalischen und antimusikalischen Orgien dem Tonband anvertraut haben soll und sich inzwischen, vielleicht zur Kontemplation, in ein katalanisches Dörfchen zurückgezogen hat, von wo aus er jedoch von Zeit zu Zeit, aber leider immer seltener, nicht minder wilde Geistesblitze in die gepeinigte Welt hinaussendet. "Auszug & Abgesang" ist ohne Zweifel einer dieser Geistesblitze, der darüber hinaus wohl oder übel dem angesprochenen Rückzug ins Kontemplative wie eine bittersüße Frucht entsprungen zu sein scheint.
Der erste Part dieser LP-langen Abrechnung mit dem Wiener Gesangsverein trägt den mit düsterer Symbolik überschütteten Titel "Lilien aus dem Garten des Gegenpapsts". Das akustische Gewächshaus dieser Spiegelbildikone fühlt sich jedoch an wie ein klaustrophobisches, von gespenstischen Erinnerungen heimgesuchtes Mythologieaquarium, dessen Innenwände zur Dämmerstunde zwischen Kuckucksruf und Spieldosengedudel von psychopathischen Rhythmen rituell verziert werden. In einer noch dunkleren Ecke liegt ein abgesoffenes Diktiergerät und gibt die befremdlich geflüsterten Chiffren eines kleinwüchsigen Wesens zum besten. Dann zieht ein sphärischer Wind in das Fast-Vakuum dieses Mikrokosmoses ein und alles wird erschreckend leise. Ist dies etwa die Ruhe vor dem persiflierten Militärparadenrummelplatzsturm? Haaaauuu Rrruckkk! Einmal kräftig dran gezogen und die schwerwiegend stachligen Lilien sind auch schon gepflückt. Zur Belohnung wird zwei-, dreimal auf die Klaviertasten gehauen und die Rillen flüchten sich hustend ins Platteninnere.
"Musik für Dolores" schwebt ebenso wie die A-Seite im Umkreis experimenteller, elektroakustischer Tonkunst des nahezu gesamten zwanzigsten Jahrhunderts und verarbeitet dabei womöglich sämtliche jemals aufgeschnappte Einflüsse. Zuerst werden NURSE WITH WOUND, Ghedalia Tazartzes, Edgar Varèse und wer weiß schon wer sonst noch alles durch den cut-up Fleischwolf gedreht und anschließend samt rudimentären Groovebruchstücken auf eine kaum noch wahrnehmbar leise Minimalambientfläche breitgeschmiert. Irgendwann brechen dann einige atonale Klavierklänge durch den fragilen Schleier, begleitet von dezenten Stimmexperimenten und schließlich einmündend in sehr sparsam platzierte Abstraktionen, die im Grunde völlig auf elektronische Klangforschung reduziert wurden. Das ganze wurde dazu mit einem heimlich munkelnden "live at Schlafzimmer" Charme aufgenommen und wirkt daher umso staubiger, direkter und echter.
"Auszug & Abgesang" bietet zwei hartnäckige Kompositionen zum Schlussstriche ziehen und neue Anfänge finden. Gerade letzteres will seitens der fragmentarisch aufgerissenen und minimalistisch verwesenden Klangstrukturen bewusst nicht leicht fallen. All die einzelnen Szenen dieser Collage sind wie Mittelteile ohne signifikanten Beginn und Ende, an ihren ungeraden Kanten aneinandergefügt, montieren sie eine diffuse, mit Schräglage in sich verschachtelte Sinfonie, die mit einem Bein auch im traditionsreichen Avantgardezimmer steht. Art bruit!“ [Roy Liebscher / Lichttaufe]
Collectors item from NOVY SVETS alter ego with surprisingly experimental soundscapes, wonderfully obscure collages !
“12" vinyl GLOW IN THE DARK !!!!!!!!!! - Silk-screened plastic sleeve
Severin Bestombes is said to be J. W. Eber who is said to be J. Weber, who the world claims to be NOVY SVET, singer and brain appendix of MUSHROOM'S PATIENCE and god knows what else. might be true....well, seems to be true. And what's truth on diplomacy's smooth grounds? Was this guy ever known for being outstanding diplomatic?
Definitely not...neither is this album. Bad memories melted into two long (each one LP-side long) tracks, that have their roots growing out of the sixties avantgarde's ass. In the end it is just fuckin' beau.
special cover - on special vinyl - for sure special musick too” [label info]
label: www.punchrecords.it
|
2006 |
€20.00 |
|
| SHASTA CULTS |
Configurations |
CD |
"A ship sinks beneath the silver mirror of the sea-top, temple gongs ring through an empty valley, industrial machinery sputters, heaves, lurches forward, stops, falls apart… These sound events may be the most acute musical referents of Shasta Cults, the music project of Canadian synthesizer technician Richard Smith. Using obsolete electronics, Shasta Cults pursues the true sound of the instrument, freed from the tyranny of emulation, no strings/woodwinds/piano presets. Shasta Cults’ compositions seek out unchartered territories where sustained drones may swell, build, or evaporate; where timbres collide, amplitudes fluctuate, sounds emerge, raw, primeval, new hybrids form from the collisions of electricity and frequency. There may be stretches of silence punctuated by bell-ish tones from futures unheard; a sequence of notes may verge upon melody before mutating into ugly moans, the sonic equivalent of funhouse mirrors. But the end result is far more than chance operation, sporadic sound fields, or indeterminate academic exercise. Instead, Shasta Cults brings us back to nature, back to the possibilities inherent in nature, to the truth of evolution, stitching both musical tones, and the sounds of 21st century living into a form which is as real, as imponderable, and as ungovernable as our own memories.
Recorded in 2017, employing the processes of non-linear waveshaping, frequency modulation and feedback, Configurations consists of eight programs captured live to multitrack using a rare, fully functional Buchla 700 digital-hybrid instrument designed in the late 1980s. Whereas previously released works made with the 700 almost always consist in simple manipulations of the single factory preset, this album delves deep into the instrument’s rich sonic vocabulary to offer the listener a more elaborate demonstration of the system’s capabilities.
Presented here in limited quantities this release is intended as a high fidelity audio archive of this obscure musical artifact."
https://shastacults.bandcamp.com/album/configurations |
2019 |
€15.00 |
|
| SHEA, DAVID |
The Book of Scenes |
CD |
Anspruchsvolles Werk für Viola & Piano & Sampler in 29 “Szenen”, die thematisch orientiert sind und sehr stimmungsvolle neo-klassisch-geräuschhaft-improvisatorische, z.T. elektronisch prozessierte Muster ergeben. Uraufgeführt 2003 auf dem „Why Note“ Festival.
"Return of the prodigal son: our favourite New York composer is back home at Sub Rosa.
This new CD consists in scenes with specific atmospheric tracks; a kind of open book, an open music film... and in the same time a true composer work of high level classical sampler music!
The Book of Scenes is a collection of pieces for Viola and Piano. Each piece is a single scene and scored on a single page and places the players and the instrument in different situations and relationships to each other and sampled recordings of themselves as well as the electronic environment the duo perform in. The work can be played in any order and the sequence is chosen before hand by the the players.
The scenes explore solo and duo playing, and musical roles inside of shifting contexts many related to visual references, films and iconic memories. This record presents Book I the first 29 pieces performed live with some scenes constructed electronically from samples and memories of other scenes. Many of the sections are visual in nature, for example where the alto player bows his instrument while the pianist places his hands on the viola neck and chooses the notes to be played followed by the alto player placing his hands inside the piano to mute the pianist notes as well as a scene where the players are blindfolded.
These scenes have been replaced by electronic manipulations of the live performance. The result is a flow of relationships and scored or scripted scenes living between the orchestration of the acoustic instruments and the electronic characters they engage with.” [press release]
|
2005 |
€13.00 |
|
| SHEFFIELD, COLIN ANDREW |
First thus |
CD |
Leider immer noch ein totaler Geheimtip, die sphärischen Welten des COLIN ANDREW SHEFFIELD ! Nach einigen schönen CDRs und Vinylen hier die erste volle CD, die eine Art Zusammenstellung von neu bearbeitetem älteren Material darstellt....Vier Stücke, sehr „neblig“ & schwammig“ & analog –elektronisch, dann aber seltsame Harmonien und Sounds darin, eine einzige wabernde Transzension und Auflösung in den Klangäther.....
"First thus" is a phrase used by book sellers, publishers, collectors, etc. to describe a book which may be considered a first edition and/or first printing, but which has been available previously in a slightly different form. A true first edition is the original, first printing of a given book, while a first thus is the first printing of a new version of that book. This classification can come about for any number of reasons, though often times it has to do with a new translation of a particular work, the involvement of a new (different) publisher, or with a new forward or introduction....
First Thus is Sheffield's debut solo album. The recordings on this disc were entirely composed using other commercially available recordings. The goal was to distill the essential qualities of these works and then utilize that essence for new recordings. Only very brief sections of the original works were selected. These raw components were then contracted, expanded, layered, and/or otherwise processed until something new was forged. The result is gorgeous ambient music that gradually shifts and unfolds, offering subtle nuance and quiet restraint. In a sense, it is a collection of other people's work, but this music appears here for the first time in a new setting or, if you will, a new translation.
Packaged inside two elegant printed sleeves of 100% recycled paper, this compact disc has been issued in an edition of 330 copies."
www.elevatorbath.com
|
2005 |
€13.00 |
|
| SHOEMAKER, MATT |
Spots in the Sun |
CD |
"Dieser Autodidakt in Seattle hat mit seinen dröhnminimalistischen Soundscapes schon Anklang gefunden bei verwandten Seelen wie Francisco López und Bernhard Günter, der auf seinem Label Trente Oiseaux Shoemakers Groundless (2000) und Warung Elusion (2001) herausgebracht hat. Der neue Dröhnscape reizt Hörsinn und Phantasie mit vier Szenen, zu denen man, je nach Wildheit der Imagination, sich Sonnenflecken und Protuberanzen als fernen kosmischen Klangsturm, oder auch einfach ein Fleckchen in der Sonne am Badesee vorstellen mag. Jeweils taucht man ein in grummelnde Tableaus aus Rauschpixeln in vibrierenden Grautönen und schimmernden Monochromien, die in einem Zoomeffekt kulminieren. Als ob das Mikrophon vom Bild angesaugt und verschluckt würde und in den letzten Sekunden akustische Großaufnahmen des Schlunds liefern würde, in dem es verschwindet. Im vierten Teil meine ich bebende Cymbals, Dutzende von Cymbals, als Quelle ausmachen zu können, ein metallisch sirrendes Klangbeben, das im Raum zu schweben scheint, und über das sich dunkle Dröhnwellen hinweg wälzen. Als ob Shoemaker Makro- und Mikroebenen ineinander blenden würde, meint man im Bildgewebe auch die molekularen Reibungen und partikularen Kollisionen wahrnehmen zu können. Letztlich aber verschwinden Katz und Maus im grauen Rauschen. Kennt ihr den? Begegnen sich ein Ästhetizist und ein Anästhesist unter einer Autobahnbrücke..." [Bad Alchemy]
"Matt Shoemaker pulled his chin away from his hand after several ponderous moments, positing that the title to this electrically-charged opus of encrypted drone holds at least two entry points. The most obvious reference for Spots In The Sun would be the astrophysical study of sunspots with all of the allusions to earthly disturbances triggered by events millions of miles away. Yet, on the other hand, Shoemaker also proposed an earthbound reference to regions of the world that only exist -- perhaps literally, perhaps psycho-geographically -- under the intense glare of sunlight. He then shrugged his shoulders, hoping for an ideal situation in which his audience will confront his work as a vacuum and allow personal references to be drawn from within. In simplest terms, Spots In The Sun is a grotesque, sonic landscape with details exaggerated out of proportion and narratives folded upon themselves in a magnificent abstraction of electro-acoustics, rarefied field recordings, and particulate matter plucked from the ether. Shoemaker works in monochrome, shaping his gray tonalities into rhizomes of shadow which occasionally erupt in brilliance of hyper-realized clarity. While the familiar sounds of encircling birds, turbulent weather, and temple bells litter Shoemaker's recordings, the sonic topography describes a vulgar and hostile landscape where fits of delirium and circadian arrhythmia are common human responses. Shoemaker achieves these complex metaphors through labyrinthine drones spiraling through irradiated fog and glassine vibrations, punctured by the scars of a landscape in perpetual revolt. In many ways, Shoemaker's Spots In The Sun could be mistaken for Bernard Parmegiani at his most focused or even John Duncan at his most gracefully brutal." [press release]
"....Shoemaker's music is always present, and perhaps a little more raw than mentioned counterparts, but that's what I like this release. It moves more wildly through various textures from semi-soft to semi-loud in a more continuos manner and thus Shoemaker can be lumped in with some of the drone crowd than say with his microsound counterparts. In the field of drone music his collage techniques may seem odd, but it's surely an original voice. A high quality work, with minor and vital differences." [FdW / Vital Weekly]
www.helenscarsdale.com
"Have a glance back at our most verbose descriptions about anything from the avant-garde fringes of music making, and you'll most likely find a common metaphor of specific locations, or rather the memories that the author attributes to that space -- good, bad, holy, abject, transcendent, etc. Upon listening to Spots In The Sun, we find ourselves returning to the well-trod linguistic device of comparing sound to the detached memories of place; however, Shoemaker's exploration of psychogeographic sound never grounds itself upon a specific location -- like a crumbling hospital, reclaimed World War II bunkers, or even his own favored locations of the jungles of Indonesia. Rather, Shoemaker drops the listener into a sunbleached environment, where heat, humidity, jetlag, fatigue, and general environmental claustrophobia prevent any of the specifics to make themselves known. While Shoemaker's landscapes are openly hostile toward the listener, these swarming masses of sound are incredibly alluring, drawing us in even though we may know better than to enter these openly toxic spaces. Shoemaker is always teasing us with small hints as to where we might be, with screeching birds, temple bells, and the patter of rain; but before we can begin to triangulate a position, Shoemaker rips us from our locale with a ruptured crescendo and drops us somewhere else. It is through the drone that Shoemaker achieves all of this and more, his swarming monochrome morphs from complex vibrations into radioluminescent clouds. Spots In The Sun is an exquisite manifestation of abstracted field recordings pushed to the point of grotesque minimalism, and is indeed some of the finest that we've heard (comparable to the likes of BJ Nilsen, Machinefabriek, Loren Chasse, Philip Jeck's Surf, and mnortham)." [Aquarius Records] |
2007 |
€13.00 |
|
| |
Erosion of the Analogous Eye |
CD |
"As said in the review of the new CD by Jim Haynes there is a small school of drone musicians, mainly from the USA who deliver some of the more darker outing in the scene. There are of course minor differences to be spotted. According to the cover of Schoemaker's new CD 'environmental phenomena' where recorded in Indonesia, Cambodia and USA, but its hard to spot these on the actual music, as he feeds them through a whole bunch of analogue synthesizers, guitar stomp boxes, reverb and such like. Only in the last piece 'The Analogous Eye' bird calls and wind sounds rise out of the mass, but even here things seems electrified. This makes that Schoemaker's music is altogether more 'electronic' in nature than that of Haynes or Irr.App.(ext.) and also a bit more 'louder', industrial perhaps. In his music he depicts empty industrial sites of long sustaining, rusty sounds of rusty object on even more rusty surfaces. The two parts of 'Erosion' are highly minimalist affairs of long sustained sounds. Not to be confused with the current wave of 'cosmic' sound artists, this goes further and deeper. An excellent work, sadly perhaps limited to 300 copies only." [FdW / Vital Weekly]
"The studio of Matt Shoemaker is alive with electricity. Impossibly complex wirings channel signal in and out of analog synth modules, an array of curious aluminums boxes with unmarked knobs, slinkies strung from ceiling to floor creating a set of giant spring reverb units, accelerometers attached to consumer electronic errata, and even a few conventional tools like guitar stomp boxes and a bruised computer. For all of the convoluted engineering that goes into Shoemaker's equipment, the resulting mesmerism in sound appears effortless and strangely organic. Shoemaker has enjoyed a semi-obscure career through his polymath activities that bridge such electronic experiments with a choice library of globe-trotted field recordings and a broad knowledge of avant-garde cinema. For Erosion of the Analogous Eye, Shoemaker waves his hands about his laboratory to construct an ever-evolving album for mutant dronemuzik. His electrical seas of synthetic bristling undulate with placid regularity, only to find Shoemaker contorting these brain-melting psychedelics into cancerous, atonal bellows. Out of his allotropic shifts, one can find swells of irradiated static transform into the graceful chime of temple bells; and electrical phase patterns slip into deep forest murmurings dotted with narcoleptic birds calls. On one hand, this album is prescient of the revival for progressive electronics currently underway in the flood of US post-noise projects; it's easy to triangulate this between Emeralds and Heldon. But on the other hand, Erosion of the Analogous Eye is the continuation of where Shoemaker had begun with his early work on Trente Oiseaux with its grotesques exaggerations of field recording into this beguiling piece of art. The artwork on Erosion of the Analogous Eye features unique hand-dyed abstractions mounted onto letterpressed paper. This has warranted a very small pressing of 300 copies." [label info]
www.helenscarsdale.com
"A very prescient, and very good, record by the sound-artist / field recordist Matt Shoemaker, Erosion Of The Analogous Eye pushes his work of tonal exploration and exaggerated found sounds into the neighborhood of many of the post-noise cosmic explorers who have been blossoming in every corner of the US it seems. At the same time, this is very much a Matt Shoemaker record, following a trajectory set forth through his acclaimed work on the once-mighty Trente Oiseaux label.
An ur-drone of analog synthesis opens the album, obviously harkening to '70s kosmische activities certainly a muscular revisitation of Schulze or even an extraction from Richard Pinhas. Such a lazerbeam of a drone has a lysergic sunrise feel to it, with the light and shadow brought into sharp relief, the colors shifted and separating into spectral bursts of yellow, red, pink, and orange. Yet, slowly, Shoemaker introduces atonal drones which clash with that introductory suspension. At first, the metallic slashes have almost an Andrew Chalk and Jonathan Coleclough feel, but Shoemaker quickly dispels those notions with a layer of field recordings of insects ravenously scurrying about. That introductory tone, which still continues through this first track, bends like a divebombing plane with Doppler tones trailing behind, descending in a series of bell tones. All of this in a seamless 17 minutes. A steady rhythm of gamelan bell tones opens the second track with accumulated complimentary drones shimmering and vibrating while harmonic dissonance abounds, collapsing into a quiet stream of percolating textures. Spread across 24 minutes, this track seems ancient and sounds beguilingly beautiful. Bellowing rumbles amplify out of recordings of rain, mud, and water and steadily arching through a metallic rattling of various pipes and gongs for the final track, which eventually gives way to an uneasy set of recordings of birds in a rainforest whose calls echo through the trees.
As with all Helen Scarsdale releases the packaging is stellar. Letterpressed text with hand-dyed paper. Each are different, each are quite special. Oh yeah, limited to a mere 300 copies!" [Aquarius Records]
|
2009 |
€13.00 |
|
| SHRINE |
Distorted Legends, Pt. 1 (SOLD OUT) |
7inch |
Ein neuer Drone-Senkrechtstarter ist für uns SHRINE aus Bulgarien. Der Drone-Beitrag kombiniert rauhe verzerrte Synths mit versteckten Melodien und allerlei Effekt-Geräuschen, Vergleiche mit z.B. BAD SECTOR sind möglich... die Verzerrung der alltäglichen "Realität" (mit Hilfe von Kunst & Musik) als ein Weg das dahinterliegende "Wahrhaftige" zu erkennen?
"Behind SHRINE we find a fresh experimental drone project from Bulgaria (currently residing in England) combining the melancholia of distorted synths with odd micro noises & effects. The fusion of rough and thunderous drones with hidden melodies evokes a strong emotional impact, like the feeling of being stuck in a confusing dream. SHRINE's philosophy shows a way to realize that what we call “reality” is to be mistrusted based upon our usual perceptions. The distortion of this reality opens up a chance to better understand its true essence and confront the things that lie behind the surface.
Filed under: DREAM & DISTORTION DRONES
more info: www.shrine.me.uk
BLACK VINYL. OVERSIZED FULL-COLOUR GATEFOLD SLEEVE" [press release]
|
2008 |
€7.00 |
|
| |
Ordeal 26.04.86 |
CD |
"The new full length by Dark Ambient / Drone act Shrine is dedicated to the 30th anniversary of the Chernobyl disaster on 26th April 1986. Composed during a post-operative convalescence period in 2015, Hristo Gospodinov says of the process: "To me the Chernobyl theme has always been very special not only because I witnessed the nuclear sunburn effects myself back in 1986 when I was a kid, but also because I find it to be the closest glimpse of a pending apocalypse we have seen so far. I find it terrifying not only because of the devastating effect of the ionizing radiation itself, but also because it was a man-made event. To me, the parallel with the biblical book of Revelation is inescapable." Laced with emotional distress and Shrine's superbly crafted soundscapes and notable sound design skills, "Ordeal 26.04.86" serves as a tribute to those that suffered, and still suffer from the irreparable. Events like this have happened again since - the most recent being in Japan's Fukushima - and there's definite signs that in the future we'll unfortunately witness more of these manmade catastrophes. "Ordeal" will serve as the perfect soundtrack. Ltd x 500 copies in a digipak." [label info]
www.cycliclaw.com
"Das Dark Ambient-Projekt SHRINE haben wir auf NONPOP regelmäßig begleitet. Und dabei immer wieder festgestellt, dass gerade in einem so überlaufenen Genre die Qualität der Musik sehr hoch einzuschätzen ist. Die thematischen Arbeiten des Bulgaren HRISTO GOSPODINOV wirkten stets überzeugend und durchdacht, wie aus einem Guss. Mir war deshalb auch nicht bange, als ich vor einigen Monaten die Ankündigung zu einem neuen Album las, welches sich thematisch mit der Nuklearkatastrophe von Tschernobyl am 26. April 1986 beschäftigen sollte. Solche ganz großen Themen sind ja entweder schon häufig bearbeitet worden oder führen schnell zu enttäuschten Erwartungen. Aber, ganz im Gegenteil: Auch wenn HRISTO im Pressetext etwas dick aufträgt und biblische Endzeit-Prophezeiungen bemüht, liefert er hier musikalisch sein bislang vielfältigstes und stimmigstes Werk ab, so viel schon einmal vorweg.
"Atomgrad" (01) startet mit Vogelgezwitscher und einem bereits leicht bedrohlichen Drone, wie ein schwarzer Windhauch. Mehrere Drones verdichten sich schnell zu einem schillernden, strahlenden Geflecht mit mechanisch britzelnden Geräuschen sowie industriellen Schlägen dazwischen, das Unheil kündigt sich an. Insgesamt ist die Atmosphäre zwar (noch) nicht unwohl, aber es knirscht und knackt wie vor einer Explosion in einer bis dahin heilen, natürlichen Umwelt. "Radiant Skyline" (02) ist wahrlich beeindruckend mit seinen gleißenden, leuchtenden Sounds, die – unterlegt von einem stetigen Bratzeln – permanent mächtiger werdend und tatsächlich klingend wie radioaktive Wolken, sehr filmisch das Ganze. Die Dramatik der Synthielinien mit verwehten, choralen Elemente geht auch als Neoklassik durch, die acht Minuten durchlaufen eine ungeheure Steigerung zu einem mächtigen, flehenden, atomaren Schrei. "The Silent Apocalypse" (03) ändert die Szenerie, wechselt in höhliges, verregnetes Ambiente, durch das ein dunkles, fanfarenartiges Tröten nach unten absteigend, untermalt vom Ticken eines Geigerzählers. "The Night That Hell Broke Loose" (04) nimmt den Titel beim Wort: bedrohliches, maschinelles Hämmern, eher kreischende Töne und rezitierende Vocals im Hintergrund, was mich nicht zum ersten Mal an die etwas Dark Ambient-lastigere Variante von DER BLAUE REITER (siehe auch "Nuclear Sun" – Besprechung zum selben Thema) erinnert. Wehmütiger, schmerzlicher Regen mit klagenden Drones fällt in "Under The Graphite Clouds" (05). Und "The Burden Of Knowledge" (06) ist in Gänze eine radioaktive Soundlandschaft, bedrückend wie eine Beerdigung mit Sounds von Instrumenten und Messgeräten vor blasigen, nach oben steigenden Drones. Alles eindrucksvoll unterlegt von martialischem Dröhnen und russischem Flüstern.
Während dieser monumentalen 50 Minuten verliert HRISTO GOSPODINOV zu keiner Sekunde die Struktur, das Gleichgewicht der Elemente aus den Augen. Ein überwältigend dichtes Werk vor dem thematischen Hintergrund der atomaren Bedrohung, oft außerhalb der Genregrenzen von Dark Ambient. Wie gesagt, das beste SHRINE-Album bisher."
[Michael We. für nonpop.de]
|
2016 |
€13.00 |
|
| SIDHARTA, OTTO |
Four Indonesian Electronic Pieces 1979-1984 |
LP |
Fascinating and unreleased before music by Otto Sidharta, pionneer of Indonesian electronic music. Electronic compositions that integrated natural sounds and urban sounds to this extent were extremely rare at the time, which gives them a unique form of intensity.
Released in our Early Electronic series.
Otto Sidharta is born in Bandung, Indonesia November 6, 1955. In 1978 he studied music composition in Jakarta Institute of Arts under guidance of Slamet Abdul Sjukur, in 1984 he continue his post graduate study for composition and electronic music with Prof. Ton de Leeuw in Sweelinck Conservatorium Amsterdam.
In 2015 acomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016. Sidharta's interest using environmental sounds and synthetics sounds as well to express his musical ideas developed when he was a student at the Jakarta Institute of Arts. He performed his first electronic music piece, Kemelut, based on water sounds in the First Indonesian Young Composer Festival (Pekan Komponis Muda) in 1979. In 1979 he begin to collect some nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle, Riau islands, and some other remote places. These sounds were used as material for some of his works such as Ngendau, Hutan Plastik and East wind. And some others. Otto Sidharta is still alive and performing around the world.
https://subrosalabel.bandcamp.com/album/indonesian-electronic-music-1979-92 |
2017 |
€16.00 |
|
| |
Kajang |
LP |
Unreleased before music by Otto Sidharta, pionneer of Indonesian electronic music. Inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, the four pieces on Kajang express a contemplation of the self :
Otto Sidharta loves to travel, everywhere within Indonesia, in order to collect almost any environmental tones and harmonies he can gather, as an endless source of composition. He is also deeply inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, as in some remote places, they keep their own tradition very strongly.
What really interests Sidharta is musicians not interacting with other kinds of music, as in those deep villages, where one might find sounds that feel like very 'natural'. It results in works expressing Sidharta's personal impression from their music: 'I just use my own feeling, with no calculation', not using the tribals motif or style.
Kajang is the name of a tribal people living in the south of Sulawesi, a giant island in eastern Indonesia, a closed community, that Sidharta visited twice: 'They cut off their communication with the outside world. They live in a very traditional way and try to avoid any new development in culture that might impact their way of life.'
Sidharta's previous album collected early pieces under the title Indonesian Electronic Music 1979-92, released on Sub Rosa in 2017. Kajang gathers a quartet of compositions from 2015 to 2020.
credits
released April 24, 2017
Otto Sidharta is born in Bandung, Indonesia November 6, 1955. In the late 1970' he studied first in Jakarta, under guidance of Slamet Abdul Sjukur, later at the Sweelinck Conservatorium in Holland. In 2015 he accomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016. For years he felt isolated as a composer, not only because of living in Indonesia, but because the nature of his music lay outside the mainstream of electronic composition. Until 2019 he taught for many years in the music departments of several Indonesian universities. He also managed an Indonesian symphony orchestra for five years, a job that included setting up a tour of Japan.
https://ottosidharta.bandcamp.com/album/kajang |
2022 |
€17.00 |
|
| SIGILLUM S |
23/20 |
do-LP |
Seit über 20 Jahren gibt es das italienische Industrial- & Elektronik-Trio SIGILLUM S, um die es in den letzten Jahren sehr ruhig wurde. Diese do-LP ist eine Kollektion mit vielen Remixen und Kollaborationen in fantastischer Aufmachung und deckt eine unglaubliche Bandbreite ab zwischen pumpenden "old school" rhythmic Industrial Sounds, dunklem death & ambient Industrial und abenteuerlichen eher am Song-format orientierten Stücken mit Vocals & Gitarreinsatz und gar dubbigen Einflüssen.... ein mächtiger Bastard, hervorragend produziert!
Das Vinyl hat z.T. andere Tracks als die CD-Version!
"More than ever, fringe culture methods and cutting edge acoustic science mate for the generations of endless layers and bursts of sonic pleasure - voices and drones clans across plans and peaks, fishing for universal tremors and sensorial catastrophes. iconic translations of lost symbols flow like pathogenic lava into temporal sequence and weather forecasts become performances for alien audiences.\ The 20th anniversary album from post-industrial noise alchemists SIGILLUM S, \ 23/20\ , features (together with the original line up of Eraldo Bernocchi, P.NG5361.Bandera and Luca Di Giorgio) sound contributions from long time collaborators and friends, such as Bill Laswell, Toshinori Kondo, Professor Shebab, SH Fernando / WordSound, Martino Nicoletti, Lorenzo Esposito Fornasari, ZU, Xabier Iriondo, Ephel Duath, Karyn Crisis and various members of the same band , Mark Solotroff, Thomas Fehlmann, Gudrun Gut, Andrea
Marutti, Claudio Agostoni and many others.\
23/20\ is available as two radically different and complementary formats, a digipack CD and a limited edition gatefold double vinyl, with different track lists and sequences for each format - nine tracks are on both formats, while others (seven per format) can only be found either on CD or vinyl (sixteen tracks per format, twenty three in total)." [label press release]
www.sigillum-s.com
|
2007 |
€28.00 |
|
| SIGMARSSON, SIGTRYGGUR (BERG) |
So Long |
CD |
"Soundartist die Zweite. Nach Mathieus genialer Traumvertonung nun mit So long das zweite Album des Genres in den Top 20. Anders als bei Mathieu gehts hier nicht surreal, träumerisch zu Werke, hier gibts brummelige, elektroakustische Drones bis zum Anschlag. Wer sich bei diesen langen, ständig sich ändernden, schlichten Drones an The Hafler Trio erinnert fühlt, der liegt sicher richtig. In seiner Zeit in Island hatten Haflers Andrew McKenzie und Berg Sigmarssons Band Stilluppsteypa engen Kontakt. Berg Simarsson hat an diesem Meisterwerk jahrelang herumgeschraubt und so kommt am Ende das wahrscheinlich beste Album des Genres seit Hafler Trios grandiosem „No Man Put Asunder: 7 Fruitful And Seamless Unions“ von 2003 heraus." [Sibylle Bölling]
"A journey through time, perhaps, for a daydreamer floating in a small boat amidst the radiant hues of a midnight sun. That daydreamer in this instance is the Icelandic artist Sigtryggur Berg Sigmarsson, best known for his electro-surrealism in Stilluppsteypa. He has long been an artist of extremes and absurdities -- mania fueled performances, wildly scribbled drawings, and Haflerian audio shock-therapy, on one side; and on the other, a profound meditation on austere shape, form, and mood cast through similar media. Sigmarsson will intermingle these sentiments in slippery juxtaposition and assemblage, with beguiling, haunting, and / or charming results. So Long aligns itself firmly within that latter aesthetic of crypto-minimalism which began to germinate some 20 years ago. At that time, Stilluppsteypa was a trio who had recently eschewed their art-punk trappings, drunkenly scheming to corner the market at Documenta with deconstructivist drone and 21th century circuitry. Sigmarsson would find himself in his own studio, crafting sympathetic works to Stilluppsteypa; but these were directed inward as wounded, naked, and vulnerable concoctions reflective of Sigmarsson getting lost in his own little world. So Long quietly simmered in his head over the years; and with the completion of this album, we now have a sublime gesture of polar impressionism flecked with hallucinatory ambience, Vaseline-smeared crackle, and hauntological displacement. This album had originally been planned for release through the impeccably curated Intransitive Recordings, but that publishing house shuddered its doors before this could see the light of day. Sigmarsson self-released a condensed version of the album on the artbook / cassette If You Have Any Questions, Let Me Ask. The Helen Scarsdale Agency is delighted, honored, and humbled to publish this dronescaping threnody in its full radiance and blur." [label info]
www.helenscarsdale.com
"What a strange and wonderful trip it has been for Sigtryggur Berg Sigmarsson! Despite a journey that currently extends into its third decade, Sigmarsson's course as an artist has never lost its youthful charm, emotional resonance, and Scandinavian grandeur. Since 1994, he has been the crux for the Iceland outfit Stilluppsteypa. Once, a damaged art-punk trio of drunken Dada noise, Stilluppsteypa effortlessly reinvented itself into one of the more adventurous of glitched, fizzed, and digitally abraded outfits right before the paranoiac lapse of Y2K, only the shed those clothes for taciturn sound design of radiophonic drone and polar spelunking which earned them more than their fair share of exemplary dronological recordings often joined by the esteemed BJ Nilsen. Dotted throughout Stilluppsteypa's catalogue of recordings, you will find a few recordings from Sigmarsson on his own, occasionally reflecting a similar aesthetic course to Stilluppsteypa; but often veering even further towards austere minimalism and colder than cold electronics. The ice that is in Sigmarsson's veins belies some of the summery poetry that he has affixed to his solo work. His early masterpiece Ship ripples with sepulchral organ tones and rumbling frequencies that were in many ways the personal soundtrack for Sigmarsson's excursions of floating in the sea around Rejkyavik, while staring at the sun daydreaming about clouds, girls, booze, etc. What could be better? So Long is an album that began around the same time as Ship, in the form of extracts of luminously dark organ drones whose pools of sound never made their way on to any other recording. Slowly over the years, Sigmarsson began shaping those lumps of aural clay into a somber wanderings of soft noise, gorgeous hypno-mesmerism, radiant black drone, and elegantly subtle melodies buried under six feet of snow. Until, the next Thomas Koner record, we can delight in the heavy drones from Sigtryggur Berg Sigmarsson!" [Aquarius Records]
"Following a bunch of releases in the late summer of 2014, mostly on cassette, Sigtryggur Berg Sigmarsson (one half of Stilluppsteypa) returns with a full length release for The Helen Scarsdale Agency, following the fact that the original label to release this, Intransitive Recordings, stopped shop a while ago. These three pieces were made over a long period of time, 1998-2013, of course not being worked on a daily basis, but evolving slowly. Sigmarsson himself published a shorter version of this on cassette - see Vital Weekly 935 - about which I wrote: "these two pieces (fifty minutes in total) are more collage like yet also maintain the trademark drone character of the music of Sigtryggur Berg Sigmarsson. Various pieces are cut together in one long piece (Sigmarsson also mailed me the WAV files for these pieces to be included in the podcast). Beautiful dark drone music, using computer techniques no doubt and on the other side we find field recordings of natural sounds, church organs and who knows what else. It's the music I very much like, and perhaps also can't be critical about. Yes, I heard this before, as good as this etc., but I just like this a lot. Highly inspired ambient drone music with a strong bite. Not lulling the listener to a deep sleep but transporting him to different worlds. Excellent!" As a bonus we get here another fourteen minutes of processed organ sounds and likewise processed field recordings adding more mood to the previous fifty plus minutes. It makes it all quite a fine release of one of the best drone meisters." [FdW/Vital Weekly]
|
2015 |
€13.00 |
|
| SIGNALUNDERTESTS |
Nascent |
MC & object |
Endloskassette 60 sec..
Limitierte, handnummerierte Auflage 49 Stück.
Gravierte Metallverpackung.
www.inselkind-schalltraeger.de
|
2013 |
€39.00 |
|
| SIGUR ROS |
Svefn-G-Englar |
mCD |
“Formed in January, 1994, Sigur Rós are an Icelandic four-piece band who, if the startled reactions to the pre-release CDs of this 12” are anything to go by, look set to be huge. Although until now Sigur Rós have remained unreleased outside of their native country, to date they have released 3 albums in Iceland (all on the Smekkleysa label) – ‘Von’, their debut in 1997; a remix of this, ‘Vonbrigð’, a year later; and a month ago, the awesome new ‘Agætis Byrjun’, which has been number 1 in Iceland since, garnering some amazing press reviews.
First spotted playing live at a Gus Gus party in Reykjavik, at which FatCat were Dj-ing, the band forge a stunning brand of beautifully-orchestrated, deeply atmospheric music. Layering a huge, rich and emotional space through a mixture of guitars, keyboard, flute, accordian, bass, drums and vocals, their tracks become extended soundscapes that shift and slide, flowering in massive crescendos, hooking the listener and dragging him /her with them.
If you’re looking for reference points, check God Speed You Black Emperor or Rachel’s (and yes, they are really that good). What marks out a major difference though, is singer Jonsi’s distinctive vocal style. Sung in a mixture of Icelandic and ‘Hopelandish’ (the band’s own made-up language – recalling Liz Fraser’s babytalk in The Cocteau Twins), his voice slips across the music, following its rises and falls.
Just as impressive are the band’s live performances. Two tracks on the CD single bear witness to their power as a live force: ‘Nýja Lagið’ and ‘Syndir Guðs’ (both exclusive to the CD). **PLEASE NOTE THAT CD IS A REPRESS VERSION AND NOT IN THE ORIGINAL SLEEVE” [label info]
|
2006 |
€8.00 |
|
| SILENCE & STRENGTH |
Das Haus zur letzten Latern. A Tribute to Gustav Meyrink |
CD |
"Das ganze Sein ist flammend Leid". Exzellenter esoterischer dark ambient mit gewissen folkigen Elementen aus Israel, mit einem Tribut an GUSTAV MEYRINK (Verfasser von DER GOLEM und DER ENGEL VOM WESTLICHEN FENSTER). Dreizehn Stücke mit hinunterziehender Sog-Wirkung, unheimlich & entrückt. Grundlage bilden Synth-Drones & flächige Gitarren, aber auch diverse Instrumente kommen gekonnt zum Einsatz. Vokales Material erscheint als rückwärtiges Geflüster & Gewisper, subtile Ethno-Perkussion taucht auf, und irritierende Geräuscheffekte verbreiten eine klaustrophobische Stimmung. Dazu kommen v.a. zum Ende hin einige Überraschungen,
z.B. ekstatische Klezmer Folk Stück mit Gesang... die gespenstische Atmosphäre der Bücher wurde hier hervorragend herausgearbeitet, das ganze sehr professionell produziert, kein Klang sitzt hier an der falschen Stelle.. für dark ambient & Soundtrack-Hörer ein echte Entdeckung !! Kommt wie immer bei HORUS aufwendig verpackt, im Kunstpapier-A5 Umschlag & mit 2 Booklets !
"Silence & Strength is a project created by a talented Israeli musician Stephan Friedman. Interfusing noise, drone, glitch and experimental dark ambient he creates soundscapes in a highly structured and ritualistic way. Secret musical spaces of Silence & Strength will enchant those who feel that there is too little sounds around them and who want to know them all.
Silence & Strength joined HORUS CyclicDaemon in 2004 on "100th Anniversary of Liber AL" compilation with the track "Secret Name". Since then Stephan has been working on a special album to be published at HORUS CyclicDaemon. The album will be a tribute to the works of an extraordinary writer Gustav Meyrink.
Gustav Meyrink has long attracted readers for his masterful stories, examining the supernatural, the macabre, the spiritual, and the occult. With complex and ambitious novels, such as "The Golem", "The Green Face", "The Angel of the West Window", and "The White Dominican" Meyrink intertwines past and present, dreams and visions, myth and reality in a world of the occult, culminating in the transmutation of physical reality into a higher spiritual existence." [label info]
"The sound is great and it is composed by hundreds of different layers
that keep the listener's attention always awake. With a crisp production this album is a great "movie for your ears"..." [Chain DLK]
www.horus.cz
|
2009 |
€15.00 |
|
| SILVERMAN |
State of Union |
CD |
Wiederveröffentlichung der CDR die 2001 auf dem LPD eigenen "Terminal Kaleidoscope"-Label erschien, jetzt mit 21minütigen Bonus-Track, in der schönen "Black Series" von Beta-Lactam.
"The Silverman is one of the two remaining founding fathers of The Legendary Pink Dots and this release serves partly as a sketch book of ideas and stuff he did on a solo tour with the addition of a new 20 minute bonus track. The music by The Silverman only has a far away resemblance of the Legendary Pink Dots, like just one layer is distilled and used as the backbone of an entire new world. It could be described by that dreaded term ambient, but it doesn't justify it. The sounds inside this release are at times far too alien to be filled under ambient. It moves along many different territories, ambient, cosmic, but it takes out the best elements and it is presented in a rather own way. Music that is like a disturbing dream, not a nightmare but a surrealistic dream." [FdW / Vital Weekly]
www.blrrecords.com
|
2007 |
€15.00 |
|
| |
Time on thin Ice |
CD |
"Packaged in a full color gatefold sleeve. Featuring guest performer Edward Ka-Spel (Legendary Pink Dots). The man of silver is a master of negative space. His silences say as much as his notes. Perhaps this is how he can compose a thing that sounds like glaciers conversing. Ringing ubertones breathe sighs of bas-relief at the borealis. The Silveman's sounds are quiet and delicious, like a Rainbow Generator sinking slowly into a rusted hull. These ambiences destroy fascists. Dark and twisting pulses hollowly respirate, imitating their dying. This is the good stuff. With Silverman, the only motoriked thing to fear is atmosphere itself.Thanks to Alena Boykova for melodica on 1, to Edward Ka-Spel for percussion and tapes on 1 and for voice and lyrics on 2 & 3. Thanks also to Raymond Steeg for cd mastering, to Astrid "Snoepsnail" for cover photography, and to Chris McBeth for cover layout." [label info]
www.blrrecords.com
"...Sometimes I tend to think of Silverman releases as blue prints for future Pink Dots releases, but I guess that's not true, as they stand very much by their own. The four long pieces here show a side to The Silverman which we hardly see in the work he does with the Pink Dots. Spacey, atmospheric music, build from synthesizers. That made me think about something: when do we classify something as drone music and when is something cosmic music? With the current interest in the latter, I think The Silverman could the master of the scene. Should be. His love of analogue synthesizers, textured sounds and slow arpeggio's, along with sparse percussion make up some excellent cosmic trip, which also finds its roots in drone music (say Eliane Radigue) and modern electronics. Now why isn't this guy on a hip young label playing is electronic spacey music? If ever I would find out… Here The Silverman gets vocal contributions on two pieces, but the best is 'Ocean Calling', which is all by himself: a meditative piece of music, reflecting tidal waves, slowly moving back and forward. Four excellent pieces of the greatest mood music." [FdW/Vital Weekly]
|
2010 |
€14.00 |
|
| SION ORGON |
Into the Dark |
7inch |
"Representing the second entry in the new Fourth Dimension Singles Club (see details below – only a few subscriptions still available!), this is the latest release from the Welsh weaver of molten electronic sounds, avant-garde sensibilities and, indeed, even versatile pop/rock where surprises are the order of the day. The two pieces here are the first from Thighpaulsandra/Coil affiliate, Orgon, for a few years. The flipside song, ‘Paper State’, features the late Sleazy, Thighpaulsandra himself and Seb Goldfinch. Strictly limited to 250. Released in November 2012." [label info]
www.fourth-dimension.net
"The second release in the 'Singles Club', following Richard Youngs/Luke Fowler (see Vital Weekly 837), is by one Sion Orgon, who is somehow connected to Thighpaulsandra, Coil and thus it's hardly a surprise we find Peter Christopherson present on both sides of this record, and Thighpaulsandra and Seb Goldfinch on one side. For me an introduction. A pleasant one, if not too brief, but that's life with 7"s I guess. Sion Orgon plays electronic music, atmospheric and moody. I think the etching on the record is not correct, as there are no labels. In the title piece we find a bunch of moody, airy electronics and a strong vocal delivery as starting points, taking it into more noise bits and drums, effectively creating this is into a nice Coil-like piece. 'Paper State' on the other side is also atmospheric, but more 'out there' indeed in which a melancholic piano plays a big role, drifting and flowing about, with eerie electronics backing the whole thing up. It's excellent modern pop classic - perhaps. Here time will tell." [FdW/Vital Weekly]
|
2012 |
€8.00 |
|
| SIRIA |
Boa-Lingua |
MC |
Boa-Língua is the second album by Síria. It departs from her former work, Cuspo, using it as a foundation for structure and duration, while following very different pulses. Boa-Língua was made from recordings of practice sessions that were not originally intended to be used or worked as songs. Boa-Língua means “good tongue”, used in opposition to “má-língua”, literally “bad tongue”, a Portuguese expression for “tittle-tattle”.
“Canção do Gato” is a version of a song recorded by Tiago Pereira from A Música Portuguesa a Gostar Dela Própria. “Nos Montes” was remixed by @c (Pedro Tudela and Miguel Carvalhais). “Senhora dos Remédios” is a version of a song as sang by Catarina Chitas and features a sample by Maile Colbert. “Belgian Shepherd” is a remix of the track by Rui P. Andrade from his album All Lovers Go To Heaven, it combines original sounds with recordings and voice, and it was previously released in Island Fever by Colectivo Casa Amarela. “Ay Işığında” is a version of the song as sang by Nərminə Məmmədova . “For Ghédalia” and “Boa-Língua” feature recordings by Los Niños Muertos (André Tasso and Bruno Humberto).
Síria is Diana Combo, who in this project joins her voice to the usual practice of combining vinyl records, field recordings, and other sound sources, in a gesture of appropriationism that she has been presenting as EOSIN.
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Like my previous album, Boa-Língua was born and developed as a result of a subconscious will and energy, rather than a clear idea that was intended to be seen and heard.
During a season in the studio, the voice was given way to freely exist in a context of exercises of improvisation. These sessions were recorded and later heard as a tool to analyse vocal practice. Spontaneously and intuitively, these recordings began to be edited, combined and mixed, until a sequence of 9 proto-songs emerged.
Each theme waited for the sounds that intertwined with the voice. As it had happened in Cuspo. This time, however, the voice was mostly used in its original version of vocal exercises, because the work was anchored in this spontaneity and unintentionality. And it developed by itself, with me being an attentive vehicle, an open channel for the work to flourish. The sounds beyond the voice come from various sources: percussions were recorded by me in the studio, other sounds were collected from archives.
The space for introspection and self-examination that the studio provided came at a time when I felt it was necessary to find an answer to the perceived tendency for obloquy, reproach, gossip, voluntary misunderstanding, etc. I asked myself: What happens when we find ourselves in the midst of people who behave in this way, sneaky or directly? Do we become, sooner or later, the same? Do we silent ourselves as a response? Or do we resist this tendency through the opposite attitude? That's where the album’s title came from.
The repertoire of Boa-Língua consists of versions of traditional songs and chants, a version of one Azerbaijani song, two originals (one in Turkish, one in Portuguese) and two original songs in which the voice does not take the form of words.
Voice and percussions: Diana Combo
Recording, editing and first mix: Diana Combo
Post-production: Tiago Martins at Fisgastudio
Mastering: Miguel Carvalhais
Artwork: Miguel Carvalhais with photos by Diana Combo
https://cronica.bandcamp.com/album/boa-l-ngua
"So wie einem die besten kreativen Gedanken oft beim Gehen oder in der Badewanne kommen, entstehen die Releases von Sängerin Diana Combo alias Síria meist als Nebenprodukte kleinerer Arbeiten, die ganz unerwartet ein Eigenleben erhalten. So wie sich ihr erstes Album aus einer Auftragsarbeit heraus verselbstständigt hatte, ist “Boa-Língua” das Resultat einer der Stimmübungen, die Combo regelmäßig aufnimmt, um die Resultate zu analysieren. Dabei greift sie oft auf bekannte Songs in ihrer portugiesischen Muttersprache zurück. Bei den letzten Sessions dieser Art sammelten sich eine Reihe von Songs an, die gerade wegen ihres provisorischen Charmes schon fast nach einem Coveralbum klangen. Dieses musste dann nur noch um die Gesangsspuren herum produziert werden und liegt nun vor.
Dass Combo theoretisch gefällige Singer Songwriter-Alben machen könnte, das vielleicht irgendwann auch mal zum Spaß machen wird, aber bis auf weiteres nicht will, weil sie das herausfordernde, immer noch sperrige in schönen Songs mag, merkt man auch hier wieder, und so hat gerade das leicht zusammengeschustert wirkende Konnex zwischen Gesang und Soundkulisse seinen besonderen Reiz. Im “Canção do Gato”, dem Katzenlied (für Hinweise zu den Originalen den unten eingebetteten Bandcamp-Link befragen), tritt ihre Stimme über mehrere Tonspuren in Dialog mit sich selbst, was auch a capella funktioniert hätte, doch die vorwärts und rückwärts eingespielten kratzenden und schabenden Loops sorgen für die betongraue Hintergrundfärbung, die den hellen Gesang umso deutlicher exponiert.
Die schwindelerregende Orchestralsounds von “Nos Montes” mit ihren aufgeklebten Trommelwirbeln wiederum lassen das ungekünstelte des Gesangs umso mehr durchscheinen, der sich zur düsteren Pauke des hörspielartigen “Danse Macabre” geradezu trunken gibt. Beim metallenen Klappern und Hämmern von “Belgian Shepherd” und “Yarin”, aber auch beim unbestimmten Rauschen und Knistern von “Senhora dos Remédios” kommt eine dezente Spannung zum Vorschein, der den bisweilen chorartigen Gesang wie aus einer verwunschenen Anderswelt herüberwehen lässt, so wie sich beides immer gegenseitig charakterisiert.
Combo sagt, dass sie das Studio gerne als Fluchtort vor dem allgegenwärtigen Sprachgewirr der sozialen Wirklichkeit aufsucht, als Ort, der keine Antworten verlangt. In ihren dort entwickelten Songs findet sich mehr von der Flucht als vom Ziel, was “Boa-Língua” spannend macht. Ich wäre aber auch gespannt zu wissen, wie ein geplantes Síria-Album klingen würde."
[African Paper] |
2020 |
€9.00 |
|
| SISTER IODINE |
Venom |
do-LP |
"Sister Iodine’s Venom is a pure and raw, energy-powered album performed like an audio exorcism. Each track contains its own intense physicality to radiate sound illuminations of light inside of darkness. Venom is a powerful album of potent spells that Sister Iodine have conjured and captured as sonic shamans.” Cameron Jamie. Paris, France. January 2018.#French noise scene spearheads, Sister Iodine, return with their sixth album; “Venom”. Active since the Nineties, Sister Iodine which involve Erik Minkkinen, Lionel Fernandez, and Nicolas Mazet, have not lost one milligram of their radical and uncompromised approach in sound exploration and limits stretching. Following two studio albums on Parisian Label, Premier Sang, released in 2009 and 2013 respectively, it took almost 5 years to shape up “Venom”. #It is with the advent of the 21st century – more than ever – that the decisive path of Sister Iodine has taken a fascinating route. From their debut album, ADN115, released in 1994 which was strongly influenced by the original New York No Wave scene (Mars, DNA, Red Transistor) to their more recent works which are augmented by “newer poisons” such as black metal, or the most abrasive end of industrial music and power electronics, as well as experimental electronics (Editions Mego has reissued an extended version of Premier Sang’s “Flame Desastre” on CD), the band has managed to survive through the years from the inhospitable French squats of the nineties to nowadays’ established venues and proper tours. Today, the band’s music has changed recipients and has attracted younger generations with their organized radioactive chaos, never conceding anything from their initial intensity. Over the years, Sister Iodine will have also created their own idiosyncratic language, for which sound exploration matters and pure beauty seem to count as much as pure explosive ferocity, while intense violence and energy gets deployed in live shows. #The last few years witnessed an increasing number of collaborations such as the recent sessions with Meyhna’ch (Mütiilation) or the ones with Masaya Nakahara (Violent Onsen Geisha / Hair Stylistics). “Venom” includes two tracks featuring the vocal contribution of Stephen Bessac, the deviant frontman of the cult French hardcore band Kickback. #Sister Iodine produces today a music that is actually unique and unheard anywhere else. One of eternal youth and audacity."
|
2018 |
€32.00 |
|
| SITAAR-TAH! |
Semimimimimin |
CD |
Ungewöhnliche Ethno-Sounds auf ARCHIVE, dem Label aus New Jersey. SITAAR-TAH! ist ein asiatisches 22köpfiges "Orchester" welches mit Sitar-, Tabla- und rauhen Obertongesangklängen in den Hyper-Trance & Ekstasen-Raum vorstösst...
"Orchestra that provided the amazing musical backdrop for Keiji Haino on the double disc archive release Animamima. The 22 piece unit is back with this swarm of locus gem of a release. Graphic and design work on the release by Stephen O’Malley features an outer cover that is a four color silkscreen, beautifully executed by Alan Sherry of Siwa records. Inside is a gorgeous photographic collage. Pressing of 700 copies." [label info]
"...a single 43 minute ascension this time featuring featuring a khoomei/Tuvan throat singer, and hoo boy, it does not disappoint. The group's sound swells gently to locust-swarm proportions, all the while featuring pulsating percussion and recurring raga-esque motifs while holding down more of a modern groove. Despite the sheer magnitude of the group and its sound, the piece never really gets aggressive; rather, its insistence continually rises, ebbs, and spirals upward to a liftoff which begins about two-thirds into the piece, when the throat singing begins and slowly but surely pushes things both upward AND forward." [Downtownmusicgallery]
www.archivecd.com
|
2008 |
€13.00 |
|
| SKARE |
Solstice City |
CD |
Fünfte Veröffentlichung auf dem Label welches sich den "eisigen Landschaften" verschrieben hat. SKARE ist ein schwedisches Trio mit MATHIAS JOSEFSON (besser bekannt als MOLJEBKA PVLSE), die ihre Dronescapes unter dem Gesichtspunkt des Kreislaufs der Aggregatzustände von Wasser (zu Gas & Eis & Schnee) erstellt haben. Dementsprechende field recordings werden verarbeitet, leichter Instrumenteneinsatz (Piano) sticht hervor, aber auch der Schnittpunkt von Natur & Stadtleben gerät in den Fokus... die narrative Komponente wirkt sich aber nie störend auf die "deep drones" aus, sondern wurde geschickt verwebt... für Fans von THOMAS KÖNER, TOY BIZARRE, MICHAEL NORTHAM, etc..
"Skare is the collaboration of Mathias Josefson (Moljebka Pvlse), Fredrik Olofsson and Per Åhlund. The members of Skare are all fascinated by the circulation of water, snow and ice. The metamorphosis from gas to floating liquid to snow to solid ice through freezing, the light reflecting from the snow and filtered through the ice as a prisma and - most of all - the sound of this ever ongoing circle.
Skare's first album, Solstice City, is an interpretation of a journey through a shifting landscape where the city meets nature. Departing from a distant and foreign shore, the traveller embarks a ship, uncertain of his destination. This prelude, introduced vividly in "To the other shore", releases this pilgrim to further explore yet unchartered territories. Leaving all man-made conventions, the second track "Through Wind and Broken Ice" takes us where the city imitates nature. Finally, a factory appears in the whiteout; a place where angels are manufactured as presented in the final track "The Snow Angel Factory"...The vehicles used by Skare on this journey are field recordings, found sounds and treated and manipulated instruments." [label info]
www.glacialmovements.com
|
2009 |
€13.00 |
|
| SKELETON BIRDS AND THE NUMBER OF GOD |
These dark Roots of Heaven |
LP |
"Nick Mott with Ben Jones and Sarah Sullivan from Jazzfinger. An atmospheric recording captured in a cave in Cornwall with later manipulation and overdubs by Nick Mott. Also featuring weird demonic voices courtesy of 5 year old Gabriel Mott. Disintegrating tape loops, home made pipes, distorted violins and guitars, cheap keyboards, percussion, water and rocks. Influenced by Nick and Bens shared appreciation of Avant Garde Black Metal and Occult Noise this album is however loose, free and almost fragile in its incorporation of found and sampled sounds. Discordant and disjointed in places, yet occasionally an almosy tribal melody is allowed to evolve before being plunged into a brass sample or sonic blender..mysterious and intense. 180 gram vinyl. Limited to 250 copies." [label info]
www.altvinyl.com
|
2010 |
€18.50 |
|
| SKITLIV |
Amfetamin |
CD |
"...das norwegisch-schwedische Projekt Skitliv, hinter dem sich der ehemalige Mayhem-Frontmann Maniac sowie Schwedens Suizid-Export Nummer Eins, Kvarforth von Shining, verbergen. Mit Unterstützung diverser hilfreicher Kumpanen haben die beiden ihr Debut-Scheibchen "Amfetamin" realisiert und nehmen damit direkten Einfluss auf das zentrale Nervensystem eines jeden Konsumenten. Wahrhaft kranke Kost bekommt man nämlich geboten, was angesichts der beiden Bandleader nicht weiter verwundert. Black Noise, Doom oder etwas derartiges zelebrieren Maniac und Kvarforth mit Skitliv und können sich vieler Sympathien besonders aus dem Lager der Shining-Anhänger sicher sein. Zäh und klebrig zeigt sich das Songwriting, mal psychedelisch, mal geisteskrank und chaotisch. Samples und Synthesizer beherrschen die Szenerie, die nur ein Ziel verfolgen: Die Nerven der Hörerschaft zu zerfetzen und schaudernde Klangbilder von Schmerz, Verzweiflung und Tod auf deren Unterbewusstsein zu projezieren. Nach dem eigentlichen "Amfetamin"-Tonmaterial folgt noch die Aufnahme eines Londoner Live-Konzertes aus dem Jahre 2007, welche instrumental eine weniger gekünstelte und wesentlich authentischere Atmosphäre vermittelt und eine für Live-Aufnahmen erstaunlich hochwertige Tonqualität aufweist. Nur schwerlich ist die an den Tag gelegte Stilistik zu beschreiben - am besten wirft man Shining, Bethlehem und Sunn O))) in einen Topf, kocht das ganze gut auf und rührt kräftig um - fertig.
An Skitliv bedienen sollten sich demnach wirklich ausschliesslich Gemüter, die schwerstverdauliche Kost gewöhnt sind und strapazierbare Trommelfelle, Nervenstränge und Magenschleimhäute ihr Eigen nennen. Alle Anhänger satanischer Schrammelorgien und paganer Erhabenheit lassen besser die Finger von "Amfetamin" - das ist einfach die falsche Baustelle. An sich jedoch ein faszinierendes Werk, welches gewaltig zünden wird, sofern es denn auf die passenden Konsumenten stösst." [Schwermetall.ch]
"Exclusive release from the Doom / Noise project of Maniac (ex-MAYHEM), featuring Kvarforth (SHINING), and with special guest vocals by Attila (SUNN O))), MAYHEM). From Black Metal through Funeral Doom and Demonic Noise, Skitliv cover all the bases in modern extreme sonics. The CD version includes bonus tracks from Skitliv's live performance at the Camden Underworld, London, 13th December 2007, with a special intro from CURRENT 93 (David Tibet & Andrew Liles)." [label info]
"... Abusive storms of harsh noise add a quite interesting supplement to the spheres of metallic steel. A quite interesting album that shows that the mixture of metal and electronic expression can end up with a very interesting result. Thus recommended for listeners of both electronic and metal music." [NM/ Vital Weekly]
|
2008 |
€10.00 |
|
| SKULL DEFEKTS |
The Drone Drug |
LP |
Endlich sprichts mal jemand aus: DRONES haben Drogenwirkung! Die schwedische Band SKULL DEFEKTS ist eigentlich nicht unbedingt für lupenreine Drone-Musik bekannt, aber hier sind sie ganz auf der "Analog Synth Drone"-Schiene, sehr trocken, sehr vibrierend und kratzend und knarzend, mit inhärenten wellen- und vibratohaften Bewegungen, keine endlosen hallenden Räume sondern spürbare Reibung und Vibration sind das Thema...
"In their own words, Sweden's Skull Defekts are "all about rhythm, repetition, and all energies in sound." The concept manifests itself in two distinctly different forms. On 2007's Blood Spirits and Drums Are Singing, the band showcased their more "rock"-based sound described by Julian Cope as an amalgamation of Chairs Missing-period Wire, Audionom, and '70s German proto-metallers Tiger B. Smith. However, the DFX, as they're sometimes known, also have an alter-ego under which their sound becomes a harsh wall of droning noise and psychedelic industrial bowel churn. It is that persona that is embodied on The Drone Drug.
Drone is often associated with music that is essentially ambient in nature. While The Skull Defekts do create an ambient aura, The Drone Drug has more in common with the terrifying atmospheres created by noisier cohorts like Prurient then the minimalism of Tomas Koner. The sound is grim, black, and abrasive; mechanical, filthy, and unnerving. This limited-edition LP is the first of two by the DFX to be released by Actual Noise, with the second, Skull, coming in the near future.
A recent appearance at No Fun Fest, an Eastern US tour in October, an upcoming split with Prurient, and a new release on Important Records, all make 2008 a very productive and successful year for The Skull Defekts." [label info]
" NOW ON VINYL!! Limited to 500 silkscreened copies. With a coupon for free digital download of the album, with an extra track, one we're pretty sure was included on the prior cd version of this on Release The Bats, which we reviewed thusly: Holy drone!! This is not at all what we expected from these guys, but then, most Skull Defekts records tend to confuse or confound. Which is pretty much why we love them so. And who are we to turn up our noses art a sonic surprise, especially when that surprise is DRONES. Big thick buzzy snarling crumbling blown out low end buzzing writhing brain melting, ear drum crushing, rib cage rattling, speaker destroying drones. Skull Defekts are no stranger to the drone, and the fact that they called this record Drone Drug, should have been a clue, but the band, who in the past have been heavily rhythmic, have discarded pretty much everything except for the drone. No beats, no riffs, no recognizable instruments, nothing but deep dark drones. This is a seriously heavy record. Dense and brutal, four extended tracks, each an exercise in tension, long form extended tones, but within these, stretched out sounds, much like dronelord Phill Niblock, the various layers are surprisingly active, throbbing and pulsing, and twisting and slithering and buzzing and whirring and shimmering, the sounds rough and raw, bits crumbling and emitting grit, slipping into fuzzy drift and then slipping back into a solid endless throb. The power of the drone is divine, and when harnessed, like this, with volume, and texture, and timbre, the music is a physical presence. Headphones come to life and encase your head in an organic black cocoon of sound, speakers unfurl thick flows of sonic tar, laying supine, eyes closed, you're soon buried alive, beneath layers and layers of resonant rumbling sound. And it is divine.This is powerful, earth shifting, massive minimal music. Not sure if these sounds come from synths or guitars, electronics or sine wave generators, malfunctioning effects pedals or a microphone lowered into the center of the Earth (we're leaning toward the latter), the result is something so primal and organic, so primeval and timeless, the act of listening seems to alter the listener's molecular structure, transporting the listener to an alternate universe, made entirely of sound, where our bodies are transformed into sound waves, our souls escape their mortal shackles and reveal themselves to be pure, deep drones. So awesome." [Aquarius Records review]
www.actualnoise.net
|
2008 |
€15.00 |
|
| |
Blood Spirits and Drums are singing |
CD |
"Blood Spirits & Drums Are Singing is The Skull Defekts first record recorded in a professional studio. It is also their first one for the avant rock sound, previous releases included heavy sound experimenting, doom variations and electronic noise stuff. It is all about the rhythm. The circle, repetition. The sound. The noise. Sweat. Funk. Sex. The Skull Defekts sound is a beast going for your brain, feet and the place in between. Beware. The Skull Defekts was formed by Henrik Rylander and Joachim Nordwall in early 2005 when Nordwall's band Kid Commando decided to end their eight-year carreer as knights of the sweatiest avant rock existing. Rylander had been experimenting with feedback for a few years after the death of the infamous Swedish garage rock outfit Union Carbide Productions where he was the pulse, rhythm and founding member. Quickly they teamed up with legend Jean-Louis Huhta who's been a key character in the Swedish underground music scene since the mid 80's, and the quartet was complete when Daniel Fagerström joined after Eric Olofsson left the band after the recording of Blood Spirits & Drums Are Singing. Inspired by bands like Section 25, Lungfish, PiL, 23 Skiddoo, Arthur Russel, Cabaret Voltaire, A Certain Ratio, Brain Bombs, dub, noise, funk, and tribal ritual drumming ' The Skull Defekts are kings of their own sound. And my god. The sound." [label info]
www.conspiracyrecords.com
|
2007 |
€13.00 |
|
| SKULLFLOWER |
Tribulation |
CD |
Ekstatische Noise-Meditation pur, die keineswegs statisch erscheint, sondern im Feedback-Lärm erstaunlich vielfältige Muster & Klänge bereithält... SKULLFLOWER bleiben auch 2006 SKULLFLOWER, aber der Trash-Faktor weicht allmählich vor dem ZEN-Faktor zurück: eine Moloch-artige Klangblase umschliesst einen und haucht donnernd & mit stinkendem Odem "OM".
[Drone Rec]
"Richten wir uns nur nach der Übersetzung des Albumtitels so erwarten uns Not, Leiden, Bedrückung, Qual oder kurz Drangsal und das in musikalischer Form. Dass zwischen Albumtitel und den musikalischen Absonderungen des legendären Matthew Bower nicht viel Raum ist, wird jeder wissen, der Skullflower oder zumindest die letzte Platte "Orange Canyon Mind" kennt. Bower geht den auf "Orange Canyon Mind" eingeschlagenen Weg konsequent weiter und sorgt für ein Klanginferno,das nun wirklich so was von zerstörend, trostlos und niederschmetternd ist, dass man nach über einer Stunde lauten Hörens von "Tribulation" nicht unbedingt beschwingter durch den Tag marschiert. Wirkte das Vorgängeralbum viel zu abgehackt und jedes Stück stand eher für sich alleine, so schafft es "Tribulation" deutlich besser den Bogen zu schlagen und bis auf wenige Aussetzer (z.B. das Ende des Albums) gerundeter, homogener zu erscheinen. "Tribulation" weckt etwas im Hörer, auch wenn es nur die totale Verweigerung ist oder der dringliche Wunsch sich aus dieser klaustrophobischen Klangwelt schnell wieder zu befreien. Rückkopplung um Rückkopplung . White Noise. Dieser total berstende, nervende Klang, meist monoton über Minuten und die vielen repetitiven Elemente, wecken zeitlose Ureindrücke. Bis ins kleinste zerfahrene Power- Drones, Feedbacks wohin das Ohr reicht und eine herrlich schwarzes Aufressen der Verstärker. "Tribulation" ist eine dynamische, wie weltverschobene Meditation mit Melodieansätzen wie Rasierklingen. Musik für Lumpensammler, und ich gebe gerne zu, ich bin ein hingebungsvoller beim Hören von "Tribulation"." [Creative-Eclipse]
www.crucialblast.net
|
2006 |
€10.00 |
|
| SKULLFLOWER / MASTERY |
split |
LP |
"SKULLFLOWER presents a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams: spiders run across harpsichords in deserted schlosses and chateaus, doors slam and phantom demon choirs are summoned at seances by Blatavskian crones, whose impenetrable china blue dolls eyes open onto Tibetan vistas, terrible, ancient and remote…
MASTERY is improvised one man cosm(ag)ick from Ephemeral Domignostika. Total berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery’s cracked perception, transforming this into something beyond true; a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal.
Ltd x 500 copies.
Standard edition: 400 copies on purple vinyl.
Special edition: 100 hand-numbered copies on green vinyl through Cold Spring mailorder only!" [label info]
" 'We offer an invocation to, and an evocation of the hidden, averse, heathen power that seethe within our native soil. Come leave your timid gelded civilised masks, bow down and rise up, reborn, within our whirlwind', schreibt SKULLFLOWER-Mastermind MATTHEW BOWER unter der Überschrift „Skullflower: What we are ...“ in seinem Blog und vermittelt so eine Ahnung des – ich nenn' es mal – ganzheitlichen Aufforderungscharakters, den er mit der Musik seiner, 1987 gegründeten und 1988 mit der 12'' Skullflower-Birthdeath/release/142281">"Birthdeath" auf BROKEN FLAG debütierenden Band verbindet. Kurzum, der Mann hat Sendungsbewusstsein, und das nicht ohne Grund.
Bis zum, durch interne Streitigkeiten zwischen den Mitgliedern verursachten Bruch im Jahre 1996 handelte es sich bei SKULLFLOWER, ungeachtet ihrer Einbindung in die klassische englische Industrial-Szene der frühen 80er Jahre, um eine Band im engeren und bei ihrer Musik um Noise Rock, im – nun ja – sehr weiten Sinne. Dies änderte sich, als Gründungsmitglied MATTHEW BOWER SKULLFLOWER 2003 als Quasi-Soloprojekt ins Leben zurück rief. Zwar umfasst das derzeitige Line-Up immer noch die Mitstreiter SAMANTHA DAVIES und LEE STROKE, man tut den beiden aber sicherlich kein Unrecht, wenn man in ihnen eher Begleitmusiker für die Realisierung von Visionen sieht, die in allererster Linie BOWER'scher Provenienz sind. Der Sound verschob sich von Album zu Album nachdrücklicher in den Bereich des Noisig-Atonalen, bisweilen auch Dronigen – wobei man sich das, was hier behelfsmäßig als "Drone" bezeichnen wird, im Falle von SKULLFLOWER selbstverständlich dezidiert unbehaglich vorzustellen hat. Den bisherigen Gipfelpunkt dieser Entwicklung bezeichnet zweifellos das, 2011 bei COLD SPRING erschienene Album "Fucked On A Pile Of Corpses", mit dem BOWER ein infernalisches Noise-Monster abgeliefert hat, das sich in der Brutalität und Kompromisslosigkeit seiner musikalischen Umsetzung dem überaus charmanten Albumtitel als absolut ebenbürtig erweist.
Umso überraschter – und das durchaus positiv – ist man nun, auf der vorliegenden, ebenfalls auf COLD SPRING veröffentlichten Split-LP wieder eine Rückwendung in vergleichsweise strukturiertere musikalische Territorien zu verzeichnen. Der Begriff skullflowertruth.blogspot.de/2012/07/black-psychedelia-one-of-these-days-im.html">"black psychedelia", den BOWER in seinem Blog auf das Side-Project VOLTIGEURS anwendet, scheint mir für die Beiträge auf der vorliegenden Split-LP wahrlich nicht minder passend: Was für ein Getöse! Was für eine Wucht! Wer den jüngeren Output bis hin zum besagten, Nerven und Gehör gleichermaßen zerschreddernden Meisterwerk von 2011 ebenso zu schätzen weiß wie ältere, tendenziell „rockigere“ (Anführungszeichen sind hier durchaus angebracht) Veröffentlichungen wie Skullflower-Obsidian-Shaking-Codex/master/54292">"Obsidian Shaking Codex" von 1993, der wird von diesen drei Stücken begeistert sein. Zur Darbietung gelangt eine Melange aus den beiden zentralen stilistischen Betätigungsfeldern der umtriebigen Band aus London – das Beste aus beiden Welten sozusagen. Wie auf den meisten späteren SKULLFLOWER-Veröffentlichungen kommt man komplett ohne den Einsatz von Drums bzw. ganz generell ohne irgend einen Beat aus: Der Sound baut sich alleine aus schneidend-knirschenden, durch Verzerrer und Effektgeräte gemarterte, im aktuellen Fall – passend zum compagnon de guerre auf der B-Seite – ziemlich Black-Metal-lastig tönenden Gitarrenriffs auf, die in der Gesamtschau etwas generieren, das man wohl am treffendsten als apokalyptisches Noisedronehochamt umschreiben könnte. Letztlich mündet der Versuch einer konkreteren Charakterisierung der Musik von SKULLFLOWER fast zwangsläufig in ein Ringen um wohlfeile Worte, denn seit die Band nach ihrer Interimsauflösung im Jahre 1996 und der Wiederauferstehung im Jahre 2003 wieder auf Kurs ist, oszilliert der "typische" SKULLFLOWER-Sound irgendwo im Niemandsland zwischen Gitarrenwänden, Feedbackexperimenten und brutalem Noise – und ist überdies immer im Fluss, will heißen, der Schwerpunkt, um den herum sich die Musik jeweils kristallisiert, ändert sich von Veröffentlichung zu Veröffentlichung.
Die Atmosphäre der drei Stücke der Split-LP ist getragen, man könnte sie schon fast ein wenig pathetisch – nicht im abwertenden Sinne – nennen, doch mag das der Thematik geschuldet sein, die sie laut Promotext umkreisen, es handelt sich nämlich um "a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams". Im Übrigen darf es, wer für einen derartigen Alleszermalmer wie das mehrfach angesprochene Vorgängeralbum verantwortlich zeichnet, guten Gewissens mal ein wenig ruhiger und getragener angehen – gar kein Problem. Das sei MATTHEW BOWER und uns, dem enthusiasmierten Publikum, von ganzem Herzen gegönnt. Zumal "ruhig" in diesem Fall ohnehin nur sehr, sehr bedingt etwas mit dem landläufig üblichen Verständnis von ruhig zu tun hat. Langer Rede kurzer Sinn: Großartiger Beitrag – Musik, die im Raum steht wie ein schwarzer Monolith.
Und damit kommen wir zur B-Seite und ... äh ... MASTERY. – Vorweg sei das Eingeständnis ausgesprochen, dass ich mich in der schillernden Welt des Black Metal keiner allzu fundierten Sachkenntnis erfreue, obgleich ich dem Genre im Laufe der letzten Jahre zunehmend mehr Sympathie entgegenbringe. Der geneigte Leser möge meine folgenden Worte also als subjektive Meinung eines Interessierten und keinesfalls als kanonisches Urteil eines Eingeweihten – oder eines solchen, der sich dafür hält – interpretieren.
Denn in der Tat: So lange ich mich bei der A-Seite aufgehalten habe, so kurz kann ich mich bei der B-Seite fassen: Laut discogs handelt es sich bei MASTERY um ein, seit 2005 aktives Ein-Mann-Black-Metal-Projekt aus der Gegend um San Francisco; die Musik beschreibt der Promotext als "[t]otal berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery's cracked perception […]; a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal." Nun ja. Meiner unmaßgeblichen Meinung nach wäre hier ein wenig mehr Bescheidenheit unbedingt am Platze gewesen: "Blood Electric" ist summa summarum eine ebenso brutale wie uninteressante Uptempoprügelnummer, dominiert von einer Stimme, die irgendwo zwischen genretypischem BM-Krächzgeschrei und Death-Metal-Gegrowle changiert. Und aufregend, geschweige denn "droned out and damaged outsider blackness", geht nun wirklich anders. Nicht nur, dass man dergleichen schon x-mal anderswo und obendrein besser gehört hat – wenn auch nicht unbedingt auf knapp 18 ununterbrochene und mit Fortschreiten der Laufzeit zunehmend nervigere Minuten ausgedehnt. Man fragt sich zudem, worin eigentlich das verbindende Glied zwischen SKULLFLOWERs grandiosem Opus auf der A-Seite und diesem mediokren Gekloppe bestehen soll – und zwar ebenso in qualitativer wie in stilistisch-formaler Hinsicht. Ich jedenfalls bin einigermaßen davon überzeugt, dass so ziemlich jeder, der – mit absoluter Berechtigung! – von der SKULLFLOWER-Seite begeistert ist, die MASTERY-Seite mit einem Gähnen quittieren wird – et vice versa.
Doch sei's drum: Allein für den beispiellosen musikalischen Furor, den SKULLFLOWER auf der A-Seite entfalten, lohnt sich die Anschaffung allemal." [Endsal für nonpop.de]
|
2013 |
€23.00 |
|
| SKY BURIAL |
Spectrehorse |
CD |
Das Seitenprojekt von FIRE IN THE HEAD mit einnehmenden doom / ritual / noise-drone der visionären Sorte, eine Vermählung von Zeitlupenbeats, stechenden Soundschleifen, verstörenden Geräuschen & rauhen Gitarrenfeedbackwänden..
"....Sky Burial was different. Sky Burial was a sonic revelation and one I whole heartily embraced. Sky Burial is, in reality and so far, a dark ambient / drone / experimental sound sculpture side project. A world apart from FITH. "Spectrehorse" is the first official CD to be released and Michael composed the music, and I quote: "using field recordings from temples and caves in Laos with additional material from various studio sessions between 1996 to the present". Michael has that written large on his website so I for one will not question any of those facts.
The nine tracks sees Michael on fire playing around and manipulating sounds into ever increasingly complex patterns within a variety of different ways. He inhibits a sort of netherworld of darkest spatial ambience... but isn't afraid to introduce a touch of melody, post rock or even, gulp, old fashioned noise into the mix to bring these sounds to a fitting climax. Whilst the drone purists may baulk at some of the extravagances he employs, the rest of us can but admire the fruits of his labour. The spectacle of claustrophobic entrapment is never far away as he toys and plays around with the senses. There is this undeniable feeling of cold isolation that is prevalent and cannot be shaken off. An ominous and stark realisation that forms a knot in the stomach as the music repeatedly builds in intensity. That isn't to say that "Spectrehorse" isn't without its lighter, more serene, moments. Even then though you feel this is an illusion and you patiently wait for the true evil, that must surely lurk beneath, to be revealed in all its ugly glory. I generally hate comparisons to this artist / group or that, although I have been guilty of doing this myself in the past, but to say someone sounds like someone else is a disservice to all the artists concerned. After all Michael, like all artists, didn't deliberately set out to mimic someone's style. He created what he's created. The fact it falls within certain musical spectrums is neither here nor there and so comparisons become invalid and inconsequential. Treat "Spectrehorse" for what it is. A glorious, and mostly sonically bleak, exhilarating musical adventure that is the other side of the coin to FITH by being far more accessible in every respect. I can but hope he continues down this path for many years to come...." [Aural Pressure]
www.collectivexxiii.com/sky
|
2006 |
€12.00 |
|
| SLEAFORD MODS |
Spare Ribs |
CD |
"Die motzenden Electro-Punks mit weiblicher Verstärkung. 2020, wir müssen reden! Corona, Brexit, Johnson, Trump und jede Menge andere Scheiße, die in der Welt vor sich geht. Für Jason Williamson und Andrew Fearn aka Sleaford Mods bietet dieses Seuchenjahr natürlich reichlich Material für ein neues Album. Jason Williamson spricht dabei die Sprache der Menschen auf der Straße, hat ein Gespür für ihre Sorgen sowie Nöte und trägt sein Herz stets auf der Zunge. Der Titel des sechsten Albums "Spare Ribs" bezieht sich auf die Corona-Krise in England, wo manchen politischen Eliten das Leben ihrer Mitmenschen verzichtbar erscheint. Erstmals bekam Williamson bei den Aufnahmen weibliche Unterstützung: auf dem Album findet man gleich zwei Duette, einmal mit der britischen Newcomerin Billy Nomates, zum zweiten mit Amy Taylor, Sängerin der australischen Punkband Amyl & The Sniffers.
Poised to blow the cobwebs off life and unleash some much-needed wit and charm upon us, Sleaford Mods are back with their astonishing 6th studio album, entitled Spare Ribs.
Recorded in lockdown in a furious three-week studio blitz at JT Soar in July, the polemical Jason Williamson and dexterous producer Andrew Fearn kick against the pricks with unrivalled bite, railing against hypocrisy, inequality and apathy with their inimitable, scabrous sense of humour. And Spare Ribs, featuring Amy Taylor of Melbourne punks Amyl and the Sniffers and the British newcomer Billy Nomates, finds the duo charged with ire at the UK Government’s sense of entitlement, epitomized by its devil-may-care approach to the coronavirus crisis.
Commenting on the new album Jason says, “'Our lives are expendable under most governments, secondary under a system of monetary rule. We are stock if you like, parts on a shelf for the purposes of profit, discarded at any moment if fabricated or non-fabricated crisis threatens productivity. This is constant, obviously and notably in the current pandemic. The masses cannot be present in the minds of ill-fitting leaders, surely? Or else the realisation of their catastrophic management would cripple their minds. Much like the human body can still survive without a full set of ribs we are all 'spare ribs’, preservation for capitalism, through ignorance and remote rule, available for parts.”
https://www.roughtrade.com/gb/sleaford-mods/spare-ribs
|
2021 |
€12.00 |
|
| |
UK GRIM |
CD |
Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen? Willkommen bei "UK Grim". Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren. Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet "UK Grim" dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach "Spare Ribs" von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft. Obwohl "UK Grim" größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns - den Sleaford Mods! Wie bei den "Spare Ribs" Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei "UK Grim" Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen "Force 10 From Navarone" zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane"s Addiction rappt auf dem bizarren "So Trendy", einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track". Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit "Spare Ribs". Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols "Chop Chop Chop" Tribut gezollt hat. |
2023 |
€12.00 |
|
| SLOWDIVE |
Everything is Alive (Crystal Clear vinyl) |
LP |
Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstler*innen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt.
The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound.
The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”
The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks.
Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.”
everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail.
For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic.
https://slowdive.bandcamp.com/album/everything-is-alive
|
2023 |
€26.50 |
|
| |
Everything is Alive |
MC |
Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstler*innen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt.
The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound.
The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”
The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks.
Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.”
everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail.
For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic.
https://slowdive.bandcamp.com/album/everything-is-alive
|
2023 |
€11.50 |
|
| SMALL CRUEL PARTY |
(before the dream...) (SOLD OUT) |
7inch |
released February 1995
"This obscure project from Seattle may be known to some through several strangely and wonderfully packaged vinyl and tape releases (and one CD), as well as through installations and sound works presented in many galleries and other locations. On this nameless E.P. we find two tracks, 'Before the Dream' and 'Of the still Earth' in the typically unique SMALL CRUEL PARTY-style, here working with water-sounds as well as unidentifiable sources, thus creating a very particular language of noise, a special dimension that be must entered 'soul to soul', a very personal communication.
What is expressed by this kind of music you can find in your own treasury! SMALL CRUEL PARTY delivers the KEY (sic!) to open it!
The E.P. is accompanied by a full discography. SMALL CRUEL PARTY also played a rather short but fantastic gig at the first Drone-Extrakt Festival, at Tara (Emden), in October 1993. We'll never forget it.
'SMALL CRUEL PARTY teaches you to listen to a different language.' "[label info]
" SMALL CRUEL PARTY BANNTEN DEN SOUND DER KERAMIKWANNE. IN IHR SITZT MAN, INMITTEN VON WILD ÜBER DEN MENSCHEN NOCH UNBEKANNTEN DICHTERN DISKUTIERENDEN, KLEINEN SCHWARZ GEPANZERTEN TIEREN. SICH STETIG DEM HAHNE ENTREISSENDE WASSERTROPFEN MISCHEN SICH MIT IHREM KLANG UNTER DIE KNISTERNDEN STIMMEN. INMITTEN DIESER GROTTENGERÄUSCHE LIEGT DER HÖRER UND BEGINNT ZU BEGREIFEN, INDES DIE SCHEINBAR ENDLOSE OFFENBARUNG SCHLIESSLICH DURCH DIE BEGRENZTE AUFNAHMEKAPAZITÄT DER SINGLE AUSBLEIBT UND ERKENNTNIS IM BRODELNDEN SOG DES ABFLUSSES MIT HINABRAUSCHT."
(Peter Schlewinski, Vertigo)
" WICHTIG FÜR DAS VERSTÄNDNIS DER MUSIK VON SMALL CRUEL PARTY (ICH BIN MIR SICHER, ER WÜRDE ES NICHT MUSIK NENNEN) IST EINERSEITS DIE KONZEPTIONELLE ARBEIT MIT KLÄNGEN UND UMWELTGERÄUSCHEN, ANDERERSEITS DER SCHEINBAR MEDITATIVE CHARAKTER SEINER AUFNAHMEN. SCHEINBAR DESHALB, WEIL GERADE BEI SEINEN BESSEREN STÜCKEN MEDITATIV TATSÄCHLICH NUR EINE UMSCHREIBUNG IST: SIE REIZEN DIE SINNE ZU EINEM GENAUEN HINHÖREN, SIE SIND STIMULANZEN DER SINNE, DIE SICH VORNEHM ZU PHANTASTISCHEN KLANGLANDSCHAFTEN ENTWICKELN. DER HERRSCHENDE MINIMALISMUS DER MITTEL IN DEN ARBEITEN VON SMALL CRUEL PARTY ERLEICHTERT ES, DAS ANLIEGEN HINTER DER MUSIK ZU DEUTEN. "
(Thomas Beck, Odradek)
|
1995 |
€ |
|
| SMALLEY, DENIS |
Neve |
maxi-CD |
"Musique concrete around a glacier in New Zealand. Smalley was born 1946 in Nelson, New Zealand. He learned piano and organ at a young age. In his home country, he premiered works for organ by Olivier Messiaen and György Ligeti in the late '60s. He taught music at Wellington College for three years before the French Government awarded him a grant in 1971. He studied in Messiaen's composition class for a year at the Conservatoire de Paris, but he also took the electro-acoustic music course dispensed at the time by the Groupe de Recherches Musicales (GRM). Musique concrète was a revelation to him and he quickly turned away from performance and classical composition to concentrate solely on tape music." [label info] |
1994 |
€10.00 |
|
| SMITH, RANDALL |
Sondes |
CD |
“Sondes (Multiple Soundings) by Randall Smith brings us four years in the life of this versatile composer, condensed into an earjam of seventy-five minutes. Known for his delicately conceived musique concrete collages, typically working with thousands of found sounds, here Smith adds acoustic instruments to the mix, in order to more faithfully reflect the complexity of all he encounters. Filled with sorrow, celebration and dance, Smith plunges into worlds we’re unable to see, in order to bring back, like some explorer of centuries past, some idea of what they might sound like. Whether the sounds of continents taking shape, or the internal chemistries of mother and child, each turn is unexpected, graceful, filled with discovery and invention. If no one has heard music like this before, and no one has, it’s only because each personality fills with the tumult of the world in an entirely new way, like a signature, or fingerprint. Sondes is an invitationto uncover the hidden worlds beneath this one, to cleanse the ears until everything appears as it really is: infinite.” [Mike Hoolboom]
www.empreintesdigitales.com
|
1999 |
€12.00 |
|
| SMITH, STEVEN R. |
Cities |
LP |
"American multi-instrumentalist Steven R. Smith has been releasing a steady stream of solo records for well over a decade as well as playing in various improvisational groups including Thuja, Hala Strana, and most recently Ulaan Khol. This music has ranged from sparse solo guitar improvisations to Hala Strana's reworkings of Eastern European traditional folk tunes to the dense, psychedelic fuzz guitar workouts of Ulaan Khol. On his latest full-length solo release, Cities, Smith combines the composed with the improvisational and the result is a beautiful and desolate collection of songs evoking a crumbling landscape reminiscent of Cormac McCarthy's novel The Road or the films of Hungarian director Béla Tarr. Cities was recorded in Smith's Worstward Studios on all analog equipment and features a wide variety of instrumentation including fretted spike fiddle, baritone psaltery, electric and nylon stringed guitars, cello, melodica, electric piano and organ. Musically, Smith's work over the years could be summed up as a struggle to contain a series of opposites: light and darkness, sorrow and joy, despair and hope. It is this balance, or at least the effort to create or maintain this balance, that informs Cities as well. Smith has recorded for numerous labels including Important Records, Catsup Plate, Soft Abuse, Emperor Jones, Last Visible Dog, Jewelled Antler, Digitalis and Darla. Cities is his first release for Immune Recordings." [label info]
www.immunerecordings.net
|
2009 |
€15.00 |
|
| SOISONG |
xAj3z |
CD |
Erste "grössere" Veröffentlichung vom neuen Projekt von "Sleazy" und Ivan Pavlov aka COH, kommt als acht-eckige CD in spezieller sieben-eckiger "Origami"-Klappcover-Verpackung mit obksurem Farb-Inlay; limitiert... . 7 tracks, die keinem bekannten Genre zuzuordnen sind und viel verfremdetes vokales Material einsetzen.
"... xAj3z is freedom from the mundane. It is the hidden beauty that stares us right in the face and dares us to recognize it. There is nothing generic about its sound, each melody carries its own personality, its own indefinable emotion. To the surface dweller this can be a casual experience, but those who delve a bit deeper will uncover, piece by piece, the hidden revelations that SoiSong has packaged for us." [Sound & Symbol blog]
"The first full-length from SOISONG. xAj3z freely mixes music styles and combines various approaches to music-making: artificial vocalists are accompanied by real drums, jazz-noir arrangements meet the delicate melodics of the South Seas, computers are made to sound warm and organic. The album shows no apparent respect for genre-definition and aims at communicating with the listener at highest levels of emotional intensity, often lyrical, sometimes dark, on occasions amusing and even uplifting. The album is packaged according to the new PIANOSTEALTH ™ technology - this package is made to last." [label info]
'xAj3z' is Soisong’s debut album. Peter Christopherson (Coil, Throbbing Gristle) and Ivan Pavlov (COH) have joined forces as Soisong. "The two-man show will combine Ivan's uncompromisingly visceral computer based music with Sleazy's decadent, dark and whimsical approach to artificial vocals and 'South Seas' instrumentation..."
This is the first full length release by Soisong. It is packaged in an unusual, oddly-shaped origami-like sleeve. Please note the disc itself is octagonal in shape and will not play in slot loading CD/DVD players.
|
2009 |
€35.00 |
|
| SOLA TRANSLATIO |
Ad Infinitum |
CD |
Erste Veröffentlichung einer Zusammenarbeit von OPIUM und ALIO DIE unter dem Projektnamen SOLA TRANSLATIO ! Noch besinnlicher und ruhiger als man es von ALIO DIE gewohnt ist... Wasser- & Wellen, Glöckchen und Gongs, helle Drones, distant melodies, entfernte Vibrationen, insgesamt eine ozeanische Atmosphäre, zurück in den Mutterleib?
A new collaboration project of ALIO DIE and OPIUM. Very calm and meditative electronics, with nature recordings, most professionally done, the high-end-point of natural ambient? Digipack.
|
2001 |
€13.00 |
|
| |
Enigma |
CD |
SOLA TRANSLATIO ist das Gemeinschaftsprojekt von ALIO DIE und OPIUM und dies ist das dritte Album. Das besondere an ENIGMA liegt in der Verwendung mysteriöser konkreter Field Recordings, die die instrumentell-fliessenden Sounds umgarnen und umranden... viele handgespielte Instrumente wurden aufgenommen, wie Zither & Flöten, Pianotunes…zusammen mit der Artwork hat das einen mystischen Touch und verbreitet eine besinnliche, sehr unaufdringliche Stimmung…is it the mind-space or the space-mind??
“The third awaited cd by Opium and Alio Die is finally out! rich of ambient textures that bring to lose themselves into different labyrinth's peregrinations, and to bathe the borders in flowing abyss.. eight imaginary landscapes wavering between the earth and the cosmos, sometimes returning on the dark atmosphere of the first album, but with a little acoustic element more clear..” [label info]
|
2006 |
€13.50 |
|
| SOLAR SKELETONS |
Frozen Jail of reversed Demons |
LP |
"The Skeletons are unleashed again, this time plunging into the dismal fogs of Dantesque blackened drone buzzadelics. Both haunting and transcending, harrowing and angelic, the "Frozen Jail Of Reversed Demons" is a monumental blend of post black metal fuzzscapes and eerie cello and synthesizer drones." [label info]
www.tutrur.com
|
2011 |
€15.00 |
|
| SOLTAU, THORSTEN |
Gewächse im Zwielicht |
CD |
full press release:
This Friesian multi media artist with two works on one CD: his compositions combine drone-ambient and electroacoustic elements and passages in a wonderful way (sometimes spheric, sometime bizarre, sometimes
melancholic) = various instrumental, vocal and electronic sources are building a hypnotic and poetic web, very complex and with many unexpected twists and surprises in the mix... this album is like a little wonder!
The CD combines two complete works by the artist: "Gewächse im Zwielicht", consisting of 4 pieces (2019-2021), dedicated to the hidden phenomena becoming recognizable only after closer examination, and "An End. An One Another" (2021-2022), an installation work for the art gallery 'De Groen' in Arnhem, Netherlands, for this he worked with a choir. Five long pieces with a total time of over 62 minutes, revealing many details with repeated listening...
as the author notes: "My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception: Repetition becomes a reward for the listener."
listen to a track:
https://soundcloud.com/drone-records/thorsten-soltau-das-begehren
###########################
THORSTEN SOLTAU: Self-taught artist since 2006. Working under his given name as well as Femurl [ˈfiːmjuːl].
Strong interest in sonic disintegration, conceptualism and dualism (philosophy / gender).
Thorsten Soltau is a citizen of KonungaRikena Elgaland-Vargaland. He resides in Friesland, Lower Saxony.
MUSIC.ART.MORPHOSIS.
A reflection.
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense able to picking up things that may slip the attention of others. My ears are trained to scan the places I visit – crowded metropoles, remote spots in nature or even familiar surroundings of office or home. My way of listening can be divided in two modes: the perception of sound on an unconscious level or the deliberate focus on sonics.
Becoming a sort of scanning antenna had a profound effect how I compose. The experience of my listening is reflected in my sound works. As an example several compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (and are therefore easy to recognize with headphones) or equalizer settings. Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.
My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception:
Repetition becomes a reward for the listener.
On sounds.
My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error during sound design.
One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces which allows for unexpected results. Some of my composing techniques are deliberately executed against their primary intention as well. This allows for an ever-morphing character of my works until the final touch is added.
On sonic morphosis.
My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. As explained above the use of complex treatments and randomness allows for a sound that constantly shapes into an liquid and organic sculpture. The sonics I create are further exposed to imperfections and errors – like body and mind aging or perishing over time.
Errors are integral and welcome. Most of them occur as a glitch in the analogue or digital domain during sessions or setup changes. They give a further layer to the music resembling small failures made by the composer – adding a human touch despite their virtual origin.
On concepts.
My solo work has always been underlined by concepts. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition as well.
https://thorstensoltau.de |
2022 |
€13.00 |
|
| SONDE |
En Concert |
CD |
"Unglaubliche Aufnahmen von 1978 von dem Montrealer Kollektiv. Die (damals noch analogen Band)-Echos sind kurz, elektronische Hilfen unausgereift, Instrumente und Klangobjekte wurden selbst gebaut, aber SONDE mühen sich in höchstem Maße ab, um ungewöhnliche und niemals vorher gehörte Akusmen & Arrangements zu erschaffen. Das Material ist rauh und fordernd, eine Art elektro-akustische Improvisationsmusik, wo eine Vielzahl an instrumentalen & elektronisch verfremdeten Objektklängen verschmelzen." [Drone Rec. info]
|
2007 |
€14.00 |
|
| SONIC YOUTH |
Goodbye 20th Century |
do-LP |
"Unglaublich: S.Y.'s Hommage an "die Großen" der Experimental & Improvisationsmusik vereint hier Stücke von C.Wolff, John Cage, Pauline Oliveros, Kosugi, Yoko Ono, Steve Reich, James Tenney, George Maciunas, etc... die sie selbst umsetzen, mit Unterstützung von JIM O'ROURKE, C. MARCLAY, C. WOLFF, WHARTON TIERS und anderen. Dabei sind sehr freie, hochexperimentelle Stücke entstanden, unserer Meinung nach wesentlich fruchtbarer asl S.Y.'s bisher geleisteten Improvisationsversuche, wirklich eine dicke Überraschung!!!" [old Drone Rec. info] BACK IN STOCK
S.Ys play pieces of various "serious" 20th century composers with an impressive line-up. Very experimental & daring & wonderful !!
|
1999 |
€19.50 |
|
| |
EVOL |
LP |
2022 repress; LP version, includes free download code. "The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility. 'EVOL ... mark[s] the true departure point of Sonic Youth's musical evolution,' says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s. 'In measured increments, Thurston Moore and Lee Ranaldo ... bring form to the formless, tune to the tuneless, and with the help of Steve Shelley's drums..., [impose] melody and composition on their trademark dissonance.' Stereogum likewise praises the album as one that is 'full of suspense..., the cornerstone [of] the Sonic Youth sound..., ground zero for the combination of chiming guitars and atonal skronk... [and] muggy delirium.... The virile "Tom Violence" sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The offkilter [droning love song] "Starpower" ... is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. "In The Kingdom #19," featuring Mike Watt on bass and ... vocals [by Ranaldo]..., is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by ... live firecrackers into the vocal booth.' 'EVOL slithers into the unconscious,' notes Popstache. 'Once the [detuned melodies and haunting riffs and] final whispers of feedback [of "Expressway to Yr. Skull"] depart from the speakers..., the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.'"
|
2022 |
€26.00 |
|
| SONS OF GOD |
The Sons of God perform a Miracle |
DVD |
" 'For each and every person, we now want to reestablish the direct link with the devine within ourselves... the driving force behind everything... which, through its limitless openness, allows our dreams and fantasies to be realized in that part of life which is shared with others.' So lautet die simple Botschaft von Gods Söner, THE SONS OF GOD, auf The Power Is Yours. Diese, wie alles bei Leif Elggren & Kent Tankred, hintersinnige Frohe Botschaft ist Teil der DVD The Sons of God (FYDVD1001), die einem die Augen aufgehen lässt über die Magie der beiden schwedischen Prätendenten auf den Himmelsthron auf Erden. Ihr zentraler Zauber ist ein ritueller Tanz, den sie bei Dance aufführen in einem achteckigen panoptischen alten Anatomiesaal, mit spastischen, zeitlupigen Verrenkung, bis zur Erschöpfung, bis das Telefon klingelt. Dieser seltsame Totentanz zweier älterer Männer im Sonntagsanzug kehrt wieder in Before the Miracle, einfach in einem leeren Raum, und in Transients, in einer Rohbauruine. Seine quasi Beckett‘sche Endform findet dieser Tanz in The ons of God Perform a Miracle, der in einer Duo- und einer Quartettversion zu sehen ist. Sieche Grauhemden, Kandidaten für ein Lourdes-Wunder, winden sich in extremer Zeitlupe aus ihren Stühlen und sinken wieder zusammen. Dazu gibt es Tänze mit eisernen Besen (New Way), besonders sakral und erhaben als Version im Grand Theater in Bourges und, genial simpel, The Sons of God Drive Chairs. Besonders mysteriös jedoch ist The Arm, ein, anders als die von Noise gepeitschten Tänze, lautlos ausgeführter Schnitt an Tankreds Oberarm, im Chiaroscuro alter Meister visualisiert. Unerklärliches, Traumhaftes, wird körperlich, Absurdes wird spielerisch, Spielerisches zum heiligen Ernst, zu Lebens-Werk." [Bad Alchemy]
"The Sons of God work in the borderland between performance, installation and music; everything contributes to the whole and provides the basic structure for that inquisitive and expansive spirit which is apparent in The Sons of God´s working method. Sound objects, pre-recorded compositions, physically demanding movements, the voice, the staged meetings and conditions, the objects: all of this constitutes the foundation for an attempt to achieve those obscure moments where daily life unites itself with the heroic nature of our inner lives."
This DVD includes a selection of works by the group The Sons of God (Leif Elggren and Kent Tankred) from the years 1988-2007 - video documentations of performances as well as films and slideshows, in all over two hours of material. The DVD also includes a full colour 24 page booklet with texts by Daniel Rozenhall.
[label info]
www.fylkingen.se
|
2008 |
€13.00 |
|
| SONTARAN EXPERIMENT |
same |
CD |
"Eine aurale Verwüstung: Debütalbum der britischen Experimental-Metaller: Die Noise-, Grind- und Experimentalband um Paul Catten (Lazarus Blackstar, Murder One, This Is Menace, Medulla Nocte) stellt mit "The Sontaran Experiment" ihr Debütalbum vor. Die Gruppe aus dem südenglischen Ross-on-Wye betreibt damit eine aurale Verwüstung: drei Songs in 58 Minuten, die einen dazu zwingen, alles zu überdenken, was man über experimentelle Musik gelernt hat. Dazu kombinieren sie Doom mit Geräuschkollagen, unheimliche Stimmen mit von der Klassik inspirierten Sätzen, experimentelles weißes Rauschen mit Noise-Schnipsel, Psychedelia mit der Wildheit des Metal. "The Sontaran Experiment" schickt den Hörer auf eine Reise durch Myriaden musikalischer Erfahrungen und herausragender Kreativität. In Großbritannien tourte das Quartett bereits mit Gallhammer (Peaceville) und erhielt hervorragende Kritiken. Für Fans von: Fantomas, Melvins, Sunn 0))), Mike Patton, ASVA, Guapo oder Burning Witch." [label info / Indigo]
www.undergroove.co.uk
|
2008 |
€16.00 |
|
| SORIAH |
Chao Organica in A Minor |
CD |
Kontemplation pur von diesem obskuren Künstler! Orgel-Oberton-Drones und gutturale Gesänge, esoterisch & spirituell, aufgenommen in einer Kirche in Portland.
“Like a bolt from the blue, the saccharine rich organ drone sets the supper for this winding piece of esoterica. Take equal parts Messiaen organ atones and the beguiling, echoed baritone moans of a disembodied spirit (with just a dash of pungent myrrh pouring over a cup of the very thickest Turkish coffee) and the environs of Soriah are partially breached. This magnificent choral suite for antique church organ is paired with a second vocal suite for Tuvan throat singing. The bone trembling multi-timbres of Soriah's commanding throat singing crack open and become a cathedral as the rumbling is pulled through a wash of electronic effects. Of chaos is a new religion erected. Soriah's crushing passion play becomes a bombastic bodhisattva that leaves all average messiahs staying indoors for the second coming. Also sprach Soriah! For fans of drone, Mirror, Coleclough, Af Ursin and avant-garde that stands the test of time.
From out of the fir-lined mists of the Pacific Northwest's primordial musical soup is spawned the singular performance and sound sculptor Soriah. Spilling initially from a rock and roll womb, but building on years of intensive studies in Tuvan throat singing and classical Indian raga chanting, Soriah both subverts and elevates tradition by weaving the avant-garde into the ancient. Whether backed by hand percussion, or accompanying himself on organ, or with electronics, or wailing a cappella, a thick, echoing, thaumaturgic atmosphere is carved out of the thin, vibrating air that rushes between vocal chords. Performance is an integral part of Soriah's Choa-sphere. Concerts played in haunted tunnels, from trees, in the desert, in churches and other far-flung venues are more the rule than the exception. Elaborate costumes, often incorporating authentic head-dresses and other tribal garments and totems, are another hallmark. The costumes are worn partly in beatific reverence and partly for the sake of how they move. Soriah's grounding in the study of butoh, yoga and other physically based rituals completes the circle of the experimental shaman; a circle which will continue to propagate as the only constant with Soriah is change. After numerous home and hand made releases Soriah is finally poised to light out into the world at large through his first recording on Beta-lactam Ring Records.” [label press release]
|
2006 |
€13.00 |
|
| SOUNDSCAPE ROST (ELIN OYEN VISTER) |
Spaces and Species Vol. I |
LP |
Soundscape Røst-Spaces and Species Vol I is a unique collection of field recordings and soundscapes, from the Røst archipelago – 100 km into the Atlantic Ocean, off the coast of Nordland (NO/Sápmi). The album is a careful edited selection of hours and hours of sound material listened to and recorded between 2010 and 2011. The listener will experience a multitude of nature and sea-bird voices/spaces and acoustic moments, spanning from booming roars to the faintest of hums. You can listen to the song of the multitude of pelagic seabirds breeding in the Røst archipelago and the Nykan nature-reserve and the acoustic moments in time of their ocean-and land spaces they spend their time in every spring and summer, mating, breeding their chicks, socializing and coming and goings searching for food.The lowfrequenzy grunts of the Razor Bill, the song of the last Kittiwakes of Vedøya, the swarming of hundreds of Puffin wings and their ancient cowlike song and grunts in their nests in Hernyken nature reserve, The Eiders of Kårøysundet an early winter-spring morning and the sounds of the ebb and flow on the Northside of Røstlandet are amongst the soundscapes on Vol 1.
Vol I is eavesdropping to the rapidly changing soundscapes of one of Northern Europe most numerous seabird breeding colonies which has for half a century experienced an escalating dramatic decline of the pelagic seabird populations, resulting in the silencing of the bird mountains . Soundscape Røst also listen to and documents the acoustic realities of a marine land -and seascape over time and listens to nature-culture in an everlasting continuum of interdependency. The vinyl album is an integral part of the sound installation Soundscape Røst – The Listening Lounge, (2012) and is the first album in the Soundscape Røst triology.
Note to the reissue on Gruenrekorder.
Since the album was released in 2012, the decline in the seabird populations have escalated. During the summer of 2020 the bird mountain of Vedøya became silent. Statistically speaking there are no more Kittiwakes and Guillemot breeding on Vedøya. In 1980 there was approximately 1.5 million pairs of Puffins breeding in all of the Røst archipelago and on Vedøya alone, 12000 pairs of Guillemots and 25.000 pairs of Kittiwakes. Now the overall Puffin population is down to around less than 200.000 pairs and the few Guillemots left are hiding in small caves and crevices. The last Kittwakes of Røst are now clinging on in Kårøya and Gjellfruvær. If the decline continues, there will be no Puffins left in Røst by 2040.
https://www.gruenrekorder.de/?page_id=18960
|
2021 |
€18.00 |
|
| SOUND_00 / IVERSEN |
same |
7inch |
Klasse 4-track Single auf neuem britischen Label, sehr abwechslungsreiche experimental ambience / noise zwischen subtilen Eis-Sounds und aggressiverem Post-Industrial & Collagen-Lärm, immer spannend arrangiert.
“Antonio and Jan-M collaborate here for a debut release of theirs and ours, creating four moody, abrasive, electronic sound experiments collected here in a nice 7" vinyl format." [label info]
“oooh lets check this 7" by Sound_00 and Iversen. Well, if you've ever wanted a record with minimal, spacious recordings from the depths of hell, in Siberia, then the 1st side of this record is for you. Like Satan's breath curling through a crumbling church at 3 o’clock in the morning. Or it could be at the wrong speed. Sinister. More lovely fetid noise from Iversen. Scorched cortex industrial ambience. Someone dragging heavy sheets of cold steel through the soft mush formerly known as your brain. With power electronics fascinating me increasingly in these dark days of the insipid generic indie cack, I'd say if you like thought provoking sound & post music then give this inspired wax a try. “ [Norman Records]
|
2005 |
€6.00 |
|
| SPAHLINGER, MATHIAS |
Morendo (etc) |
LP |
Six works of this very philosophic German New Music composer, whose works are based around the idea of “negation of order” / or to suspend common order with an own structurization, through own active listening...
his music is very sound-based & free, metal / gong-sounds and scrapings / scratchings of all kinds, pure electronic crackles & radiowaves & feedbacks, chaotic singing & laughing & voices, string-pieces, etc etc....suspensefully constructed with quiet parts & noisy outbreaks... comes with extensive liner-notes booklet. Even if you never listen to academical NEW MUSIC, this is very worth to explore !!
„...Das Werk ist klingende Philosophie. Es geht um die "Aufhebung, Zersetzung von Ordnung durch eigene Gesetzmäßigkeiten" (Spahlinger). In einem erregenden Klangkontinuum lösen sich die Flächen und Strukturen unmerklich auf, und der Hörer findet sich in einer völlig neuen Struktur wieder, deren Anfang er gar nicht bemerkt hat.“ [U. Schalz-Laurenze, taz]
Mathias Spahlinger (*1944)
Morendo, apo do (von hier), Vier Stücke, Entlöschend, Störung, Sotto Voce
Morendo for orchestra (RSO Frankfurt, dir.: F. Travis)
apo do (von hier) for string quartet (Leonardo String Quartet)
Vier Stücke (Ens. für Neue Musik, Stuttgart, dir.: E. Karkoschka)
Entlöschend for tamtam (M. Spahlinger)
Störung (electronic music)
Sotto Voce (Schola Cantorum, Stuttgart, dir.: C. Gottwald)
|
1990 |
€15.00 |
|
| SPECTRES |
II - Resonances |
BOOK |
"The second issue of Spectres is devoted to the concept of resonances, with contributions by Maryanne Amacher, Chris Corsano, Ellen Fullman, Christina Kubisch, Okkyung Lee, Pali Meursault, Jean-Luc Nancy, David Rosenboom, Tomoko Sauvage, The Caretaker, David Toop, and Christian Zanési.
To resonate: re-sonare. To sound again—with the immediate implication of a doubling. Sound and its double: sent back to us, reflected by surfaces, diffracted by edges and corners. Sound amplified, swathed in an acoustics that transforms it. Sound enhanced by its passing through a certain site, a certain milieu. Sound propagated, reaching out into the distance. But to resonate is also to vibrate with sound, in unison, in synchronous oscillation. To marry with its shape, amplifying a common destiny. To join forces with it. And then again, to resonate is to remember, to evoke the past and to bring it back. Or to plunge into the spectrum of sound, to shape it around a certain frequency, to bring out sonic or electric peaks from the becoming of signals.
Resonance embraces a multitude of different meanings. Or rather, remaining always identical, it is actualised in a wide range of different phenomena and circumstances. Such is the multitude of resonances evoked in the pages below: a multitude of occurrences, events, sensations, and feelings that intertwine and welcome one other. Everyone may have their own history, everyone may resonate in their own way, and yet we must all, in order to experience resonance at a given moment, be ready to welcome it. The welcoming of what is other, whether an abstract outside or on the contrary an incarnate otherness ready to resonate in turn, is a condition of resonance. This idea of the welcome is found throughout the texts that follow, opening up the human dimension of resonance, a dimension essential to all creativity and to any exchange, any community of mind. Which means that resonance here is also understood as being, already, an act of paying attention, i.e. a listening, an exchange.
Addressing one or other of the forms that this idea of resonating can take on (extending—evoking—reverberating—revealing—transmitting), each of the contributions brought together in this volume reveals to us a personal aspect, a fragment of the enthralling territory of sonic and musical experimentation, a territory upon which resonance may unfold. The book has been designed as a prism and as a manual. May it in turn find a unique and profound resonance in each and every reader.
Spectres is an annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales.
bilingual edition (English / French), 13,5 x 20 cm (softcover), 196 pages."
|
2020 |
€16.50 |
|
| SPHERULEUS |
Voyage |
CD |
"Voyage' is the latest album from Lincolnshire based sound designer Harry Towell. Released under his Spheruleus guise, this album utimately provides a soundtrack to a doomed sea-voyage. Through eight different movements, 'Voyage' chronicles everything from the immense pride felt as the ship sets sail to depicting the horror and heartache of its sinking. The album then closes with detailed passages that portray the decomposition of the ship as it begins to rot deep under sea.
This album is well researched with Harry having explored his chosen subject thoroughly. For the two years in which the album has been in the making, the young sound designer studied the history of great sea disasters and also took inspiration from soundtracks such as Gavin Bryars’ ‘The Sinking Of The Titanic’ and Gareth Hardwick's 'Of The Sea And Shore'. Although the Titantic's infamous fate was naturally a strong influence on the project, 'Voyage', does not refer to any particular sinking ship. Instead, its purpose is to sonically depict the various emotional aspects that lie within a failed sea voyage, as felt by all those who are affected by it.
Once the concept for 'Voyage' had been born, Harry revisited one of his old demos from early 2010 and decided to make this the spine of the album. He then used his instrument collection including; guitar, violin, trumpet, bugle, zither and keyboard to add several layers to the demo. In doing so Harry has been able to develop his chosen theme and create the character required to turn this forgotten treasure into the album it is today. As a poignant exaggeration of the events that unfold through the track 'She Sinks', there is a contribution from Russian pianist Alex Tiuniaev that opens and closes this dramatic track. He also performs on the track 'Clouds Swarm', as it heads into a crescendo.
Aside from his solo production work, Harry also records with brother Stuart under the name Paper Relics and runs the Audio Gourmet netlabel, which specialises in 15 minute EPs designed for shorter 'tea-break' listening. His work as Spheruleus has seen him release through netlabels such as Test Tube, Resting Bell, Earth Mantra, Audio Gourmet and in March 2010, his first physical album 'Frozen Quarters' was released on CD format by the Under The Spire imprint." [label info]
www.hibernate-recs.co.uk
|
2011 |
€12.00 |
|
| SPIGEL, MALKA |
Every Day is like the first Day |
CD |
"Im Amsterdam der 80er gründete MALKA SPIGEL MINIMAL COMPACT.
1986 heiratete sie Colin Newman von WIRE und gründete mit ihm als kreativen Partner in den frühen 90ern das Swim Label.
Es folgte ihr Solodebüt "Rosh Ballata", das Minialbum "Hide", das zweite Soloalbum "My Pet Fish" und Projekte als ORACLE und IMMERSION.
2004 gründete sich mit Newman und Robin Rimbaud GITHEAD. "Every Day Is Like The First Day" mag so ihr drittes Soloalbum sein, verfügt aber über die Frische und die Verheißung eines aufregenden Debüts.
Die Aufnahmen fingen an, als Newman und SPIGEL ohne jegliche Vorbereitung im Studio von Andy Ramsay von STEREOLAB zusammenkamen und mit sämtlichem musikalischen Spielzeug experimentierten.
Mit dem so entstandenen Soundfundament wurde die zweite Phase eingeläutet: Kollaborationen und Gastmusiker nahmen jegliche Vertrautheit aus dem Material.
Mit dabei: Alexander Balanescu, Andy Ramsay, Johnny Marr (THE SMITHS, MODEST MOUSE), Julie Campbell (LONELADY PSYCHIC LIFE), Matthew Simms (IT HUGS BACK, WIRE), Nik Colk Void (FACTORY FLOOR, KAITO, CARTER TUTTI VOID), Ronald Lippok (TO ROCOCO ROT, TARWATER) und der allseits verehrte Soundtrack Komponist Teho Teardo.
Aus der Arbeit von 13 Musikern, vier Ländern und acht Studios wird die Essenz eines jeden Songs destilliert - das, was SPIGEL "the first song" nennt: eine eigene Entität mit einer einzigartigen emotionalen Atmosphäre." [label info]
www.swimhq.com
|
2012 |
€13.50 |
|
| SPOONBENDER 1.1.1. |
Stereo Telepathy Academy |
CD |
Die Zahl 3, Synchronizität, Telepathie, David Cronenberg, „Third Mind“-Technik: San Francisco’s SPOONBENDER 1.1.1 ist eher ein Projekt zur Erforschung parapsychischer Phänomene als eine reine Musikgruppe.
Hier enthalten ein 40 minütiger one-tracker mit elektronischen Sounds & Film-Text-Schnipseln, der ein Experiment dokumentiert, das auf Burroughs / Gysins – Third Mind-Technik basiert, wo zwei Filmquellen miteinander verbunden werden, die eigentlich nichts miteinander zu tun haben, um synchronizitäre Verbindungen herzustellen. Nummerierte Auflage von 333 Stück, und bereits weg beim Label !
“Spoonbender 1.1.1’s Stereo Telepathy Academy is fucking mental. And essential. Truly alien, Truly progressive, and likely to be misunderstood by all but the committed. A true classic on par with COILANS and NWW’s Soliloquy For Lilith. I’ve listened to it obsessively for weeks, and i’m afraid to go near this whilst on drugs! DEEP AND ESSENTIAL!..” [UKDave, KFJC Reviews]
“In 1913, Marcel Duchamp dropped three pieces of string, each a meter long, from a height equal to their length. He then cut shapes into pieces of wood in order to document the rumpled line of his three fallen strings. In essence, Duchamp conceived his 3 Standard Stoppages as a preservation of chance, which he viewed as a means to combat logical reality. In addition to Duchamp's self-proclaimed antipathy to the rational world, he was quite particular in how he contextualized and executed his ideas through readymade objects, chance operations, and his notorious psycho-sexually charged dioramas. It is this dualism between the chance operation and an absolute intellectual/technical control which brings us to the present age, and to Spoonbender 1.1.1 in particular, where the acceptance and integration of opposites results in the 3rd option: everything.
The San Francisco-based Spoonbender 1.1.1 outlines itself as the 'tele-ambient dream self' of the critically-acclaimed, 'populist avant-tronics and media group' I Am Spoonbender. It is important to note that Spoonbender 1.1.1 declares itself not a side project of I Am Spoonbender, but a psychologically immersive extension of the central IAS concept. Both projects uncover the hidden connections that lie beneath the surface of reality by delving into the arenas of paranormal research - the exploration of the occult significance surrounding the number 3 and its strange laws, for example - but the intended outcomes for these concepts are decidedly different. For Stereo Telepathy Academy, Spoonbender 1.1.1 exercises psychic community through the architecture of the soundtrack.
At the beginning of the first transmission of Stereo Telepathy Academy on November 3rd, 2004 - a performance where the group supported Genesis P-Orridge's PTV3 - 1.1.1's Dustin Donaldson announced that "tonight's Spoonbender 1.1.1 show is governed by chance operations and the 'third mind' technique. Spoken text was taken from one film, overlayed onto images from another film, and the score was composed while viewing a third (and secret) film source. The synchronistic results appear to be intentional." Such was the strategy of Duchamp's aforementioned piece nearly a century ago; but Spoonbender 1.1.1's collision of artforms also employs the technique found in the William S.
Burroughs / Brion Gyson classic The Third Mind. As the images of David Cronenberg's rarely seen film Crimes Of The Future flickered, Spoonbender 1.1.1 radiated an inverted telekinetic minimalism of undulating tones supporting the third piece of the puzzle: spoken text from Cronenberg's Stereo, a faux-documentary detailing a surgical procedure for the advancement of telepathic communication. The result is a sort of Wizard Of Oz / Dark Side Of The Moon for the mimetic engineering mindset.
The same principles and elements apply for Stereo Telepathy Academy, the group's long-awaited debut studio recording (1.1.1 has existed solely as a live group for years). This marks the second of three editions to be released. The first was an edition of 111, documenting the aforementioned live performance; the second is this edition of 333, sporting handsomely letterpressed artwork; the third and final edition will be a unique art piece in an edition of a mere 3 copies.” [label notes]
"Edition 2 (studio version) of the Spoonbender 1.1.1 Stereo Telepathy Academy trilogy...
Simply put, this is a weird-as-hell, warped, late night, difficult-listening 'trip' for all you aQers looking for truly strange atmospheres... Okay, first things first; Spoonbender 1.1.1 is not a side-project of I Am Spoonbender. The duo of Dustin Donaldson and Cup consider Spoonbender 1.1.1 to be a self-contained project that ventures outside the 'populist avant-tronics' of I Am Spoonbender into the realms of sidereal soundtrack music, the transmission of ideas through subliminal means, manifestations of 'third mind' techniques, and the non-logic of chance operations. Not so different on paper, but put another way: there are no drums, singing, or 'songs' in the 1.1.1 project. The material for Stereo Telepathy Academy was debuted during a live performance in which Spoonbender 1.1.1 performed with (appropriately enough) Psychic TV; however, for the second edition of Stereo Telepathy Academy, Spoonbender 1.1.1 recomposed all of the material in the studio -- expanding and elaborating on their live performance, and making for a distinctly new and different listening experience that stand on its own with or without the visual accompaniment. That said, as in the first edition, Stereo Telepathy Academy features "text taken from one film, overlaid on images from another, and the audio score was written around a different, third film... the results appear to be intentional" for a sort of 'Wizard Of Oz/Dark Side Of The Moon' for telekinetics.
The J.G. Ballard-esque text was taken from David Cronenberg's 1969 student film 'Stereo', a faux-documentary detailing the work of a Dr. Luther Stringfellow, which concerns surgical procedures for the advancement of telepathic communication, while the visuals came from 'Crimes Of The Future' (another Cronenberg film, which transpires in an urban dystopia populated by pedophiles and oozing victims from a female-eliminating cosmetics related catastrophe). As creepy and sterile as the images were, we have to say that its Canadian-ness was positively charming, somehow. In their score, Spoonbender 1.1.1 lunges ominously forward with an otherworldly radiance of slow motion electronic pulses and melodies that retain an even darker hue than that of Klaus Schulze, Coil (e.g. Coilans / Time Machines), and Alan Splet, who are probably Spoonbender 1.1.1's closest sonic neighbors. Given the nature of their intense, masterfully detailed sea of electric sound, Spoonbender 1.1.1 hedged their bets that Cronenberg's pseudo-scientific spoken text would situate nicely against their audio. And indeed, this freakish document of prepared-chance context, atmosphere and appropriation works exceptionally well.
PLEASE NOTE: In keeping with the numerological-binding-of-3 theme, there will be 3 released versions of Stereo Telepathy Academy, all with different packaging. The first version arrived as a cd-r edition of 111 copies sporting a white glove as an allusion to 'Crimes Of The Future' (now out of print). This is the second edition, a proper disc that comes with letterpressed artwork in an edition of 333. The final edition will be in an edition of only 3 copies!" [Aquarius Records]
|
2006 |
€13.00 |
|
| ST. PIERRE, MELISSA |
Specimens |
CD |
Sehr ungewöhnlicher Release aus dem COLLECTIONS OF COLONIES OF BEES-Umfeld mit mechanisch-rhythmischen Aufnahmen eines "präparierten Klaviers" wie es durch JOHN CAGE berühmt wurde, sehr wuchtig und seltsam, als spiele man "Rock" auf Gamelan-Instrumenten...
"MELISSA ST. PIERRE tosses classicism and post-classicism overboard, utilizing the prepared piano -- John Cage's notorious instrument of choice -- and electronic enhancement to sail resolutely in the direction of rock & roll. Peppering the strings, hammers, and dampers with a variety of objects, she transforms the piano's typical timbre: sparkling gamelans chatter; harrowing voodoo drums call out in the night. "Specimens", St Pierre's debut, features production and performances by COLLECTIONS OF COLONIES OF BEES; together they rival famed electric harpist ZEENA PARKINS as conservatory arsonists with a decidedly Hendrixian flair." [label info]
www.tableoftheelements.com
|
2008 |
€11.00 |
|
| STAHLWERK 9 / SAL SOLARIS |
split |
10" |
Die ANGRIFF 10” Industrial – Reihe geht munter weiter, diesmal nicht rein russisch besetzt, sondern mit dem deutschen Projekt STAHLWERK9 auf einer Seite und den guten dark ambientern SAL SOLARIS auf der Flipside.. thematisch geht es hier um das russische Raumfahrtprogramm und entsprechend fallen die Beiträge aus: exzellenter Elektronik-Ambient von STAHLWERK9; dunkel-harmonische, sehr filmische Spaceflächen und mächtigere Drone-Monolithen von SAL SOLARIS, inkl. Teile von russischer Propagandamusik (ausser „GAGARIN“ können wir leider nichts verstehen). Atmosphärisch stimmig und etwas obskur. Kommt im Postercover.
“This split release is dedicated to soviet
space program. Most delicate, subtle and wonderful tracks both bands ever did. Haunting mysterious atmosphere of the unknown fills the heart of the listener with a sense of a strange sadness and slight anxiety. Dark ambient with melodic background and some noise elements. Not to be missed! Sal Solaris is known for their Hau Ruck! CD, Der Angriff 10" in Prometheus series and Heilige Feuer I compilation appearance, Stahlwerk 9 have released now sold-out CD on Achtung Baby! as well as numerous vinyl releases, on Eternal Soul, Steinklang and Neuropa to name a few. A2-sized poster cover printed on stylish beige paper, limited edition of 370 copies. 4 tracks, total time - 28 min.” [label press release]
|
2004 |
€10.00 |
|
| STERN, JOEL & MICHAEL NORTHAM |
Wormwood |
CD |
Collaboration of our beloved “concrete etheral ambience” performer MICHAEL NORTHAM with the (for us)unknown JOEL STERN. They mix: “found objects, prepared instruments, electronics, feedback systems, environmental recordings” on five pieces for a stunning result ! Open your ears and listen to magical natural sounds objects.....
"The five wormwood pieces are taken from a single recording session which happened late at night, in a loungeroom borrowed from friends, at petticoat lane, East London, on dec 29th 2002. Michael had only just arrived fresh / weary from his explorations in Malta, Joel was preparing to leave London after 3 years and return home to Australia. The music, in all its abstraction, reflects this transitory moment of shared sensibility and open exchange between two people heading in opposite directions. + found objects, prepared instruments, electronics, feedback systems, environmental recordings." [label info]
|
2004 |
€12.00 |
|
| STOA |
Silmand |
CD |
Seelenmonat. Viertes Album der Neo-Klassik / Sakral-Ambient / Mittelalter-Folk Pop-Band und Mitbegründer des "Heavenly Voices"-Genres, hier mit Verstärkung von Mitgliedern von LOVE IS COLDER THAN DEATH und CLAN OF XYMOX. 13 Stücke voller dunkel-romantischer Momente, musikalisch hochwertig arrangiert & von erhabener & fragiler Schönheit, zudem scheinen die meisten Instrumente original eingespielt zu werden. Melancholische Streicher sind omnipräsent, emotionaler geht es kaum !
"The first new sign from STOA in 7 years! Fans will be happy that the STOA mastermind stays true to himself with his fourth album. Besides the usual melancholy, unusual pop rhythms found their way on the various albums, but the typical STOA sound is still distinct. The vocal lines harbour some surprises as well. For once theres the angelic voice of singer Mandy Bernhardts, known from the live performances of the band; on the other hand, the voices of three guest singers sound on Silmand. The first voice belongs to the Australian multi-instrumentalist Louisa John Krol. The Dutchman Peter Nooten (Ex-Clan of Xymox) could be engaged for Silmand as well as the Leipzig-based Ralf Jehnert (Love is Colder than Death)." [label info]
"For lovers of melancholic music, it probably doesn't get much better than Silmand." [Heathen Harvest]
www.darkdimensions.de
|
2008 |
€15.00 |
|
| STOCKHAUSEN, KARLHEINZ |
Mantra |
CD |
"With its exotic, gamelan like timbres (the result of electronic processing) and its deft balance of meditative stasis and kinetic repetition, Mantra is one 60's piece that has survived its era." [The New York Times]
"From its headwaters in the small, southern German town of Donaueschingen, the river Donau runs through Bavaria, Austria, Slovakia, Hungary, Serbia, Bulgaria and Rumania, into the Black Sea. There is one thing that probably no one who was present at the world premiere of "Mantra" in Donaueschingen on Sunday evening, October 18, 1970, was aware of: "Mantra" is a key work in the development of Karlheinz Stockhausen's music.
More than twenty years after its premiere, "Mantra" occurs as Stockhausen's first "Formelkomposition," and therefore as a keywork to almost all of his following pieces, such as "Inori," "Tierkreis," and "Sirius," as well as his music-theater cyle, "Licht." The basis of the piece is twelve-tone motive, where every note has a specific duration, rhythmic value and intensity. In connection with this, Stockhausen mentions that he has quite free images or sounds, just as in "Aus den Sieben Tagen," a meditation piece based on verbal notation which was created in California in 1968, and also in the piece "Fur kommende Zeiten" that was written at the same time as "Mantra." Although in interviews Stockhausen talks about how he uses rigid and free forms in mixed ways, all the works following "Mantra" are nevertheless "Formula" compositions, or even -- as in "Licht" -- "Superformula" compositions." [label notes]
www.newalbion.com
|
1990 |
€15.00 |
|
| STORMHAT |
Addicted to Disaster |
CD |
Erste "echte" CD für dieses dänische Projekt. Schwer zu sagen was hier genau passiert, zu komplex und überlagernd sind die vielfältigen (Arbeits?)-geräusche die hier in den Raum dringen, eine chaotisch-hallend-konkrete vielflächige Geräuschsymphonie, es rumpelt und zischt und klingt an jeder Ecke. Zum Teil werden die Ursprungsaufnahmen leicht effektiert, oft werden Sounds von Glocken, Klangschalen und/oder Metallteilen verwendet. Sehr sehr spannend und ungewöhnlich.
"The work of Denmark's Stormhat melds a variety of elements of experimental music, from ambient/drone to field recordings and feedback. With his first pressed CD, Peter Bach Nicolaisen gives us a wonderful hour-long journey though field recordings, reverberating & scraped percussion, and drones. An excellent recording, sure to appeal to fans of all related genres, "Addicted to Diaster" provides a wonderful and engaging listen. Stormhat's work has previously been released on Cohort and A Beard Of Snails. Housed in a custom printed color wallet. Edition of 500 copies." [label info]
"....Stormhat is the Danish word for one of the European continent's most poisonous plants; a few grams consumption of the Stormhat-plant marks the end of a human life. Its also the name chosen by Peter Bach Nicolaisen to work around with sound and music that entirely is based on processed field recordings. That may sound like old news to anyone, but I must say that if you expect some microsound, ambient glitch than 'Addicted To Disaster' will be a small disappointment, and that's exactly what I like it. No disappointment here for me. This is a pretty strong disc of multiple layered field recordings that never slip under the threshold of hearing, but owe much more to world of 'noise' and 'industrial', even when it has as such nothing to do with that world. This music is there, it's present and a truly great pleasure to hear. Its hard to say what these field recordings originally were, except for the occasional thunder storm passing and some crackle of leaves, but otherwise things are too abstract to be recognized. This breaks away from the traditional field recordings cum microsound ground and moves into something different. That's a great thing and Stormhat delivered a fine CD." [FdW / Vital Weekly]
http://discs.diophantine.net
|
2008 |
€12.00 |
|
| SUDDEN INFANT |
Invocation of the aural slave gods |
CD |
SUDDEN INFANT aka JOKE LANZ hier mal wieder ganz anders, mit ANNIE STUBS an den Vocals, einem rauhen Industrial-Touch und heftigen Cover-Versionen, dazu die üblichen Bodynoise & Geräusch-Collagen...mächtige Gong-Loops, Kreissägennoise, alles sehr „old styled“, kraftvoll, dreckig, ungewöhnlich und emotional......
11 Stücke mit abwechslungsreicher Klang- bzw Noise-Kunst !
“Exciting new studio album featuring Annie Stubbs on vocals + percussion and Joke Lanz on noise toys + vocals. With coverversions of Cabaret Voltaire's Nag Nag Nag and Roxy Music's In Every Dream Home A Heartache. Housed in a beautiful Digipack with a limited edition Sudden Infant sticker.” [label info]
www.blossomingnoise.com
|
2005 |
€13.00 |
|
|
Psychotic Einzelkind |
CD |
"Founder Joke Lanz has paired up with Bill Kouligas & Christian Weber to create the most musical & realized Sudden Infant studio recording to date. Psychotic Einzelkind clocks just over 71 minutes & features three remixes by Z'EV, Lasse Marhaug, & Thurston Moore." [label info]
www.blossomingnoise.com
"Eine CD mit einem solchen Titel, am vorderen und hinteren CD-Cover sind Flecken abgebildet, die als Rorschach-Test durchgehen könnten. Und dann: diese Musik. Joke Lanz, Bill Kouligas und Christian Weber aka Sudden Infant rauschen und dröhnen sich durch elf Nummern, zu denen sich drei Remixe von so illustren Gästen wie Z'EV und Lasse Marhaug dazugesellen, Thurston Moore drangsaliert die Gitarre, als ob er Bandmitglied bei Ramleh wäre. »Psychotic Einzelkind« versammelt Tracks, die zwischen Noise, einer Art von Industrial Metal und recht konventionellen Schlagzeug-Rhythmen angesiedelt sind. In unerwarteten Momenten brechen sich diese Texturen wieder selbst, abstruse Sounds und Geräusche drängen sich in den Vordergrund. So gesehen also eine typische Sudden-Infant-VÖ, man merkt wieder mal, dass diese Entwürfe weit mehr seltsamer Soundart (NWW, HNAS, …) geschuldet sind als dem hermetischen System des Noise. Rudimentärer Lärm mit Unterhaltungswert und Persiflage." [Skug]
|
2008 |
€13.50 |
|
|
My Life's a Gunshot |
4 x LP |
"Top shelf all the way - we're all amateurs when he hits the stage!" - Ron Lessard / RRRecords
" Limited edition of 500
Paintings by Joke Lanz
Essay by G.X. Jupitter-Larsen
Mastered by Rashad Becker
Design by Bill Kouligas
Compiled & selected by Joke Lanz & Ed Benndorf
These two double LP's combine 49 rare and unreleased tracks as well as some of Sudden Infant's most essential and radical work from the last twenty years. Beautifully housed in two fold-out double LP's with original cover paintings by Joke Lanz and an exclusive 4-page essay by GX Jupitter-Larsen. No CD or download releases planned.
"Born in Switzerland, now based in Berlin, Joke Lanz (aka Sudden Infant) is one of the most prolific and profound artists working in the border zones where performance and body art meet improvisation and Noise. In his Sudden Infant guise, Lanz creates a unique blend of physical sound poetry and epileptic noise bursts, using contact microphones, loops, tapes, etc. The result is an extreme form of musique concrète that juxtaposes spasmodic gibbering with a battery of disorienting electronics." - The Wire
Recent selected activities:
Artist residencies in Berlin (1999) and London (2004)
Composition assignment by Pro Helvetia - Arts Council of Switzerland (2006)
Lectures and workshops at:
Musicacademy Lucerne Switzerland 2003/05
University of Stellenbosch South Africa 2008
University of Music and Performing Arts Vienna Austria 2009
Noise for kids workshops and presentation at:
Avanto Festival Helsinki Finland 2005
Henie Onstad Art Center Oslo Norway 2009
Several compositions for Contemporary Dance, Films, Radioplays and Soundinstallations
Innumerable releases on international labels e.g. Schimpfluch, Entr'acte, RRR, Tochnit Aleph, Blossoming Noise, SSSM, Artware, Klanggalerie, MSBR, Some Bizarre, iDeal."
[full label info]
"Joke Lanz Is Back! - Mit einem großen Knall,
viel Krawall und Krach stürzt diese 8-seitige
und Vinyl-Only-Mammut-Werkschau von SUDDEN
INFANT auf einen ein. Er schlägt mehr als einmal einen unvorhersehbaren Haken und läßt den Hörer eigentlich immer erwartungsvoll zurück auf das was denn da als nächstes kommen wird. Natürlich könnte man sich die Titelliste zur Hand nehmen, aber das bedeutet man verdirbt sich seinen eigenen Spaß. Es tun sich tausend von Eindrücken auf. Man wird förmlich von der Schwere des Vinyls und der Intensität der Darbietung in diese, seine Welt hinabgezogen. Verschiedenste Spielarten der freien Muzak werden in unterschiedlichster Charakteristik und Aufnahmemedien zum Verzerr angeboten. Manches wird den einen oder anderen stören, was wiederum andere in Entzückung versetzt. Vom Erzeuger selber wurde an dieser Zusammenstellung bis zum Ende gefeilt, gearbeite und gestaltet. Diese Liebe zum Detail ist umwerfend, gnadenlos und vollgestopft mit naiver Spielfreude und entwaffnender Offenheit. Ein Essay zu SUDDEN INFANT vom G.X. Jupitter-Larsen höchstpersönlich rundet diese außergewöhnliche und beispielhafte
Veröffentlichung ab. Essentiell für alle, die
das Wort "Industrial" auch weiterhin gedenken im richtigen Kontext in den Mund zu nehmen! Zubeißen! (10)" [Carsten Vollmer, ELEKTRISCHE ZONE]
|
2010 |
€49.00 |
|
|
Wölflis Nightmare |
LP + CD |
"JOKE LANZ aka SUDDEN INFANT ist Extreme Body Culture Performance Art NOISE und BLUES INDUSTRIAL in simpler Form.
Joke wurde 1965 in Basel geboren und lebt heute in Berlin. Seid 1985 ist er aktiv mit unzähligen Bands wie Jaywalker, SCHIMPFLUCH-Gruppe, Catholic Boys in Heavy Leather, WAL - wo er seine Hass/Liebe zur extremen Körperkult-Performance und den brachialen Industrial Noise in einfachster und eindrücklichster Art und Weise zelebriert.
Er arbeitete u.a. als Müllmann, Schallplatten Verkäufer, Chocolatier oder Fahrrad Kurier und komponierte Musik für Filme und Theater oder auch für das Wiener Radio Symphony Orchester, die Schweizer Noise Pioniere VOICE CRACK, Peter Kowald , Shelley Hirsch, Strotter Inst oder Christian Wolfarth.
Wie man sieht ist das definitiv kein typischer Voodoo Rhythm Künstler und eben genau deshalb ist er es doch; er ist anders, er überrascht und hinterlässt in deinem Hirn ein endloses Chaos, denn er schreibt Songs wie es ein Blues Musiker machen würde: SUDDEN INFANT ist kraftvoll, direkt in die Fresse und bleibt in deinem Hirn hängen und lässt dich nicht mehr los.
Für das Album WÖLFLIS NIGHTMARE, dem Berner Art Brut Künstler Adolf Wölfli (1864---1930) gewidmet, hat er zusammen mit den Schweizer Musikern Christian Weber (bass) und Alexandre Babel (drums) ROLI MOSIMANN (Mitbegründer der New Yorker No---Wave Bewegung Anfangs 80'er, produzierte The Swans, New Order, Marilyn Manson, The Young Gods, etc.) aufgesucht und in seinem Studio in Polen das neue Album eingespielt, die heute wohl brutalste und destruktivste Voodoo Rhythm Platte." [label info]
www.voodoorhythm.com
|
2014 |
€15.50 |
|
|
Buddhist Nihilism |
LP |
Swiss Industrial-Dada-Noise-Rock band based in Berlin. Their 2014 album "Wölfli's Nightmare" on Voodoo Rhythm Records was produced by Roli Mosimann (Swans, The Young Gods, Wiseblood) and was very well received by critics and audiences. "Buddhist Nihilism" will consolidate the bands ability for bizarre and intense compositions full of left field humour, powerful rhythms and twisted structures. Brilliantly mixed and mastered by Martin Siewert (Radian) in his Vienna studio. "Buddhist Nihilism is a real fistful of sturm und drang, a real departure for the band. The new record leaves some of the noise and industrial elements behind and sees the band streamlining its approach. "Sudden Infant go all the way. Nothing is held back." - Keith Moline / The Wire "One of Europe's finest Noise provocateurs!" - Matthew Kosloff / Skyscraper Magazine
https://suddeninfant.bandcamp.com/album/buddhist-nihilism
|
2018 |
€20.00 |
|
| |
Lunatic Asylum |
CD |
Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke's work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018's Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they've been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 14 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke's mostly English splatter-poetry helps guide into a space that's about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. Please note that a vinyl version of Lunatic Asylum will appear later, but due to continuing heavy delays at the pressing plants this won't be available to pre-order till June. In the meantime, the CD features two bonus tracks.
https://suddeninfant.bandcamp.com/album/lunatic-asylum
|
2022 |
€14.00 |
|
| SUGIMOTO, TAKU & KEVIN DRUMM |
Den |
CD |
Abstrakte live-Improvisation der beiden Gitarristen mit viel Raum für (fast) Stille und nicht-nach-Gitarren-klingende-Sounds, für uns wie eine ausgewogene Mischung aus Elektronik und Organik. Schon in zweiten Auflage (300 Stck).
“ An album that documents the concert by two guitarists (of which one also plays electronics) held on April 5th, 2000 in Japan. Sugimoto is known for his improv style in which silence plays an extensive role. He strums a string, waits, strums the same and waits again. The space in which he plays becomes an important factor. Drumm is kinda similar, but he's responsible for the electronic part, so he fills his guitar strums, with occasional feedback, crackles and glitches. Yet, Drumm is a controller, so he never lets things out of control. Listening to these 41 minutes you feel the air of the Gallery where this was recorded, so much silent interludes, delicate
strumming, isolated cracks and more silence. If you try listening superficially, then the whole thing go lost. This requires your full attention, or better play something else. Zen in music.” (FdW / Vital Weekly)
|
2001 |
€13.00 |
|
| SUN RA (AND HIS INTERGALACTIC MYTH SCIENCE SOLAR ARKESTRA) |
Sleeping Beauty |
CD |
"Originally released by Saturn in 1979, this is a studio recording by a large ensemble (including, unusually, electric guitar and bass). These are the first recordings of the titles included (though they were played live a few months earlier on German radio). Springtime Again is a floating, sonically open composition, with a distant sung ostinato, interestingly mixed. The door of the Cosmos, which features June Tyson, is a relaxed groove-driven piece in which electric piano, guitar and bass function as ground, over which events drift in and out, while Sleeping Beauty is a chaotic, swirly masterpiece with lots of effects added to the instruments, interestingly mixed. As an ex-LP, it's LP length." [label info] |
2008 |
€14.00 |
|
| SUNN O))) |
Black One |
CD |
Das BLACK ONE – Album bedeutet für SUNN O))) nicht nur den Einzug in die Feuilletons der grossen Tageszeitungen (New York Times: „art metal“, Die Zeit: „Laute Mönche“), es ist auch das bisher experimentellste und ausgefeilteste Dokument ihres Schaffens, reine Geräuschmusik-Stücke wechseln mit den typischen sub-bass-metal-drones, gequälter Zombie-Gesang taucht auf, aber auch ganz ruhige Zen-Klänge von OREN AMBARCHI, der bei vielen Stücken mitgewirkt hat.... Definitiv das beste SUNN O)))—Album bisher, mit dem sie in neue Bereiche vordringen anstatt den etablierten Stil endlos zu wiederholen.
„...Im Idealzustand (live!) erreicht dieses Schichten von Sounds und Feedbacks eine Intensität, die mit dem Phänomen der Singularität aus der Astrophysik vergleichbar ist. Masse nimmt exponentiell zu, bis ihre Dichte nicht mehr messbar ist. Ihr Zusammenbruch ist Ende und zugleich Neubeginn. Der Punkt, an dem bei Sunno))) die Gesetze der Physik und Empirie versagen, neue Kategorien entwickelt werden müssen, ist der Moment, in dem der Zeuge dieses subsonischen Spektakels ins schwarze Nichts hinaustritt und von dort seinen leeren Körper betrachtet. Sunno))) machen ultimative Höhlenmusik. Grottenrock. Und wäre diese Welt eine bessere, Steve O'Malley und Greg Anderson wären die neuen Sly & Robbie: eine runtergebrochene Rhythmussektion, geeicht auf den metronomischen Pendelschlag des Weltalls....“ [Andreas Busche / Spex]
“The anticipated new album from sonic-doom powerhouse SUNN O))), and the band's darkest, most obliterating album to date. Seven bleak and crushing tracks of aural asphyxiation, delivered with tonal magma explosions, subsonic ferocity, and the blackest atmospheres known to man (or beast). Includes guest contributions from OREN AMBARCHI, WREST (LEVIATHAN, LURKER OF CHALICE, TWILIGHT), JOHN WIESE (BASTARD NOISE), and MALEFIC (XASTHUR, TWILIGHT), who armed with a microphone and severe claustrophobia, recorded vocals from inside a casket, loaded in the back of a Cadillac hearse.” [label info]
|
2005 |
€13.00 |
|
| SUNN O))) & ULVER |
Terrestrials |
CD |
"Oslo, Norway, August 10th, 2008. Following their 200th gig, playing before 2000 people at the Oya festival, SUNN O))) teamed up with Norwegian legends ULVER at their Oslo studio, Crystal Canyon. They recorded three "live in improvisation" pieces, starting that evening and ending at dawn, as Northern sunlight seeped in through the windows. 'We were sitting in the console room, early in the morning, listening to the takes. Someone said, ah, sunrise over Crystal Canyon,' as if the night had been a dark one. We all laughed and Greg proposed it as a title. In that setting it sounded perfect. The boys had mentioned wanting the music to orient towards the light, like some lost pilgrim stretching before the sun. We kept that mental picture for the processing.' - Kristoffer Rygg That take became the album's opening piece, "Let there be light," which builds up from silence and darkness and proceeds - ceremoniously, coruscating - O'Malley and O'Sullivan creating the backdrop for Rygg's Basso Profondo chants. The music unfolds over eight minutes before reaching a crescendo of bass and brass, introducing both Anderson and ULVER as we know them. The Sunn has risen. "Western horn" accelerates on a single and austere note of sustained bass and low end, evolving gradually into a haunted soundscape. Crying violins, clusters of Fender Rhodes, guitar pickups, and metal plate drones are gradually layered beneath Anderson's augmented bass feedback. "Eternal return" introduces Rygg singing a lyric evoking ancient Greece, Egypt and the Biblical lands. The song is palindromic, echoing the lyric, beginning and ending with the same bass line and musical pattern, though the guitars are ultimately reversed as the song implodes upon itself. "Terrestrials" is three movements which are fluid like the flow of magma beneath the Earth's crust, sonically uninhibited, unpredictably cosmic, haunting and stirring yet simultaneously ceremonious and beautiful." [label info]
www.southernlord.com
"Naheliegendes wird vermieden, statt dessen eine zähfließende Düsternis mit fast fragiler Aura: das Sunn o))) & Ulver Kollaborationsalbum “Terrestrials” schickt die Hörer (nicht nur) mit dem Opener “Let There Be Light” und seinen verlangsamten Mariachi-Trompeten fast ein bisschen in die Irre, lässt dieselben zumindest lange im Unklaren, welche Richtung das Stück wirklich einschlagen will… Als “ewiges” Intro hinter verwaschenen Staubwolken der Wüste? Ein Akustik-Drone?
Erst das letzte Viertel, wenn “Let There Be Light” schon fast zu ersterben scheint, bringt die Auflösung: wenn sich typisch Sunn o))) artige Harmoniebögen zu manifestieren beginnen und die weiterhin präsenten Bläser mit einem deutlichen Maß an Schwerkraft versehen. Das dann folgende, düstere (und düsterere) “Western Horn”, im Kern eine windende Schichtung von sich reibenden, spröden Gitarren, dabei nach außen so etwas wie die musikalische Umsetzung eines langsam aufkommenden (oder abflauenden) Sandsturms, versenkt die Hörer nach “Let There Be Light” wie unvermittelt in eine ebenso unwirkliche wie unwirtliche, auch ohne ebensolche Soundästhetik zerrende, schwarze Welt. Die, ganz nebenbei, ein weiteres Mal beweist, dass “Heavy” eben auch ganz anders gehen kann.Und dann die größte Überraschung: “Eternal Return”, in den allerersten Tönen noch wie eine direkte Fortsetzung von “Western Horn” klingend, durch die hier stärkere Präsenz eines E-Pianos und ganz besonders die Art der Harmonien aber letztlich in eine ganz andere Richtung weisend: wie eine Art geisterhafter Widerhall, eine eigene Interpretation der Stimmung von oder eben gleich eine Kollaboration mit Bohren & Der Club Of Gore… zumindest rund 6 Minuten lang, bevor das Stück einen völligen Twist macht, Gesang über tragenden Synthstreichern, als Break. Und zurück fällt in die Düsternis des Beginns.
In der musikalischen Schattierung so vielfältig wie “Monoliths And Dimensions”, möglicherweise. Und eine Elegie in schwarzer Akustik, sicherlich. Insgesamt betrachtet." [N, Blackmag]
|
2014 |
€13.00 |
|
| SUPERSILENT |
1-3 (re-edition) |
3 x CD |
Debut für SUPERSILENT und auch Startschuß für das RUNE GRAMMOFON-Label aus OSLO, auf 3 CDs gibt es hier improvisierte, dichte Musik vom feinsten zu hören, absolut ungewohnt und avantgardistisch, z.T. sehr wild und ekstatisch-perkussiv, z.T. noisig-elektronisch, konkret-verspielt, jedes Stück ist eine Überraschung für sich !
“ Over 3 hours totally improvised deathjazzambientavantrock from new limitstretching quartet featuring members and ex-members from Terje Rypdal Skywards, Farmers Market, Motorpsycho, Deathprod and Veslefrekk. Essential if you are looking for a musical challenge.” [label info]
“A daring and challenging release, free jazz meets avant rock.” Gränslöst, SE
|
2002 |
€32.00 |
|
|
7 |
DVD |
„Um direkt allen Mißverständnissen vorzubeugen: Auf „7" der neuen DVD von SUPERSILENT gibt es keine Extras oder irreführende graphische Menüs. Keine staatlichen Warnungen, keine Einführungen mit Ufos. Kein Schnickschnack. Denn Label, Künstler und Regisseur hatten den Anspruch, das „7" wie eine Audio CD laufen sollte, nur mit Bild. Einlegen und ein komplettes SUPERSILENT Konzert genießen, genau so lange (109 Min.) und in der gleichen Reihenfolge wie dargeboten. Man kann sogar zwischen den Tracks hin und her skippen. Keine Overdubs (auch wenn sich irgendwie einige psychedelische Momente auf die DVD geschlichen haben:-)), statt dessen hat DEATHPROD einen hervorragenden Stereo Mix abgeliefert, bei dem man sogar zwischen Dolby Digital und dem leicht besseren DTS wählen kann. Und dank DVD-9 ist die Bildqualität sowieso überlegen.“
"The Norwegian death-jazz improvising unit return for the seventh of their Supersilent series, this time in the form of a DVD release of a highly-anticipated live performance in Oslo on August 16, 2004. Members Arve Henriksen (trumpet, electronics), Helge Sten (audio virus), Ståle Storløkken (keyboards) and Jarle Vespestad (drums) form a band that refuse categorization, with experiments in such disparate elements as ambient, jazz, electronica, rock, techno, noise and musique concréte. Critics have compared them to the Miles Davis band of the early '70s, and groups like Stockhausen, Einstürzende Neubauten and Can. Supersilent hadn't played the capital for quite some time and the line went around the block. With the uncertain knowledge that all Supersilent concerts are totally improvised, it didn't take long to hear that they were in excellent form and interplay, all captured by three cameras to black and white 16 mm film and recorded by Kai Andersen from Athletic Sound. Filmed by Norwegian multimedia artist Kim Hiorthøy, the black and white footage lends a filmic quality very rarely seen in concert DVDs. Constructed like an audio CD with visuals, there are no extras, no menus, no FBI warnings or meaningless graphics -- what you get is a pure, complete Supersilent concert from start to finish, 109 minutes. What you see and hear is how it was, no overdubs have been applied to the recording, but a couple of psychedelic hiccups have found their way to the film. The 6 "tracks" are divided so you can skip back and forth as on a CD. By using the audio button on the player's remote control you can chose between Dolby Digital and the slightly superior DTS sound alternatives, if your DVD player is ready for DTS. The sound is mixed by Deathprod in good old stereo. Please also note that this is a DVD-9 production, giving superior picture quality due to the disc having dual layers and more available space. What you hear and see is a multifarious, totally improvised, completely unique live performance from a group who define the best in bombastic Nordic sound. Running time: 109 minutes." [label info]
|
2005 |
€16.00 |
|
| |
8 |
CD |
"Inzwischen sind wir bei Supersilent 8 (RCD 2067), Dazwischen liegt ein beständig sich verändernder Klangfluss von harschem Free Noise (1-3) über Electrojazz (4) zu ambienten Soundscapes (5 & 6). 8 entstand, wie schon die Rune-Grammofon-Klassiker 1-3, Luggumt oder
Raus Aus Stavanger, im Athletic-Sound-Studio in Halden. Alles ist improvisiert, aus 5 Stunden wurden 66 Minuten ausgewählt und von 1 bis 8 durchnummeriert, es gibt keine Overdubs. Abstraktion, oder nennen wir es besser Absolutheit, und Kollektivität sind Trumpf. Als Klangquellen dienen Audio Virus & Gitarre, Keyboards & Synthesizers, Drums, Trumpet, Voice & Electronics. Neologismen wie FutuRhythMachine (K. Eshun) oder SonicFriction (T. Berne) sind notwendig, um der Nowness von Supersilents Trips halbwegs gerecht zu werden. Mit Supersilent unterwegs sein, heißt Niemandsland
durchstreifen. Das Neuland hat gemeinsame musikalische Grenzen allenfalls mit Ektroland und Neuseeland. Fremdartig monotone, oder krumme Sun-Ra-Takte (8.3!), raues, rockfernes Gitarrengedröhn, Gebrabbel und Singsang, als ob der Geist von Leif Elggren unter einem Bett hervor kröche (8.5). Der Hall einer Possible-Worlds- Trompete von weit draußen, der Hauch einer ‚Flöte‘, immer wieder ‚psychedelische‘
und ‚spaceige‘ Raumzeitverformungen durch Keyboards und Electronics. 8 ist wie eine Prellung, die schillernd aufblüht,
gleichzeitig zeitlupig und gerafft auf eine Stunde, vielleicht weil der Bluterguss einen ganzen Raumquadranten verfärbt. Manchmal
bleibt nur ein Zwitschern und aleatorisches Zucken wie von einschlagendem Sternenstaub, dazu Kopfstimmengesang (8.6). Plötzlich ein Freerock-Blitzgewitter, ein donnerndes, schneidendes Inferno (8.7)! Mit einem finalen Gerumpel. Als Epilog dann wieder Getröpfel. Und enigmatische Spaceharmonik. Die pure Alienpoesie." [Bad Alchemy]
"Helge Sten, Ståle Storløkken, Arve Henriksen and Jarle Vespestad celebrate 10 years as a groundbreaking quartet with their first studio album in almost 5 years. Their music lives in a no-man's-land between the genres, somewhere between rock, electronica, jazz and modern composition. Yes, we say composition because when listening it´s not far fetched to think it could have been, although everything here is improvised, as it has always been with Supersilent. With ”8” they have yet again re-invented themselves, exploring more abstract and mysterious pathways and ending up even further away from traditional categories. The album is produced by Deathprod and mastered by US mastering guru Bob Katz." [press release]
".... Another excellent, original Supersilent effort, with the use/abuse of vocals opening up some new dimensions to their sound. Parts of Supersilent 8 give us the idea we're listening to some sort of really strange field recording, the documentation of the fracturing of an iceberg, the swarmings of bugs, or the language of birds or bats, when in fact this is a very human-activated, machine- mediated, far-from-natural audio document. Of course at other times on this album that fact is quite evident! Indeed, Supersilent 8 also is the closest these "death-jazzers" have come to making rock album, especially when the super distorted, hazy murk of psychedelic howling almost garage-rock-improv pummel of track 7 is taken into account." [Aquarius Records]
www.runegrammofon.com
|
2007 |
€15.50 |
|
| SURVIVAL UNIT |
Tied down for Survival |
CD |
Zweiter Teil (nach "Murder for the Mission") der Zusammenstellung von raren Tracks des schwedischen Anarcho-Harshnoise / Industrial-Duos, wurde bereits 2003 als limitierte CDR veröffentlicht. Extremer, misantrophisch-kulturpessimistischer, politischer Harcore-Drone-Noise mit endlosen Verzweiflungs- & Hass-Vocals, Musik der Raserei & Agonie. Dumpfkrachend & massiv & klanglich sonst vielleicht nicht so sehr ausgefeilt, aber mit authentischer kathartischer Wirkung. 12 Stücke, darunter auch live-Material.
"At the times of global crisis, the zombies of cultural terrorism strike again with the fire of new toxic power. Tied Down For Survival is a old/new blow from the Scandinavian cult project Survival Unit to the rotten cancer of Western civilisation and the second collection of rarities in the golden collection of cultural terrorism series. This is an exceptionally suggestive, psychedelic power electronics with deeply terrorising implications. Here you will listen to unreleased live records, passages from limited edition utan fana and the controversial conspiracy theory of Rolf-Peter Andersson, where Swedish monarch family, Indira Gandhi and Mikhail Gorbachev practice cannibalism." [label info]
www.autarkeia.org
|
2009 |
€12.50 |
|
| SUTCLIFFE JUGEND |
Campaign Volume I: 1979-2000 |
10 x LP BOX |
VOD178 SUTCLIFFE JUGEND "Campaign Volume I: 1979-2000" 10Lp-Box w Shirt / Booklet
Sutcliffe Jugend Vol. I Campaign 1979-2000
LP1
Side A:
1. Blind Faith
2. Corporate Miss Use
3. Mind Control Institution
4. Death Squad
5. Dead Corpse Man
Side B:
1. Relentless
2. Feed
3. Nothing
LP2
Side A
1. Kill, Kill, Kill!
2. Leighley Allyway
3. Whores Endlosung
4. Sutcliffe Youth
5. Lustmord
Side B
1. Unite
2. Sex Beast
3. Pleasure Corpse
4. Entfernung
5. The New Breed
LP3
Side A
1.Strangulation
2. Electric Tool (Filthy Whores 2)
3. Necro-Sadism
4. Bullpen Hammer (Ripper Attack)
Side B
1. Erection Centre
2. Sex Master
3. Coprolagnia
LP4
Side A
1. Slaughterhouse
2. Ripper Victim 2
3. Edmund Kemper
4. Ripper Victim 4
5. Ripper Victim 5
6. KZ3 (Affliction)
Side B:
1. First Torture
2. Second Torture
3. Third Torture
4. Fourth Torture
5. Fifth Torture
6. Sixth Torture
7. Seventh Torture
LP 5
Side A:
1. Death Squad
2. Wombaphilia
3. Fetches
4. Vachers Way
5. Human Disregard
6. Forward
7. King Ian
Side B:
1. Anti
2. Argyll Square
3. Foetus Death
4. Sodomy
5. Dominator
6. I Came Only To See Your Death
LP6
Side A:
1. Queen Myra
2. Broadmoor
3. This Is Pommerenkke
4. Headwounds
5. Corpse Fuck
6. Bring Down The Whip
Side B:
1. Ten Hours (For Paul Corrigan)
LP7
Side A:
1. Military Force
2. Mental
3. The Shit
4. Psychopath
5. SD
Side B:
1. Pleasure Corpse
2. New Sadism
3. The Vicars Muscle
4. Second Perversion
5. Third Perversion
6. King Ian
LP8
Side A:
1. Music From The Vicars Muscle 3
2. For Ultra 1
3. For Ultra 2
4. For Ultra 3
Side B:
1. Metal Device
2. With This Cock
3. Death Mask
4. The Killing Of Heather
LP9
Side A:
1. When Pornography Is No Longer Enough
2. Second Victim : With Brutal Force : My Pleasure, Your Pain
3. Third Victim : With Control : Message To The Mother
4. Fourth Victim : With Murderous Passion : Homage To De Sade
5. Fifth Victim : With Murderous Passion : Homage To De Sade
6. Sixth Victim : With Venomous Contempt : F.B.C.
Side B:
1. Fear And Anticipation
2. Torture And Death
3. Cold Aftermath
LP10
Side A:
1. VI
2. V
3. Drowning In The Glorious Bloody Filth
4. The Victim As Beauty
5. Preparation
6. In Darkness
Side B:
1. White Light Power
2. Trust
3. Friendly
4. Thirst
5. Final Victim
6. Post
|
2023 |
€225.00 |
|
| |
Campaign Volume II: 2007-2020 |
10 x LP BOX |
VOD178 SUTCLIFFE JUGEND "Campaign Volume II: 2007-2020" 10Lp-Box w Shirt / Booklet
Sutcliffe Jugend Vol. II Campaign 2007-2020
LP11
Side A:
1. Born Again
2. Restraint
3. Pigboy
4. Your Weakness
Side B:
1. Insult
2. Defacer
3. Pigdaddy
4. Filth
LP12
Side A:
1. The Fall Of Nature
Side B:
1. With Extreme Prejudice
2. Empathiser
3. Lucky
4. I Have Kissed This Sick, Sick World Goodbye
LP13
Side A:
1. Speak and Tell
2. With Brutal Intent
3. Shy
Side B:
1. Solace
2. Blue Rabbit 3. Offal
LP14
Side A:
1. Howl
2. Crawl
Side B:
1. Shame
2. Bait
LP15
Side A:
1. Masks
2. Weakling Child
Side B:
1. Consensual
2. Control (Regained) 3. Unjust
4. Ghostly Dog
LP16
Side A:
1-5. The Golden Age Of Innocence (1-5)
Side B:
1-4. The Golden Age Of Innocence (6-9)
LP17
Side A:
1. The Mute Shall Speak
2. Sehnsucht
3. Unashamed
4. Angels Flying In To The Burning Gates Of Hell
5. Eulogy
Side B:
1. Burning Books
2. Authors Note
3. The Hunger
LP18
Side A:
1. Relentless
2. Bludgeoned
Side B:
1. I Am The Reason
2. Days Of
3. Pavlov’s Dog
LP19
Side A:
1. The God (Who Craved His Own Death)
2. Scars
Side B:
1. Unleash The Fury
2. Domestic
3. Rock And Roll (Swing For The Daddy)
LP20
SideA:
1. Slaves No More
2. Calving The Man
Side B:
1. The Impossibility Of Love And Death
2. On Her Decline
3. Poison (An Ending)
|
2023 |
€225.00 |
|
| SUZUKI, AKIO |
NA-GI 1997 |
CD |
Great album by this japanese sound artist, field recordings from the japanese coast melt with soft overtunes & subtle sounds from a wind-instrument....
Field Recordings von der japanischen Küste....in halluzinogener Art vermischen sich hier Wind- & Meeresrauschen, sanfte Obertöne, und dumpf-verhallte Töne eines Blasinstrumentes.....
„ NA-GI (Windstille). Bei der Installation KLANGRÄUME_HANA 1997 steht ein Tisch mit einer Vase, bei der die Schnittblume täglich ausgewechselt wird, in der Mitte des Raumes. Das "Einwerfen" der Klänge in die Natur ähnelt dem Stecken einer Schnittblume in eine Vase. Verfolgt man diese Klänge, findet man die ursprüngliche Musik der Natur. (Akio Suzuki "study event" '63)
Bei der Installation KLANGRÄUME_HANA 1997 steht ein Tisch mit einer Vase, bei der die Schnittblume täglich ausgewechselt wird, in der Mitte des Raumes. Der Tisch und die unglasierte Tonvase werden so schlicht gehalten, daß sich der Blick des Betrachters auf die Blume konzentrieren kann. Man hört die Musik immer auf der Grundlage der eigenen Erfahrungen. Steht man vor der Blume, könnte man da nicht in die innere Musik hineinhorchen?
Die Musik wurde in Takano, Tango-cho, aufgenommen, an der nördlichen Küste von Kyoto, wo ich wohne. Die von vulkanischen Felsenhöhlen umgebene Bucht ist der Ort, wo die Klänge der mächtigen Wellen des offenen Meeres gedämpft widerhallen. In den Höhlungen des Felsens strömt das Meerwasser immer wieder wie ein Atemzug ein aund aus. In der Höhle tropft ständig Quellwasser, und hin und wieder bringt der Wind von der Wiese über der Kluft die leisen Töne der Grillen herüber. Indem man nach den kleinen, im Schwarm wie eine Silberkugel rundtanzenden Fischen blickt oder die Felsen beobachtet, auf denen sich ein flackerndes Licht der Wasseroberfläche spiegelt und dabei die Klänge "einwirft", offenbart sich das Dasein der Strandvögel und der Frösche, als ob aus der Zeit ein Stück herausgeschnitten worden wäre. Die Klangräume der Küste von Takano. Ort der neuen Begegnung mit dem Rhythmus der Meerestöne.“ [Akio Suzuki, Okt. 1997]
|
1997 |
€16.00 |
|
| SVARTE GREINER |
Kappe |
CD |
"Wer dachte, dass das Debüt von Erik K. Skodvin alias Svarte Greiner schon eine ziemlich düstere Angelegenheit war, sollte Kappe besser nicht im Dunklen hören. Denn die vier Tracks gehören zum verstörtesten und düstersten Dark-Ambient, das ich seit langem gehört habe. Vier Kompositionen in unterschiedlicher Länge, von denen der fast schon ironisch betitelte Opener Tunnel of Love noch das kürzeste Stück darstellt, auch wenn es den anderen in Sachen Intensivität in Nichts nachsteht: angetrieben von einem permanenten, metallenem Geräusch von rasselnden Ketten, braut sich im Hintergrund langsam ein kolossaler Sturm zusammen, ehe man in tiefe Drones und undurchdringendes Rauschen abdriftet. Dagegen wirkt der Anfang von Where Am I geradezu friedlich, doch auch hier setzt bald klaustrophobische Enge ein, weicht auch der letzte Kerzenschimmer totaler Dunkelheit. Immer wieder brechen Fragmente durch, die entfernt Stimmen und Schreie sein könnten, dekonstruierte Instrumente, Gitarrenfetzen und vermummte Saxophonklänge quellen aus der hallenden Weite hervor und verlieren sich wieder. Der fast schon sakrale Unterton wirkt zunehmend wie der Soundtrack des letzten Gerichts. Und doch ist Kappe keine willkürliche Ansammlung verstörender Sounds, sondern erstaunlich gut durchkonzipiert. Trotz der scheinbaren Monotonie, die die 16 Minuten von Candle Light Dinner Actress durchzieht, schafft es Skodvin, trotzdem die Aufmerksamkeit hoch zu halten, auch oder gerade wenn sich einem zuweilen die Nackenhaare aufstellen. Kappe ist ein 45-minütiger Horrortrip, und damit auch ein Album, das an den Nerven und der Ausdauer der Hörer zehrt. Ein Album, das aus den tiefsten Wäldern Norwegens zu kommen scheint, und genau dorthin auch wieder verschwindet, ohne dass man genau weiß, was einen getroffen hat. Eine Unheimliche und vor allem unheimlich dichte Angelegenheit. Wahnsinnig, im doppelten Sinne." [Eikman, The Last Beat]
"This is Erik Skodvin's (one-half of Deaf Center) second full-length release for the Type label as Svarte Greiner. His debut Knive was a milestone in doom music. Taking a surprisingly acoustic route, he kick-started a sub-genre as he used cello, violin and rattling miscellanies to conjure up blood-curdling soundscapes. Kappe continues Skodvin's blackened underworld cruise, furthering his mysterious, cinematic sound. Through incessant touring, Skodvin has built up a distinctive live technique since the release of Knive and it is this which works as a spirit guide on Kappe. Travelling the dark corners of the world, Skodvin has explored every shadowed alleyway in his grasp, built up a collection of broken glove-puppets and potion-filled medicine bottles and trapped many a stifled scream in the process. Some of these disparate adventures were captured to cassette tape (Penpals Forever, Digitalis Limited) and wax disc (Til Seters, A Room Forever), but the most evil moments were set aside for this full-length record; four fated psalms in honor of the dark Northern lords. The album's opener "Tunnel Of Love" may be the noisiest piece Skodvin has produced to date with a death-rattle of chains accompanying his patented maritime bass drone. It sounds something like Death's gondola gliding through purgatory, gradually building into a dense, chattering cloud of torment before dropping into bleak stillness. Skodvin is joined by Ultralyd saxophonist Kjetil Møster who adds a disarmingly terrifying squeal to the horrifying detuned strings on "Candle Light Dinner Actress." The most startling change here is his incorporation of the electric guitar -- "Mystery Man" sees Skodvin harness the feedback into loops of distressing, pained melancholy, bringing to mind Skullflower or a slow-motion Sonic Youth at times. Kappe, however, is very much its own beast, and followers will already know that nothing sounds quite like Svarte Greiner. You won't find a more unsettling record this winter." [label info]
"... another mysterious missive, broadcast as always from some dark sonic underworld, courtesy of the man known as Svarte Greiner (Erik Skodvin to his mother), following the equally haunting and mysterious Man Beard Dress lp from the end of last year. As we've mentioned before, this is doom. But not doom as you know it. Not heavy and crushing and downtuned and distorted, instead, spectral and ghostlike, abstract and ambient, doom in vibe, intention, spirit, as much as in sound. It's not about riffs or beats, it's about mood and space and soul, and taking a cold hard look through the cracks into the crumbling wasteland that lies inside all of us... " [Aquarius Rec]
|
2009 |
€16.00 |
|
| SVARTSINN |
Mørkets Variabler |
CD |
Now 8 years since the last full length for Cyclic Law, Norway’s SVARTSINN returns with a new opus, reaffirming his place as one of the world’s premiere Dark Ambient acts. For this album Jan Roger Pettersen is accompanied on some tracks by fellow Norwegian Amund Ulvestad on Cello, providing new elements to Svartsinn’s distinct ominous drones. Mørkets Variabler translates to "Variables Of Darkness" and it is a certain combination of such variables that fuels the urges and need to create the atmospheres translating as Svartsinn. Darkness comes in various shapes and forms and through these new pieces we are plunged into this vast and singular subject, left to our senses to explore it’s subtle meanings and impressions left within ourselves. Presented in a unique Limited Edition Hardcover Digibook as well as a Limited Gatefold Double vinyl. The vinyl version includes an exclusive remix of the track “Echoes Of Silent Cries” by Sweden’s KAMMARHEIT. Artwork by Dehn Sora.
CD Digibook Edition of 500 Copies. Hardcover, 4 panels sleeve with 16 pages Booklet. 7 Tracks. Running Time 63:51
Double Vinyl Edition of 300 Copies. Gatefold Sleeve with printed Inner Sleeves on Black Vinyl. 8 Tracks. Running Time 72:00
https://cycliclaw.bandcamp.com/album/m-rkets-variabler
|
2017 |
€16.00 |
|
| |
Morkets Variabler |
do-LP |
Now 8 years since the last full length for Cyclic Law, Norway’s SVARTSINN returns with a new opus, reaffirming his place as one of the world’s premiere Dark Ambient acts. For this album Jan Roger Pettersen is accompanied on some tracks by fellow Norwegian Amund Ulvestad on Cello, providing new elements to Svartsinn’s distinct ominous drones. Mørkets Variabler translates to "Variables Of Darkness" and it is a certain combination of such variables that fuels the urges and need to create the atmospheres translating as Svartsinn. Darkness comes in various shapes and forms and through these new pieces we are plunged into this vast and singular subject, left to our senses to explore it’s subtle meanings and impressions left within ourselves. Presented in a unique Limited Edition Hardcover Digibook as well as a Limited Gatefold Double vinyl. The vinyl version includes an exclusive remix of the track “Echoes Of Silent Cries” by Sweden’s KAMMARHEIT. Artwork by Dehn Sora.
CD Digibook Edition of 500 Copies. Hardcover, 4 panels sleeve with 16 pages Booklet. 7 Tracks. Running Time 63:51
Double Vinyl Edition of 300 Copies. Gatefold Sleeve with printed Inner Sleeves on Black Vinyl. 8 Tracks. Running Time 72:00
cycliclaw.bandcamp.com/album/m-rkets-variabler
|
2017 |
€26.00 |
|
| SVASTI-AYANAM |
Sanklesa |
CD |
Wer sich schon immer eine Melange aus tibetischer Ritual-Musik und perkussiver ambient Industrial-Trance und dunklen Maschinen-Drones gewünscht hat, liegt bei SVASTI-AYANAM genau richtig ! Dies ist die Wiederveröffentlichung eines lange vergriffenen Albums von 1998 vom RAISON D'ETRE-Seitenprojekt, enthält 2 Bonus-Tracks!
"Svasti-ayanam is Peter Andersson's foray into dark, Tibetan-Nepalese ambience. Andersson is well known for his work as Raison D'etre, Atomine Elektrine etc. In this incarnation, his signature Raison D'etre sound has been modified in an incredibly pronounced, and effective way. Sanklesa is marked by strong tribal rhythms that draw the listener into distant, foreign, ritual soundscapes. Andersson has released a prolific catalogue of music, that includes many CD's, limited vinyl and countless compilation appearances. Album incl. 2 exlusive bonus-tracks." [label info]
www.eternalpride.ru
|
2007 |
€13.00 |
|
| SVENSSON, PER |
Energy Loop / Element |
CD |
Zusammenstellung (21 tracks!) von diversen akustischen Experimenten, Kunstaktionen- & Klanginstallationen, und dröhnigen akustischen SoundExplorationen des schwedischen Künstlers PER SVENSSON, von 1987-1998. Exzellentes Material, als Soundquellen dienten unter anderem "electric grinder, theremin, sitar, electric welder, electric drill, steel tubes, bronze bells, hammer on anvil, etc etc". auf dem LEIF ELGGREN – Label.
|
1998 |
€13.00 |
|
| SWANS |
The Seer |
do-CD |
"MICHAEL GIRA, Bandleader der SWANS, merkt zum neuen Album an: "THE SEER nahm 30 Jahre in Anspruch. Hierin gipfelt nicht nur jedes bisherige SWANS Album, sondern auch jegliche Musik, die ich jemals gemacht habe, an der ich beteiligt war und die ich mir jemals vorstellen konnte.
Und dennoch ist es unvollendet, wie die Songs selbst. Es ist ein einziger, lose schwankender, Rahmen, welcher verschwimmt, sich vermischt und letztendlich verschwindet.
Am Anfang der Lieder war nur eine Akkustikgitarre, dann kam die (unschätzbare) Hilfe meiner Freunde hinzu.
Anschließend wurden die Songs weiter gequält, während der Proben, der Live - Konzerte und im Studio verführt und nun erwarten die Lieder ein weiterer zwangsernährender Kannibalismus, weil wir uns darauf vorbereiten, einige davon live zu spielen.
An diesem Punkt werden sie entweder weiter mutieren oder für eine Weile zur Seite gelegt.
Egal, was ihr vielleicht gehört habt oder mutmaßen mögt, mein Anliegen ist, Licht und Freude in dieser Welt zu verbreiten.
Meine Bandkumpanen sind alle ausgezeichnete Menschen. Ohne sie bin ich bloß ein kleines Kätzchen.
Unser Ziel ist und bleibt das gleiche: Ekstase!" +++ Das Zustandekommen der Songs beschreibt GIRA wie folgt: "Auf THE SEER, AVE.
B BLUES, AVATAR und APOSTATE hört man den Songs an, dass wir uns während der Proben und den Tourneen ganz natürlich zu einer Gruppe entwickelt haben.
Die Songs haben während der letzten SWANS - Touren konstant entwickelt, was wiederum während der Studioaufnahmen eingefangen und abgöttisch liebevoll umgesetzt.
Die für das Album übriggebliebenen Songs wurden von Grund auf im Studio entwickelt. Unter Teilnahme und Einsatz aller beteiligten Musiker wurde alles von einer unsichtbaren Hand geführt. //
The Seer took 30 years to make. It’s the culmination of every previous Swans album as well as any other music I’ve ever made, been involved in, or imagined. But it’s unfinished, like the songs themselves. It’s one frame in a reel. The frames blur, blend and will eventually fade.
The songs began on an acoustic guitar, then were fleshed out with (invaluable) help from my friends, then were further tortured and seduced in rehearsals, live, and in the studio, and now they await further cannibalism and force-feeding as we prepare to perform some of them live, at which point they’ll mutate further, endlessly, or perhaps be discarded for a while.
Despite what you might have heard or presumed, my quest is to spread light and joy through the world. My friends in Swans are all stellar men. Without them I’m a kitten, an infant. Our goal is the same: ecstasy! —Michael Gira " [label info]
www.younggodrecords.com |
2012 |
€20.00 |
|
|
White Light from the Mouth of Infinity / Love of Life |
3 x CD |
"Swans continue their remastered reissues series on Mute / Young God Records with the release of White Light from the Mouth of Infinity and Love of Life on 4 December 2015.
The two albums will be initially released as a limited vinyl box set and presented in the original restored artwork, which includes paintings by Deryk Thomas. The 2500 micron black lined box - with original logo in silver foil block in black paper - will also include 2 rare posters, a CD of outtakes, rarities, contemporaneous live recordings and a download code for both albums.
The vinyl issue will include the track »Blind«, not included in the original release. Love of Life, the band's eighth studio album, followed soon after in 1992. According to Allmusic's Ned Ragget, »Love of Life continues the astounding creative roll Swans found themselves on … yet another Swans masterpiece.« The vinyl version of this album has also been unavailable since its original release.
Michael Gira recently announced that Swans are currently working on their last album in this »current incarnation«. The basic tracks and vocals were completed last month at Sonic Ranch studio in Texas with John Congleton as engineer, with Michael Gira producing. Further work will continue in Seattle and Berlin and the new album is expected to be released on Mute / Young God Records in late spring 2016." [label info]
|
2015 |
€22.50 |
|
|
The Glowing Man (special ed.) |
do-CD & DVD |
The final album by the Swans. Finally, Peace.
www.mute.org
"Swans neuestes Studioalbum, The Glowing Man, erscheint Mitte Juni via Mute auf 2CD+DVD, 2CD und 3LP+MP3. Der Veröffentlichung des neuen Albums, die Sänger und Swans-Kopf Michael Gira als letztes Album der Swans in ihrer "gegenwärtigen Inkarnation" verstanden wissen will, wird eine extensive Welt-Tournee folgen, die die Band auch in unsere Breiten führt. Die Band formierte sich 1982, löste sich 1997 auf und fand ab 2010 erneut zusammen. In ihrer letzten Phase veröffentlichten sie die Alben "My Father Will Guide Me Up A Rope To The Sky" (2010), "The Seer" (2012) und "To Be Kind" (2014). Das neue Album wurde zum Großteil in El Paso, Texas aufgenommen, weitere Aufnahmen entstanden in Seattle und Berlin, abgemischt & gemastert wurde es in New York.
- 2CD inklusive Bonus DVD (Swans Live 2015) im Digipak!
- Standard 2CD im Digipak!
- 3LP im Doppel-Gatefold inklusive Poster & Downloadcode!" [german press info] |
2016 |
€20.00 |
|
|
Leaving Meaning |
do-CD |
SWANS Leaving Meaning is the band’s fifteenth studio album, the follow up to 2016’s The Glowing Man and due for release by Mute / Young God Records (N America) on 25 October 2019. Leaving Meaning will be released on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digipack and digitally.
Listen to the first track from the album, ‘It’s Coming It’s Real’:
https://youtu.be/3ZVZo30M8Lc
Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Guest Artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw – full personnel list below.
Michael Gira explains, “Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 – 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.”
“Here below are the primary contributors to Leaving Meaning:
Michael Gira – Vocals, words, acoustic/electric guitar, production. I started Swans in NYC in 1982 and have been the primary songwriter, singer and producer throughout the years. In the early years I played bass, but later switched to guitar. During the years of Swans hiatus (1999 – 2010), I released several albums by and toured with a group called Angels of Light.
Kristof Hahn – Lap steel, various guitars throughout, backing vocals, generous and insightful advice on mixes and arrangements. Kristof first became involved with Swans in 1989, was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). He’s currently working on an instrumental record for Lawrence English’s label, Room 40. He holds a master’s degree in Political Science, and when Swans doesn’t pay the bills, he translates books for a living. Kristof’s presence, on and off tape, is pivotal to this record. Kristof lives in Berlin, Germany.
Larry Mullins – Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry (AKA Toby Dammit) is a trained symphonic percussionist and all-around consummate musician. He played through the 90s with Iggy Pop and later with The Stooges. He played with Swans in the late 90s and was a main contributor to Angels of Light. He is rumored to have been involved with The Residents. His varied and numerous credits also include a stint with Silver Apples as well as recently, Shakespears Sister. His current main job is playing keyboards with Nick Cave and the Bad Seeds. I decided immediately to ask Larry to contribute to Leaving Meaning after watching the German TV series Babylon Berlin, and suddenly, unbeknownst to me, there was Larry as the main focus of various cabaret scenes, drumming behind a huge kick drum in his inimitable style. After laughing in shock for perhaps half an hour, I decided to contact him. We hadn’t been in close touch for a long time and I’m elated I reached out. Larry lives in Berlin, Germany.
Yoyo Röhm – Electric bass, double bass, various keyboards, piano, backing vocals. Yoyo came to my attention through his work with Kristof and Larry in Berlin. In addition to his excellent bass playing, Yoyo’s ears were invaluable in helping to sort out many of the arrangements. Yoyo plays with numerous left field musicians around Berlin and also works with Mick Harvey on his Serge Gainsbourg recordings and tours. Yoyo, Larry, Kristof and I rehearsed in Berlin for 3 weeks prior to recording. Yoyo is a true Berliner – gruff and determined on the outside, a marshmallow inside. He was a great musical resource for this record.
The Necks – (Chris Abrahams – piano, organ; Tony Buck – drums, percussion; Lloyd Swanton – double bass). I have been an avid Necks fan since I first saw them perform at a Big Ears Festival in 2010. They subsequently played with Swans at a few shows in Australia. Their live performances and recordings are just about any superlative you can think of – mesmerizing, transcendent, sublime. Their music is entirely improvisational – it’s my understanding that they have no idea what they’re going to play before they start. And yet, mostly using rudimentary jazz trio instrumentation, they manage to fashion burgeoning and ever-evolving, immersive clouds of sound that utterly envelop the listener as the music unfolds. I’m beyond honored and humbled that they agreed to perform the basic tracks for 2 of my songs (The Nub and Leaving Meaning). Their performances were then delicately, and (I hope!) tastefully further orchestrated upon in Berlin. Tony lives in Berlin, and also played drums on the song Some New Things.
Anna and Maria von Hausswolff – Choral backing vocals. Anna is blessed with a soaring voice, lyrical acuity and increasing facility with the church organ. I was impressed recently to learn that she often travels around Europe and visits churches unannounced, where she talks her way into being allowed to use the resident organ – some of them rather massive, I imagine – and plays and explores for hours. Her searing records and live shows reflect the courage of her imagination and have garnered her increasing, much deserved recognition. Maria is an accomplished Swedish cinematographer and director of photography. In 2017 I heard Anna and Maria singing together at a sound check for a special song they were doing in Anna’s set, was instantly enthralled, and resolved at that moment to ask them to participate together on a Swans recording. I’m delighted they agreed to come to Berlin and record for me. They were a joy to work with! They live in Scandinavia.
Ben Frost – Guitar, synthesizers, sound manipulations. Ben’s adventurous sound-craftings, sometimes harrowing and sometimes delicate and quite musical, and his powerful live shows, have afforded him much recognition of late. I’ve also been highly impressed with his soundtrack work for the HBO series, Dark. He’s an extremely talented arranger and composer. His mission for this record was intentionally ill defined. I basically wanted his ears and sensibility, with no particular part or instrument in mind. I arrived at his studio in Reykjavik, Iceland, put up the songs, and he played what he thought a song needed. I was pleasantly surprised to discover his unique approach to the electric guitar as well as his synth work. Ben also was quite helpful with arrangement and mixing ideas. Ben lives in Iceland.
Baby Dee – Lead vocal on The Nub, supported by her friends Fay Christen and Ida Albertje Michels, and Jennifer Gira. Dee has released numerous records (one produced by Bonnie Prince Billie, I think), and if you don’t know them, you should! The first time I saw her she was riding a unicycle in circles outside the now-defunct Avant club, Tonic, in NYC, playing a ukulele (or accordion?) and singing with great mirth. I saw her set that night and was won over. She’s since toured with Swans several times. Her music could loosely be called neo cabaret, but more accurately she’s totally unique and a great performer and songwriter, graced with a powerful voice and high-end ability on the piano, accordion and more. I wrote The Nub specifically for her to sing. I was stymied for words to the main guitar figure to the song, and suddenly she popped into my mind, floating through the universe in diapers, sucking milk from the stars. The song wrote itself. Dee lives in The Netherlands.
Jeremy Barnes and Heather Trost – Jeremy: Santur, hi-hat, fiddlesticks, accordion, engineering; Heather: Stroh violin, violin, viola, fiddlesticks, engineering. Together, Jeremy and Heather comprise the band A Hawk and a Hacksaw. (Jeremy played at one time with the bands Neutral Milk Hotel and Beirut). Again, if you don’t know their music, you should! They’ve released several records. It’s Balkan/Gypsy influenced, somewhat psychedelicized, with great singing, playing and melodies. They’re each multi-instrumentalists and they intrepidly travel the world, both touring and simply exploring the Balkans, in search of adventure and master musicians of the region, some of whom they simply befriend, others whom they record. They toured with Swans a while ago, and I’ve had it in the back of my mind to ask them to record on a record since. I travelled to their home studio in Albuquerque, New Mexico, presented the songs, and did the same thing I did with Ben – I said, “Now what?” You can hear them on several songs on the record, sometimes subtly, at other times more pronounced. In any event, it’s great to have such a pair of wonderful humans on the record.
ADDITIONAL MUSICIANS:
Dana Schechter – Dana played bass on the song ‘Some New Things’. Dana was a core member of Angels of Light. Her current band is Insect Ark. It’s rather heavy and great. Will be working with Dana more soon in the future and very pleased we reconnected recently.
Jennifer Gira – Backing vocals throughout and cameo vocal on Sunfucker. Jennifer has sung backing vocals on the past few Swans albums as well as lead vocal on the song When Will I Return? on the last Swans album, The Glowing Man. She’s also of invaluable help on mixing and arrangement decisions.
Cassis Staudt – Accordion and harmonium. Cassis was a core member of Angels of Light. She moved to Berlin some time ago and we lost touch. Cassis is a composer of music for films in Berlin. I’m very happy to be working with her again.
Norman Westberg – Electric guitar. Norman played on a few key moments on this record. Norman has been in and out of Swans since the beginning (mostly in) and was a core Swans member in 2010 – 2017. We’ll continue to work together into the future, absolutely. Norman releases solo instrumental records through Lawrence English’s Room 40 label. We’re touring (each solo) together in Eastern Europe soon.
Christopher Pravdica – Bass guitar, sounds. Chris played at pivotal moments on this record. He was a core Swans member in 2010 – 2017. We’ll continue to work together in the future, absolutely. Chris has recently been enlisted by Jamie Stewart for his band Xiu Xiu.
Phil Puleo – Phil played hammer dulcimer on the song Amnesia. This might be considered a severe underutilization of his considerable talents as a drummer, but there’s more to come quite soon. Phil was a core member in Swans 2010 – 2017 and played as a member of Swans in the late 90s and contributed to Angels of Light.
Thor Harris – percussion, trumpet, clarinet, sounds, bells, gizmos, additional vibes. Thor drove up from Austin to record for me at Heather and Jeremy’s place in Albuquerque. Always a highpoint to be in the presence of this committed musician and friend. Thor was a core member of Swans in 2010 – 2016 as well as Angels of Light. Certainly, more to come! Thor has his own happening combo, Thor and friends, and they make seductive and beautiful records and tour often. He also has recently been recruited by Jamie for Xiu Xiu.
Paul Wallfisch – Paul played piano to great effect here and there on the record. Paul was a touring member of Swans in 2017. He works with the glorious human chanteuse Little Annie. He’s also a musical director for theater productions in Germany, and recently landed a very fancy-pants job as musical director/composer for a theater production at a historical theater in Vienna.
Thanks to All!!!!
MG”
|
2019 |
€18.50 |
|
|
Where Does A Body End? |
DVD |
"Die Anfang der 80er Jahre in New York gegründete Band Swans gilt als eine der härtesten, lautesten Live-Bands der Welt. Einen Einblick in ihre Intensität, ihre wechselhafte Geschichte liefert Marco Porsia mit seiner intimen Dokumentation ,Swans - Where Does a Body End?", für die der Regisseur jahrelang Teil des inneren Zirkels der Band war. Gerade deswegen: Ein Film für Fans. Anfang 2020 im Kino, nun als US-Pal/Region 0 DVD/BD/2BD, Sprache Englisch, Untertitel Englisch mit Altersfreigabe 12 Swans gilt als eine der radikalsten Bands der letzten 40 Jahre. Ihre Konzerte gleichen noch immer ekstatischen Ritualen. Gegründet 1982 als streitlustige Post-Punk-Band erregten Swans erste Aufmerksamkeit in der New Yorker No-Wave-Szene, feierten währen der Indie-Welle der 90er unerwarteten Mainstream-Erfolg, verursachten Chaos auf und jenseits der Bühne, erlebten Bandauflösung und Wiedervereinigung. Swans war immer eine Ansammlung von wechselnden Einzelperformern - mit einer einzigen Konstante: Sänger, Songwriter und Mastermind Michael Gira. Sein Lebensweg vom Problemteenager zum Enfant Terrible seiner Kunsthochschule, Alkoholiker und schließlich Familienmensch sind der rauen, progressiven Musik seiner Band eingeschrieben. Filmemacher Marco Porsia hat Swans und Gira über fünf Jahre lang begleitet und beim Songschreiben, im Probenraum und auf Tour gefilmt. Er erhielt unbegrenzten Zugriff auf Giras Archiv mit hunderten Stunden von unveröffentlichten Videos und Tonaufnahmen. Neben Swans-Mitgliedern Jarboe und Thor Harris erklärten sich zahlreiche Wegbegleiter*innen und Fans wie Amanda Palmer, Blixa Bargeld und Thurston Moore für Interviews bereit. ,Swans - Where Does A Body End?" ist eine musikalische Zeitreise, ein filmisches Tour-Tagebuch, ein epischer Konzertfilm. Vor allem aber ist er das Porträt eines besessenen Musikers, Michael Gira, der sein Leben radikal der Kunst gewidmet hat. ,Michael ist kein furchtloser Mensch", erklärt Bandkollege Harris, ,aber er ist ein furchtloser Künstler." Zitate: "There really is no other force of music like Swans. Swans stand alone, integral, drenched in pathos. A band to end all bands." _Thurston Moore/Sonic Youth Presse: Director Marco Porsia delivers an intense, comprehensive documentary of the band that is every bit as massive as their recordings. That he captured their many faces to this extent is an astounding achievement in its own right, but then to build something both captivating and informative from such split personalities is pure cinematic magic. _ Film Threat A comprehensive portrait of Gira and his musical endeavors... Fans should love this raw exploration of their legacy.
'Under the Radar There is considerable opportunity to see how Swans' performances have developed over time, with plenty of variously brutal, abrasive, shamanistic and ecstatic concert footage.' The Arts Desk "
"Where Does a Body End? is an intimate portrait of the band SWANS, from their roots as a brutal, confrontational post-punk band that emerged from the same early 1980s era NYC that gave us Sonic Youth (and, somehow, Madonna) through their ill-fated bid at mainstream success in the '90s indie-rock gold rush, through breakups and chaos (on and offstage) to their odds-defying current status as one of the most accomplished and ambitious bands in the world, one whose concerts are more like ecstatic rituals than nostalgic trips back through their most popular songs. SWANS has always been a collection of singular performers, but there's been one constant since its formation in 1982 -- singer, songwriter Michael Gira. With unfettered access to hundreds of hours of Gira/SWANS archives of never-seen-before recordings, videos, and photographs, the film brings us along the path they needed to carve for themselves. The film is many things, a musical history, a time-capsule, a tour diary, a concert film, but mostly it's the story of a life in the arts, frequently difficult, spanning decades without a safety net, creating the work because Gira says 'What else am I going to do?' As bandmate Thor Harris notes, 'Michael is not a fearless person, but he is a fearless artist.'"
https://mvdshop.com/products/swans-where-does-a-body-end-dvd
|
2020 |
€15.00 |
|
|
Where does a Body end? (deluxe ed.) |
2 x BLU-RAY |
Die Anfang der 80er Jahre in New York gegründete Band Swans gilt als eine der härtesten, lautesten Live-Bands der Welt. Einen Einblick in ihre Intensität, ihre wechselhafte Geschichte liefert Marco Porsia mit seiner intimen Dokumentation ,Swans - Where Does a Body End?", für die der Regisseur jahrelang Teil des inneren Zirkels der Band war. Gerade deswegen: Ein Film für Fans. Anfang 2020 im Kino, nun als US-Pal/Region 0 DVD/BD/2BD, Sprache Englisch, Untertitel Englisch mit Altersfreigabe 12 Swans gilt als eine der radikalsten Bands der letzten 40 Jahre. Ihre Konzerte gleichen noch immer ekstatischen Ritualen. Gegründet 1982 als streitlustige Post-Punk-Band erregten Swans erste Aufmerksamkeit in der New Yorker No-Wave-Szene, feierten währen der Indie-Welle der 90er unerwarteten Mainstream-Erfolg, verursachten Chaos auf und jenseits der Bühne, erlebten Bandauflösung und Wiedervereinigung. Swans war immer eine Ansammlung von wechselnden Einzelperformern - mit einer einzigen Konstante: Sänger, Songwriter und Mastermind Michael Gira. Sein Lebensweg vom Problemteenager zum Enfant Terrible seiner Kunsthochschule, Alkoholiker und schließlich Familienmensch sind der rauen, progressiven Musik seiner Band eingeschrieben. Filmemacher Marco Porsia hat Swans und Gira über fünf Jahre lang begleitet und beim Songschreiben, im Probenraum und auf Tour gefilmt. Er erhielt unbegrenzten Zugriff auf Giras Archiv mit hunderten Stunden von unveröffentlichten Videos und Tonaufnahmen. Neben Swans-Mitgliedern Jarboe und Thor Harris erklärten sich zahlreiche Wegbegleiter*innen und Fans wie Amanda Palmer, Blixa Bargeld und Thurston Moore für Interviews bereit. ,Swans - Where Does A Body End?" ist eine musikalische Zeitreise, ein filmisches Tour-Tagebuch, ein epischer Konzertfilm. Vor allem aber ist er das Porträt eines besessenen Musikers, Michael Gira, der sein Leben radikal der Kunst gewidmet hat. ,Michael ist kein furchtloser Mensch", erklärt Bandkollege Harris, ,aber er ist ein furchtloser Künstler." Zitate: "There really is no other force of music like Swans. Swans stand alone, integral, drenched in pathos. A band to end all bands." _Thurston Moore/Sonic youth Presse: Director Marco Porsia delivers an intense, comprehensive documentary of the band that is every bit as massive as their recordings. That he captured their many faces to this extent is an astounding achievement in its own right, but then to build something both captivating and informative from such split personalities is pure cinematic magic. _ Film Threat A comprehensive portrait of Gira and his musical endeavors... Fans should love this raw exploration of their legacy. _ Under the Radar There is considerable opportunity to see how Swans' performances have developed over time, with plenty of variously brutal, abrasive, shamanistic and ecstatic concert footage. _ The Arts Desk
https://mvdshop.com/products/swans-where-does-a-body-end-dvd
|
2020 |
€23.00 |
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The Beggar |
do-LP |
listen: https://swans.bandcamp.com/album/the-beggar
https://younggodrecords.com/products/the-beggar
SWANS have announced details of their sixteenth studio album, The Beggar, due for release on Mute / Young God Records (N America) on 23 June 2023. In addition, Swans have announced further dates for a tour across the UK, Europe and North America – full details below. The Beggar is released as double vinyl in a brown chipboard sleeve with a download card for accessing an additional 44 minutes of music (a 44 minute piece of music called The Beggar Lover (Three) that is included on the CD), and as a double CD in a brown chipboard digi-pack.
The Beggar was recorded and mixed at Candy Bomber Studio, Berlin, engineered by Ingo Krauss and mastered by Doug Henderson at Micro-Moose, Berlin. The album was written and produced by Michael Gira and features contributions from recent and former Swans, members of Angels of Light, as well as Guest Swan Ben Frost.
“After numerous pandemic-induced cancellations of tours for the previous Swans album leaving meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else. They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from Black and White to Color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.” – Michael Gira
Primary contributors to The Beggar:
Michael Gira – Vocals, words, acoustic guitar, production. Gira started Swans in NYC in 1982 and has been the primary songwriter, singer and producer throughout the years. During the Swans hiatus (1999 – 2010), he released several albums by and toured with a group called Angels of Light. Gira recently published a book of his short stories, journals, and words for music, called The Knot. He lives in New Mexico.
Kristof Hahn – Lap steel, various guitars, vocals. Kristof first joined Swans in 1989 and was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). When not making music Kristof translates books. He lives in Berlin, Germany.
Larry Mullins - Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry is a trained symphonic percussionist. He played through the ‘90s with Iggy Pop and later with The Stooges. He played with Swans in the late ‘90s and was a main contributor to Angels of Light. His current main job is playing drums with The Bad Seeds. Larry lives in Berlin, Germany.
Dana Schechter – Bass guitar, lap steel, keyboards, vocals, piano. Dana played bass in and was a core member of Angels of Light. She subsequently released music and toured as Bee and Flower. Her current band is the power-duo, Insect Ark. Dana is also an animator and designer in the film industry and currently lives in Berlin, Germany.
Christopher Pravdica - Bass guitar, sounds, keyboards, vocals. Chris played bass as a core Swans member in 2010 – 2017. Chris has played with the bands, The Gunga Din, Flux Information Sciences, Xiu Xiu, Yonatan Gat and Medicine Singers and has a project of his own called We Owe. Chris is a sound designer and lives in Brooklyn, NY.
Phil Puleo – Drums, percussion, vocals, piano, exotic wind instruments. Phil played drums with Swans in the late ‘90s and was a core member in Swans 2010 – 2017 and contributed to Angels of Light. Phil’s early NYC musical venture was Cop Shoot Cop and has since played with Human Impact, among others. Phil is an extremely talented illustrator and lives in Chicago, IL.
Ben Frost - Guitar, synthesizers, sound manipulations. In his own work, Ben’s adventurous sound-craftings are sometimes harrowing and sometimes delicate and quite musical. His numerous albums and his powerful live shows have afforded him much recognition. He is also an accomplished composer and arranger of music for film and television. Ben lives in Reykjavik, Iceland.
Backing vocals are provided by Jennifer Gira, Lucy Kruger and Laura Carbone.
Organ illustrations by Nicole Boitos
The Beggar 2CD tracklisting
CD1:
The Parasite (8:27)
Paradise is Mine (9:23)
Los Angeles: City of Death (3:29)
Michael is Done (6:08)
Unforming (5:55)
The Beggar (10:15)
No More of This (6:55)
Ebbing (11:04)
Why Can\\\'t I Have What I Want Any Time That I Want? (7:38)
CD2:
The Beggar Lover (Three) (43:51)
The Memorious (8:38)
The Beggar 2LP tracklisting + The Beggar Lover (Three) included on download card
Side A
Paradise is Mine (9:23)
The Beggar (10:15)
Side B
Los Angeles: City of Death (3:29)
The Parasite (8:27)
The Memorious (7:53)
Side C
Michael is Done (6:08)
Why Can\\\'t I Have What I Want Any Time That I Want? (7:41)
Unforming (6:10)
Side D
Ebbing (11:25)
No More of This (6:55)
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2023 |
€45.00 |
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| SYLVESTER ANFANG |
II |
CD |
"Verdammte Hippies! "Sylvester Anfang II" ist der authentischste, von Drogen zerfressendste, prallste, von gotteslästerlichem Hedonismus durchzogene Ausflug in die Zeit von Analogus Rex, den ich jemals gehört habe. Die Flamen spielen einen verqualmten Hippie-Jam, der sich gewaschen hat, oder eben nicht. Voller okkulter Mystik, ohne Plan, ohne Ziel. Krautrockjamsessions auf Acid während einem satanischen Ritus im Haus von Charles Manson. Gitarrengewaber, hypnotische Percussion, wummernder Bass, orientalische Harmonien, obskure Teufelsgesänge, altmodische Synthesizer, ein heißes Covergirl. Und der verrückte, dreckige Gesang von Clay Ruby alias BURIAL HEX im Hintergrund ist beim Zweiteiler "The Devil Always Shits in the Same Graves" sogar richtig furchteinflößend.
Irgendwie sind SYLVESTER ANFANG geil, irgendwie nicht nachvollziehbar. Ich glaube, im LSD-Rausch ist dies die ultimative Musik, herrlich unterproduziert, ohne Songs im eigentlichen Sinne, von ein paar Wahnsinnigen, die trashige Horrorfilme ein wenig zu ernst nehmen. Diese Verbindung von POPOL VUH und AMON DUUL ist allerdings ziemlich mutig, das Ganze auf eine Länge von fast siebzig Minuten auszudehnen, geradezu wahnwitzig. Vor allem laut aufgedreht und bei vollem Bewusstsein entfaltet "Sylvester Anfang II" ungeahnte Faszination, hauptsächlich bei Althippies und Typen, die letztes Wochenende auf einer harten Pilzmischung hängen geblieben sind." [Vampster]
"All things must evolve, and given time even the unicellular organisms dwelling in ocean's deepest fathoms may shift form and take to the skies. In celebration of the mysteries of evolution, Aurora Borealis proudly presents SYLVESTER ANFANG II. In the time since the release of Kosmies Slachtafval, Silvester Anfang have grown into SYLVESTER ANFANG II, a more psychedelic beast, a more tangible creature in some ways, but one that defies and confounds standard classification. Taking their cue from Krautrock communes of yore, the Flemish troubadours have expanded both ranks and minds and now present this giant new opus for general consumption. With cultish numbers swollen with new blood in the guise of Stef Anus (Kiss the Anus of a Black Cat), Father Sloow (Sloow Tapes pontiff), Bram (Ignatz) and Clay Ruby (Davenport, Burial Hex ), the sound is much fuller and more reminiscent of Krautish dope jams then ever before. Ruby's vocal additions create a whole new universe for the band, rather like if Dr. John had been born in a plague pit in Flanders, and the resulting tracks "The Devil Always Shits in the Same Graves" parts 1 & 2 are masterful examples of Flemish voodoo boogie. The new material is more hypnotic than before, and the band are sure to add new members to their fan cult as they slink across Europe like a fog in the coming months. Sure to upset parents and upstanding citizens with their occult themes and liberal Europeanstyle artwork, SYLVESTER ANFANG II reach new levels of consciousness with their mantras of goat worship and the orthodoxy of denial that states "Only analogue is real". Dust off your robes, sharpen the sacrificial blade, order in some Trappist beers... Tune in, turn on, evolve." [label info]
www.aurora-b.com
|
2009 |
€13.00 |
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| SYNCHRE |
Requiem |
CD |
All instruments and compositions _ Luca Canciello & Lorenzo Brusci
Vocals _ Movement 2, The Zimbabwebird; Movement 1 and 3, Sosta Palmizi
Text, Movement 2 (by Zimbabwebird, in Zulu and Shona, 2015): "Thuma mina, mweya mutsvene.
Unditumeo" [Send me, pure spirit. And then send me.]
Lorenzo Brusci, 1966, co-founder of MUSSTDESIGN.com, managing partner at the music robot start up MUSICFIT (musicfit.ch).
He launched over the last 20 years prestigious adventures in the audio and sound space design field as the sound and interactive design studio GIARDINO SONORO (giardinosonoro.com) and the architectural speakers manufacturer ARCHITETTURA SONORA. He has been composing music for various ensembles, theatre, television and radio since the early ’90s (He founded TIMET.org in 1993).
Lives between Berlin, Tuscany and Krakow.
www.lorenzobrusci.com
www.soundcloud.com/lorenzo-brusci
Luca Canciello, Italian born, Berlin based.
Multi-instrumentalist, composer, sound designer, he performs experimenting with live electronics, instruments and sounds.
www.soundcloud.com/climnoizer
His musical journey and inspiration have brought him into various fields and art disciplines, working solo or collaborating with other artists and bands.
His interest for other art forms, in particular dancing, leads him composing musical pieces for theatre, dance companies, experimenting the various natures of rhythm in music .
On sound design, he’s been involved on projects linked to international cultural heritage and architectural media mapping.
The mechanism of individual and collective memory and its rituals, are the central inspiration of our Requiem. It’s not a formal Mass; our intention was to harvest and express the community’s need of sharing and binding its ties while facing the experience of death.
A deep sense of community - religo in latin, binding in english - inspired our structural research. Requiem becomes then the concerting moment that asks for “holding back”, a desperate request of time suspension, the ultimate demand for re-living, re-experiencing, re-loading, re-gaining, now, in this very ritual and public moment what will be lost forever.
Through a free attitude in music composition and expression - our syncretism - we designed a process of electroacoustic layering, consolidating in 3 compositional areas the process and destiny of organic life.
- Living Elegy - the enchantment for life and its many endangering gates: the movement is subdivided in (living) Articulation, (ritual)Transition and (pathological) Abandon;
- Nostalgia - the seeking for the integral time suspension and life preservation;
- Transfiguration - where we depict the organic reaction to danger and biological faith, subdivided in (furious and ultrabiological) detachment, (regenerating) intimate power, (coding the) extended mind, (persuing a new form of) immanency.
https://emerge.bandcamp.com/album/requiem
"Lorenzo Brusci (Timet, Climnoizer, Giardino Sonoro) & Luca Canciello gestalten als SYNCHRE mit ihrem Requiem (ACU 1009, CD) aus Drones, Breakbeats und dunkel grollenden Blechbläsern (oder Orgelpfeifen) einen Dreisatz aus 'Living Energy', 'Nostalgia' und 'Transfiguration'. Als einen Übergangsritus, mit einer zart flehenden Gesangseinlage von Tozim Madzima aka Zimbabwe Bird, zu plonkenden Lauten aus dem Innenklavier. Danach wieder rauschend sich wälzende, zittrig verzerrte und knarrende Synthie- und Gitarrensounds, mit Vogelgezwitscher durchsetzt und erst zeitlupig gedehnten, dann wieder zuckenden Beats. Und zuletzt auch wieder der dunklen Bläserpracht, zu der sich diese grandiose Musik der brausenden Verwandlung entgegen stürzt. Wer braucht noch eine Leitkultur, nach so einem Durchgang ins weiße Licht?" [Bad Alchemy] |
2016 |
€10.00 |
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| SYNDROME |
Now and Forever |
LP |
"Mathieu Vandekerckhove, mostly known for his work with Amenra. For years the self-taught musician learned and studied his craft of songwriting and sound scaping, mainly as a means to self exploration, meditation and attempts at channelling negative into positive energy, this while staying below the surface at all times.
Now 2012 marks a turning point for Mathieu Vandekerckhove and Syndrome as he steps forward, with the epic 28 minute long “Now And Forever”. Dedicated to his son Wolf, this track offers words of guidance and will grant you a look into the heart and soul of the artist. Close your eyes and hear the beating heart of pure artistic freedom.
First 75 orders will get an extra booklet with photography by Mathieu Vandekerkhove."
hypertensionrecords.com
"Gent in Ostflandern, Heimat AMENRAs und somit auch die von Mathieu Vandekerckhove. Der AMENRA-Gitarrist ist ebenso wie seine Kollegen ein Vielbeschäftigter. Die belgische Ausnahmekapelle und ihr ganzheitlicher Ansatz wussten im letzten Jahr gemeinsam mit NEUROSIS live dergestalt zu überzeugen, dass der amerikanische “Headliner“ an jedem Abend Vollgas geben musste, wollte die Band nicht von Vandekerckhove und den Seinen in den Schatten gestellt werden. Wer NEUROSIS kennt, weiß, dass sie diese Form der Herausforderung suchen und lieben.
Dass Eindruck zum Ausdruck wird, ist ein Wesenszug kreativen Wirkens. Die Belgier indes verzahnen künstlerischen Ausdruck und das eigene Leben eng. Nicht umsonst wird bei keiner Veröffentlichung auch nur ein Aspekt dem Zufall überlassen. Gleiches gilt für alle Projekte der in Gent Beheimateten – gleiches gilt somit auch für SYNDROME. Es geht die Geschichte, dass Vandekerckhoves Projekt einem Zuhause Experimentieren entsprungen sei, vor ca. sieben Jahren. Mit “Now And Forever“ liegt die mittlerweile dritte Veröffentlichung vor, ein Track mit einer Spielzeit von 28 Minuten. Das Stück bildet den Wandel ab, der sich in SYNDROME eingeschrieben hat und setzt sich aus Ambient, Drone, Doom und ja – Folkelementen zusammen. Unterstützung erfährt der Belgier von Bandkollegen Colin H. van Eeckhout und Josh Graham. Letzterer sollte als NEUROSIS-Mitglied und A STORM OF LIGHT-Kopf keiner weiteren Vorstellung bedürfen.
“Now And Forever“ startet mit einer eindringlichen Akkordfolge, die sanft von einem Drum durchklopft wird. Der vormals erwähnte Wandel drückt sich immer wieder in einer hohen Verdichtung der einzelnen Sounds aus, schnappt Versätze beinahe beiläufig und schichtet diese sorgsam auf, bereitet so auf das Hervorbrechende und Anstürmende vor, besänftigt diese und überführt sie kurz darauf wieder in mindestens zweimalige, versetzte Wiederholungen desselben Motivs. Die Intervalle des Motivs ändern sich stetig und befördern so den rauschhaften Charakter. Ab Minute neun gesellen sich Vandekerckhoves Brummvocal hinzu, um schließlich durch Colins helle Gesangsparts abgelöst zu werden. Immer bleibt die Gitarre leitend und gleicht dabei aber auch einem Katalysator. Sie senkt nicht nur die Aktivierungsenergie, sie überführt auch Dunkles in Klingendes, Tönendes. Reaktant dabei ist das Niederringende des Alltags, dass in das Ergebnis namens “Now And Forever“ expediert wird. Im Vergleich zu AMENRAs Wirkweise des “Hervorbrechens“ steht bei SYNDROME eher das Aufbrechen im Vordergrund. Wo dort die Ausdehnung, das Treiben und das Herauskommen definiert werden, geht es hier eher um ein Öffnen, ein Aufschließen und Durchstoßen. Das Ein- und Aufweichen von Strukturen geschieht entlang des beschriebenen Wandels.
Dabei findet der Hörer AMENRAs die anderen Projekte der Mitglieder in die Wertvorstellungen der Hauptband gut verfugt. Nicht umsonst haben die Belgier mit der CHURCH OF RA eine Form der Herangehensweise gewählt, die in Glaubenssystemen wurzelt. Ernsthaftigkeit ist dabei das Credo, fernab von Dogmen und Hierarchien der Entstehungsgrundlage, sondern vielmehr Basis für eine bedingungslose Hingabe, die Ergebnisse erschließt wie das vorliegende. Dort, wo eine Deckungsgleichheit von Handlungen erzeugt wird, entsteht eine Überzeugungsgemeinschaft, eine, die gemeinsam einen Pfad beschreitet, der an den wenig begangenen Weg Robert Frosts erinnert. Das, was dabei betreten wird, ist gesäumt von einem Streben nach Ganzheitlichkeit in Bild und Ton. Das dort im Verborgenen Schlummernde wird Stück um Stück freigelegt, hoch ist der Aufwand für dieses Abringen, jetzt und für immer." [S.L./Black Magazine]
"Nearly a decade ago, Syndrome came into the world through the Belgian mind of one Mathieu Vandekerckhove due to his need for a meditative vehicle through which he could release the negative energy in his life and transform it into something more constructive. This vehicle obviously existed in obscurity, laying dormant in silence for many years before taking on the attributes of droning post-rock and finding a home in 2011 with Belgian label ConSouling Sounds where Vandekerckhove has spent his entire career under this moniker to this point. Life was officially given to Syndrome when “Floating Veins” was released last June, finding availability in both a 12″ and a CD limited to 500 copies, of which the first 100 came with a bonus DVD-R of material. Other than that and “Now and Forever” here, the only other existing official Syndrome release is a three-way split with Monotonos and Sequences entitled “Fall of Man”. Outside of Syndrome, Vandekerckhove is otherwise known for his work as guitarist for sludge doom bands Kingdom and, more importantly, Amenra whom found a decisive home in Neurot Recordings a year ago. Unfortunately it seems that, despite a promised release of the new studio album “Mass V” a few months after signing, nothing has yet been unleashed.
This slow pace on Neurot may be what has freed Vandekerckhove to pursue his solo project in such depth, and that depth has found him constructing a one-track, 28 minute opus in dedication to his son, Wolf, for this release. What few words are present here exist as a guiding light for his son towards finding himself, finding strength, helping others, and knowing no matter how distant the expanse, be it physical or ethereal, his father is there in spirit. It’s an intimate portrait of the proverbial handing of the torch in blood, primal if not tribal in spirit. A tribal nature is in fact how this album opens, with a subtle light percussive notion — the only place on the entire album where you’ll find any hint of bombast behind the epic, weaving feedback drones that shimmer harmoniously before washing away in tides of a deeper, less tenuous drone that is textured lightly by gentle noise and guitar tones. These moments will eventually give way to the heart of the track that contains the lyrical content and the most desolate production within the release to give space for the vocals to express their stern, yet inert fragility. The deep performance here, both literally and emotionally, immediately reminds of efforts from several artists including Steve von Till and later Ulver, and whose building ethereal guitar nature is uncannily reminiscent of the gut-wrenching dreamy style that Love Spirals Downwards once achieved.
Other than the obvious emotions associated with succeeding at bringing a child into this world, there has to be something incredibly special on an entirely different, subconscious level about implementing those emotions into a dedication through music. It was a decade ago, this year, that Green Carnation released their acclaimed “Light of Day, Day of Darkness” album which was inspired by, at least in part, by the birth of Tchort’s son and the death of his daughter. Obviously there is a greater sense of melancholy in that record, but there is a very distinct yet undefinable emotion that accompanied that album — an emotion that is also present in full force here. It certainly isn’t melancholy, but it is reserved all the same — focused and incontrovertibly sincere. That said, it’s difficult to place the particular portion of the painting by Matthieu Ronsse, “Bateau”, that as used as the album cover, in regards to it’s significance to the subject matter at hand. It certainly fits in with the ethereal music of “Now and Forever”, and there are certainly ties in sound to the sea, but it is certainly cryptic at best in relation. The figure pictured has a ship’s flags linked to the inside corners of the eyes, almost representing tears, while the sail itself covers the mouth. The ship itself is on fire. There are many obvious lines of thought, but they seem to contradict one another once their paths cross.
Perhaps this is an explanation best saved for another article at another time. Regardless of the cryptic artwork though, it’s hard to imagine an album of this style achieving a level of perfection that rises above this. There’s simply such an incredible amount of intensity, love, and musical prowess at work in “Now and Forever” to find any kind of negative attributes within." [Sage/Heathen Harvest]
|
2013 |
€20.50 |
|
| SZKIEVE |
Chants et Danses Folkloriques des Hauts Plateaux |
CD-R |
Nach der "Ekranoplanes" mCD auf Ant-Zen was neues vom Belgo-Kanadier SZKIEVE, er verwendet auf den neun Stücken analog-synth sounds, schillernde organ drones & haufenweise field recordings, die mit bestimmten Plätzen & Geschichten Ekuadors verbunden sind.
Abwechslungsreiche Soundgemälde...
"Experimental sound composer from Belgium, actually he is living in Canada. Dimitri Della Faille the man behind Szkieve started with his project at 1998 also, he founded on this year Hushush label. Szkieve has performed some concerts in Europe, America, Japan & China, previous records were released at Hushush label, Ant-Zen, Ad Noiseman and others. This new record enclose an amazing mixture of deep sounds with some short ambient parts on 9 tracks. Each track title has a reference about old Ecuadorian stories of different places. Limited edition of 300 copies, full color art works & packaged in PVC sleeve." [label info]
www.rapeartprods.com
|
2008 |
€12.00 |
|
| T.A.U. (TRANS AERO URBANIZACIJA) |
Absolutely black body |
CD-R |
"Die Kette der hochkarätige Neu-Entdeckungen aus Rußland reißt nicht ab, schon wieder auf ULTRA aus St.Petersburg ! T.A.U. sind dem futuristischen Maschinen-Noise beeinflussten bruitistischen Industrial zuzuordnen, allerdings mit einer recht ambienten Ausprägung; Sprachsamples die sich in endlos-Echos verlieren, Analog-Noise-Effekte, untergründige Flächen, loopig-mechanisch ausgeprägte Sounds. Another discovery from Russia on ULTRA, T.A.U. from St. Petersburg do a kind of bruitistic Industrial with lots of loopy-mechanized noises, endless delayed voice-samples, a futuristic atmosphere.. the real Industrial - stuff again ! Comes in a black painted jewel-case." [Drone Rec. 2002]
|
2001 |
€12.00 |
|
| TAKAYANAGI, MASAYUKI |
Action Direct |
CD |
„Takayanagi, ebenso wie Frith oder Rowe ein „Alter“ an der Gitarre zwischen Improvisation und Komposition, entwickelte sein hier vorgestelltes Tischgitarrenkonzept in den frühen 80er Jahren. Diese Wiederveröffentlichung einer längst vergriffenen Live LP von 1985 zeugt von einem wiederum ganz eigenen Stil in dieser Spielart. Zwei Walkmen, Mixer, Effektgeräte und zwei Gitarren, eine mit Kontaktmikrophonen bestückt und eine auf dem Tische liegend, Buttermesser, Säge, Streicherbogen etc. zur Bearbeitung, Zuspielbänder mit Stimmen von Mishima Yukio, Hitler und anderen Märschen, Eimert, Wagner sowie Industriesounds dienen Takayanagi zur Herstellung seiner Collagen/ Montagen. Trotz der Fülle an Mitteln, ist sein Stil druckvoll und wohl überlegt. Man hat die Gitarre stets vor Augen und „sieht“ beim Hören doch mehr und weiter. Jeder seiner Eingriffe, jede neue Geräuschlage wirkt hochkonzentriert und bar jeder Hektik. Gitarrenimprovisationen jenseits von Jazz und/oder Neuer Musik. Schönes Foldout-Cover und ein Minibooklet mit Linernotes von Alan Licht und Johan Wellers./
Like Frith or Rowe, Takayanagi is an „oldtimer“ on guitar playing between improvisation and composition. He developed his concept of table guitar in the early 80ties. This rerelease of a long time sold out live LP from 1985 shows his very own style in this genre. 'The instrumentation (...) consisted out of two walkmans, a mixer, various effect pedals and two guitars, of which one was wired up with contact microphones, while the other was stretched out across the table, manipulating its sound with effects while using a bowstring and other utensils like butterknifes and chains (...) modulated tapes of music by Wagner, Eimert and Eissler, snippets and fragments of of speeches by Mishima Yukio, Hitler and accompanying Nazi marches, pieces of a Richard Wagner opera, Sergei Prokofiev’s second symphony and sound bits of industrial machinery and other heavy industries were put to use'(from the linernotes) to create the sonic collages/ montages. In spite of the abundance of sound sources his music is powerful and well-considered. Always the guitar in your eye while listening you „see“ more and further. Every step, every noise layer seems high concentrated and cool. These are guitar improvisations beyond Jazz and/ or New Musik. Nice foldout jacket included a small booklet with linernotes from Alan Licht and Johan Wellers.” [Peter Schlewinski for Drone Records]
"The CD version is carefully crafted and housed in a deluxe fold out sturdy carton mini-LP styled record sleeve (hand numbered) complete with fully detailed and extensive liner notes by Alan Licht and Johan Wellens." [label info]
|
2005 |
€20.00 |
|
| TALVIHORROS |
Music in four Movements |
LP |
"Talvihorros is Ben Chatwin, an experimental composer from London exploring the possibilities of the guitar.
Music in Four Movements is his second full-length album. Here's what Ben had to say about the record: With 'Music in Four Movements' I set out to compose four long pieces of music that would act as suites rather than shorter melodic songs as I had done on my previous record 'Some Ambulance'.
Using longer time frames afforded the sounds time and space with which to evolve and move.
This has led to what could be labelled as my most ambient work i have released but I think also the most intense.
Throughout the recording process I became interested in the fundamental ideas of life and death and why people would choose to take their own lives, (reading 'The Road' on a day long train back to London from Scotland, hungover after New Year certainly contributed to this).
Slowly a narrative presented itself and the 4 tracks started to represent a journey of the final days of someone who has chosen to end everything.
I became particularly interested in reading stories about people who drowned themselves in rivers or the sea - a bleak yet strangely beautiful image of someone walking their final walk into the sea became a strong visual influence for the record.
VINYL: thick gatefold covers, 180g vinyl, free mp3 download code." [label info]
www.denovali.com
"...Ambient music with a big A and a big D of drone. Four long pieces of highly melancholiac guitar playing, feeding through loop devices and dark thoughts. The album is inspired by people drowning in water, which is perhaps not the most joyful thing to start a new day with. But Chatwin's music is quite nice. Think a very mellow Fear Falls Burning, but then with lots of dark colors, predominantly grey and black. Its not the biggest surprise in the world of this kind of music, but Chatwin does his version with great consideration. Quite nice indeed." [FdW/Vital Weekly]
|
2012 |
€20.00 |
|
|
And it was so |
LP |
"Talvihorros is London based composer Ben Chatwin's study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages. What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, 'And It Was So' features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola). If last years album 'Descent Into Delta' was reminiscent of plunging into the murky depths, his latest offering 'And It Was So' evokes the expansiveness, dynamicism and density of the cosmos. Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully. Merging the textural noise of Tim Hecker with psychedelic, guitar sound-sculpters such as Barn Owl and Sun Araw.
Vinyl: thick sleeves + thick printed inner sleeves; 180g vinyl; free download code." [label info]
www.denovali.com
|
2012 |
€20.00 |
|
| |
And it was so |
CD |
"Talvihorros is London based composer Ben Chatwin's study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages. What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, 'And It Was So' features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola). If last years album 'Descent Into Delta' was reminiscent of plunging into the murky depths, his latest offering 'And It Was So' evokes the expansiveness, dynamicism and density of the cosmos. Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully. Merging the textural noise of Tim Hecker with psychedelic, guitar sound-sculpters such as Barn Owl and Sun Araw. Cd: nice digipak packaging." [label info]
www.denovali.com |
2012 |
€14.50 |
|
| TAM QUAM TABULA RASA |
Cotidie Morimur (SOLD OUT) |
7inch |
A legendary and very original italian post industrial group from the cassette-underground culture of the late 80’s/ early 90’s, who had their one and only vinyl release on Drone in 1995. They were at the forefront of what one could call “archaic drone-noise”... TQTR are active again these days so we decided to put this early Drone EP back into existence..
“WHILE STILL RELATIVELY UNKNOWN, THIS ITALIAN GROUP HAS BEEN ACTIVE SINCE 1988 AND MANAGED TO RELEASE SOME OUTSTANDING UNIQUE SOUNDING TAPES IN THE INTERNATIONAL/ EXPERIMENTAL TAPE-SCENE. DRONE RECORDS IS PROUD TO PRESENT THE VERY FIRST VINYL RELEASE OF T.Q.T.R., A 7" EP FEATURING THE TRACKS 'DYSKRASIA' AND 'ATAXIA'.
THEIR MYSTERIOUS AND MONOTONIC MUSIC CAN IN OUR OPINION BE TRULY CLASSIFIED AS REAL ARCHAIC MUSIC, EVOKING EMOTIONS OF AN ANCIENT AND FUNDAMENTAL CHARACTER. FOCUSING DEEP INTO THE GROUND OF HUMAN EXISTENCE, THEIR MUSIC IS A KIND OF ARCHETYPICAL EXPRESSION THAT IS TIMELESS AND AESTHETIC. PERHAPS TO UNDERSCORE THE QUALITY OF THEIR MUSIC AS ITS OWN SECRET LANGUAGE, THE BAND INSISTS ON USING LATINS FOR THEIR TITLES. THIS EP SHOWS THE GROUP WORKING ON A MORE RHYTHMIC MODE, WITH URGENT DRONES AND STRANGE HARMONIES CREATING AND ATMOSPHERE OF NATURAL MYSTICISM – MIRRORING THE NEVER UNDERSTOOD FORCES WITHIN ONESELF. Cotidie morimur. Cotidie demitur aliqua pars vitae.”
[from the original press release 1995]
300 COPIES ON BLUE–YELLOW VINYL. FULL COLOUR PRINTED COVERS
"Auf 45rpm gerade siechender Spielmannszugabstraktion, auf 33rpm eine Mischung aus ovalesker Lockedgroovemontage und geradezu schläfrig-suggestiver Langsamkeit inmitten der parallel ablaufenden Klangereignisse. Charmant ist das sanft industrielle Outfit der Titel, besonders die geradezu mantrische B-Seite mit dem elegischen Namen »Ataxía« spiegelt einen geradezu einfühlsam ablaufenden Klangprozess wieder, in dessen Cage’scher Maschinenwiederholung so etwas wie ein chakrisches Bewusstsein für Klänge widerhallt. Die A-Seite hingegen pervertiert Organums Chaoskompositionen via sanfter Repetition und nahtloser Aneinanderreihung industrieller Klänge sowie abgenudelter Softjazzplatten im ausgewaschenen Hintergrund. Nicht gerade was für den Weihrauchgarten, aber definitiv etwas zum Staunen." [Thorsten Soltau / AEMAG]
|
2003 |
€6.00 |
|
| TANKRED, KENT |
There is Nothing to Attain |
do-CD |
Kent Tankred (b.1947) is one of the true hidden masters of Swedish electro-acoustic and experimental music. Tankred studied at Elektronmusikstudion in Stockholm in the early 70s and he has released a sparse catalogue of fine works, mainly for his and Leif Elggren’s Firework Edition Records as well as Ash International. In 1995 he put out the extremely strong album ”Ordinary Things” on Fylkingen Records. ”THERE IS NOTHING TO ATTAIN” is his first albums since the 2010 CDr with the same title. - iDEAL.
*
Music is not like people. Nonetheless most music tries to pretend it is human, imitating their movements, feelings, attributes, even opinions.
Kent’s music doesn’t pretend to be anything. One quickly forgets there could be a human behind it, even though it may have arisen from some profound game, a concentration on some discovery, combination, principle.
The music is naked, or rather unclothed, inhuman, at the first encounter reminding you of everything you would prefer to avoid: leaf-blowers, neighbours drilling the wall, machinery grinding, a screwdriver stripping the thread with a careless move, electric warning signals, all on top of each other.
A recent radio programme was discussing whether the phrase “human error” should be replaced by the less recriminatory “human contribution”. Meanwhile a submarine has sunk into an ocean chasm and the 53 aboard who might still be alive will run out of oxygen before they can be reached. A struggle between man and machine.
But here there is no struggle, the machine is likened to any other natural phenomenon. It just is, does what it does, or doesn’t, in its own time which is neither fast nor slow since it doesn’t have to be compared with anything, has no purpose, no significance, is neither good nor evil. A god like Einstein’s, indistinguishable from nature in its entirety. A galaxy does not rotate in order to be beautiful or strong. A fan does not make something flap about randomly in order to trace a certain pattern.
In the starkly dystopic early science-fiction film On the Beach (1959) a Morse signal is detected from a region where all life should have been eradicated by the atomic winter. An expedition is sent to resolve the mystery. In a completely lifeless industrial zone they find that someone, before the radiation wiped them out, had hung a coke bottle on a string from a roller blind balanced so that the random flapping of the blind caused the bottle to press the telegraph key, producing a haphazard stream of code which inevitably from time to time formed meaningful words and phrases.
I am hard put to explain what it is than can suddenly make the music so entertaining, so jocular in the midst of this objective, mundane mangling. Yet one does get reminded at some point that someone is behind all this, has discovered or molded, has chosen this; perhaps not a joke but pure serendipity.
Just as things originate so must they vanish, by one decision or another – a handbrake, a puncture, a flying catch. The process “concludes”, or purports to, as when someone suddenly wakes you from a dream which you forget immediately but retain the echo of a feeling. Or you are surprised by your parents opening the door when you’re in the middle of a game where you can’t remember whether what you’re doing is supposed to be secret or not.
And so the cauldron or the ventilation pipes spill out a bus garage, a swarm of drones, or those flying bicycles Leonardo had a mind to make.
Johannes Bergmark.
https://idealrecordings.bandcamp.com/album/there-is-nothing-to-attain
|
2021 |
€17.50 |
|
| TARKATAK |
Mormor |
CD |
"Tarkataks MORMOR schafft es mit einer bezaubernden Leichtigkeit, unser Hören in Bewegung zu versetzen. Wir finden uns am Ende der Nacht auf einem Floß, in einem Gewässer aus Klang, soweit das Hören reicht. Akustische Räume öffnen sich, und bieten behutsam bearbeiteten Klängen zuvorkommend ihren Platz an. Melodien singen von ihrem eigenen Entstehen und Vergehen. Statischer Dunst verhüllt die nahe Dämmerung, bis in der Ferne mechanische Oszillationen von einem Ufer und frühen Vögeln künden. Klippen unter der Oberfläche erzeugen schimmernde Interferenzen. Der Ort ist erfüllt von einem fernen Echo letzter Hausmusik, und verstörte Endlosschleifen erzählen in fremden Sprachen von einer unmöglichen Insel, auf der Menschen und Maschinen einen gemeinsamen Rhythmus finden. Versöhnt besteigen wir wieder unser Floß - und lassen uns von MORMOR auf erhabenen Wellen zum fliehenden Horizont tragen." [label info]
"...Tarkatak's music is still highly atmospheric, but much more sparse these days. Each of the four long pieces is built around just a few loops, which Tarkatak plays around with, changing the color of them, getting them out of sync and back in sync again, and such like, and creates a wonderful textured sound. There are times when 'Mormor' reminded me of Taylor Deupree, but then a bit more dark, but it has the same relaxed feeling to it. But there is also the featuring of rhythm, which is also an entirely aspect, certainly when it comes down to stripped down techno rhythms. Quite a break with the past, I think and quite a step forward. Including is a film for one of the tracks, which depicts the sea and the sand, along with a lonely man - the sort of film you'd expect with this lonesome music. Great CD, and hopefully bringing him some more recognition" [FdW / Vital Weekly]
|
2007 |
€10.00 |
|
| TARKATAK VS. C. REIDER |
The druiser pricid |
CD-R |
Beautiful US/German-drone collaboration, very submarine sounding stuff, guitar- & mysterious backwards sounds, but also disturbing moments.. a droney trip through various moods & emotions
with many details. comes in a handmade papercover.
„ Lange hat es gedauert, bis das Resultat veröffentlicht wurde. 2000 haben sich Tarkatak und C. Reider gegenseitig einen Tonträger voller Geräusche, Loops und Samples geschickt um daraus einige Stücke zu basteln. Es gab keine bestimmten Abmachungen, alles war offen. So wurde nicht nur mit den einzelnen Sounds des Jeweiligen gearbeitet, sondern auch Neues/Eigenes hinzugefügt.
Entstanden ist ein sehr stimmiges Wechselspiel die in 2 Hälften aufgeteilt wurden. C. Reider aus den USA, betreiber des Lables VUZH, hat bisher div. Tapes und CDrs veröffentlicht. Siehe: http://www.livejournal.com/users/vuzh.“ [label info]
|
2003 |
€10.00 |
|
| TATE, DARREN & PAUL BRADLEY |
Sometime today |
CD |
Zusammenarbeit dieser britischen Droner aus dem ICR/COLIN POTTER-Umfeld.... ein one-tracker von 39 Minuten Länge, der den Hörer in etwas verwunschene, aber gleichwohl betörende akustische Fliessmuster wirft...
“Sometime today’ is a collaboration between Darren Tate and Paul Bradley. In his own unique and intimate way, Darren recorded the basic tracks at his home in York. Including guitar, keyboard and various other techniques, these recordings were passed onto Paul who took them with him, along with a laptop, on a recent visit to Turkey. These original tracks were supplemented with various field recordings taken around the town of Fethiye and the piece assembled during this three-week visit. Voyeuristic, evocative, abstract and delicate, you are invited to spend some time in their sonic world.
Darren Tate made his name in the group Ora, a floating collective that included Colin Potter, Andrew Chalk and Jonathan Coleclough. More recently he is heard as one half of Monos with Colin Potter and on a growing collection of limited solo release CDRs on his own Fungal Records. Paul Bradley started out with his first commercial release on ICR and this friendship and partnership has continued over two collaborative CDs with Colin Potter. He has released several solo discs on his own Twenty Hertz label and recently appeared on the Monos release "Landscapes", which then led to the "Sometime Today" collaboration.” [press release]
“'Sometime today' can be filed under: late-summer-afternoon-walk-in-the-park drone. It's reminding of a hot weather summer afternoon walk with loved ones in an almost empty park, yellow leaves have falled from the trees, a pond... Inspiring atmosphere and music.... Nice, peaceful, relaxing piece, patiently changing in few phases by adding layers of sound. Ok for both close listening or as a background while reading something casually, poetry recommended.” [BR/Vital Weekly]
|
2004 |
€13.00 |
|
| TAUMEL |
In Pieces - Volume One |
10inch |
"in pieces - volume one" - taumel trifft das ensemble adapter
- - -
im winter 2016 haben sich 'taumel' und das 'ensemble adapter' zu mehreren improvisativen sessions getroffen um einen musikabend zu entwickeln, bei dem die gegensätze und grenzen zwischen komposition und improvisation, freiheit und festlegung, chaos und struktur verschwimmen oder kollidieren. im mittelpunkt der sessions stand die entwicklung einer spezifischen, klang-gestischen musiksprache. jeder musker hat gewissermaßen auf seinem instrument einen charakter und seine jeweils eigene spezifische klang-gestik entwickelt. diese sessions haben wir mitgeschnitten und für "in pieces" als grundlage genommen. "in pieces" besteht aus den remixes dieser sessions, sowie zusätzlich von taumel produziertem studiomaterial.
"in pieces" kann als sureales klanggedicht verstanden werden, als eine abstrakte klang-geschichte, die durch die verschiedensten zustände wandert - von größtem glück bis hin zu raserei und wahnsinn. in den 2 mutierenden klangfeldern kreist die assoziative geschichte um das thema der sprachlichen unveräußerbarkeit und damit auch um das thema 'chaos und ordnung'. diese doppelbödigkeit, der versuch zur schönheit und dessen umkippen in zerstörung und versagen. schreibversuche, sprechversuche, gestammel, gestotter, geschrei, einengung, wegdriften, gesumme... in der mutation der zustände treffen heterogene klangereignisse aufeinander oder werden vermengt zu einer neuartigen masse zwischen lied, sprechen, melodie, harmonie, geräusch, beats, riffs, wort, elektronik und verfremdung. die aktion des instrumentalisten (das instrumentenspiel) steht auf der gleichen ebene wie jede andere klangerzeugende handlung oder stimmliche veräußerung sowie jede elektronische klangerzeugung und ist immer gestisch gedacht, performativ, als handlung, als akustischer tanz.
"volume one" ist der erste teil eines als zweiteiler geplanten musikalischen zusammenhangs ("in pieces - volume two). in zwei klangteilen (seite a, seite b) ist "in pieces - volume one" kein liederzyklus wie unsere anderen serien, z.B. TRAUM, sondern eher ein musikalischer 2-akter, später insgesamt 4-akter. hier teilt sich die gesamtform der musik-serie nicht auf in alben und songs, sondern in alben und deren a+b seiten, wie akt 1, 2, 3 und 4. vielleicht kann man daher "in pieces" auch als akustisches theater hören, oder als hörspiel ohne worte, oder als soundtrack ohne film, oder als film ohne bild, oder eben einfach als eine ordnung sich verändernder klangereignisse.
"off the record"
in "off the record" trifft taumel auf andere musiker und entwickelt alben in kolaboration. hier können verschiedenste formen der musikalischen interaktion ausprobiert werden. in diesem fall von "in pieces" bestand die zusammenarbeit mit dem "ensemble adapter" in den besagten sessions, die das grundgerüst und skelet für das gesamte album bilden.
- - -
INFORMATION:
"in pieces - volume one"
by taumel and ensemble adapter
label: dronerecords
https://www.dronerecords.de
taumel: jakob diehl / sven pollkötter
https://www.taumel.net
publisher: https://www.la-chunga.com/en/
ensemble adapter: Kristjana Helgadóttir / Ingólfur Vilhjálmsson / Gunnhildur Einarsdóttir / Matthias Engler
http://ensemble-adapter.de
instruments: voice, drums, percussions, guitars, tipewriter, flutes, harp, clarinets, prepared piano, keyboards, synthesizer, loops and samplings, electronics, fxs on instruments.
- - -
- - -
"in pieces - volume one" - taumel meets ensemble adapter
in winter 2016, 'taumel' and the 'ensemble adapter' met for several improvisational sessions to develop an evening of music in which the contrasts and boundaries between composition and improvisation, freedom and determination, chaos and structure were to blur or collide. the sessions focused on the development of a specific, sound-gestural musical language. in a way, each musician developed kind of a character on his instrument and its own specific sound-gesture. we recorded these sessions and used them as a basis for "in pieces. "in pieces" consists of the remixes of these sessions, as well as additional studio material produced by taumel.
"in pieces" can be understood as a sureal sound poem, an abstract sound story that wanders through the most different states - from greatest happiness to frenzy and madness. in the 2 mutating sound fields, the associative story revolves around the theme of linguistic inalienability and thus also around the theme of 'chaos and order'. this ambiguity, the attempt at beauty and its overturning into destruction and failure. attempts at writing, attempts at speaking, stammering, stuttering, screaming, constriction, drifting away, humming... in the mutation of states, heterogeneous sound events meet or are mixed to a new kind of soundmash between song, voices, melody, harmony, instruments, noise, beats, riffs, words, electronics and alienation. the action of the instrumentalists (the instrument playing) is on the same level as any other sound producing action or vocal expression as well as any electronic sound production and is always meant gesturally, performatively, as action, as acoustic dance.
"volume one" is the first part of a musical context planned as a two-part work ("in pieces - volume two). in two sound parts (side a, side b) "in pieces - volume one" is not a song cycle like our other series, e.g. TRAUM, but rather a musical 2-act, later altogether 4-act. here the overall form of the musical series is not divided into albums and songs, but into albums and their a+b sides, like act 1, 2, 3 and 4. perhaps, therefore, "in pieces" can also be heard as an acoustic theater, or as a radio play without words, or as a soundtrack without a film, or as a film without a picture, or simply as an order of changing sound events.
"off the record"
in "off the record" taumel meets other musicians and develops albums in collaboration. here different forms of musical interaction can be tried out. in this case of "in pieces" the collaboration with the "ensemble adapter" consisted in these sessions, which form the basic framework and skeleton for the whole album.
https://soundcloud.com/drone-records/taumel-in-pieces-vol-one
"For various reasons, this is an oddball release for the Drone Records' subdivision of Substantia Innominata. Firstly, because one of the musicians is a relatively well-known actor, who played a role in the excellent German TV series 'Dark', a must-see if you like that sort of thing with time travel. He's also a composer for various films. With Sven Pollkötter, he is the duo of Taumel. I am sure Diehl's participation will raise a few unusual eyebrows in the direction of this record. More importantly, the music is not what we know from this series, a subdivision of Drone Records, which, by and large, deal with the more droney end of the musical spectrum, music for the subconsciousness. Taumel teams up with Ensemble Adapter, a four-piece group of percussion, clarinets, flute and harp, along with a ton of effects, tapes, and voices. The six of them recorded a couple of improvisations, which served as the basis of further mixing, remixing and processing by Taumel (who play keyboards, voices, guitars, typewriter, tapes, percussion, sampler, and such like). On this record, there are eight pieces, which in itself is also a thing you don't see a lot with releases on this imprint. The result is still much rooted in improvised music than you would think or even jazz, but with that streak of darkness, that is more common here. A most remarkable record, I'd say, and one that took some time here before it sank in. The resulting pieces of music are just that, pieces of music, rather than soundscaping or long-form pieces. There is excellent clarity here regarding the instruments, which are all pretty well defined within the result. However, the four pieces per side can be seen as one long story, moving from place to place, albeit a more abstract one, of course, but maybe I am distracted by the fact that there is an actor at work here. Also, it has an excellent film character. I can easily imagine visuals to go along with this, and it comes close to the world of soundtracks. Perfect record, but not one that quickly reveals its secrets." [FdW/Vital Weekly]
|
2021 |
€16.00 |
|
| TAYLOR, DUB |
Lumiere (for synthesized & concrete sound) |
LP |
"This real masterpiece of Concrète and Synthesized music was no more available since its original manufacture in 1973.
Dub Taylor is an US composer, producer, engineer and designer born June 22, 1948 in Burbank, California.
He has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist. He has studied with pianist Richard Bunger and composer Karlheinz Stockhausen. Not long after the release of Lumière, Taylor established Vargod Studios for electronic music and recorded sound, where in 1974 he created his second work, Variations on the 'Dudley Do-Right' Theme for sampled and processed sound (never released before, this exclusive track is included on the CD version). Taylor has bounced between the music world and the visual arts for most of his life and continues to pursue diverse creative projects.
'Lumière evolved over a period of three years from 1969 to 1972.I started by recording random sounds: Jets taking off at LAX, my girlfriend laughing and screaming, my cat Bartok biting a microphone, conversations, etc. I also sampled music, film soundtracks and TV and radio broadcasts. During this period I acquired the first self-contained portable synthesizer, the newly-designed ARP 2600. I began to envision an electronic and Musique Concrete piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. In June of 1972 I did a preliminary version of elements of the piece. By October I was ready to put it all together. I set up all these reel to reel machines with tapes I had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 IPS Revox A77 tape deck. My idea was to create a sound collage with form but without losing spontaneity and an element randomness. So I rehearsed my fade-ins and fade-outs and the starting and stopping of the various playback decks and when I was ready I went for it, 'playing' all these machines like a musical instrument in this mad moment of creation. In effect, Lumière was a 'live' performance. The only later additions were the silence gaps inserted near the end of the piece using pieces of blank leader tape.' (Dub Taylor) "
[label info]
www.subrosa.net
|
2011 |
€20.00 |
|
| TAYLOR, SCOTT / SR MEIXNER |
Please Keep Clear at all Times |
CD |
Sehr spannendes elektro-akustisches Werk von (ex-CONTRASTATE) STEPHEN MEIXNER und SCOTT TAYLOR, insgesamt sehr dunkel & einnehmend, aber mit vielen Mikrodetails und Spannungsbögen. Tip!
”A collaborative album between Scott Taylor, whose previous releases can be found on the Sijis, Touch, and Con-V labels, and srmeixner, once a member of the influential UK group Contrastate. 'Please keep clear at all times' consists of three tracks, combining Musique Concrète, field recordings, and other source material (the piano of Kenneth Kirschner and recordings by M.A. Tolosa on Kirschner Wind, and vocals by Jonathan Grieve on The Sound of X) into dramatic soundscapes. The latter track, composed by an additive process of file exchange, is a radical re-working of a live srmeixner concert recording made by Scott Taylor.” [label info]
„If I understood things well, Scott Taylor and Srmeixner didn't actually work together, even when both are based in London (I think), but exchanged sound files. Scott Taylor has had some great releases on Sijis and con-V, dealing with many subtle layered field recordings and Srmeixner was once a member of Contrastate, but started a new life behind the computer. On the first piece, 'Kirschner Wind' they also used the always decaying piano sounds by Kenneth Kirschner and rain recordings by M.A. Tolosa. An empty piece of music, but with a strong, haunting character. 'Nothing Falls Into Place' is a pure field recordings piece, more Taylor than Srmeixner, me thinks, of layered sounds that form a deep drone, with some looser textured sounds on top. 'The Sound Of X' is a rework by Taylor of Srmeixner concert that involves also Jonathan Grieve on vocals (he was the other member of Contrastate), but it's reworked to such an extent that the vocals can no longer be recognized. It's a digital drone rework of mid-frequency sounds that sound like sea waves. All three tracks are great pieces of haunting, cinematographic field recordings and careful electronic treatments. Great stuff.“ [Vital Weekly]
|
2006 |
€13.00 |
|
| TAZARTES, GHEDALIA |
Jeanne |
CD |
"Jeanne (Vand‘Oeuvre 0732) ist nur ein Kleinod von 30 Minuten, die Musik für ein Theaterstück nach dem Roman Jeanne la Pudeur von Nicolas Genka, das die Compagnie Pardès Rimonim 2006 aufführte. Aber wenn Tazartès Zeilen von
Genka in seiner unnachahmlichen Manier intoniert, singen wäre dafür viel zu wenig gesagt, dann stellt sich unwillkürlich das Tazartès-Feeling ein, ein Schauer, ausgelöst von
einem Timbre, das wie aus uralter Zeit und wie von weither klingt, mystisch, mythisch fast. Urtümliche Weltmusik ist das, aber völlig eigen gemischt aus rauen Streicherklängen,repetitiven Minimalmotiven, seltsamer Keyboardharmonik in Moll und ziemlicher Schräglage. Klassisch wenn man so will, Kammermusik, wie man sie sich als Soundtrack von Michael Nyman vorstellen könnte, der eine Stimmung von Wehmut unterstreicht. Von
Tazartès stammt übrigens die Musik zu Yolande Zaubermans preisgekröntem Film Moi Ivan, toi Abraham (1993) und zu Catherine Corsinis TV-Version von Ödon von Horvaths Jeunesse sans Dieu (1996). Seine Form von Proto-Freakfolk, er taufte es Mitte der 70er ‚Impromuz‘, erhält einen wesentlichen Teil seiner Bizarrerie durch einen Zug ins Urbane, speziell durch seine Adaption von Musique concrète in der Freundschaft mit Michel Chion. Wobei das zittrige, pathetische arabisch-jüdische Ziegenhirtentimbre die Verbindung zu einem Zustand oder einer Bewusstheit von Fremde herstellt, einen Kontakt zum Jude-, Frau-, Tier- und Quasimodo-Pol. Zu ‚Les femelles‘ blubbert nur eine Tuba. Dann klackert ein Schlagzeug zu den dunkel webenden Streichern und Tazartès stimmt einen Chazzán-Blues an, während im Hintergrund Fußballfans vorbei ziehen. ‚TA‘ rockt einigermaßen autistisch gegen die Wand und da singsangt er dazu nur ein entsprechend debiles „tatatatita“. ‚Mother‘ ist dann purer Freakrock, der auf der Zeile „(What do you mean with) I want to fuck your Mother tonight“ herum kaut und mehrstimmig „Mamme-
Mama“ stammelt, bis Tazartès mit ‚Lamento/Jeanne‘ noch einmal einen archaischen und herzzerrissenen Klagegesang anstimmt und ein Rezitativ, als ob der Geist von Artaud in
ihn gefahren wäre. Umgekehrt ist sein Geist längst übergesprungen auf DDAA und STPOs Pascal Godjikian. Aber hier hört man das Original in seiner irritierenden, fast erschreckenden,
ergreifenden Einzigartigkeit." [Bad Alchemy]
"Recreating the idioms of some ethnic musics, Ghédalia Tazartès invents himself an imaginary world which seems to be inspired by differents forgotten traditions. Musician, genious handyman, singer to the improbable accents, Ghédalia Tazartès pours a flood of sounds and atmospheres, voices and strange melodies, weaving the screen of an hallucinatory soundtrack which accounts for the universe of the show 'Jeanne' (Co Pardès rimonim) for which it carried out the majority of those compositions. Artist out of time, Ghédalia Tazartès shared incredible collaborations in particular with Alain Gigout, Michel Chion, Philippe Adrien or François Verret." [credit notes]
www.centremalraux.com/disques
|
2007 |
€15.00 |
|
| TBC & GUY SALDANHA / BALINESE BEAST |
Thunderbird Hotel |
7inch |
"Released on July 2013. 7"vinyl, self-released, two tracks. Balinese Beast play: volcanic cut-ups, overdriven sax, 2" samples, pop 'n roll chews & chops following a cicada sine heatwave. TBC & Guy Saldanha play: textured and skillful noise wall, distorted guitars, feedbacks & analogue in/outs. 4 color offset labels & cover.
Edition of 200.
Balinese Beast is a duo project from Greece with Giorgos Axiotis and Ilan Manouach, working with electronics, home hacked-fi systems, samples, drum machines and the whole saxophone family. They have performed extensively in Greece and also in Serbia, Romania, Hungary, Slovenia, France and Austria." [website info]
balinesebeast.bandcamp.com
|
2013 |
€7.00 |
|
| TBC_CZEPOKS |
Korridore |
CD-R |
TBC: Electronics
Rana "Miss Ton": Keyboard
Rieckmann: Saz , Tankdrum
Seemann: Bass und Bogen, Tankdrum, Spieluhr, Violinharfe
Aufgenommen in den FSK Studios am 11. Februar 2022
Nachbearbeitet von Seemann
Master: TBC
Cover: Nika Vero
https://tbc-czepoks.bandcamp.com/album/korridore
" 'Raum', 'Stock 3', Gänge' und Korridore (Wachsender Prozess, Cdr), das hatte bis vor Kurzem noch 'nur' einen Beigeschmack von allenfalls leicht kafkaesker Bürokratie oder den unguten Geruch von Krankenhäusern. Jetzt evoziert TBC_CZEPOKS damit unwillkürlich den Wunsch nach Flucht-Korridoren. Der Zoom in beige Labyrinthe, die Gängelei durch Formulare hat sich umgekehrt in verzweifelte Hoffnung auf Auswege, Notausgänge, Befreiung. Die vier Soundscapes, in die einen Thomas Beck aka TBC mit Electronics, Rana „Miss Ton“ an Keyboard, Gunnar Rieckmann per Saz und Seemann mit Bass & Bogen, Spieluhr und Violinharfe, beide auch noch mit Tankdrum hineinziehen, sind dark ambient genug, dass da der saugende Thrill von David Lynchs paranoiden Kamerablicken in „Lost Highway“ ebenso fesselt und Unbehagen bereitet wie eine Bedrückung in bombardierten Kellern. Ein dunkelwolkiges Quallen ist auf Dauer gestellt, die Spieluhr weckt melancholische Gefühle, nostalgische Erinnerungen, der Tankdrumbeat leise Hoffnung, eine Frauenstimme versucht mit beschwichtigendem Lalala einzulullen. Windspielerischer Klingklang verfestigt sich gamelanesk, doch die Beats 'tropfen' dabei auch wie die Wassermusik in Ilja Kabakows undichtem Museum. 'Gänge' dehnt sich wie 'Raum' zuletzt nochmal über 14 Min., als Dreamscape, in dem gedämpfte Beats nicht aufhören als Loop zu 'läuten', Drones nicht nachlassen zu rumoren. Dabei versuchen die vier bewusst, das ständig 'händisch' zu strukturieren, mit Sazwellen und vor allem feinmetallisch hellen, klingelnden, ansatzweise rhythmisierten Schlägen, die jedoch dem unterbewussten Fluten, Dröhnen, Mahlen nur wenig entgegensetzen können." [BA 115 rbd] |
2022 |
€8.00 |
|
| TEARDO, TEHO & BLIXA BARGELD |
Nerissimo |
LP |
Sie sind zurück! Drei Jahre nach ihrem Debüt „Still Smiling“ veröffentlichen Teho Teardo und Blixa Bargeld ihr neues Album „Nerissimo“. Darauf zeigt sich erneut ihre langjährige, künstlerische und persönliche Verbindung. Während viele gemeinsame Projekte zeitlich befristet sind, haben Teho und Blixa ihre Beziehung neu definiert und erkunden gemeinsam neue musikalische Territorien.
Zum Artwork des Albums wurden sie vom Gemälde „Die Gesandten“ inspiriert, das Hans Holbein der Jüngere 1533 schuf. Darin sind Referenzen zur Philosophie, Religion, Sterblichkeit und Illusion eingebettet – Themen, die ebenfalls auf dem Album aufgegriffen werden. „Nerissimo“ ist der italienische Superlativ für schwarz – und das ist dieses Werk durch und durch. Dabei ist jedoch mitnichten „dunkel“ gemeint, wie die Farbe sonst gerne assoziiert wird. Schwarz enthält alle erdenklichen Farben und ebenso bietet auch die Musik unzählige Möglichkeiten.
So spielen sich in den Songs mikroskopisch kleine Dramen wie in einer Petrischale ab ("Ulgæ") und erstrecken sich zu einer surrealen und kosmischen Siebenminutenreise in „Animelle“. Der Titeltrack eröffnet das Album auf Englisch, beendet es auf Italienisch und wirkt so wie eine Buchstütze, die eine wertvolle Sammlung literarischer Werke umklammert. Neu ist der Einsatz von Holzblasinstrumenten. Umgeben von Tehos Baritongitarre, Glocken und dem Arrangement klassischer Streichinstrumente spielt vor allem die Bassklarinette eine signifikante Rolle. Wie eine Schutzhülle umarmt sie zärtlich Blixas tiefe und gleichzeitig liebliche Stimme.
Die Sprache verbindet auch die beiden Städte Rom und Berlin, in denen das Album aufgenommen wurde und legt den Grundstein für eine emotionale Reise durch die letzten drei Jahre des gemeinsamen Arbeitens. Die mannigfaltigen Facetten der verschiedenen Schwarztöne bilden ein Tagebuch von Geistererscheinungen. Von Farben, die – einmal beim Namen genannt – das ganze Universum verändern können. Sie gleichen einem Flug durch die Nacht, bei dem die vielen einzelnen kleinen Lichter der genannten Hauptstädte von oben sichtbar werden und ein ganz neues Bild ergeben.
https://neubauten.org/de/releases/nerissimo
|
2016 |
€20.00 |
|
| TELEPHERIQUE |
Hörspiele |
CD-R |
Sehr geräuschhafte und loopige neue Veröffentlichung, wo viele field recordings benutzt werden und repetitive Mustern entstehen..
“After the beautiful collaboration with Ultra Milkmaids issued in last June now we have the greatest pleasure to present the new Telepherique album. As you main know the project is active since 1989 and has produced an incredible amount of music released worldwide on labels like Ant-Zen, Noise Museum, SSSM, Old Europa Cafe, etc. Main people involved in Telepherique are Klaus and Danijela Jochim, but this line-up is often enlarged and opened to collaborations of all sorts. "Hörspiele" is essentially a mixture of Ambient and Concrete music, a remarkable work whose main inpiration comes from the sensibility of Hearing, the chance of dreaming, meditating and travelling by the means of well known noises that people hardly listen because they are always present in the so-called "everyday life". For once the background turns into foreground and gets all the attention it always deserved.” [press release]
|
2002 |
€12.00 |
|
| |
v=s/t |
CD |
Dritte CD der süddeutschen Networking – Band, sehr experimentell aber auch sehr rhythmisch, mit dem Industrial-Dance-Hit "Bewegung". Beste CD bisher von ihnen, meinen wir. +Schönes Art-Paperbooklet auch.. [old Drone Rec info]
www.ant-zen.com
|
1998 |
€13.50 |
|
| TELEPHERIQUE VS. S-CORE |
Past-Art |
mCD-R |
Neben der Wiederveröffentlichung der alten mail-art collab MC (Kokeshidisk) gibt es auf Taalem auch zwei neue Remixe von TELEPHERIQUE mit rauhen, unwirklichen, grottigen Granular-Dronescapes... dunkel, verstörend, aufregend arrangiert...
"telepherique remixed/reworked a s•core 7" released in 1995 for a unique result, perfect mix of weird sounds & atmospheres. full-colour printed 3" cd-r with artwork by delphine ancelle-b." [label info]
www.taalem.com
|
2007 |
€5.00 |
|
| TELETOPA |
Tokyo 1972 |
3 x LP |
"Geoffroy Collins, flute, percussion, electronics. Peter Evans, percussion and electronics. David Ahern, violin, percussion and electronics. Roger Frampton, percussion, electronics and saxophone. Splitrec is honoured to release a legendary recording from 1972. In 1968 the young Sydney composer David Ahern studied in Germany with Stockhausen where he met Cornelius Cardew. The next year he travelled onto London attending Cardew's classes in Experimental Music' at Morley College and - in a mammoth seven-hour concert at the Roundhouse on 4 May - participated (with Cardew) in performances of La Monte Young's String Trio and also took part in the realisation of Paragraph 2 of Cardew's The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra. These were revolutionary and defining moments in C20th music. Returning to Sydney in 1970, one of his aims was to set up an electro-acoustic improvisation group - Teletopa was founded in Sydney in late 1970 by Ahern, Peter Evans and Roger Frampton. Tokyo 1972 - 3LP or 2CD release - features two 50min improvisations from a radio session at NHK studios Tokyo. The group was Ahern, Frampton, Evans and Geoffrey Collins and they were completing a 1972 world tour. The group broke up on their return to Sydney. Only a small example of their work has ever been released before. The Liner notes will be a manifesto by David Ahern from a 1971 pamphlet, and there is an insert, a newly penned Potted History of Teletopa by Geoffrey Barnard, who had been a member of the group from September 1971 until July 1972. The tapes have sat in boxes for 42 years. With this release we can hear that Sydney in the early 1970's had a group at the forefront of musical experimentation with a unique take on free improvisation. This document is not just important for Australian music - it should establish them posthumously as one of the most interesting developments in experimental music anywhere in the world at this time." [label info]
www.splitrec.com
"There is, I'm sure, tons of stuff buried in archives, garages, attics waiting to be heard when someone at least finds it. Stuff from people I never heard of, like Teletopa. David Ahern, Peter Evans and Roger Frampton in Sydney founded this group in late 1970. By 1972 Geoffrey Collins was also a member. Ahern studied in Germany in 1968 with Stockhausen, and he met Cornelius Cardew, with whom he performed in London later on, such as in 'The Great Learning'. We can see Teletopa along the lines of such legendary improvisation bands AMM (especially them) and MEV, but less electronic than they were. Here we have improvisation and no rules, even when the band also performed pieces by Cardew, Stockhausen and themselves, following visual scores. The instruments are flute, percussion, electronics (Collins), percussion and electronics (Evans), violin, percussion and electronics (Ahern) and percussion, electronics and saxophone (Frampton), but they also incorporated non-musical instruments. As Teletopa they never released much work, but in 1972 in Tokyo they recorded two fifty-minute pieces of improvised music. Tapes of these recordings have been unearthed recently and now released on this double CD with some excellent liner notes about this group. The music is very strong. It's not very silent, but very loud and perhaps also not very musical, in the traditional sense of the word. Sometimes all of this seems closely to feedback, with lots of scrapings on the violin and the saxophone sounding like a balloon being rubbed on end. The second disc is perhaps a bit more introspective than the first disc, at least for the first thirty or so minutes, allowing space between the notes, before the overall sound gets a bit more thicker and richer. Here Teletopa seems to be in almost Zen like mode. This is some strong 100 minutes of improvised music. Music that comes like an endless stream sound, subconsciously improvised on a wide variety of instruments and objects. If AMM and MEV were already on your list, then this double CD by Teletopa should not be missed. An essential historical release." [FdW/Vital Weekly]
|
2014 |
€38.50 |
|
| TENNEY, JAMES |
Melody, Ergodicity and Indeterminacy |
CD |
Für Freunde früher elektronischer Musik sind auf dieser CD v.a. die beiden Computermusik-Stücke ERGODOS I & II interessant (1963 + 1964), die mit unglaublichen Sounds gefüttert sind und als Vorläufer späterer Minimal & Drone-Musik gelten. Daneben sind hier 4 Solo-Instrumentalstücke für Flöte & Klarinette enthalten (darunter seine frühesten Werke POEM (1955) und MONODY (1959). Äusserst obskur wird es, wenn moderne Kompositionstechniken Computerklänge & Instrumente verbinden, was auf drei längeren Stücken von 1964 passiert. Eine schöne Zusammenstellung, welche die Vielseitigkeit dieses US-amerikanischen Komponisten demonstriert, inkl. Booklet mit Begleittext auf Englisch, Deutsch, Französisch!
"Poem" (1955). Jos Zwaanenburg, flute. "Ergodos I" (1963) computer music. "Monody" (1959). John Anderson, clarinet. "Ergodos II" (1964) computer music. "Seegersong #1" (1999). John Anderson, clarinet. "String Complement (with Ergodos II)" (1964) computer music with violin, viola, cello, bass. "Seegersong #2" (1999). Jos Zwaanenburg, flute. "Instrumental Responses (with Ergodos I)" (1964) computer music with flute, bass clarinet, trombone, bassoon, violin, viola, cello, bass, percussion, baritone. "Ergodos III" (1994). Frank Denyer and Nora Mulder, pianos. "Percussion Response" (with Ergodos I) (1964) computer music with Tobias Liebezeit, percussion.
Barton Workshop. James Fulkerson & Frank Denyer, directors. First Recordings. “James Tenney (1934-2006) was probably the first composer to develop an aesthetic for computer music, realizing that electronic music almost forced the composer to accept noise as music and to abandon the idea of absolute control over a composition. He came to accept Cage’s passion for randomness, but from a different angle: computer music can be “unpredictable” (rather than “random”). This CD looks at how Tenney persistently asked two questions: “What if?” and “How does it work?” Entitled Melody, Ergodicity and Indeterminacy, it brings an understanding of Tenney's exploration of the act of listening and the factors of composition, of how materials can be assembled, how a composer creates musical continuity. It contains four solos for flute and clarinet which are taken both from some of his earliest works, Poem (1955) and Monody (1959) and from relatively late in his career, Seegersong #1 & 2 (1999). The cd features Tenney’s Ergodos compositions (forerunners of minimal music or drones) - instead of a fixed object, the listener hears a process and assembles his own experience from the sounds which have enveloped him. The reel-to-reel source tapes for Ergodos I and II are unique in that they may be played in either direction, beginning and ending at any point and-or with any number of super-impositions of parts (channels). On this cd, both Ergodos tape pieces are presented along with the tape and its String complement, Instrumental responses (10 performers) and also with a percussion soloist (Percussion responses). Like so many of Tenney’s pieces, these works walk a line between the composers input and the choices of the performers in order to come to fruition. Tenney’s conscious inclusion of the performer's input is a consistent characteristic of his music and remains a factor which distinguishes him from many other composers.”
www.moderecords.com
|
2007 |
€15.00 |
|
| TERRA SANCTA |
Disintegration |
CD |
Nur selten hört man etwas vom australischen dark ambient Projekt TERRA SANCTA, aber wenn dann gehört es zum besten & massivsten was es im extrem dunkel-dronigen Bereich gibt. Ähnlich wie bei YEN POX bauen sich auf vier langen Stücke tiefbassige Gebilde auf, die allmählich komplexe und poly-dimensional wellende & obertönende Strukturen ausbilden, wie gigantische organische Materie im Weltenraum... eine Organik, die wie ein schwarzes Loch jede Energie schluckt und alles umhüllt in ihrer Umgebung.
"Four years after the release of the highly acclaimed Aeon CD, Disintegration finds Australias Terra Sancta in fine form, having
delivered another sweeping, dark ambient epic. Expanding on the sounds explored on his previous releases, Disintegration pushes the levels of intensity to new heights, featuring four long and texturally turbulent emissions of formidable power and depth. With its enormous washes of stormy drones and billowing, multi-layered atmospheres,
these are tracks that grow and build to such a degree they seem to collapse and erode under their own weight, strewing particles into a
vast horizon and creating a broad panorama of ever changing desert colored hues. A completely enveloping and engulfing release, this is
dark ambient on a massive scale, something Terra Sancta seems to have a knack for creating and something few do so well. Jewel box with 6
panel booklet, designed by Vestigial." [label info]
www.malignantrecords.com
|
2008 |
€13.00 |
|
| TERRA TERATOS |
Meditations about Secret of my dark Destiny. Part 2 |
CD |
"ELECTRICA CAELESTIS presents the third album of a Voronezh based one-(wo)man project TERRA TERATOS ¬ the trilogy's final part 'Meditations about secret of my Dark Destiny'. Symphonic art of the strings, keyboard passages, unhurried percussions plunge you into oppressive ambience of dark dungeons, breathe out coldness of a spellbound forest, hand down shadowy echoes of the dark mass in honor of forgotten Gods. 'Meditations about
secret of my Dark Destiny. Pt.2' is post-black ambient at its best. Epic, sombre, bewitching...
Package - jewel-case with 6-paged b/w booklet. Ltd.ed. to 500." [label info]
|
2010 |
€12.00 |
|
| TESTCARD |
# 12 : LINKE MYTHEN |
BOOK |
Inhaltsverzeichnis
Martin Büsser:
Vom Verfassungsfeind zum deutschen Aushängeschild. Ton Steine Scherben.
Frank Schuster:
You can count me out. Mit Rockmusikern ist keine Revolution zu machen.
Tobias Lindemann:
The Revolution Will Not Be Televised. Black Power, Black Panthers, Black Pop.
Sebastian Schäfer:
Popmusik in der DDR. Eine Chronik.
Linke Verlage in Deutschland. Eine Gesprächsrunde.
Christian Hißnauer:
Nach der Gewalt: Linker Mythos RAF – linker Mythos BRD. Terrorismus im deutschen Film
Miriam Spies / Johannes Ullmaier:
Jeden Tag woanders ... Interview mit Gerd Conradt.
Enno Stahl:
Literatur und Terror. RAF-Rezeption in Romanen der letzten 25 Jahre.
Dagmar Brunow / Luka Skywalker:
Zur Mythenbildung nicht geeignet. Im Gespräch mit Irmgard Möller.
Andreas Kragler / Tine Plesch:
Do You Dig It? Ein Interview mit Michaela Melián und Thomas Meinecke.
Jochen Bonz:
Die Funktion des Signifikanten. Über eine Ausstellung von Michaela Melián.
Annibale Picicci:
Industrial zwischen Tradition, Konfrontation und Affirmation linker und rechter Mythologie.
Jens Petz Kastner:
No Woman, No Cry. Der Mythos von Reggae als schwarzer Kultur der Befreiung.
Olaf Karnik:
Dem Gone, Dub & Delay. Wie spricht Reggae in Deutschland?
Julian Weber:
Das große 80er Revival. Ein Zeitalter wird besichtigt.
Andreas Rauscher:
Never Mind The Situationists – The Filth And The Fury. The Sex Pistols und The Clash im Film.
Oliver Uschmann:
Bad Religion und die Dialektik der Aufklärung.
Tobias Stalling:
Nach Punk in die Disco. Von der Pop Group zu Radio 4.
Martin Büsser:
Bildet Netzwerke! Antifolk – zurück zum Do-It-Yourself.
Christina Nemec:
Und sie tanzen immer noch. »Wir gehen bis Ihr geht« – Versprechen eingelöst – doch was jetzt?
Hans Plesch:
Hanns Eisler. Zerstrümmerung und Anverwandlung.
Nicolai Dierks:
Jenseits von Autonomieästhetik oder Politisierung der Kunst?
Essay zur kompositorischen (Post-) Avantgarde der 60er und 70er Jahre.
Joachim Ody:
Linke Perspektiven in der Avantgarde der 60er und 70er Jahre.
Felix Klopotek:
»Every Noise Has A Note.« Neue Musik und Linksradikalismus.
Roger Behrens:
»Komm mit ins Abenteuerland ...«. Pop als Mythos.
Johannes Ullmaier:
Zur potentiellen Differenzierung von ›linkem Mythos‹ und ›Mythos der Linken‹.
Andreas Kragler:
Das Problem der Linken mit der Ästhetik oder Der ewige Streit um Form & Inhalt.
Fabian Kettner:
Ein erledigter Fall. Zum Tode von Eckhard Henscheid.
Franziska Meifert:
Aktion. Re-Aktion. Konzeptuelle Mythen am und im Wiener Aktionismus.
Tine Plesch:
Freies Radio als linker Mythos? Interview mit Andreas Stuhlmann.
Jan Deck:
Der »Mythos Globalisierung« und die Linke.
Marcus Stiglegger:
Abschied vom »Mythos Amerika«. Die filmischen Elegien des »letzten Linken« in Hollywood.
Johannes Ullmaier:
Der Linksomat
Rezensionen (Tonträger/Bücher)
www.ventil-verlag.de |
2003 |
€14.50 |
|
|
# 11 : HUMOR |
BOOK |
HUMOR in der Kulturindustrie – im Spannungsfeld zwischen der „Festigung der bestehenden Verhältnisse“ und dem „Humor als Subversion, als strategische Destabilisierung herrschender Verhältnisse oder als Grundwerte zerschmetternder, deren Falschheit nach außen kehrender . Mit Beiträgen u.a. zu „Witz in der Kulturindustrie“, Naiv-Pop von JAD FAIR bis MOLDY PEACHES, KLF, GOLDENE ZITRONEN, HELGE SCHNEIDER, FRAUEN UND HUMOR in der Popmusik, EMOCORE, HARALD SACK ZIEGLER, ASMUS TIETCHENS, LAURIE ANDERSON, Reviews, Buchtips, etc etc.
Inhaltsverzeichnis
»Alles geht kaputt und ich lach, ha, ha, ha!«
Roger Behrens über die Entstehung des Humors in der bürgerlichen Gesellschaft und den Witz in der Kulturindustrie
Sie sind so niedlich. Sind sie?
Martin Büsser über die Naiv-Pop-Tradition von Jad Fair bis zu den Moldy Peaches. Mit einem Abstecher zu Eugene Chadbourne, John Zorn und »Radical Jewish Music«
Is this what The KLF is about?
Ina Beyer verfolgt die Irrwege der eigenartigsten Band dieses Planeten
Was ist Humor?
Knarf Rellöm spricht sich für die Humor-Strategie der Goldenen Zitronen aus
Helge Schneider für Kinder
Frank Apunkt Schneider erklärt, warum Helge Schneider und die Postmoderne untrennbar zusammengehören
Frauen? Humor? Popmusik?
Tine Plesch mit einer großen Materialsammlung von Liliput bis Princess Superstar
smashing the omniverse with a smile
Evi Herzing zeigt anhand von Chris Bickel und dessen Band Guyana Punch Line, daß »Emocore« nicht immer ernst und betroffen sein muß
Harald »Sack« Ziegler
Christian Keßlers Hommage an den Kölner Ausnahmemusiker und Minimalpoeten
Spaßgeselle in der Ernstgesellschaft
Hans-Jürgen Lenhart portraitiert Asmus Tietchens als einen der wenigen humorvollen Musiker im Industrial/Geräusch-Kontext
Engel in der Arena-Gesellschaft
Peter Kempers Interview mit Laurie Anderson
Verträumt, berauscht und doch berechnet
Martin Büsser über él Records, Pop-Charme und britischen Witz
Das Ding mit Ming
Conny Lösch stellt den Künstler, Musiker und Poeten Sexton Ming vor
Killer Traktor
Sexton Ming in his own words
One and One is
Stephanie Bunk über den Unterschied zwischen Disco und »Spaßgesellschaft«
Lauwarm geduscht
Humor in Fanzines? Gibt es das noch? Oliver Uschmann hat nachgesehen
Humor ist, wenn man nicht trotzdem lacht, sondern gerade darum
Luka Skywalker über die Verarbeitung des 11. Septembers in Witzen
»Ulkiger Erzählonkel« – gereift & altersweise?
Enno Stahls Thomas-Kapielski-Portrait
We are queer, we are here and we gonna have a look on jokes
Therese Roth über Strategien von Queer Humor
Watch British: Angloasiatischer Kanak Chic erobert den Mainstream
Dagmar Brunow über die BBC-Comedy-Serie Goodness Gracious Me
Stand Up!
Michael Gruteser zur Lage der Stand Up-Comedy
Generation X'd
Andreas Rauscher über die Filme von Kevin Smith
does humor belong into art?
Tine Plesch im Gespräch mit Andreas Kragler über Humor in der zeitgenössischen Kunst
Zu Hause und im Wald
Annette Emde zum photographischen Werk von Anna und Bernhard Johannes Blume
Die Geburt der Postmoderne aus dem Geist der Polemik
Christian Welzbacher zum fragilen Verhältnis zwischen »Pop«-Architektur und Humor
Wenn man trotzdem ...
Franziska Meifert mit einer großen Bücherschau über Humor in Praxis und Theorie
Rezensionen (Tonträger/Bücher)
www.testcard.de
|
2002 |
€10.00 |
|
| |
# 14 : DISCOVER AMERICA |
BOOK |
Inhaltsverzeichnis
Jens Thomas:
Alle gegen einen. Ursachen und Folgen des Antiamerikanismus.
Oliver Uschmann:
Die Guten und die Bösen. Beobachtungen zum amerikanischen Aufstand gegen George W. Bush.
Martin Büsser:
Befreite Klänge. Die neue Lust an Experiment und Kollektiv – von BLACK DICE bis Load Records.
Christoph Jacke: Quiet Is The New Loud – neue stille Songschreiber in den USA oder das Dazwischen von Punk und Techno.
Thomas Venker:
AEM. American Electronic Music – Sounds ohne local scene(s).
Matthias Schönebäumer:
We Almost Lost Detroit. Pop-Standort Detroit: Schwarze Musikkultur zwischen Verfall und Aufschwung.
Yvonne Kunz:
Williamsburg-Porträt.
Christian Schmidt:
Von Amerika lernen heißt siegen lernen! Die US-Zine-Kultur.
Jens Petz Kastner:
»¡Vivan las Americas!« Neozapatismus und Popkultur.
Roger Behrens: Bossa Nova. Fünf Versuche einer Annäherung.
Robert Engelbrecht : Das Brummen eines Kontinents. Drones und Minimalismus.
Hans Plesch:
Christian Wolff und Frederic Rzewski. Zwei amerikanische Komponisten.
Yvonne Kunz : U.S.A. à la Carte. GRAND BUFFET: Independent im Wildlife Park des weißen Mittelstandsamerika.
Silke Hackenesch:
The Wrong Nigga to Fuck Wit!: Die HipHop-Kultur als zeitgenössische Form des Black Freedom Struggle?
Simon Strick:
Rap und Tod. Vom Gangsta-Rap zu den amerikanischen Rap-Megastars der 1990er.
Ina Beyer:
Smells like Queer Spirit.Tim Stüttgen: Made in USA: Gender Studies und ihre Wirkung auf die Popkultur.
Katja Scheer: »White Fantasy of Overcoming Racism« – Die Riot Grrrl-Bewegung zwischen Anspruch und der Bildung eines weißen Subjekts »Grrrl«
Martin Büsser:
Beschädigte Provinz. Die Filme des Harmony Korine.
Holger Roemers:
»It’s A Whole New World Out There«. 54, ALMOST FAMOUS und ROCK STAR: Hollywoodfilme über das Pop-Milieu.
Andreas Rauscher:
Doing The Right Thing – Die Filme des Spike Lee.
Thomas Ballhausen:
Jacob’s Ladder. Das Vietnamtrauma im Horrorfilm.
Marcus Stiglegger:
Heimatfilme ... Discovering Oliver Stones Amerika
Susann Witt-Stahl:
Im Gespräch mit Moshe Zuckermann
Franziska Meifert:
USA-Lektüren. Eine aktuelle Bücherschau.
Manfred Heinfeldner: Im Rhythmus des Beat – Das andere Amerika schrei(b)t: Kerouac und Co revoltieren gegen Mainstream USA
Peter Bräunlein:
Kritischer Cowboy. Kinky Friedman zwischen Subversion und Klamauk.
Bernhard Herbordt:
Komar & Melamid – Mythos, American Dreams und die Affirmative Ästhetik.
Rezensionen
Zurück
www.testcard.de
|
2005 |
€10.00 |
|
| THE BEAUTIFUL SCHIZOPHONIC |
Musicamorosa |
CD |
"Im Schatten blühen junge Mädchen pink? Jorge Mantas jedenfalls ließ sich durch Proust inspirieren, untermischt mit von Tristesse und Abschied geprägten Liebesgeschichten von Poe bis Wong Kar-Wai, Mädchenbildern von Waterhouse und Rosetti bis Rohmer und Deville, aber auch den Erotika-Ikonen der Fotografen Guido Argentini und Roy Stuart. Mein erster Eindruck - Bilitis - war also gar nicht so abwegig. Ein Computermönch träumt von Sensuality & Sadness und schon treibt Sublimation delikate Blüten. Gefühlskitsch bekommt im Halbschatten einer künstlerischen Sensibilität gleich etwas Sublimes. Musik als Geliebte, umsponnen von einer Delectatio morosa, der Lust an sündigen Vorstellungen? Fast alle Titel stammen aus Prousts Die Gefangene. Colleen spielt dazu La Lectrice und alles wird gleich ‚Pariserisch‘. Nicht Lukas, der Hl. Antonius ist der Schutzpatron der Künstler. Das ist nicht halb so sarkastisch, wie Dionysius als Nothelfer gegen Kopfschmerzen. Ich schwanke, während Mantas mollige Drones mich umschweifen und verführerisch ihre Gestalt wechseln, zwischen Kopfzerbrechen und Gedankenverbrechen - wie denn auch anders, wenn eine Musik gleichzeitig so schön, fatal und schizophon daher
kommt. Ach wie so schwelgerisch öffnet der Laptop seine Speicher, auf deren Grund man auf Wagners Liebestod und Debussy stoßen würde. Was gerade noch knirschte wie Sand oder schäumte wie die Brandung um Aphrodites Knöchel, ist nun blinkende Gitarre, dann wieder eingedampftes orchestrales Rauschen. Als Encore folgt ein ausführlicher Remix durch @c, schnüffelnd wie eine Maus, die rosige Nackedeis wittert." [Bad Alchemy]
"Marcel Proust has been one of the main sources of inspiration to me in the last years. His ideas devoted to the affections of the human heart, his approach deeply rooted on the long literary French tradition in which love can only be lived in sadness, is something that goes much beyond pure aesthetic. So it came only natural that somehow I would try to convey this literary and philosophic interest with the sound aesthetic I pursue. The image of a sleepless solitary writer confined to a Parisian soundproof room, has everything to do with the experience of a modern laptop composer, alone in the dark of a room, in a sort of headphone ecstasy with his acoustic fragments of reality. Both experience loneliness. Both are melancholic dreamers creating from an imaginary memory of the world. Whether this music is truly related with some of the delicate emotions depicted in A la recherche du temps perdu or not, it's up to the listener to decide. Could this be a possible sound equivalent to the literary images of affection written by Proust in the early 20th century? Is the sound atmosphere of each piece loaded with some kind of sensual aura? Would ever be possible to express a sadness full of joy in the same moment of music? Probably we'll never know. But perhaps we think about it next time we'll listen to musicamorosa." [Jorge Mantas]
www.cronicaelectronica.org
|
2007 |
€15.00 |
|
| THE GHOST ORCHID |
An Introduction to EVP |
CD |
Hochinteressante CD zum Thema "Electronic Voice Phenomenon" (EVP), das sind auf magnetischen Tonträgern aufngenommene "Geisterstimmen" für die es keine gesicherte Erklärung gibt. Auf der CD werden eine Fülle von EVPs vorgestellt und erklärt (moderiert von LEIF ELGGREN und die Arbeit des EVP-Erforschers RAYMOND CASS wird vorgestellt. Die Aufnahmen sind z.T. bis zu 35 Jahre alt. Handelt es sich um Stimmen von Verstorbenen? Oder Botschaften von Aliens? Oder um ganz normale Radiostimmen, die über noch unbekannte Mechanismen übertragen werden? Im Booklet werden dazu die verschiedensten Theorien diskutiert und weitere erstaunliche Details erläutert. Für jeden an übersinnlichen / paranormalen Phänomenen Interessierten eine faszinierende Anschaffung!
"This is the third edition of this much sought-after CD... and has been unavailable since 2002... [originally issued in 1999]. The ParaPsychic Acoustic Research Cooperative [PARC], in association with Ash International, is proud to present the first ever fully comprehensive investigation into the paranormal phenomenon of EVP, otherwise known as Electronic Voice Phenomenon. Without doubt EVP falls into the catagory of the paranormal alongside other unexplained mysteries such as ufology, life after death & poltergeist activity. The listener is guided through a collection of strange and mysterious voices that have appeared without explanation onto the tapes of EVP researchers. Included with the CD is a 24 page booklet containing commissioned articles which cover the conflicting views surrounding the EVP. Actual voice samples are reproduced here for the first time on compact disc: Polyglot Voices, Public Service Broadcasting, Interruptions across the airwaves, Singing Voices, Instant Response Voices, and the extraordinary Alien Voices. The CD also includes a commentary by the artist Leif Elggren (in English), and recordings of the work of Raymond Cass, England's leading EVP researcher, and original member of the Fortean Group, and the Latvian EVP researcher, Dr. Konstantin Raudive. This CD release seeks to present the evidence; are the voices extraterrestrial, paranormal evidence of our telepathic powers or an elaborate hoax perpetrated by sinister and powerful groups to mislead us from their true aims...?" [label info]
www.ashinternational.com
|
1999 |
€15.00 |
|
| THE LAWLESS |
Habit Forming |
CD |
"Do you know the feeling when a tune sounds totally familliar to you, even though you never heared it before? When I first heared the HABIT FORMING demo, I was certain it must have been sampled from some 60s/70s B-movie soundtracks by e.g. ENNIO MORRICONE that QUENTIN TARANTINO did not exploit yet. Or a unknown JAMES BOND movie. So, I really couldn't believe it when the artist, Ross McLean, told me these were his genuine recordings, and i instantly knew I found something very rare. Over a period of more than 2 years he not only composed and produced the entire album all by himself, he also played almost all of the instruments: Bass, Guitar, Drums, Piano, Keyboards, Accordeon, Flutes, Glockenspiel, Percussion and backing Vocals.
HABIT FORMING instantly gets you with it's mysterious, charming and warm atmosphere. The catchy but decent melodies are rather breathed than sung by Fifi Dewey, wordless and unisono with the instruments, which sometimes creates a almost oriental and 60s feel. The extremely rich orchestration makes you discover more little details every time, and recording the instruments with a lot of 'room' or 'air' makes the sound even more lively.
All in all, you can't help thinking this MUST be a soundtrack... - maybe to the next Tarantino movie? The only sad thing about HABIT FORMING is that it is the best album i will ever release… -Marcus Gabler (A&R Mille Plateaux), November 2011.
HABIT FORMING introduces the new MILLE PLATEAUX ORGANIC label. It expands the range of MILLE PLATEAUX's sounds by (electro)acoustic, avant-pop or, simply put, non-electronic productions." [label info]
www.mille-plateaux.com
|
2011 |
€13.00 |
|
| THE ONE ENSEMBLE OF DANIEL PADDEN |
Oriole |
LP |
" 'oriole' is the new album by the one ensemble. bolder and more dynamic than previous albums, it showcases the one ensemble's ability to combine thrilling live playing with compositional elegance, shifting between hard-nosed rhythmic workouts and string miniatures, between wayward waltzes and open-throated song. oriole features the core quartet of shane connolly (drums and percussion), peter nicholson (cello), daniel padden (guitar) and aby vulliamy (viola and accordion). the one ensemble started life as the solo project of volcano the bear's daniel padden, but after two albums it became a live band, taking padden's experimental folk and expanding it into a fuller, more orchestrated sound. under padden's leadership, the ensemble developed a curious and strident brew of eastern european folk, chamber music, a pinch of robert wyatt and some kind of earthy psychedelic primitivism."
www.altvinyl.com
"This LP sees Daniel Padden's One Ensemble laying down some Eastern European-sounding folk business with accordions and fiddles and stuff. It's all quite dusky and repetitive and there's sometimes some vocals. It's not a straight folk record by any means, though, with the ensemble free to play around in more jazzy and experimental territory when they want to. It's not a million miles away from Leeds's finest chamber jazz-folk troupe 7 Hertz actually, and there's shades of A Hawk and a Hacksaw in its warm, bubbling fusion vibes, and Phil reckons there’s a bit of an Alexander Tucker-esque medieval feel here too, and when they take it down a notch like in ‘Chicken on a Raft’ it’s reminding me of Lungfish’s Dan Higgs.
Padden is of course best known for his work with Brit oddballs Volcano The Bear, and that's no surprise listening to this record either, as the band he's put together seem perfectly happy to switch from bustling gypsy folk to disorienting neoclassical to even more disorienting free expression without so much as a hiccup, and some of the most effective moments see them taking repeato-rock ideas and throwing folk textures all over them.
It works really well and is thoroughly charming, with the physicality of the traditional instruments really shining through in the strained, warm tones. In fact I think as far as charm and listenability go it’s the equal of his other band. Well worth investigating." [Norman Records]
|
2012 |
€16.50 |
|
| THE TREE PEOPLE |
same |
CD |
Japanische Re-Edition einer Acid-Folk Ausgrabung aus dem Jahre 1979 !!
"Tiliqua Records is psyched about being able to present a whole new audience and generation with the lysergic beauty of the Tree People's sole recorded artifact, a privately released acid folk gem out of 1979. In times when people are all getting excited about media-created scenes like “New Weird America” and “Freak Folk”, they seem to overlook the fact that such music was already being created decades ago. The Tree People is evidence of such a splash of creativity that sadly enough was doomed to disappear within the cracks of obscurity. Until now. Tiliqua was granted the opportunity to restore this gem and with the kind collaboration of Mr. Cohen of the Tree People, who provided me with the master tapes and a seemingly unlimited support, Tiliqua was able to prepare this reissue. To me, this album is one of the singular most beautiful gems to have crossed my path and words always fall short in an attempt to describe the aural sensation it unleashes. “Upon listening today this hushed and intimate feeling still resonates through the music – the record possesses an extraordinarily potent atmosphere that still intoxicates the senses after so many years. Over a combustible backing dominated by shimmering strings, bone-shaking hand percussion rhythms, and quivering sensuous threads of eastern-toned flute playing, the group succeeded in concocting up a syncretic combination of meditative Indian raga, western folk stylings and idiosyncratic melodic ideas. The music breathes out intimacy and communicates with a rare directness - hooking you instantly with sheer aural bliss derived from the melody, from the flowing beat, from the sound of the words and syllables and of all those separate elements interacting with each other, rendered into a concentrated, gracious flow of lunar notes. The album's compositions have so many hidden qualities, all breathing out deep and affectionate sentiments that reveal, just like a lotus flower centered on the axis with its petals unfolding towards the circumference, a streamlined adhesion towards the group's' own singular creed. Listen to it and you may feel like awakening from a deep slumber, your unconsciousness leaking away as aspects of reality slowly mix in with the rest of your already blurred mindset.” First time ever official reissue, housed in a sturdy mini-LP styled gatefold sleeve." [Beta Lactam]
|
2006 |
€19.50 |
|
| THE TRIPLE TREE |
Ghosts |
CD |
"Tony Wakeford kann's nicht lassen! Als ob der umtriebige Mr. "Sol Invictus" nicht schon mit zahlreichen Nebenprojekten (u.a. Grey Force Wakeford, Trio Noir, L'Orchestre Noir, Hawthorn) ausgelastet wäre, hebt er nun gemeinsam mit Andrew King sowie ausgewählten "Familienmitgliedern", u.a. Renee Rosen, Guy Harries, John Murphy (u.a. Knifeladder, SPK, Death in June, Shining Vril) oder Kris Force (Amber Asylum), ein weiteres namens The Triple Tree aus der Taufe, dessen Debut "Ghosts" niemand geringerem als dem britischen Ghoststory-Autor M.R. James (1862-1936) gewidmet ist.
Bereits das James-Zitat "Depend upon it! Some of these things are so, but we do not know the rules!" auf der Rückseite des Booklets deutet die Marschrichtung an: Festgelegte Regeln kennt man hier nicht, und schon gar nicht die des Neofolk. Folglich sollte man sich der Scheibe exakt unter diesem Gesichtspunkt nähern, denn "Ghosts" ist abgedreht, "Ghosts" ist schaurig und "Ghosts" verlangt dem Rezipienten zeitweise einiges an Toleranz ab. Sägende Geigenläufe, diffuse Feldaufnahmen, schräge Flöten-/Pfeiftöne, dumpfe Percussions sowie viele weitere Soundelemente, oft subtil disharmonisch zusammengefügt, erzeugen eine Atmosphäre, welche den Hörer direkt in James' gespenstische Szenarien zu führen vermag, in staubige Bibliotheken, schmutzige Hinterhöfe oder düstere Gemäuer des viktorianischen England. Die Stimmen von "Dr. Wakeford" und "The Rev. King" tun dazu ihr übriges. Während "The Mezzotint" oder "Lost Hearts" in schlichtem Erzählstil dargeboten werden, kommt "The Stalls" als altertümlicher Kanon daher und "Black Crusade" scheint von beiden direkt in einer Kaschemme der Londoner Docks eingesungen worden zu sein.
Doch "Ghosts" ist auch berückend schön. Neben dem durch gezupfte Gitarre und markante Männerstimmen fast erhaben wirkenden "Three Crowns" sind es hauptsächlich jene Titel, in denen die beteiligten Damen Autumn Grieve, Kris Force oder Mercy Liao gesanglich zum Zuge kommen. Dabei kristallisiert sich vor allem das perlende Duett "The Malice of Inanimate Objects" als Höhepunkt heraus. Aber selbst dieses ist von einer unheilsschwangeren Aura umgeben, da die Lieder ständig durch schrille Versatzstücke gebrochen werden, die sich entweder als Intros/Outros oder komplette Tracks einschleichen. Genau das richtige, um die Gruselstimmung immer wieder zu entfachen.
Trotz alledem kommt jedoch eine typische Eigenschaft der Inselbewohner nicht zu kurz, der Humor. Im Booklet präsentieren sich die beiden Protagonisten nämlich launig, wie direkt aus einem der schauerlichen Romane entsprungen. Schrullige Fotos für ein ebenso schrulliges und gerade deshalb fesselndes Album. M.R. James wäre sicher stolz gewesen!" [Medienkonverter]
"The Triple Tree consists of Tony Wakeford (Sol Invictus) and Andrew King aided and abetted by M, Autumn Grieve, Kris Force (Amber Asylum), Guy Harries, Renee Rosen and John Murphy (Death In June, SPK, KnifeLadder), and is an extended homage to the supernatural fiction of M. R. James (with a certain nod to his notable studies in the New Testament Apocrypha) the greatest ghost story writer in the English language, and the finest medievalist of his generation. Join Dr Wakeford and the Rev. King as they search for the Three Crowns, attempt to Cast the Runes, purchase The Mezzotint, follow Mr Abney’s "remarkable enlightenment" in Lost Hearts, and join Count Magnus on the "Black Crusade"! Winter evenings will never be the same again... Digipak with booklet." [label info]
".. Anthony Wakeford and Andrew King is best known as part of the project Sol Invictus, that for more than two decades has combined neo-folk and neoclassical influences with electronic experimentation. The comprehensive experiences in that particular field beautifully flourish on this tribute to haunted tales of medieval times under the project flag "Triple Tree". The atmosphere is perfectly accomplished with some beautiful male and female vocal integrated in medieval folk-expressions that stylishly turns associations towards Dead Can Dance. As a contrast to the organic sounds, the electronic part of the album first of all operates in ambient-oriented soundscapes to create haunting atmospheres of ghouls. "Ghosts" is a strong sonic depiction of early ghost stories from M.R. James, inspiring the listener to dive into the dark forces of the medieval author!" [NM, Vital Weekly]
www.coldspring.co.uk
|
2008 |
€8.00 |
|
| THE [LAW-RAH] COLLECTIVE & CINEMA PERDU |
Invocation |
CD |
"in our lives we meet various people and we get to spend some quality time with a couple of them. depending on who we spend our time with and in what state of mind the time together is spent, we talk about friendship. and the more honest and unconditional this friendship is, the more it adds to the quality of our respective lives. it's a rare thing when you meet someone and right from the first moment you know you add to each others lives. it only happens a few times - and maybe not even that often - but we have all been there and we all recognize those moments; as well as the people it concerns. and yes, those times bring back a warm and fuzzy feeling. but then there are the many ways a friendship can end: a wrongfully interpreted word, a misunderstood thought, incompatible visions or simply because it started to cost more energy then it gave back. as incomprehensible a friendship can begin, it can also end. sadly there are also true and deep friendships that have never ended, even when said friend has left this dimension. the feeling that we're left with is just about the worst feeling ever ... with 'invocation' the [law-rah] collective and cinema perdu present a split album with personal views and interpretations of the emptiness that remains. finding closure in a process of grief. not the most happy of feelings, but it's a feeling we all recognize, an emotion we can all relate to and maybe the one thing we all have problems with giving it a place in our lives. the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. 'invocation' - simply to have that final conversation, to share that final drink, or just to say you care ..." [label info]
"So today we will be looking at (and listening to, of course) some darkly pulsing ambient and asking, “just what is it about this music that makes it so great for processing inarticulate emotions?” Well before I answer that, and while I try not to ‘zone out’ entirely, let me just articulate my feelings right now by saying: This... Is... Great. And, furthermore, it pulses darkly and in all the right places. Ahhh…
It’s a collaborative effort, this, between The [Law-Rah] Collective (Bauke van der Wal) and Cinema Perdu (Martijn Pieck) -- each performing and contributing two individual tracks and a fifth track wherein they combine their compositional efforts. Opening track, ‘1’, by [Law-Rah], pleasantly and gently throbs like the aural equivalent of a deep red Rothko painting. For musical touchstones, think Nurse With Wound and Locust. His second individual track, ‘5’, drones slightly more ominously and is accompanied by a glitchy ‘popping’ sound which is not unlike that made earlier when we were preparing the post here at Norman and a trolley rolled over a long sheet of bubble wrap. These sounds phase in and out and pan woozily to leave the listener a little disorientated.
Cinema Perdu similarly explores the empty psychological spaces which remain once you are all cried out. Really, this is perfect for the final part of the day when this reviewer has precious little more strength to muster. The two tracks Martijn Pieck brings to this disc are as sublime as the previous two by Bauke, in that the music is the contemplative, irresistible, seemingly boundless evocation of space, of internal conflicts easing and resolving themselves outside of time. Plus, his second track features metallic chiming under mallets. I’m a sucker for resonating metal and mallets.
Martijn and Bauke’s collaborative track, ‘4’, is possibly the most affecting of all. What sounds like a sample from a long lost choral masterpiece is used as a bed for found sounds and plucked electroacoustic instruments, with an industrial throb underpinning it all… there’s an organ playing. For a minute there, I thought it was coming from the cathedral in my mind. Then silence. The CD whirrs its death throes and I feel a little more alive." [Norman Rec.]
"THE [LAW-RAH] COLLECTIVE ist ein mehr oder weniger loser Zusammenschluss von Künstlern rings um den niederländischen Musiker BAUKE VAN DER WAL, der das Projekt mit dem enigmatischen Namen um das Jahr 2000 herum gründete. Bevorzugt tummelt man sich im Experimental-, Drone- und Dark Ambient-Sektor, zeigt aber auch keine Berührungsängste mit harscheren, ja dezidiert noisigen Spielarten, was exemplarischen Ausdruck in Kollaborationen mit NAVICON TORTURE TECHNOLOGIES (Box Edition von "The Gospels Of The Gash" und "Your Suffering Will Be Legendary") findet. Überhaupt ist man, was die stilistischen Details betrifft, um relativen Abwechslungsreichtum bemüht, und so reicht das bei discogs aufgespannte Genre-Spektrum von "Elektronik, Pop" über "Experimental, Abstract" bis hin zu "Dark Ambient, Drone". Seiner Grundrichtung bleibt das Kollektiv nichtsdestoweniger treu; nicht umsonst hat man schließlich – nomen est omen – der eigenen Homepage die Adresse "darkambient.net" verpasst. Entsprechend gerne arbeitet man freilich mit stilistisch benachbarten Künstlern wie CISFINITUM oder eben CINEMA PERDU zusammen. Der Mann dahinter, MARTIJN PIECK, ist langjähriger Freund VAN DER WALs, seit 2008 Vollmitglied von THE [LAW-RAH] COLLECTIVE und seit 2011 unter dem nom de guerre CINEMA PERDU aktiv, unter dem er bislang mehrere Alben im File- und Tape-Format veröffentlicht hat.
Die vorliegende CD "Invocation" ist nach dem gemeinsamen Split mit WOODBNDR, "Blue Ruins Under Yellow Skies" von 2014, die zweite dezidierte Zusammenarbeit mit CINEMA PERDU und folgt stringent jener kontemplativen Drone-Programmatik, die im Großen und Ganzen das Leitmotiv für die Arbeit VAN DER WALs mit dem [LAW-RAH] COLLECTIVE abgibt, hier allerdings in ganz besonders vielschichtiger, facettenreicher Form zelebriert wird. Das Thema der CD fordert eine gewisse Besinnlichkeit freilich nachgerade heraus, beschäftigt sich die inhaltliche Ebene von "Invocation" doch mit dem Zerbrechen, Erlöschen, in jedem Fall aber mit dem Ende intensiver Freundschaften und enger Beziehungen, sowie insbesondere mit jener gähnenden Leere, die eine solche, mehr oder weniger gewaltsame Trennung einer tiefen emotionalen Verbindung nach sich zieht – egal, ob sie "nur" einem menschlichen Zerwürfnis, einer individuellen, existenziellen Krise oder gar dem physischen Ableben eines der Beteiligten geschuldet ist: "Invocation" versteht sich, so führt der Promotext aus, als "split album with personal views and interpretations of the emptiness that remains. Finding closure in a process of grief." Vor diesem Hintergrund erschließt sich denn auch ganz zwanglos der Hintersinn jener Sentenz, die sich auf der Innenseite des CD-Kartonschubers findet: "Some things were never meant to change but here we are" ...
Das beim Berliner RAUBBAU-Label erschienene Album enthält sechs unbetitelte, lediglich durchnummerierte Tracks zwischen knapp acht und knapp zwölf Minuten Länge – etwas Zeit, Muße und Geduld sollte der interessierte Hörer also schon mitbringen, möchte er sich mit dieser, ohne Worte auskommenden, "conversation about what really matters" auseinandersetzen. Wer nun allerdings vom leidlich bekannten, sich über die komplette Laufzeit spannenden, mediokren Einheitsgebrumme ausgeht, das so betrüblich oft unter der Bezeichnung "Dark Ambient" firmiert, wird erfreulicherweise eines besseren belehrt: Lediglich das erste und das letzte Stück, beide von THE [LAW-RAH] COLLECTIVE eingespielt, präsentieren sich als ausgesprochen dronige, tiefenentspannte, einzig durch allerlei Rascheln, Knistern und anderweitige Störfrequenzen in minimale Regung versetzte, dabei jedoch niemals langweilige Soundmeditationen, während die von CINEMA PERDU beigesteuerten Beiträge 2 und 3 deutlich experimenteller und collagenhafter daherkommen – streckenweise fühlte sich der Rezensent durchaus ein wenig an NURSE WITH WOUND erinnert. Die eigentliche Zusammenarbeit zwischen den beiden Outfits, Track Numero 4, gibt denn auch das interessanteste Stück des Albums ab und entwickelt sich, ausgehend von einem sakralen, durch rotorartiges Flattern fragmentierten Choraleinstieg, hin zu einem, schon fast treibend-rhythmischen Mittelteil, um schließlich in einem amorphen, alle Strukturen wieder einschmelzenden Klangbad zu verhallen. Nicht alles auf "Invocation" ist also gar so meditativ, wie es auf den ersten Eindruck und nach Lektüre des zitierten Begleittextes scheinen mag – nach einigen Hördurchgängen entpuppt sich das versammelte Material in der Gesamtschau vielmehr als erfreulich abwechslungsreich und immer wieder für das eine oder andere überraschte "Oho!" gut.
Fazit: THE [LAW-RAH] COLLECTIVE & CINEMA PERDU legen mit "Invocation" ein rundum gelungenes Werk vor, das routiniert mit den Genregrenzen spielt, sie ausweitet und bisweilen beinahe transzendiert, ohne dabei jemals bemüht zu klingen, sich in Beliebigkeiten zu verheddern oder in akademischen Frickeleien zu verlieren. Beide Projekte interagieren perfekt miteinander und realisieren so ein bemerkenswertes, ebenso meditativ-hypnotisches wie dramatisch dichtes Album, das durch seine implizite Programmatik und die unprätentiöse Art & Weise, in der diese präsentiert wird, noch zusätzlich punktet: "the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. we hope it can do the same to you." – Irgendwie ist die ganze Veröffentlichung ... einfach ... sympathisch. Und wer kann schon etwas gegen sympathische Musik haben? Der Autor dieser Zeilen jedenfalls nicht." [Endsal/NON-POP]
|
2016 |
€13.00 |
|
| THEE SILVER MT. ZION MEMORIAL ORCHESTRA |
Fuck off get free we pour Light on everything |
LP |
"THEE SILVER MT. ZION haben über sieben Alben seit 1999 hinweg einen stacheldrahtbewehrten Bogen der Protest Music gespannt. Erst kürzlich haben sich THEE SILVER MT. ZION MEMORIAL ORCHESTRA auf nur fünf Musiker zurückgestutzt. Menucks massive E-Gitarre fungiert hier als Rückgrat, um das zwei Geigen, ein Bass (dieser Tage öfter elektrisch als akustisch) und das Schlagzeug rotieren. "Fuck Off Get Free We Pour Light On Everything" ist das erste definitive Dokument des neuen Sounds und Stils der Band als Quintett. Das Kernstück des Album, ,Austerity Blues" mit seiner Abschlusszeile "Lord let my son live long enough to see that mountain torn down" gesungen in verschiedenen Spielarten über die zweite Hälfte des 14-minütigen Epos, personifiziert den unerschrockenen Blick Menucks auf eine Welt voller Erbärmlichkeit, Gier und Ungerechtigkeit, betrachtet durch die Linse von Elternschaft, Sterblichkeit, Durchhaltevermögen und Trotz. Dies ist keine fröhliche Musik, aber sie kann auch nicht einfach so als apokalyptisch und weltmüde abgestempelt werden. ,Fuck Off Get Free" wütet voller Zorn und Hoffnung und ist zugleich absolut leidenschaftlich und bewusst unromantisch. THEE SILVER MT. ZION MEMORIAL ORCHESTRA zeigen einmal mehr, das es so viel gibt, gegen das sich kämpfen lässt. Im Unterschied zu anderen Bands haben THEE SILVER MT. ZION die passenden Kampfsongs im Gepäck. //
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed You! Black Emperor, the other group in which all three founding SMZ members also played (and continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and shifted towards an increasing use of lead and group vocals, with Menuck penning politically-charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified guitars against a 4-piece string section of violins, cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum-spanning electric guitar sound emerging as the spine around which two violins, bass (now more often electric than acoustic) and drums are deployed. SMZ have managed a handful of short tours in the past couple of years (in the gaps between GYBE commitments) and as anyone who has seen the band in its recent incarnation can attest, their current sound is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage and dark metal influences that have nothing to do with anything so quaint as “post-rock” (a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of the band's newfound sound and style as a quintet. It’s also their first single LP-length work since the band’s debut record as a trio almost 15 years ago, and features road-tested pummeling rock-outs “Fuck Off Get Free (For The Island Of Montréal)”, “Take Away These Early Grave Blues” and “What We Loved Was Not Enough” alongside the previously unheard lullabyes/minuets “Little Ones Run” and “Rains Thru The Roof At Thee Grande Ballroom (For Capital Steez)” and the album centerpiece “Austerity Blues” with its closing lyric “Lord let my son live long enough to see that mountain torn down” sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance and defiance. There are few other musicians who deliver social critique with the courage and honesty of lines like “All our cities gonna burn / All our bridges gonna snap / All our pennies gonna rot / Lightning roll across our tracks / All our children gonna die”. Feel-good music this is not; but neither can it reductively be tagged apocalyptic or world-weary. Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working today, that there is much to fight for and against, and plenty more fight songs to sing." [label info]
www.cstrecords.com
|
2014 |
€21.00 |
|
| |
Fuck off get free we pour Light on everything |
CD |
"THEE SILVER MT. ZION haben über sieben Alben seit 1999 hinweg einen stacheldrahtbewehrten Bogen der Protest Music gespannt. Erst kürzlich haben sich THEE SILVER MT. ZION MEMORIAL ORCHESTRA auf nur fünf Musiker zurückgestutzt. Menucks massive E-Gitarre fungiert hier als Rückgrat, um das zwei Geigen, ein Bass (dieser Tage öfter elektrisch als akustisch) und das Schlagzeug rotieren. "Fuck Off Get Free We Pour Light On Everything" ist das erste definitive Dokument des neuen Sounds und Stils der Band als Quintett. Das Kernstück des Album, ,Austerity Blues" mit seiner Abschlusszeile "Lord let my son live long enough to see that mountain torn down" gesungen in verschiedenen Spielarten über die zweite Hälfte des 14-minütigen Epos, personifiziert den unerschrockenen Blick Menucks auf eine Welt voller Erbärmlichkeit, Gier und Ungerechtigkeit, betrachtet durch die Linse von Elternschaft, Sterblichkeit, Durchhaltevermögen und Trotz. Dies ist keine fröhliche Musik, aber sie kann auch nicht einfach so als apokalyptisch und weltmüde abgestempelt werden. ,Fuck Off Get Free" wütet voller Zorn und Hoffnung und ist zugleich absolut leidenschaftlich und bewusst unromantisch. THEE SILVER MT. ZION MEMORIAL ORCHESTRA zeigen einmal mehr, das es so viel gibt, gegen das sich kämpfen lässt. Im Unterschied zu anderen Bands haben THEE SILVER MT. ZION die passenden Kampfsongs im Gepäck.//
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed You! Black Emperor, the other group in which all three founding SMZ members also played (and continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and shifted towards an increasing use of lead and group vocals, with Menuck penning politically-charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified guitars against a 4-piece string section of violins, cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum-spanning electric guitar sound emerging as the spine around which two violins, bass (now more often electric than acoustic) and drums are deployed. SMZ have managed a handful of short tours in the past couple of years (in the gaps between GYBE commitments) and as anyone who has seen the band in its recent incarnation can attest, their current sound is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage and dark metal influences that have nothing to do with anything so quaint as “post-rock” (a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of the band's newfound sound and style as a quintet. It’s also their first single LP-length work since the band’s debut record as a trio almost 15 years ago, and features road-tested pummeling rock-outs “Fuck Off Get Free (For The Island Of Montréal)”, “Take Away These Early Grave Blues” and “What We Loved Was Not Enough” alongside the previously unheard lullabyes/minuets “Little Ones Run” and “Rains Thru The Roof At Thee Grande Ballroom (For Capital Steez)” and the album centerpiece “Austerity Blues” with its closing lyric “Lord let my son live long enough to see that mountain torn down” sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance and defiance. There are few other musicians who deliver social critique with the courage and honesty of lines like “All our cities gonna burn / All our bridges gonna snap / All our pennies gonna rot / Lightning roll across our tracks / All our children gonna die”. Feel-good music this is not; but neither can it reductively be tagged apocalyptic or world-weary. Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working today, that there is much to fight for and against, and plenty more fight songs to sing." [label info]
www.cstrecords.com |
2014 |
€14.50 |
|
| THEME |
Our Angels dislocated |
CD |
RICHO JOHNSON (HUSK, SPLINTERED) is back! Das Trio THEME besteht aus mindestens zwei Leuten der ursprünglichen SPLINTERED-Besetzung, tönt aber weit experimenteller & ambienter als man es von den eher rockigen SPLINTERED gewohnt war..... hier werden lichte Loop-Drones, Sitarklänge & indisch anmutende Meditations-Gesänge zu pulsierend-trancigen, organischen Soundscapes vermengt.. ihre zweite CD.
”The second album from this UK/Poland-based trio, following several years since their warmly received 'On Parallel Shores Removed' CD (Fourth Dimension/Tremor Recordings), offering a rich, organic and atmospheric tapestry of ideas that serves as a revitalised statement of intent. Combining sitars, violin drones, guitar strums, mutterings from an otherwise deserted midnight subway, electronic swirl, piano and all manner of otherworldly textures, 'Our Angels Dislocated' remains both focused and complex enough to cast new shadows with every listen. Complete with exclusive artwork by British sculptor, Mo Jupp, it fits perfectly into Lumberton Trading Company's erratic and often changeable grand design. NB: If you have already purchased the original version of this album, with the manufacturing fault (a 'jump' between tracks 2 and 3), please do not hesitate to return it to wherever you purchased it from in order to arrange our replacing it with the repressed version.” [label description]
|
2006 |
€13.50 |
|
| THEODOR BASTARD |
Bossanova_Trip |
CD |
"BossaNova_Trip" is the highlight of the early experimental period of Theodor Bastard. A non-vocal electronic album recorded by Fedor Svolotch (Alexander Starostin) in 2002 several years before the formation of the band’s key line-up. 14 original utterly minimalistic tracks of the album were on the cutting edge of the avant-garde trends of that time and are worth comparing to the best glitch releases of such labels as Mego, Raster-Noton and Sonig. Aimed at the most sophisticated music lovers, "BossaNova_Trip" has completely fulfilled the ambitions of Fedor Svolotch as a skillful master of sound design and had a strong influence on the unique sound of the later well-known albums of Theodor Bastard. It was on this recording that the track "PU's_Tota" originated in its initial electronic proto-version which, in highly modified form, became the band's first major hit two years later. This reissue features a bonus track – the vocal version of "PU's_Tota", originally released on the compilation that came along with the BulDozer#2 magazine. The melody and the lyrics sung by Yana Veva, which are now so familiar to the fans of Theodor Bastard, appeared in this version for the first time.
zhb.radionoise.ru/eng/zhbd-17.html
* * * * * * *
"BossaNova_Trip" – вершина раннего экспериментального творчества Theodor Bastard. Безвокальный электронный альбом, записанный Фёдором Сволочью (Александром Старостиным) в 2002 году за несколько лет до формирования основного состава группы. 14 оригинальных крайне минималистичных треков альбома находились на острие авангардных тенденций того времени и достойны сравнений с лучшими глитчевыми релизами лейблов Mego, Raster-Noton и Sonig. Расчитанный на самого искушенного меломана, "BossaNova_Trip" в полной мере реализовал амбиции Фёдора Сволочи как утончённого мастера саунд-дизайна, оказав сильное влияние на уникальное звучание последующих всем известных альбомов Theodor Bastard. Именно на этой записи зародился трек "PU's_Tota" в своей изначальной электронной протоверсии, который спустя два года в сильно изменённом виде стал первым самым главным хитом группы. В качестве бонус-трека на переиздании представлена вокальная версия трека "PU's_Tota", первоначально выпущенная на сборнике-приложении к журналу "БульDozer#2" – в этой версии впервые появилась так хорошо знакомая поклонникам Theodor Bastard мелодия с текстом в исполнении Яны Вевы.
https://zhbd.bandcamp.com/album/bossanova-trip
|
2018 |
€13.00 |
|
| THIS HEAT |
Deceit |
CD |
Re-issue from second regular LP from 1981. Remastered 2001. A milestone of experimental music.
"...Im Vergleich zum Debut ist "Deceit" - was Betrug oder List bedeuten kann (Melodieselige und Neoprogger also vorsicht!), aber auch, wenn man den Titel ein paarmal schnell hintereinander auspricht, den Bandnamen ergibt - etwas songorientierter und weniger laut geraten. Um Betrug geht es in der Tat auf dieser Scheibe, zumidest stellenweise. So thematisiert "Makeshift Swahili" z.B. (unter anderem) die Vertreibung der nordamerikanischen Indianer und um die davor gemachten Versprechen. In "Independence" wird der Text der amerikanischen Unabhängigkeitserklärung "kritisch" vertont. Zeitkritik unter dem Motto "history repeats itself" - der Anfang von "Cenotaph" - steht hier im Mittelpunkt, auch außermusikalisch, so ist z.B. "Suffer Bomb Disease", der Titel des letzten Tracks, in japanischen Schriftzeichen abgedruckt. Ansonsten sind die Texte recht kryptisch und mitunter schwer zu enträtseln, wie auch die dazugehörige Musik.
Im Vergleich zum Erstling ist "Deceit" also nicht mehr so extrem und laut, ist reduzierter, dafür aber subtiler. Die industrialartigen Momente sind nicht mehr vorhanden, oder besser, sie sind verändert worden. Klang es auf "This Heat" mitunter nach einem Dampfhammer, so erweckt die Musik auf "Deceit" eher den Eindruck eines Uhrwerks, ein rhytmisch-monotones Klappern und Klopfen, das in seiner repetitiven Motorik am ehesten noch an Can erinnert ("Paper Hats" z.B., das nicht nur vom Titel her Erinnerungen an "Paperhouse" von "Tago Mago" weckt). Für diesen Effekt ist einmal mehr Haywards metronomenhaftes, aber gleichzeitig unglaublich vielseitiges und abwechslungsreiches Schlagzeugspiel verantwortlich. Dazu kommen Bullen und Williams, die hauptsächlich Töne, die ihren Ursprung in Gitarre und Bass haben, beisteuern, verfremdet, mehrfachst übereinandergelegt und durcheinander gemischt. Aber auch Klarinetten- und Keyboardklänge gibt es hier zu hören, ebenso fast unkenntlich gemacht, zusammen mit einer Myriarde anderer Sounds, Sprachfetzen und Geräusche, deren Ursprung kaum zu erahnen ist. Bullen und Hayward besingen die Stücke oft gemeinsam, in gleich - oder auch gegenläufigen, einander kontrastierenden Gesangslinien. Auch die Art und Weise zu singen ist sehr verschieden. Bullen singt die Texte recht emotionlos-gleichförmig vor sich hin, während Hayward durchaus Melodien von sich gibt, mitunter aber sehr schräg und fast verzweifelt kreischt ("Paper Hats", "Makeshift Swahili"), damit aber unglaublich intensive Emotionen freilegt. "Radio Prague", "Triumph" und "Suffer Bomb Disease" sind reine, minimalistische Klangkreationen, fast zerbrechliche Music-Concrete-Experimente. Alles auf dieser Scheibe ist schräg und seltsam, gibt aber das Zeitgefül der frühen 80er eindringlich wieder. Aber diese Musik ist zeitlos; wäre das Album 15 Jahre später erschienen, hätte es wohl unter Post-Rock-Freaks für Aufsehen gesorgt. So tat dies die Scheibe in New Wave-Kreisen.
"Deceit" ist eine der wichtigen Scheiben der 80er, mit progressiver Musik einer Avantgarde-Formation, die sich, wie z.B. auch Art Zoyd, Univers Zero, Present, Shub Niggurath oder Fred Frith (und die diversen Formationen, mit denen er tätig war), erfolgreich von ihren 70er-Prog-Wurzeln gelöst hatten, um etwas wirklich Neues zu machen." [Babyblaue Seiten]
|
2006 |
€14.00 |
|
|
same |
CD |
Endlich wieder erhältlich, die erste LP (1979) der wegweisenden britischen Avantgarde-Band. Bis heute lässt sich ihr Stil nicht wirklich schubladisierend fassen, es ist halt THIS HEAT und nix anderes ! Auch in der gerade erschienenen „Out of Cold Storage“-Box enthalten! Eine bekannte Mainzer Buchreihe hat sich übrigens nach dem Intro dieser LP - TESTCARD - benannt.
„Was diese so Band so ausnehmend macht und selbst unter heutigen Maßstäben so ungemindert bestechend, ist in meinen Ohren der Thrill zwischen schwebenden Momenten, in denen die Musik die Luft anzuhalten oder garottiert zu werden scheint und sich enorme Energie aufstaut, und den unglaublich intensiven Eruptionen in Gestalt des ostinaten Drummings und sich ins Gehirn fressender Loops. Dazu kommt dann noch an besonders sublimen Momenten HAYWARDs Gesang mit einem Timbre, das einem die Kehle zuschnürt durch den wehen Ton und mit heißkalter Dringlichkeit die Schädeldecke aufstemmt....“ [Bad Alchemy #51]
“A landmark recording by one of most important British bands, full stop. this, their first release, tore up the book and laid new rules for band composition and performance. First, the music: without precedent, then, the musicians: all extraordinary, all uncompromisingly radical, then the way it was all put together: endlessly surprising, hammeringly intense, and the sound: hard, radical, crafted, rich, with complete control of the frequency range. Beautifully recorded, radically mixed, this was breathtakingly present. Stripped back to the bone but never simplified. And it hasn't aged. this is deep, complex work that creates its own world, anticipating much that was to follow in the next 15 years. A luminous release out of print (for almost a decade?). Re-mastered by the group for this re release.“ [label info]
|
2006 |
€14.00 |
|
| |
Health & Efficiency |
maxi-CD |
CD Re-issue of the genius 12" from 1980, re-mastered !
"1980 veröffentlichten This Heat die hier besprochene 12"-EP (oder Maxi-Single), die 1998 von These Records als Mini-CD wiederaufgelegt wurde. Gleichzeitig erschien das Material zusammen mit den Stücken von "Repeat" auf einer Doppel-LP (mit dem Titel "Health & Efficiency / Repeat"). "Graphic/Varispeed" ist zudem auch auf der "Repeat"-CD zu finden.
Zwei sehr unterschiedliche Stücke haben This Heat hier auf die beiden Seiten der EP pressen lassen. Das Titelstück stellt ein Destillat der Musik der drei Engländer dar, eine energiegeladene Zusammenfassung ihrer musikalischen Ideen in 8 Minuten, ein dichtes und spannendes Konglomerat aus schrägem Song, Tonbandeffekten, RIO-Krach, Schlagzeug-Freakouts, quasiindustriellen Klängen, wavigem Rock, Canterbury-Rudimenten und nervösem Tonschweben. "Health & Efficiency" ist meiner Meinung nach das beste Stück, dass This Heat je gemacht haben. Wer sich nur eine Nummer der Gruppe antun möchte, sollte sich dieses Stück anhören. Genial!
"Graphic/Varispeed" bietet dann, mehr oder weniger, nichts. Ein ewigliches, einförmiges Tonschweben kommt hier aus den Boxen, mal lauter mal leiser, mal hoch mal tief, mal weich mal hart. Wenn man das Brummen eines alten Kühlschranks aufnehmen würde, wäre das Ergebnis wohl ein ähnlich abwechslungsreiches Stück "Musik". Das Ganze ist eine extreme Minimal-"Kunst", die man wohl mit einem verblüfft-verständnislosen Lächeln hinnehmen muss. Man kann den Nichts-Effekt übrigens noch steigern, wenn man die EP bei 33 rpm abspielt ... den Besitz der Vinylversion vorausgesetzt (diese langsame Version der Nummer ist übrigens auf "Repeat" zu finden).
Trotzdem, das Titelstück sollte man kennen (wenn man denn die beiden Studioalben von This Heat schätzt)!" [Achim Breiling / Babyblaue Seiten]
www.rermegacorp.com
|
2006 |
€9.50 |
|
| THOROFON |
New Heroes Essential |
CD |
" "New Heroes" war das dritte und letzte Album von Thorofons erster Inkarnation. Veröffentlicht wurde es 2005 auf United Manipulation Broadcasting und war der dritte Teil der Circle of Power Trologie. Nach der Veröffentlichung lösten Thorofon sich auf. (Später kamen Thorofon mit dem "Exkarnation" 2011 zurück). Ein bisschen weniger rau als seine Vorgänger, inkludierten Thorofon zum ersten Mal tanzbare Rhythmen in die Musik. Ein gewisses Popflair ist auch vertreten. Ebenso Vocals von Genevieve Pasquier. Auf "New Heroes" finden sich Klassiker wie "Spermicide" oder "Gigamesh". Für das Reissue hat die Band die besten Songs aus sem Album ausgewählt, weil man das Gefühl hatte, dass die originale LP ein wenig zu lang war. Wie bei den anderen Re-Issues gibt es auch hier rare Bonustracks. Ein Muss für jeden Fan von klassischem Industrial." [label info]
www.klanggalerie.com
|
2012 |
€15.00 |
|
| THU20 |
Tilburg |
LP |
"... Die Hörer werden ins Zentrum der ‚Noise Culture‘ gestellt und die heiß-kalte Dusche aufgedreht. Ich halte ‚Noise Culture‘ immer noch für eine gute Zustandsbeschreibung, gerade weil die Desensibilisierung und das Cocooning zu immer mehr Gewöhnung und Abstumpfung führen. THU20 kratzt, lässt rauschend und brodelnd, lässt rumpelnd, knurrend und prasselnd den Alltagsnoise über die Haut und die Trommelfelle spürbar werden. Und macht damit den Kippeffekt klar, dass (nur) aktives Krachmachen und bewusstes Hören mit lustvollem Nervenkitzel und neuem Schönheitssinn einher gehen können. Der zweite Set in Tilburg taucht nach einem französisch gestotterten Sprachsample in ein relativ leises Wellental, in dem es knistert und metallisch klingklangt, um dann motorisch brummend und mit aufsteigenden Glissandos die anschließende Steigung zu erklimmen. Auf dem Plateau, trotz Regengeplätscher, eine andere Perspektive. Und die Andeutung, dass all der Lärm, alle Müh und Plag, zur Ruhe kommen könnten." [Bad Alchemy]
"A live recording made in Paradox in Tilburg in October 2007. Over the past twenty years one of the bigger enigma's of 'industrial' music or 'modern musique concrete' has been THU20. They seldom record or play live, yet when they do, a lot of attention is placed on the detail. In the studio this leads to perfectly shaped sonic constructions, and in a live concert a detailled balance between the various interests of the five players involved. The computer work of Jos Smolders and Roel Meelkop, the acoustic sound objects of Peter Duimelinks and Frans de Waard and the analogue electronics of Jacques van Bussel. A small selection of live recordings by THU20 has been made avialable before, such as a split LP with Merzbow, and live recordings from Nancy. 'Tilburg' fits that particular line of THU20 work. Various recordings were made, from the P.A. aswell as by the individual players, which were slightly edited by THU20. Cover by Meeuw." [label info]
www.kormplastics.nl
|
2008 |
€13.50 |
|
| |
Vroeg Werk |
do-CD |
"First anthology of legendary dutch electroacoustic group of musicians whose names can be definitely placed in range of true underground stars and passionary pushers of contemporary experimental music scene. First CD in this double album is compiled from studio works, unreleased or taken from rare compilations, second CD gathers the best concert recordings. Release date is 29th December 2012. Limited edition of 500 copies in jewelcase." [label info]
www.monochromevision.ru
"Sometime in the early '80s, a bunch of young Dutchmen formed a couple of post-punk bands that nobody remembers anymore; but on one Thursday that happened to be the 20th of some month, one of those bands abandoned their rhythms entirely and splattered out a drone-tape and synth-noise set that had the audience freaking out. The punk structures were scrapped entirely and THU20 was stuck onto this project as the new name. Get it? The Dutchmen of THU20 included Jac Van Bussel, Peter Duimelinks, Roel Meelkop, Jos Smolders, and Guido Doesborg (later replaced by the ubiquitous Frans De Waard). The mid to late '80s proved to be a highly prolific time for THU20, although the project continues on to this day at a much more restrained pace. The ideas that went into THU20 transitioned from Joy Division into Cabaret Voltaire & Throbbing Gristle quickly arriving at a DIY punk form of musique concrete and electro-acoustic experimentation. Such was a similar trajectory for the German ensemble P16.D4, albeit towards even more unconventional goals. In the studio, THU20's work could be austere and brutalist in the obfuscated collages and disjointed slabs of noise; but the live version of THU20 proved to be far more shambolic, dynamically expressive, and rewardingly chaotic. Vroeg Werk is a diverse collection that spans both of these modes of operation, with the second of these two discs being entirely live recordings and the first culling from the dustbin of the cassette culture. The studio material found on disc one has some semblances of the more abstracted tape work found on Einsturzende Neubauten's Drawings Of O.T sans Blixa, with the opening track "5720" being particularly choice. But, the live material is really where THU20 shine, grafting gritty electro-acoustic noise sourced from voice, tape, synth, feedback, pedals, shortwave, power tools, scrap metal, and who knows what else onto thin rhythmic spines of morse code blips, overblown tape loops, and primitive drum machinations. Effectively, THU20 would land somewhere between the panzer bleakness of MB and the viral shredding of Nocturnal Emissions. Not a bad place to be..." [Aquarius Rec.]
"And then there is 'Vroeg Werk' by THU20. Now I am the last person to review that, you may claim, right so, but I really don't have that much to do with it. By accident I was present at two concerts, and added vocals (?) to one and a synth to the other, which makes a total of five out of thirty-one pieces. This double CD reflects the early works of THU20, an original five piece with Jos Smolders, Peter Duimelinks, Jac van Bussel, Roel Meelkop and, in these early years, Guido Doesborg. Started out by Doesburg and Van Bussel as a sideline project to Club Rialto, they experimented in their early years with feedback, sample delay pedal boxes, a synth, a rhythm machine and then slowly something such as 'composition' came in, along with the other three members. THU20 were part of the big cassette scene (see also the P16.D4 of two weeks ago), sending out their pieces to compilations. The first discs collects these in chronological order (which is commendable, but it means it's doesn't start out with the best tracks), ending with their twenty minute concert in Bordeaux from 1989 (originally released as a split LP with Merzbow). The whole of the second CD has concert recordings of the years before that, 1986-1989, plus one from 1992. Here we find THU20 improvising freely with electronics, turntables, tapes, synthesizer and sometimes, but not always, guided by a backing tape and a loose notion of a graphic score. Many of these pieces are well-known to me, following the band from their very early days, but boy, they sound great here. The muffled sound of the cassettes is complete washed away and all of these piece shine like diamonds. You could argue if 150 minutes is a bit much, wether the chronological order is a great idea, but this is some truly exciting music. It combines the industrial music of say 1986 (feedback, noise) with the more rough edged notion of musique concrete, electro-acoustic, and it follows this band to find their own way in this. Many of their previous releases are hard to find these days ('Eerste Schijf', 'Tweede Schijf', 'Derde Schijf' or 'Elfde Uni'), and surely here's a band who deserved their own big box set. That is not likely to happen, but this 'small' (what is small?) box set is worth every penny. And still kicking around, THU20 works on a very irregular basis in 2013, in a slightly different line up. Who would have guessed?" [FdW/Vital Weekly]
|
2012 |
€16.50 |
|
| THUJA |
Pine Cone Temples |
do-CD |
Episches neues Werk dieses 4-köpfigen kreativen Geräusch-Improvisations-Kollektivs, deren Klangquellen keine Begrenzungen zu kennen scheinen. Neben gewöhnlichen Instrumenten werden field recordings aber auch konkretes Material eingesetzt. Die Improvisationen klingen so sensibel & fein verwoben als seien sie „gewollt“ komponiert. Jedes neue Stück offenbart überraschende Sounds, und doch wirkt das Werk wie aus einem Guss. Entspannter „Abstrakt-Geräuschambient“, der niemals langweilig wird. Bei THUJA wirkt LOREN CHASSE von ID BATTERY mit, die auch eine Single auf Drone hatten – nicht nur deswegen sei dieses Werk hiermit in höchstem Maße empfohlen !
“By incorporating real-time recordings of natural sounds from their particular surroundings, the four members of Thuja play off each other and the space they inhabit with impeccable instinct, succeeding in creating eerie yet strikingly melodic compositions. The end result is a total immersion of the senses, for both the player and the listener. Across the grand expanse of Pine Cone Temple's two discs, implements such as piano, guitars, percussion, and well-placed contact mics are blended like pigments to conjure the subtlest of sonics, pulling every lost drop of their immediate universe into floating and buzzing cinematics. Minimalist hues are brush-stroked into being and slowly unfurl into the atmosphere. Improvised clouds of sound softly erupt to form compositions of such immense and precise detail, it would seem the music was written out rather than spontaneously developed. Such is the magic of Thuja and their uncanny ability to sculpt microscopic psychedelia from their immediate environment and collective consciousness.” [label info]
“....and all of them loosely based in one way or another on nature, or natural sounds, or the way music and found sounds interact with the spaces they are performed in. There are instruments like guitars, drums, bass, but more often than not, you'll find sticks and stones, found objects, junk, all sorts of industrial and natural detritus, recorded, re-broadcast, and recorded again. Utilizing natural reverb, the sounds of certain spaces, ambient sounds as well as making the act of making music, music in itself. Wow. So what does Pine Cone Temples sound like? It's wide open and expansive. Ambient perhaps, but there's too much going on for it to be strictly ambient. It's more a sort of abstract soundscape, the sort of soundscape the requires close listening, active listening, in order to understand, and feel the sounds, not just hear them. The rustle of leaves, crickets maybe, running water, or are those sounds manufactured by the band in an attempt to pay homage to the music of nature? Does it matter. Maybe its both, the sound of running water accompanied by Thuja emulating the sound of running water. Clicks and creaks, and little bits of clatter, a simple melody played on a recorder, warm organ warble, whipsering wind, toy xylophone notes released and left to drift in the slowly shifting breeze, distant bird calls, reverbed piano, dark cavernous rumbles, shimmering single notes stretched perilously across a sound field dotted with the echo of dripping water and the buzz of vibrating guitar strings. This isn't so much music as it is simply sound, sound that has been lovingly shaped and guided, observed and interacted with, recorded in its element. As if Thuja were just recordists, who use their own sounds to lure the sounds of nature to come just a little closer, in order to capture them raw and natural, and incorporate them into the sun dappled cloak of their jewelled nature-folk. The sounds of music can be smooth and soothing, or raw and primitive, as can the music of sound, and thus Thuja, whose music of sound is pure, and organic, lush and lustrous, and breathtakingly beautiful.” [Aquarius Records]
www.strange-attractors.com |
2005 |
€15.00 |
|
| TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE |
The Breath of the Hydra |
CD |
A three way collaboration between the Germany based THE OVAL LANGUAGE, the Catalan TIBETAN RED and DAS SYNTHETISCHE MISCHGEWEBE living in Rennes, France. In an on and off exchange since end of 2016, a continuous exchange of audio material, ideas and suggestions. Salvador Francesch and Guido Hübner meet again after long years at the occasion of a concert of the latter one at the LEM festival in Barcelona. Since then working together became evident as was the choice of including Klaus-Peter John with whom several collaborations had already seen the light of day through the years, most notably the homage to the late Carlfriedrich Claus ‘sprechzimmern’ with RLW as well as a 2x CD collection of collaborations on the notorious Monochrome Vison label in Moscow.
The association of their different sound worlds and even more specifically their extremely particular fashions of creating them was meant to merge and melt in a whole able to blur clear distinctions with only an occasional sneaking out of a head and a hissing tongue amongst many that takes the scent and direction respectively in the brooding heat that forges shape and carves direction.
TIBETAN RED Salvador Francesch is a catalan-canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has released 5 CDs in his Tibetan Red project. His work pursues experimentation with sounds that seek to convey some aspects of his interest in Eastern rituals and ceremonial art.
THE OVAL LANGUAGE Klaus-Peter John is from Leipzig, the project started as a trio in the early 80’s working to turn into his solo project with sound, noise works in open spaces, photography, installations and land-art informed projects in which mainly the voice is put center stage.
DAS SYNTHETISCHE MISCHGEWEBE started in the early 80’s in Berlin with cassette production and performative concerts, exhibitions and installations to which a D.I.Y. approach of a lot of customized equipment became inherent accompanying an interest in several areas of science and technology. Moved to Barcelona then France, producing many recordings and performance works.
https://emerge.bandcamp.com/album/the-breath-of-the-hydra
"The Breath of the Hydra (ACU 1029), da weißt man ja, es sind drei Köpfe. So auch hier: TIBETAN RED + THE OVAL LANGUAGE + DAS SYNTHETISCHE MISCHGEWEBE. Ersterer, Salvador Francesch in La Garrotxa in den katalonischen Pyrenäen, hat dem mit Todo entretenimiento es una anticipación del infierno auch das Motto vorangestellt. Der Dichter José Bergamin soll das gesagt haben, als Vorstand der Alianza de Intelectuales Antifascistas der kulturelle Kopf der Spanischen Republik, der Picasso den Auftrag zu "Guernica" gegeben hat. Francesch teilt mit Bergamins Rechtfertigung des 'Roten Terrors' allemal die Vorliebe für Rot und offenbar auch die Vorfreude auf die Hölle. Blödsinn, natürlich die Abneigung gegen Amusement. Er ist mit seinem Debut 1985 auf Freedom in a Vacuum nicht ganz so lange dabei wie Guido Hübner, der ab 1981 sich der Cassette- & Soundculture einschrieb. Bei "Sprechzimmern" (2015), einer Hommage an den konkreten Lautpoeten Carlfriedrich Claus, und zehn Jahre zuvor bei 'Papillon Schizophone' war er dabei auch schon mit Peter John zusammengekommen. Der Leipziger, der in den 80ern als Sänger bei Neu Rot (!) anfing, hat sich nach "Hibernation" & "Waldkonzerte" auf Edition Telemark zuletzt mit "Hexen Hexer" gegen Denunziation und Hexenjagden positioniert, auch wenn heute dabei, anders als im Spanischen Bürgerkrieg und beim Hydraschlachten, seltener Blut fließt. Ich kann mir eine 'Melancholie des Widerstands', wie sie Hübner von László Krasznahorkai aufgegriffen hat, als das Verbindende zwischen den dreien vorstellen bei ihrem alchemistischen Procedere mit brodeligem Köcheln und Sieden, das einher geht mit kratzigen und schleifenden Impulsen und hohleren, quasi perkussiven Anmutungen, die das überwölben. Dazu vexieren zirpige, halbwegs natürliche Klänge mit einem leisen, hauchzarten 'Schreiben' mit metallischem Griffel, über das motorische, zischende, sirrend oszillierende Attacken hinweggehen und einen industrialen Dominator installieren, der impulsiv oder gedämpft rumort und infernalische Stimmen nur ahnen lässt. Der Griffel schreibt weiter in einer opaken Nichtstille und hat dabei etwas von einem Keuchen oder Röcheln an sich. Martialische Wellen mischen das auf, und zischende Ventile machen das zu einem Tauchgang in die Schinderwerkstätten der Schlotbarone. Trappeliges Toben, abgerissene Kürzel und tatsächlich der Kehle entrissene Laute verunklaren dabei die Differenz von Mensch-Maschine, Organisch-Anorganisch, Außen-Innen, Hart-Weich, Makro-Mikro. Immer wieder leise als bruitistische Audiographie aus winzigen, halb wie gehauchten Krakeln vor einer nun dröhnend bebenden Klangwand. Wenn nur das Schreien nicht wäre, das infernalische, kaum zu hören, aber doch nicht zu leugnen. Ganz in der Nähe - Folterkeller, Höllen. Die satanischen Mühlen mahlen als zerrende Tonbandspuren, weiß der Teufel, was sich hinter verschlossenen Türen alles abspielt. Scharrt da wer an Metall? Was sind das für unheimliche Heimlichkeiten?" [Bad Alchemy]
"German Attenuation Circuit label run by Sascha aka EMERGE, has released a new album in which three sound artists of electronic experimental music collaborate: German artist The Oval Language, Catalan Tibetan Red and Das Synthetische Mischgewebe who lives in Rennes, France.
"The Breath of the Hydra" is the result of exchanging audio files since the end of 2016.
Salvador Francesch is a Catalan-Canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has published five CD's with his Tibetan Red project.
Klaus-Peter John aka The Oval Language is from Leipzig and works in noise, open space, photography, installations and informed land-art projects where the voice takes center stage. Guido Hübner aka Das Synthetische Mischgewebe started in the early 80's in Berlin with the production of cassettes and performance concerts, exhibitions and installations.
This album consists of a single track of almost 52 minutes long which unfurls two faces. One, the sound is almost imperceptible and silence plays a relevant role. In the other, drones and noises are the background of a proposal with a strong organic character and consequently, gasping and buried voices are barely heard and spit out an indecipherable language. The clicks near the middle of the track look like whips that are followed by screams which are in the distance. All this takes place in a dark ambience that well represents the history of the Hydra." [Guillermo Escudero/LOOP]
https://emerge.bandcamp.com/album/the-breath-of-the-hydra, http://www.attenuationcircuit.de/
|
2021 |
€12.00 |
|
| TICKLISH |
Here are your new Instructions |
CD |
„TICKLISH sind ein elektronisches Performance-Ensemble, welches gesampelten Sound und Videos benutzt um ein kombiniertes, visuelles und klangliches Ereignis zu präsentieren, das sich zwischen vielrhythmischen Impulsen und abstraktem Aufbau bewegt. Die letzten fünf Jahre agierten TICKLISH als eine geisterhafte Erscheinung in der britischen Elektronik-Szene. Sie verweigern sich, sich einfach zu identifizierbaren (und leicht abzulehnenden) 'Bewegungen' anzuschließen und fahren fort ihren eigenen Sound zu entwickeln und immer mehr Aufmerksamkeit zu bekommen. Alle Sample, die von TICKLISH benutzt werden, sind von der Band selbst erstellt worden. TICKLISH besteht aus den Mitgliedern Phil Durrant, Kev Hopper (STEREOLAB, HIGH LAMAS), Richard Sanderson und Rob Flint aka Scopac (Video-Künstler).
“TICKLISH are an electronic performance ensemble who use sampled sound and video to present a combined visual and sonic event that moves between polyrythmic pulses and abstract textures. For the past five years TICKLISH have been operating as a spectral presence on the British electronic music scene. Refusing to comply with easily identifiable (and easily dismissable) "movements" TICKLISH have continued to develop their sound, and attract increasing attention. All the samples TICKLISH use are actually generated from within the group itself. TICKLISH are: Phil Durrant (cooperation with John Butcher, John Russell, Thomas Lehn, Radu Malfatti, the Music in Movement Electronic Orchestra) Kev Hopper (Stereolab, High Llamas, cooperation with Charles Hayward, Ex Stump) Richard Sanderson (among others, in the Chris Burn Ensemble) Rob Flint aka Scopac (video artist)” [press release]
|
2004 |
€14.00 |
|
| TIDAL |
Golem and Man |
CD-R |
Exzellenter dark ambient von TIDAL auf dem CDR-Sublabel von MANIFOLD, in spezieller Tonsiegel-Stoffverpackung.
“Opaque, drifting ambient treatise on the legend of the Golem. Monstrously dark, complex and driving. In special cloth and clay package.”[label info]
|
2003 |
€10.00 |
|
| |
Silent knife speaks |
m-CDR |
Das kleine französische Label TAALEM (hervorgegangen aus NOUVELLES HARMONIES) ist von den Veröffentlichungen ungefähr zu vergleichen mit dem belgischen Label MYSTERY SEA: Beide setzen auf ambient-industrielle, dronig-atmosphärische Soundscapes, und bei beiden sind inzwischen sehr schöne Serien entstanden von bereits etwas bekannten, aber auch völligen neuen Vertretern dieses Genres. TIDAL ist ein US-Ambient-Projekt, das mit sehr subtil-zartgliedrigen Mitternachtssoundscapes zu verzaubern sucht..
“ tidal is david brownstead, previously known for his harsh noise project 666 volt battery noise. not only the name has changed : the music too. now david is focused on minimal ambient music. tidal past works were released on a pyrric victory/manifold, alluvial and more recently a very nice three-way collaboration with chaos as shelter (see alm 9) and igor krutogolov on ground fault recordings.
"silent knife speaks" is his first 3"cd and is a perfect example of his
luminous ambient music, full of delicate sounds and subtle details...” [press release]
http://taalem.free.fr/
|
2003 |
€5.00 |
|
| TIETCHENS, ASMUS |
Biotop |
CD |
Zweiter re-release in der Serie von Wiederveröffentlichungen des TIETCHENschen Oeuvres – BIOTOP erschien 1981 und ist pure analoge Elektro-Pop-Musik mit nicht zu vernachlässigem Obskur-Faktor, klingt nach 80ern wie irgendwas !
„Second in the rerelease series presenting the first of four albums that were issued by Sky Music in the early 80's. Incl. 2 unreleased bonus tracks. 1000 copies with poster booklet in jewel case. Playing time: 51:34 min.” [press release]
“ With the release of this album, a 3 year interlude began which was dominated by the use of Roland 'CompuRhythm' drum-machine. In addition, I discovered new sounds and playing possibilities on the Moog which considerably expanded my creative armoury. I also added a conceptual self-limitation: no track should be more than four minutes long. In the end, the majority of the pieces on the first two Sky albums actually clocked in at under three minutes each. In the opinion of my musical mentor Okko Bekker, their sparseness and short lenght evoked the impression of radio time-signals (Radio-Zeitzeichen), a form of acoustic station identification which was
already obsolete by then. This reference provided me with the name for my accompanying orchestra, which consisted solely of musicians from the experimental music scene in Hamburg. Because of the total absence of bass lines the commercial potential of the pieces was virtually non-existant. The album was recorded on an 8-track Otari tape-machine. The Eventide digital harmonizer and the Ursa Major 'Space Station' reverb-machine also played a part. All of the pieces were recorded in 1980. They were not commissioned by any label, the contact with Sky Records only happening in 1981. The two bonus tracks from 1979 mark a decisive break with previous work ('Nachtstücke'). 'Futurum Drei' was recorded between 6th and 9th of July 1979. 'Fast Food' came three weeks later. While the first of the pair does not totally make the break with the old way of working, the second points clearly into a new direction.
I would particularly like to thank Günter Körber (Sky Records) for his kind permission to re-release 'Biotop' and the three other Sky albums, and for allowing me to use the orignal labels in facsimile.” [from the liner notes - Asmus Tietchens]
|
2003 |
€15.00 |
|
|
Geboren um zu dienen |
CD |
“8th part in the ongoing re-release series of all early Tietchens albums between 1980—1991. Described by Tietchens himself as his «Industrial» album, «Geboren, um zu Dienen» was originally released on the spanish ESPLENDOR GEOMETRICO label in 1986. The CD version incl. three unreleased bonus tracks from the same period and comes with a full colour fold-out booklet incl. liner notes by Tietchens himself.” [label info]
„If I'd ever recorded an «Industrial» solo album, it must be «GEBOREN, UM ZU DIENEN». Although I obviously wasn't one of the inventors of «Industrial Music», I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative — a tank war between NATO and the Warsaw Pact — sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms? This particular background has to be seen as the main influence on GEBOREN, UM ZU DIENEN. I believe that many of my colleagues also recording «Industrial» albums felt the same at that time. IF there would have been a «Bang» it — without doubt — would have been global.
Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. GEBOREN, UM ZU DIENEN was an experiment in itself which first fruits I set free immediately. As if I'd to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of «Industrial». The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish «Esplendor Geometrico» label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80's, also albums by the «Industrial» group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident «Nevertheless».
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral («A Call for abortion»), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the «Stiftung Warentest». Go on Germany! “ [Asmus Tietchens, 2006]
Editorial notes: The original masters of all the pieces incl. the bonus tracks are in perfect condition and were used 1:1 for the transfer onto CD. Only the fade-out at the end of «Mein erstes Erlebnis» was slightly corrected.
|
2006 |
€15.00 |
|
|
Fast ohne Titel, Korrosion |
CD |
"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognise until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music or both?
As a pioneer of electronic composition his work spans over three decades and doesn’t fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete.
Never straightforward or obvious, always unpredictable and innovative his ground breaking music influences many working in today’s experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener and Richard Chartier." [label info]
www.tietchens.de
"In my spare time I listen to pop music, usually, but then, in 2013, I asked myself: why do I still have so many CDs? Isn't it about time to listen to those again, and see what you have, which are keepers and which are goers. In a random fashion I pick a bunch of CDs of the shelf and play them until the end, because, when not played to the end, what's the reason for keeping them? From some artists I stayed away for a while. I can safely say I have almost all of the works by Asmus Tietchens, but I was afraid of going there. I feared I would not find enough concentration to examine each and everyone properly and make the wrong decision and see them go. But once I started to play them I was totally immersed. I am nearly done with all of them, and then much to my surprise, here's a new work by Tietchens. The titles poke fun with the notion of 'ernste musik', the German term to create a distinction between serious music and entertainment music. Maybe its a comment, Black Rose asks, on 'the
current state of noise music, serious music or both'? An interesting question, perhaps, but much to my surprise I notice something else. In the past ten years Tietchens explored the quiet areas of electronic music, with some highly refined music, not unlike the work of say Richard Chartier. Here he seems to return to some of his earlier electronic music, from the late 80s, early 90s, but perhaps generated with the means he uses these days. This results in a piece like 'Kaum Noch Ernste Musik', with a pulsating click beat (think Pan Sonic or Goem), and the well-know Tietchens tricks on oscillators. It's something entirely different than what you would expect. Maybe it's a bit long this piece which clocks in at over ten minutes. Throughout the pieces on this album, eight in total, do not have strong rhythm sounds, but they surely sound louder than we are used from him in recent times. It takes the 'serious' electronic music from the sixties, with it's sustaining sounds fading in loud
and about. It's heavy music, but it's great music. Only in a few pieces, aptly called for instance 'Sehr Ernste Musik', Tietchens shows some of his more quiet side, but in the other pieces he sounds like his tape manipulation work 'Daseinsverfehlung', bursting about, such as in 'Eingeschränkt Ernste Musik'. And then there is also the humorous Tietchens with a vinyl loop in 'Keine Ernste Musik' or 'Im Ernst? (Für H.K.)', which sees him playing something that sounds like Trautonium. This, ladies and gentleman, is an excellent CD. If you are keen to hear new musical movements by this man, but not every move, then this is one of those releases you should surely hear." [FdW/Vital Weekly]
|
2013 |
€13.00 |
|
|
Notturno |
CD |
Schon die 10te CD in der DIE STADT-Reihe mit Wieder-veröffentlichungen früher TIETCHENS-Werke. NOTTURNO erschien im Original 1987 und schaffte eine ganze eigene, verstörende "Alien"-Atmosphäre, recht schroff & konkret mit viel verfremdeten Klaviermaterial und wieder bemerkenswerten Titeln wie "Halbe Tanzmusik" - wie auch "Formen letzter Hausmusik" eines der frühen Meisterwerke auf denen sich der hier schon unverkennbare TIETCHENS-Stil deutlich niederschlug.
"Tenth part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Notturno was originally released by Spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full color artwork and poster booklet also featuring the original front and back cover. By the time Studie für Klavier (Formen Letzter Hausmusik, DS84) was released, it actually wasn't my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didn't make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Of course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only could I make use of a grand piano in 1986, I also had the technical equipment at hand which didn't leave nothing to be desired. I wasn't quite precise calling these pieces Studien für Klavier (Piano) by the way, as I was actually using a flügel (grand piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (electric gastr beater, wire brush, coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this, I wasn't even afraid of using some good old avant-garde tricks, by the way. But I won't tell. The fact that Notturno was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact, Notturno is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result, Notturno can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isn't. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didn't exclusively belong to the circle of serious composers anymore. Of course I wasn't the first or only non-academic composer who produced music, which couldn't be categorized easily then, and maybe even still not until today. As a result, the exchange of these new aesthetic strategies with other musicians and listeners in the mid-'80s, further encouraged the musicians to produce such music, and as a result, labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground." [label info / liner notes]
"....Following 'Formen Letzter Hausmusik' and 'Hydrophonie', 'Notturno' was the third 'serious' attempt in composing more serious electro-acoustic music, and Tietchens limits himself to using the (grand) piano. In a good tradition, say starting with Cage's prepared piano, Tietchens treats the inside and outside of the piano with objects, like an electric gastr beater, wire brush, coins and others, but unlike Cage it's for Tietchens only a starting point. The recordings are processed in the studio, in no doubt true Tietchens style. Looping the sounds around, filtering through sound effects and synthesizers, after which they finally find their form in neatly constructed pieces of music. To use loops as to the extent that Tietchens does is something that sets him aside from the regular musique concrete composers. At the time for many, yours truly included, this was the first introduction to the more academic music, while now, we hear a record that is certainly a great one but perhaps not so academic as we thought back then. 'Notturno' is one the best Tietchens works that one can encounter and the mastering is much improved over the first edition on CD. While many seem to think that Tietchens music is quite distant and cold, 'Notturno' combines playful melodies and sturdy processing of the material. Certainly one to get if you are only remotely interested in his work." [Vital Weekly]
www.diestadtmusik.de
|
2007 |
€15.00 |
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Aus Freude am Elend |
CD |
Wohl eine der ungewöhnlichsten & schönsten Tietchens-Alben, die augenzwinkernde Verwendung von vokalem Material war hier der Fokus, found sounds & field-recordings werden eigentümlichst verfremdelt, aus Schlager- oder Volksliedern die abartigsten Töne rausgekitzelt, absolut unkategorisierbare Klänge entstehen... ein wunderbares-wundersames Re-Kontextualisierungs-Projekt! JA WIR LIEBEN ES! 2 Bonus Tracks!
"11th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. AUS FREUDE AM ELEND is based on the human voice as a primary sound source and was originally released in edition of 500 copies on Dom America in 1988. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.
Asmus Tietchens AUS FREUDE AM ELEND (Dom America Dom US LP 02) 1988 "Following my research of piano and water sounds (DS102, DS88) it didn't come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80's, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track (with the exception of 'In memoriam P.F.') was based on voices of people who I naturally didn't ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. You'll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: Rarely before this album and only once after it (on Stupor Mundi) did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the 'Ritual' was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. AUS FREUDE AM ELEND too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported - even partly inspired - by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PC's opened new doorways. Half of the material on AUS FREUDE AM ELEND was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Did Carlson used to be a fan of Dom which was founded by Christoph Heemann and Achim Flaam. Did he simply liked the release politics of this label. And what became of Dom America ? Actually I don't know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However AUS FREUDE AM ELEND had vanished shortly after its release. I only used 'stolen' voices twice again ('Stupor Mundi', 1990 and 'Das Fest ist zu Ende. Aus', 1993) after this album by the way." [label info / credits]
"... Much like some his previous records, most notably 'Formen Letzer Hausmusik' and 'Seuchengebiete', its foremost a work of electro acoustic or musique concrete. There is an element of repetition that one wouldn't easily spot with the original 'masters' of the genre, but Tietchens uses them in his own, highly personal, way, adding his own fine blend of electronics and in order to make a creepy sound, a sinister play of vocals. The people whose voices are used sound like they are singing in a far away cage, in isolation, a cry to get out. After all these years this record hasn't aged at all, and is a highlight in Tietchens career." [FdW / Vital Weekly]
|
2008 |
€13.00 |
|
|
Das Vieh und sein Vater |
CD |
Irgendwie sind uns nochmal einige Kopien dieser "rare tracks"-Zusammenstellung von 1996 in die Hände gefallen, erschienen auf einem Label das schon längst nicht mehr existiert. 18 Stücke sind hier enthalten, die von 1981 bis 1995 (bis auf 3 Stücken aber alles aus den 80ern) auf MC und LP-Compilations erschienen, das meiste davon ist rar & jetzt nirgendwo anders erhältlich. Einige Beispiele: "TINA, ICH LIEBE SIE!" von "Sex & Bestiality" 4 x MC (Bain Total, 1984, das DIE FORM-Label); "TRIUMPH DES WILDEN" von "Alternative Funk 1" MC (Audiologie 2, 1995), "KRYPTO-PHONOPHONIE" von "Captured Music" (Selektion 1987), etc. etc.
|
1996 |
€13.00 |
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Adventures in Sound / Nachtstücke |
do-CD |
Das Bremer Label DIE STADT startet eine Wiederveröffentlichungs-Serie von nicht mehr erhältlichen TIETCHENS-Scheiben – hier der Anfang mit der allerersten LP ‚Nachtstücke’ von 1980, die noch Früh-Achtziger Charme aufweist, dazu schier unglaubliches Material aus den Sechzigern auf der zweiten CD !!
“First in a series of 18 CD's aiming to make available all early vinyl albums by ASMUS TIETCHENS between 1980 - 1991 on CD. Each release feat. the original tracks (sometimes extended / original versions) + unreleased bonus tracks from the same recording period, original artwork + accompanying texts by TIETCHENS. This - the only 2CD in the series - feat. his very first album 'Nachtstücke' from 1980 (incl. 4 bonus tracks) + a 2nd CD with archive material recorded with his long time friend Okko Bekker between 1965-1969.
These are the first works in TIETCHENS long career as a sound artist and were never released before. Edition of 1000 copies in jewelcase with full color poster booklet.
About the artist: ASMUS TIETCHENS started recording music as early as 1965 (documented here on 'Adventures In Sound') though his first release only appeared 15 years later ('Nachtstücke'). Ever since then he stayed very productive and had numerous cassette, vinyl and CD releases on numerous labels (Sky, United Dairies, Dom, Staalplaat, Ritornell and Die Stadt to name just a few). He has collaborated with various other like minded artists such as Okko Bekker, Cluster, Conny Plank, Terry Burrows, Liquidski, David Lee Myers (Arcane Device) and most recently with Thomas Köner who is one half of their ongoing collaborational project KONTAKT DER JÜNGLINGE (who so far released 3 CD's DS34/DS39/DS48 on Die Stadt).” [press release]
|
2003 |
€18.00 |
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Eine Menge Papier |
mCD |
"Asmus Pre-Mengenserien und somit alles vor der sonischen Auseinandersetzung mit Sinus und Rauschen birgt noch wesentlich feinere Schätze als man denken mag- beachtet man Tietchens Output an Material in den letzten zwanzig Jahren und lässt man sich davon nicht abschrecken, entgehen einem Dinge wie »Papier ist geduldig« oder »6.9.98 7 Uhr/8 Uhr« nicht. Ersterem gewährt aufabwegen in sehr hochwertiger und edler Manier einen Publikumsneuzugang (der angesichts der damals sehr niedrig gehaltenen Limitierung auch geraten erscheint) und erweitert das recht kurzweilige Material der original Syntactic 7“ um eine weitere, nie veröffentlichte Single sowie Material aus den Sitzungen, die es nicht auf das Vinylformat geschafft hatten. Der Klang ist erstaunlich für die 1996 umgesetzte 7“, hier zieht vor allem Tietchens’ großartiger Umgang mit dem Quellmaterial sämtliche Register avantgardistischen Könnens. Wie unschwer zu erkennen bzw. auch zu hören, beruht das Material dabei auf Papiergeräuschen, eine Serie die Asmus aufgrund des limitierten Frequenzganges des Materials und seiner beschränkten Weiterverarbeitung jedoch frühzeitig wieder beendete. Teilweise sehr krachig mit deutlichen Anleihen an Asmus Tietchens Achtziger-Konkretindustrial: »P.I.G. 5« mit seinen betont sinusoiden Einzelklängen gerät zur fast schon skizzenhaften Abstraktion von Papierklang, hingegen betont »P.I.G 4« auf recht kurze Weise die Schönheit von Tietchens Bearbeitungsmanie, kennzeichnet sich das Stück doch durch recht scharfgeschnittene und –gefilterte Einzelereignisse ehemaliger Schriftstückverformungen.
Letztes Stück bietet dem Hörer eine wunderbar noisige Vertonung all dessem, was Tietchens an Papier in seinem Studio wahrscheinlich aufbieten und –gespannt lauschend und schelmisch lächelnd- auch zerknüllen konnte. " [Thorsten Soltau, AEMAG]
“Eine Menge Papier” assembles 20 minutes of sounds derived from using paper as the sound souce. Two tracks originally came out as a limited 7” record on the austrian Syntactic label in the 1990ies and appear here for the first time on CD. The other two tracks were planned for a follow up 7” on the same
label that never materialized. The fifth track is a study of sonic material in the same series. There are two further tracks from the P.I.G. series that are considered by the artists as failed attemps. These remain in the closet. The five sonic movements on “Eine Menge Papier” go back to the Tietchens sound right before he started the Mengen series, using primarily sine waves and white noise. “Eine Menge Papier” is an interesting documentation of the transition in Tietchens’ sound from the concretish, post-industrial rumblings and textures to the more refined, abstract and cold atmospheres. Asmus Tietchens has been producing electronic music since the 1960ies and is
one of the most renowned sound artists today in Germany. In the last five years he was awarded twice the SWR state radio prize “Karl Sczuka Preis” for radio art. He has released more than 80 records and CDs on labels all around the world."
[label notes]
www.aufabwegen.com
www.tietchens.de
|
2009 |
€9.50 |
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Marches Funebres |
CD |
www.diestadtmusik.de
https://www.aufabwegen.de/at/?p=210
Das zentrale Stück von MARCHES FUNEBRES ist ’Grünschattiger Nachmittag’. Die bereits 1979 als Skizze mit analoger Rhythmusmaschine und Minimoog aufgenommene Komposition (hier als Bonustrack) ließ sich mit dem Fairlight CMI nicht realisieren. Es sollte neun Jahre dauern, bis der technische Standard der Audiplex Studios ausreichte, um die von vornherein geplante Orchesterversion einzuspielen. Mit Hilfe mehrerer Sampler, einer aufwendigen Kompositionssoftware, und nicht zuletzt mit Unterstützung meines Lehrers und Mentors Okko Bekker wurde 1988 das Stück nach wochenlanger Arbeit endlich zum Klingen gebracht. Spötter meinten damals, es klänge ein wenig so, als wolle Django den Bolero tanzen. Ein Urteil, dem ich mich nicht ganz verschließen konnte. Ich bin gewiss kein Freund seichter Unterhaltungsmusik, aber wenn schon Kitsch, dann auch richtig Kitsch. Insofern stehe ich auch heute noch im nachmittäglichen grünen Schatten. ’Linea 5′ sollte die Balance auf der LP herstellen, etwas ähnlich Strenges wie ’Linea 1 – 4′ schwebte mir vor. Aber ’Linea 5′ uferte völlig aus. Im Rausch der Delays und Hallräume verlor ich mich bis zur Erschöpfung in erratischen Klanggebirgen, einschließlich Elmsfeuer und Alpenglühen. Und wären nicht irgendwann die Bernhardiner mit den Schnapsfässchen gekommen – ich weiß nicht, wie diese spät-psychedelische Tour geendet hätte. Den Fragen der Spötter verschloss ich mich diesmal.
Mit MARCHES FUNEBRES hatte ich mich zum zweiten Mal auf symphonisches Glatteis begeben. Vorangegangen war die Faircomp-Serie, und es sollte noch ein dritter Versuch folgen: Die Kollaborations-LP “E” mit Okko Bekker. Das war’s denn aber auch. Der Schuster soll bei seinem Leisten bleiben. Dass aber eine LP wie diese überhaupt veröffentlicht werden konnte, zeigt, wie groß die Bandbreite des Möglichen 1989 geworden war. Spätestens jetzt, an der Schwelle zu den 90er Jahren taten sich neben dem rasch verblassenden Industrial weite, neue Horizonte auf. Rechner wurden erschwinglich, und die CD begann, das Vinyl zu ersetzen; frische Ideenschübe generierten eine bis dahin ungehörte Musikvielfalt. Der Neustart stand 1989 unmittelbar bevor.
Asmus Tietchens, 2010 |
2010 |
€15.00 |
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Stupor Mundi |
CD |
"Part 14th in the ongoing re-release series of all early Asmus Tietchens Vinyl albums between 1980-1991. 'Stupor Mundi' (Discos Esplendor Geometrico EGD 018) was originally released in 1990. This re-release comes with another poster booklet and feat. 4 Bonus tracks of unreleased material from the same period. Joint release with AUF ABWEGEN. 600 copies.
1. Pflegekammer extern 1'00"
2. Stimmen der Vernunft 3'08"
3. Konvoy 3'01"
4. Tollerort 2'53"
5. Fron 5'10"
6. Pflegekammer intern 1'00"
7. Schacht Hera 2'53"
8. Pflegekammer Mitte 1'00"
9. Aufs Maul 2'44"
10. Aufstand der Massen 3'31"
11. Xenophobie 2'48"
12. Mammi Money 3'38"
13. Pflegekammer West 1'00"
14. Heimholung 4'12"
Bonus
15. Pleuel 3'29"
16. Krill-Schatten 1'12"
17. Heimstatt des Betons 3'20"
18. An alle 2'54"
Asmus Tietchens about the album:
The opener of the album cites: 'Gitarren spielen kann ich leider noch nicht...' ('Unfortunately I can't play any guitars yet...'). Today, 23 years later, I could reveal the name of the person confessing this, but nothing would be more unfair, even two and a half decades later.
Only this: It's not the voice of a Punk (a Punk would have omitted the 'yet'), and it's also not my own voice, even though I can't play guitar either. Maybe it was this flaw though that was responsible for the general
construction of all the tracks here, which consist of short looped samples and further adaptions of the same.
In the end 'Stupor Mundi' was my last LP on the label Esplendor Geometrico and also my last solo LP until 1995. The very next release of mine was already a CD. At lot changed at the time. Esplendor Geometrico wasn't doing
well financially, a fate, many more small enthusiastic Labels shared with them, as the real Independents were always in danger of facing financial ruin. As a result EG was looking for someone to co finance 'Stupor Mundi'. The person who helped out is a colleague of mine with a well known name
today, but only just started his first musical attempts back then at the end of the 80's. He asked not be mentioned in the credits of the album cover, but requested to have the schematic diagram of an insect placed in the lower right hand corner of the cover.
There's yet another, third name, I won't reveal. The final words on the LP are: 'My friends'. For piety reasons I won't explain the original context of the voice, nor reveal the identity of the woman, who speaks these words.
Besides, it's a damn long time ago anyway, and mystifications were no longer a part of my repertoire after 'Stupor Mundi'. [Asmus Tietchens 2012] " [label info]
www.diestadtmusik.de
Editorial notes:
Contrary to the original LP, where there were no breaks, the CD feat. a 7
seconds pause inbetween each track. The original tape with the intro (
Gitarren spielen kann ich leider noch nicht...') could not be located, so a
mint LP copy was used for the transfer. The order of the 4 'Pflegekammer'
tracks was changed for this CD.
Although the release date of the album was stated as 1989, and also listed
the same in my discography, the actual release date was May 1990. This was
due to numerous faulty test pressings which caused a delay of 6 months.
Hence the labels were not changed accordingly because they had already been
printed.
|
2012 |
€15.00 |
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Biotop |
LP |
"Scheppernd, künstlich und plärrend bunt: Reissue des 81er-Albums des Hamburger Elektronikers.
Asmus Tietchens ist einer der bekanntesten deutschen Künstler im Bereich der abstrakten Musik. Fünf seiner Frühwerke, die grob im Bereich Avantgarde-Synthiepop zu verorten sind, werden nun beim Label Bureau B wieder veröffentlicht. "Biotop" war 1981 Tietchens’ erste LP bei Sky Records (u. a. Cluster, Rother, Roedelius, Moebius, Plank, Riechmann). Es mag rückblickend wie eine bewusste Irreführung erscheinen, dass die ersten musikalischen Hervorbringungen von Asmus Tietchens als schräg tönender Pseudopop daherkommen. Vier Alben aus den Jahren 1981-83 sowie diverse Einzelstücke bilden die "Zeitzeichen"-Phase, die sich mit den Worten ihres Urhebers durch den Einsatz von "rhythmisch-harmonischen Versatzstücken und quietschbunten Schallplattenhüllen" auszeichnet. Die Stücke auf "Biotop" sind mit ihren insektoiden Fiepstönen, der bollerigen Perkussion und der verschleppten Kinderliedhaftigkeit so scheppernd, künstlich und plärrend bunt, wie es den Vorstellungen eines Künstlers entsprach, der reguläre Unterhaltungsmusik weder herstellen konnte noch wollte. //
Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music.
"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. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info]
www.bureau-b.com
|
2013 |
€18.50 |
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Der fünfte Himmel |
LP |
"Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The “pseudo-pop” epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel (“The Fifth Sky”) retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character.
Futurum drei is patently a bridge to Tietchens debut album Nachtstücke, recorded back in 1978, whilst Soirée and Zum Tee bei Frau Hilde were riginally—in a completely different guise- designed to form the basis of the experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: Aus dem Tag was initially earmarked to open up In die Nacht but was deemed too extravagant. Würgstoffe (“Wirkstoffe”) and Niedermacher (“Liedermacher”) are further evidence of Tietchens’ penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the “Zeitzeichen phase” (or “Sky phase“), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Zudem hatte sich die musikalische Ausrichtung verändert. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link in to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line." [label info]
www.bureau-b.com
|
2014 |
€21.50 |
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Humoresken und Vektoren |
CD |
"CD in full colour digipak with photos by Okko Bekker and Asmus Tietchens. Production: Okko Bekker. Recorded at Audiplex Studios Hamburg in 2012. 16 tracks of new material. 500 copies.
On „Humoresken und Vektoren“
„Humoresken und Vekotren“ takes up a work that was started upon the invitation of Francisco Lopez for the spanish Störung label. The task was to deliver thirteen 2-minute original compositions for a compilation release. “Humoresken und Vektoren” recycles these miniatures from 2010 and unfolds it into eight new works having no resemblance with the original sourcings whatsoever. These eight tracks are bound together by eight short pieces entitled “Tristia” that function as bridges between the longer pieces. “Humoresken und Vektoren” is a combination of very dynamic and detailed sounds and a range of delicate layers and abstract textures. The CD features very surprising artwork unlike most recent Tietchens releases.
Asmus Tietchens writes:
Vier Humoresken, vier Vektoren und alle Stücke getrennt durch jeweils eine kleine Traurigkeit: Tristia, Die allerdings in gleich acht Varianten. Im 19. Jahrhundert wurden ohne Ende Humoresken komponiert.
Ich habe nie begriffen, was an diesen Stücken lustig sein sollte. Im 20. Jahrhundert gab es eh nichts mehr zu lachen, also wurden auch keine Humoresken mehr komponiert. Das 21. Jahrhundert scheint zum Schreien komisch zu werden, also habe ich vier Humoresken komponiert.
Wahrscheinlich wird kaum jemand heraushören, was an ihnen lustig ist.
Vier Vektoren geben zwar definierte Richtungen an, aber solange die Koordinaten nicht bekannt sind, zielen sie ins Nichts. Solche Vektoren zu betrachten, ist ebenso ergiebig, wie den Bereich zwischen Null und Eins zu untersuchen. Und vielleicht sind die acht kurzen Tristia- Stücke ja die eigentlichen Humoresken? Und die Vektoren ein wenig traurig? Und die Humoresken führen nirgendwohin?" [label info]
www.aufabwegen.com
|
2014 |
€13.00 |
|
|
Der fünfte Himmel |
CD |
Asmus Tietchens ist einer der bekanntesten deutschen Künstler im Bereich der abstrakten Musik. Anfang der 1980er-Jahre nahm er eine Handvoll Avantgarde-Synthiepop-Alben auf, auf denen er einen unnachahmlichen Mix aus stolpernden Beats und schrägen Harmonien zum Besten gab, was der Musik die Gattungsbezeichnung Pseudo-Pop einbrachte. "Der fünfte Himmel" versammelt Liegengebliebenes, Verworfenes, Unpassendes und Unerwünschtes aus jener Frühphase des Künstlers. Zu hören sind Arbeiten, die auf den originalen LPs der Jahre 1980 bis 1983 nicht erschienen, aber in den unmittelbaren Werkkontext gehören. Dabei blieben die Stücke nicht aus qualitativen Erwägungen, sondern aufgrund ihres teils exzentrischen, teils schlicht entlegenen Charakters im Archiv. Ferner enthält "Der fünfte Himmel" jene Stücke, die für ein weiteres Album für das Label Sky infrage gekommen wären.
https://asmustietchens.bandcamp.com/album/der-f-nfte-himmel
|
2014 |
€10.00 |
|
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Seuchengebiete 4 |
CD |
"Seuchengebiete 4, the continuation of Asmus Tietchens' almost legendary series of treated water sounds, consists of six Hydrophonies. The sonic palette ranges from deep gurgling bass pulses to fragile movements of showering bright particles. The overall mood is ernest, contemplative and dark. Seuchengebiete 4 is perhaps the ultimate soundtrack for our crises-ridden times." [press release]
https://aufabwegen.bandcamp.com/album/seuchengebiete-4
"Der Hamburger Asmus Tietchens schätzt Serien, man denke etwa an die auf inzwischen sieben Teile angewachsene Mengenreihe. Auf den Alben der “Seuchengebiete”-Serie finden sich sogenannte Hydrophonien, Stücke, deren Basis das Geräusch von tropfendem Wasser ist. Der erste Teil erschien 1985, sechs Jahre später folgte Nummer zwei, 1997 auf Donna Klemms Label Artware Nummer drei. Schon in einem Interview im Jahre 2007 sprach Tietchens davon, an neuen Hydrophonien für einen vierten Teil zu arbeiten, jetzt erscheinen sechs neue Aufnahmen auf Auf Abwegen.
Auf„Hydrophonie 21“ scheint Wasser in einer Höhle zu tropfen und zu (ver)hallen, im Vordergrund blubbert es, während im Hintergrund seltsam-melodische Flächen zu hören sind. Dann scheint Wasser ausgeschüttet zu werden und zu fließen. Dem Track wohnt eine leichte Unruhe inne. Die nicht nur numerisch, sondern auch auf dem Album darauf folgende Hydrophonie nimmt diese Bewegung zurück, ist tastender, reduzierter, minimalistischer. Zum Teil klingt das Fallen der Tropfen so, als zupfe jemand einen akustischen Bass. “Hydrophonie 24″ hat einen leicht metallischen Klang, ist vielleicht- etwas verkürzt gesagt- mit durchaus dissonanten Momenten das industriellste Stück auf diesem Album. Dagegen scheint “Hydrophonie 26″ zurückhaltender und weniger unruhig zu sein. “Hydrophonie” 32 hat einen leicht ambient-sakralen Charakter und ist der vielleicht atmosphärischste Track auf diesem Album. “Hydrophonie 27″ beginnt fast kaum wahrnehmbar, dann hört man entfernte, kristalline Momente, als würden Vögel zwitschern.Was klar gewoden sein sollte, ist, wie unterschiedlich trotz gleichen Ausgangsmaterials die einzelnen Stücke sind.
Über die Jahre ist Tietchens immer sehr konsistent darin gewesen, wenn er über die (nicht vorhandene) “Botschaft” seiner Musik gesprochen hat. Schon 1991 meinte er: „I don’t try to create moods with my music, and I don’t try to tell stories, and my music doesn’t carry any message except an aesthetic one (now and then). Mostly my pieces are formalistic exercises, or better, the results of formalistic exercises. Music shall be no more than itself. Absolute Music.“ In einem jüngst erschienen Interview wird diese Haltung noch einmal klar artikuliert: “’Absolute Music’ is not connected with any political, spiritual, ideological or educational intention. The listener is totally free for his own impressions, feelings, possible pictures and thoughts when listening to ‘Absolute Music’. To me that is total freedom of perception. I am no teacher, no philosopher, no scientist – why should I intrude my thoughts on any other human being? I always try to let the music speak for itself. That should be enough.“ Dennoch darf auch auf diesem Album das obligatorische Cioran-Zitat natürlich nicht fehlen: “Der zügellose Optimismus hält der geringsten und bedeutungslosesten Offenbarung der menschlichen Natur nicht stand.” [MG / African Paper]
"In the 80s, there was a small list of very hard to obtain records, records of the kind that everybody wanted. Among them was Seuchengebiete' by Asmus Tietchens, released by A-Mission Records. That label vanished quickly, and the records too. I am sure I traded some obscure Gerogerigegege LP for it, but it was worth the trade. I may have told this story when I reviewed the CD re-issue back in Vital Weekly 504. On 'Seuchengebiete', Tietchens explores the sound of water dripping in his studio sink. It was the first record on which Tietchens explored the quieter side of music. Later on, there were more volumes of this approach (although never called 'volume 2' etc.). The second volume was in 1991 (reviewed in Vital 23, when it was a paper fanzine; see advertisement elsewhere), and '3' was in Vital Weekly 121. I mentioned for the latter that I didn't get the design of the release, which is, maybe oddly, also the case here. As this CD arrived on Saturday, I took a whole Sunday off to play all four 'Seuchengebiete' instalments. Over the years, some things have changed in the music of Tietchens. It was the first 'Seuchengebiete', one of his first quiet works; these days, his music is soft. Many of his musical compositions contain sounds beyond recognition, but in this case, it is pretty clear what the source material is. The dripping of water can be recognized, but it is transformed in various ways, from delightful high-end splashes to low-end bass sounds; some of this sounds like it is changed with granular synthesis, but no doubt there is also another technology at work here. There is something profound about the music, slow, contemplative; maybe the music is a sign of the sorry state of our times. Perhaps it is the association I have with the water sounds here; that of leaky pipes in an abandoned industrial landscape. The soundtrack for a worse tomorrow? I am sure that is not what Tietchens put into his music, as I would think there is very little meaning put in by him, but it is all about the listener's associations. This time, Tietchens applies his current composing techniques to an older idea, working wonderfully well." [FdW / Vital Weekly]
|
2021 |
€13.50 |
|
| |
Schatten ohne Licht |
CD |
"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. E.M. Cioran plays a very important role in most of Tietchen's work and this release is no different. For this release Cioran has a fellow anthropofugal thinker: Ulrich Horstmann. The theme of this release deals with a return to a mineral world without any organic species, and therefore uninhabitable for human beings. This very radical dystopia serves as a foil to the six chapters of "Schatten ohne Licht". There is something profound about the music. It can be slow and is certainly contemplative. Maybe the music is a sign of the state of our times? As a pioneer of electronic composition his work spans over four decades and doesn't fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete. Never straightforward or obvious, always unpredictable and innovative. His ground-breaking music influences many working in today's electronic music scene. He has worked almost exclusively as a solo artist, but other releases have seen him collaborate with well-known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener, Richard Chartier, and Merzbow." [press release]
"The previous CD by Asmus Tietchens for Black Rose Recordings was 'Fast Ohne Titel, Korrosion' (Vital Weekly 907), which was quite a diversion from his usual quiet music. For 'Schatten Ohne Licht' (shadows without light), there is no such diversion, and Tietchens stays firmly in his silent world. Next to the usual E.M. Cioran quote, the information tells us that Tietchens takes inspiration from the works of Ulrich Horstmann and that the theme for this release is about "a return to a mineral world without any organic species, and there inhabitable for human beings". Also no ray of sunshine in this thinking, but considering the sorry state of the world, one could say it's not the worst idea. With this information in the back of my mind, I started this release and saw images of an empty world; no life at all, just rocks, caves, and minerals; is there a sea? Can it exist without life in it? My knowledge of the natural world is pretty limited, so I don't know. But Tietchens' music here sounds like stale wind over barren land. Wind rustling... well, not leaves and branches, probably, but there is a strong feeling of desolation within this music. As always, I have no idea what kind of sounds Tietchens uses in his music, as the level of processing is quite high, but it works very well. There is a bit of industrial droning in 'Anthroposaurus', which is not something I heard this strong in his other recent releases. In other pieces, this is less evident, so this new release is not a most radical break. It is, however, an excellent release, on par with almost all of Tietchens' releases, but safe to say, as a fanboy, I am probably quite biased. Towards the end of the final piece, 'Kolosse', the volume increases considerable and ends with silence; I believe that is quite a sign, but for what?" [FdW/Vital Weekly]
"Fast jedes Album des Hamburgers wird geziert von einem Zitat des großen Pessimisten und Misanthropen E.M. Cioran. „Schatten ohne Licht“ verweist zusätzlich auf den inzwischen emeritierten Anglisten Ulrich Horstamnn, der Anfang der 80er mit seinem anthropofugalen Traktat „Das Untier“ Optimisten und andere Verblendete vor den Kopf stieß: „Vermonden wir unseren stoffwechselsiechen Planeten! Denn nicht bevor sich die Sichel des Trabanten hienieden in tausend Kraterseen spiegelt, nicht bevor Vor- und Nachbild, Mond und Welt, ununterscheidbar geworden sind und Quarzkristalle über den Abgrund einander zublinzeln im Sternenlicht, nicht bevor die letzte Oase verödet, der letzte Seufzer verklungen, der letzte Keim verdorrt ist, wird wieder Eden sein auf Erden.“
Tietchens sprach noch anlässlich seines (auch hier besprochenen) Albums „Bleiche Brunnen“ passenderweise von „[m]enschenferne[n] Klänge[n]“." [African Paper]
|
2022 |
€13.00 |
|
| TIETCHENS, ASMUS & DAVID LEE MYERS |
Flussdichte |
CD |
DAVID LEE MYERS ist auch als ARCANE DEVICE bekannt und hat v.a. Anfang der 90er unter diesem Namen hochinteressante Feedback-Musik veröffentlicht. Diese dritte Zusammenarbeit mit A.TIETCHENS nach „Speiseleitung“ (auf Raum 312) dringt in einem Mikrokosmos aus geheimnisvollen elektronischen Sounds ein, die sich schnell verändern und stets Spannung aufrechterhalten... erschienen auf einem neuen Hamburger Label.
“ The artist's work consists of creating original circuitry that forces electronic effects devices to generate their own tones and patterns, often in unpredictable ways that are hard to tame. Myers fed his music to electro-acoustic artist Asmus Tietchens (aka Hematic Sunsets) who shaped it into strange soundscapes that could belong as much to Luc Ferrari and Pierre Henry as to modern sound artists like Koji Asano or Rafael Toral. Their soundscapes often hold a dark, almost Gothic atmosphere -- the resonances of electronic cathedrals. Although process-generated (at least in its initial stage), the music never sounds like a calculated exercise. Each piece has been carefully shaped, composed. The sound palette is varied, but always remains close to vintage musique concrète. If track titles like "T29:M5/3" or "T31:M5/10" are not very talkative, the album title already states the best description possible: a dense, rich electrical flux, sculpted with art. Recommended. [Francois Couture | ALL-MUSIC GUIDE]
|
2001 |
€14.00 |
|
| TIETCHENS, ASMUS / PEINEMANN |
Harvesterhude |
do-CD |
"2 CDs in printed paper sleeves housed in carton slip case. Designed by Asmus Tietchens.
500 copies. Dedicated to C.V. Liquidsky.
On „Harvestehude“
After more than 10 years of enthusiastic experiences and encounters with so-called „Difficult Music“ throughout the 1980ies Martin Peinemann and Asmus Tietchens deemed their somewhat differing approaches to making music compatible and agreed upon a loose collaboration in the year 1992. For various reasons (organizational and others) the work was not to take place at Audiplex studios but at Peinemann’s home studio. This modest lab featured all the necessary technical equipment needed to realize noise music meeting the standards of the day. This included an analogue 4-track-tape deck (9,5 cm/sec, Dolby noise reduction, integrated 6-channel mixer), soon after a digital 8 channel multitrack, a powerful periphery and sound producing devices of all kinds. For „Hochallee“, their first collaboration, Peinemann and Tietchens set themselves no definite deadline. The working sessions took place in an atmosphere of relaxation, usually on Saturday afternoons. By 1996 Peinemann and Tietchens finally had amassed a series of pieces they considered to be complete. At this time Peinemann began working on computer generated solo works and Tietchens moved on towards a more reductionist sound work.
„Klosterallee“, their second collaboration, was realized under completely different circumstances. In the years gone by since their last work Peinemann had deeply immersed himself into the field of extreme digital sound manipulation that he often discussed with Tietchens. From this collection of sound structures Peinemann offered some to Tietchens as sourcings for further treatments. The following expanding of these structures was not done in the form of sessions but executed by Tietchens alone over a period of three months. Peinemann then authorised the final results.
Unlike Asmus Tietchens Peinemann never released any music until now. He always valued the working process higher than the working result. The reason for this collaboration to finally come out as a double CD follows a noble motif that can be roughly translated as such: „A warning to the Old, an instruction to the Young.“ (Friedrich Gottlieb Klopstock, „Pädagogische Ergetzungen“, 1802).
www.aufabwegen.com
"Quite a treat: last week we reviewed a brand new release by Asmus Tietchens, and this week there is even a double CD of collaborative works. Asmus worked with lots of people in the past, from Merzbow to Vidna Obmana, from Achim Wollscheid to Arcane Device. Most of his collaborators are quite well known, save perhaps for C.V. Liquidsky (and we are still waiting for that particular album to be released
on CD as part of Die Stadt/Auf Abwegen's re-issue program), but he's the man to whom Tietchens and Martin Peinemann dedicate their collaboration. Right, Peinemann, you may ask: now who's that? I also have no idea, really, as up until now he never released anything. The two discs here were recorded in two different periods. The first disc, called 'Hochallee' (the name of the street where Peinemann lived then) has recordings the two musicians made together in the period 1992 to 1996. For
Tietchens this was an entirely different environment than the usual surroundings
of the Audiplex studios where he always seems to record (well, save for a few exceptions). With rather 'low' standards, such as a four-track recorder, six-track mixer and all sorts of apparatus, they recorded thirteen pieces, and at the end they deemed this fit enough for a release (which then took another twenty years).
The other disc is called 'Klosterallee' and it's here that in springtime 2005
Peinemann recorded basic sound material for Tietchens to re-use, and this he did
at the beloved Audiplex studios. By then Peinemann had moved his work into 'extreme
digital manipulations' (the word of the label). One is right when one says this is an interesting find, displaying us mid 90s Tietchens and mid 00s Tietchens, working
in for him slightly different surroundings (at least on one disc) and with someone with whom we have absolutely no history. I was corrected following last week's review and told that Tietchens does work with computers since about fifteen years, using GRM tools, but of course on the first disc that is not the case. These
thirteen pieces are rudimentary pieces of electronic music, sometimes blissful feedback, sometimes a dub inspired synth song ('Hochallee 12'), pieces with looped, rhythmic sounds, and in general it seems that the classic Tietchens treatment is never far away in these pieces. Several of these pieces could have been on, say,
'Aus Freude Am Elend', the various albums with Terry Burrows or some others from the early to mid 90s. That slightly mechanic play with sounds, the entrapment in sound effects (reverb plays some role indeed), but also a rolling rhythm (reminiscing krautrock, one could muse?) in 'Hochallee 6', which makes this first
disc quite an odd bunch of different approaches, but it's a variety that works
very well.
The second disc is the Tietchens we know from recent years, and indeed he doesn't
refer to himself as a reductionist, because his music doesn't resemble that of Ikeda
or Noto; also knowledge picked up last week. His current music is all about quietness,
not for any esoteric reasons, but simply because he wants us to listen more closely,
and perhaps concentration is by now a lost art form in this hectic life everyone is supposed to have these days. Here none of the source material is easily recognized, in fact not at all, but it feeds through analogue and, as we have learned since last week, digital means and reduced to a few sounds here and there sometimes held together with a simple, sustaining drone like sound, a residue of what once perhaps a much bigger sound element. It's interesting to play both of the discs back to
back and hear the progress of Tietchens and the way he treats his sounds. On the second disc perhaps less 'new', because there have been more works alike this and some of the early/mid 90s stuff has moved the background of our memory. I am not sure if that's really the case. However both CD's in this package are, no matter how different they turn out to be, quite beautiful. This is a must for every
Tietchens fan." [FdW/Vital Weekly] |
2016 |
€18.00 |
|
| TIETCHENS, ASMUS / THOMAS KÖNER / ILLUSION OF SAFETY / DITTERICH VON EULER-DONNERSPERG |
Untitled |
do-7inch |
Zum neuerlichen DIE STADT-event am 28. April 2001 in Bremen gabs diese Doppelsingle mit exklusivem Material der auftretenden JUNGS..
” Released in conjunction with a live performance by all four artists which took place at the 'Lagerhaus' Bremen on the 28th of April 2001. Four exclusive tracks:
A-Side: ASMUS TIETCHENS 'Hydrophonie 19A' (5:58min.)
B-Side: THOMAS KÖNER 'zud' (6:50min.)
C-Side: ILLUSION OF SAFETY 'Rolling' (5:00min.)
D-Side: DITTERICH VON EULER-DONNERSPERG ' 'Der Morgengnattel des kleinen Fritz' (4:15min.)
limited edition of 500 of which only 300 are for sale through other mail-orders than DIE STADT. “ [press release]
www.diestadtmusik.de
|
2001 |
€15.00 |
|
| TITUS TURU |
Entertainment XXL |
CD-R |
TITUS TURU ist das Experimental-Projekt des Bremer Musikers Volker Hormann, der auch als Solo-Gitarrist unterwegs ist... hier dringt hier mit massiven slow-motion Soundschwällen in fast gegenstandslose Welten ein, wobei das ganze von entrückt-dunkler, wabernder, unheilvoller Schönheit ist. Diese amorphen Klang-nebelmassen scheinen stets in halluzinogener Bewegung zu sein und verändern ihre Gestalt in jeder Sekunde. Bestimmte Klangquellen sind nicht auszumachen in diesem dark-ambience-Sumpf ! Anklänge an: YEN POX, MAEROR TRI, CLOSING THE ETERNITY, DRONAEMENT; TIP !!
Massive monumental ambience & power-drone at its best, from this Bremen-based project. Recommended !
|
2002 |
€10.00 |
|
| TIUNIAEV, ALEX |
I knew her |
CD |
"Aus ganz wenigen Mitteln großartige Werke voller Tiefe und Melancholie zu erschafffen - das können nur die Russen und ALEX TUNIAEV ist einer davon. "I Knew Her" besteht aus einem 40 Minuten langen Stück, welches nur auf Streichern, einem Chorsample und Flächensounds basiert, die langsam und leise beginnen und mit zunehmender Spielzeit lauter und intensiver werden. Eine hypnotisch wie einlullende Sinfonie voller Schönheit und Wärme, die völlig ohne Pathos und donnerndem Finale auskommt. Trotz des simplen Aufbaus erreicht das Werk eine maximal einlullende und emotional berührende Wirkung, an der die typisch russische Seele sicher nicht ganz unschuldig ist." [M.F., BLACK Magazin]
"Alex Tiuniaev is an electronic musician and producer from Moscow, Russia. 'I Knew Her' is a 40-minute long journey of heart-melting, melancholic and neo-symphonic splendour - full of choirs, strings and neoclassical orchestration. This solitary track builds to a haunting and breathtaking crescendo... then brings the listener gently back down to the warm earth. A monumental release, with influences ranging from Sigur Ros to Philip Glass and Stars Of The Lid." [label info]
www.coldspring.co.uk
|
2008 |
€13.00 |
|
| TOEPLITZ, KASPER T. |
Capture |
CD |
Epischer one-tracker (76 min) für Tanztheater, sehr hochfrequent rauschig-mikrotonal, erinnert z.B. an KARKOWSKI und LOPEZ, nach einiger Zeit wird man völlig absorbiert von diesem sirenenhaften weissen Rauschen,..... so minimal wie nur vorstellbar und doch so kraftvoll und hypnotisierend, erzeugt das Gehirn von ganz alleine Veränderungen im KlangMaelstrom... am Ende so metallisch durchdringend dass es kaum noch hörbar ist...
“A very micro-tonal score, played by 3 dancers/musicians whose infinitesimally slow movements are "captured" by web-cams and "mapped" to all the parameters of a real-time digital synthesis engine - frequency, amplitude, ambitus…. No samples, no pre-recorded sounds, the sole sound source is a white noise generator, sculpted by filters, producing a polyphony of drones, oscillations, movements of electricity - a long electronic ascension”. [label info]
|
2005 |
€13.50 |
|
| TOMKINS, KEVIN |
Her Favourite Distance Was That Between A Cough... |
CD |
"Kevin Tomkins is best known for his work in Whitehouse and his own group Sutcliffe Jugend, now called Sutcliffe No More. He also worked with Bodychoke, Inertia, and Patient K. Most of his music has its background in the power electronics scene that evolved in Great Britain around the label Come Organisation and the group Whitehouse. Power electronics is a style of noise music that typically consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds; with screamed and distorted vocals. The genre is noted for its influence from industrial. It is generally atonal, like most noise music and also features a lack of conventional melodies or rhythms. To match its sonic excess, power electronics relies heavily upon extreme thematic and visual content: whether in lyrics, album art, or live performance actions. For his solo work, Kevin sometimes uses a very different style to his group work. An autoharp or chord zither is a string instrument belonging to the zither family. It uses a series of bars individually configured to mute all strings other than those needed for the intended chord. In summer 2023, Kevin played a rare solo show in Vienna at Klanggalerie's 30th birthday bash. It was based on his autoharp album using that very instrument plus voice and an arrangement of gimmicks and tools. A week later, he created an album based on the performance and his time in Vienna."
Dokument eines der sehr raren Liveauftritte von Whitehouse- und Sutcliffe Jugend-Mastermind Kevin Tomkins (2023, 30 Jahre Klanggalerie Festival Wien) als CD im Digipack auf Klanggalerie. Am bekanntesten durch seine Arbeit mit der Power Electronics-Legende
Whitehouse oder mit Sutcliffe Jugend, steht Kevin Tomkins vor allem für atonale und schroffe Musik, die durch pulsierende Analogsynthesizer rhythmisiert wird - extrem bis hin zu den visuellen Aspekten wie Artworks
oder Bühnenshow. Doch mit seinen Soloprojekten folgt der Brite schon lange einem freiern und avantgardistischen Ansatz. Mit seinem aktuellen Studiowerk "Music For An Unprepared Autoharp" widmete sich Tomkins der
obskuren Kastenzither Autoharp, auf der sich per Tastatur ganze Akkorde bilden lassen. Genau wie auf dem Album entlockte er beim Wiener Auftritt zum 30. Geburtstag seines Labels dem Instrument mit unkonventioneller Spielweise Drones, Melodien und Obertöne. Seine Stimme du weitere Hilfsmittel und Effekte ergänzten die Aufführung. Aus deren Audiomitschnitt und Eindrücken seines Aufenthalts in Wien entstanden die hier vorliegenden
experimentell-ambientesken fünf Tracks.
|
2023 |
€15.00 |
|
| TONIUTTI, GIANCARLO |
Ura itam taala' momojmuj löwajamuj cooconaja |
mCD |
Faszinierende Veröffentlichung von Klang-Morphologiker GIANCARLO TONIUTTI, der auf dem Gipfel eines Berges in Italien (Monte le Zuffine) ein drei Meter hohes Kreuz fand (mit einer kleinen Glocke) - Klänge dieser Objekte und die psychogeographische atmosphärische "Aura" des Ortes dienten als Grundlage für diesen wunderbar mysteriös wummernden one-tracker, der zischelnde & leiernde Blasen wirft....
this is really CRYPTIC Ambience...
"This work could be seen as a process of sonic magnification. A couple of years ago I made a field-recording on a mountain top. It was meant to go on a project I had in mind. I needed a pure field-recording, almost silent. On this mountain I also found a small bell and decided to vaguely use it to generate a faint tonal presence. But in the end the recording was spoiled by the recorded presence of many tiny natural noises.
The project as process: Recently I took this recording back to life, and decided to mainly work with the sounds coming from the short bell performances, trying to generate the whole sound morphology from a mesostructural derived process, through analogic treatments of these acoustic fragments.
The epiphenomenal world: Somehow intended as a magnifying process of the internal structural features of the sounds from a bell and its mechanics, the work took advantage also of the fact that all these sounds were strongly embodied in the acoustic micro-activity of the natural environment. The selected sources were basically dirty, from interferences of insects and other small sounds. While magnifying and isolating the bell sounds, it was impossible (and not meant in the end) to remove these accidental environmental noises surrounding each sound particle. Thus, as they became part of the timbral quality of each single sound, they also shaped the evolutionary process of the work.
This work could be seen as a process of inflow moistening (title in Hopi language) " [label info / credits]
"No one will ever accuse Giancarlo Toniutti of releasing too much music into the world. It has literally been ten years since Toniutti has released any recordings outside of a very rare
compilation track here or there. That said, Toniutti is an undeniably intriguing sound artist, who has deeply immersed himself into obscure forms of ethnomusicology and linguistic study, all the while keeping a finely tuned ear to the habits of vangarde composition. His
earliest recordings emerged out of the Italian power electronics community of the early '80s whose most well known practitioner was
Maurizio Bianchi. Like Bianchi, Toniutti put out a handful of recordings on the seminal British noise label Broken Flag. While
bracing, complex, and adventurous in its crunched tape manipulations and sinister synthesis, Toniutti's work stood apart from the signature Broken Flag arc of transgressive noise, due to Toniutti's intellectual rigor. It was this rigor that brought Toniutti to pursue
his collaborations with Andrew Chalk and Conrad Schnitzler, and it was probably this rigor that caused the prolonged length between
recordings over the past decade.
So, the 20 minute composition that Toniutti produced for Ferns impressive series of 3" discs has been granted a Hopi Indian title based on an ancient song dealing with cunnilingus and bedbugs. I'm sure that Giancarlo has a very particular reason for placing such a text alongside this warbling set of mutated field recordings; but as of yet, it remains something of a mystery. This composition does enjoy a hermetic quality, in spite of Toniutti's explanation that he derived all of the sounds from a field recording he made in Italy involving a mountain, a 10ft tall cross, a metal pylon, and a temple bell. Out of that environment and those objects, Toniutti arrives at a record that might appear somewhat meditative at first, with its constant wash of low frequencies; but upon deeper investigations into the piece, he reveals queasy, off-kilter tonalities which gently vibrate against each other, bristling with quiet textures. His is a pretty unique sound, somewhat like the early electronic work of Xenakis with the diminutive sensibilities of early Bernhard Gunter. Highly recommended!" [Aquarius]
|
2007 |
€7.00 |
|
| TONIUTTI, GIANCARLO & ANDREW CHALK |
Tahta Tarla |
LP |
Wunderschön aufgemachte Veröffentlichung des Engländers A. Chalk (ORA, ORGANUM) und des Italieners G. Toniutti. Hier mischen sich langgezogene Drones mit Naturklängen und konkretem Material (wahrscheinlich auch aus der Natur), im Beiheft wird das Konzept des "geographical totem" erklärt. Zeitlose Platte.
We could again some copies of this classic LP from 1993, long drones and nature-sounds mixed with more concrete material, with large booklet that explains the concept of „geographical totem“, a timeless record indeed.
###################
Credits
Engineer – Colin Potter
Illustration, Design, Liner Notes, Music By – Andrew Chalk, Giancarlo Toniutti
Photography By – Andrew Chalk, Enrico Piva, Giancarlo Toniutti, Giuliana Stefani
Notes
This album comes with printed inner sleeve. Included is a 28 page 23x16cm booklet.
The materials on track A (Tienalauami) have been recorded on 14th, 15th and 27th February 1987 by Giancarlo Toniutti in indoor and outdoor sites in Udine (Friuli, Italia); and on 12th January 1988 by Andrew Chalk at ICR Studios in Tollerton (York, England) with Colin Potter engineering. Mixed by Giancarlo Toniutti in his home studio April 1989.
The materials on track B (Warkswood) have been recorded on 7th February 1987 by Andrew Chalk at ICR Studios in Tollerton (York, England) with Colin Potter engineering; and on 19th, 21st and 23rd March 1988 by Giancarlo Toniutti in indoor and outdoor sites in Udine (Friuli, Italia). Mixed by Andrew Chalk, November 1989 at ICR Studio,York.
Thanks to Giuliana Stefani, Roger Richards, Patrizio De Mattio, Jonathan Walker, Enrico Piva.
This LP was originally planned to be released by Extreme in Australia.
|
1993 |
€22.00 |
|
| TOOP, DAVID |
Entities Inertias Faint Beings |
LP |
From David Toop:
The music existed already, spores maybe or dormant clusters of digital files. Out of three periods of solitude the germination began. The first was in Queensland, on Tamborine Mountain (an aboriginal name), so silent at night that I listened to recorded music – Japanese gagaku, Buddhist ritual from Bhutan, Korean Confucian music – as if drifting into cavernous black space. Stepping into sleep I saw a hypnagogic image - a transparent swimming pool suspended over the mouth of a volcano. I read Stephen Mansfield’s book on Japanese stone gardens – “Successful stone arrangements seem almost alive, the elements conversing among themselves with an occult vitality, the call and response that has been noted between well-placed rocks resembling the chanting of Buddhist sutras” ; Daylight listening in chill air, hearing whip birds, butcher birds, noisy mynahs, kookaburra chatter, rainbow lorikeets; catapult elastic, I wrote, radio waves in a kettle, electric buzzers. On Queensland’s Gold Coast I gazed at a distant humpback whale breaching out to sea, watched Yasujiro Ozu’s 1934 silent version of A Story of Floating Weeds, listened to cicadas burst into life as a helicopter flew overhead.
Back into society and driving with Lawrence English I asked him, why would anybody release music in the 21st century? He laid out his philosophy; I was convinced. Then in St Ives, Cornwall, solitary again, drawing, reading Timothy Morton’s Hyperobjects and Clarice Lispector’s Agua Viva (her beautiful sentence: “dry keys echo in the dark and humid early hours”), gazing at ocean flux, music trembling into life from secreted audio files, music becoming living entities. Phantoms rose up out of sea mist, images of black light and blistered skin from photographers (Takuma Nakahira and Tomatsu Shomei), the fermenting of sounds. From a distance I heard voices – the extraordinary painter Mariko Sugano reciting ancient Japanese garden texts on the taboos associated with stone setting; Emi Watanabe’s flute as if a ghost from the Noh; the sounds of underwater creatures in my pond; Sylvia Hallett’s sarangi crying (in cavernous black space); the fervent drumming of Rie Nakajima’s small mechanical beings (like cooking with paper, wire and batteries); John Butcher’s reeds, music as a scientific exploration of the body, the instrument. Rie talked about the properties of objects, soft or hard. In the Noh play Aoi no Ue, the spirit is compelled with drum and plucked string (the catalpa bow).
In solitude I contemplated death, decay, the gush of life. Back in the car, Lawrence told me, when you die you’ll leave many projects unfinished. I laughed. Unspeakable truths, notes for a language to come, maybe not this world.
room40.bandcamp.com/album/entities-inertias-faint-beings
"Composer/performer/improviser David Toop’s latest release traces the seam between sound and music, paying attention to the hidden sounds that surround us and turning silence inside out.
In a lot of ways I’ve come to dislike music,” David Toop told The Wire in 2003. “I love sound, I love silence, but music as a whole I don’t like anymore.” You might assume that would have troubled him, given that Toop, then 54, had been deeply involved with music for most of his life, in virtually every role imaginable: performer, improviser, composer, critic, theorist, archivist, curator, and label owner. But if it represented any sort of crisis for him—six years before, burnout and “indifference to contemporary music” had led Toop to hang up his hat as a music journalist—it didn’t hold back his output. Since making the statement, Toop has continued to perform and lecture, released a half-dozen albums, and written two books, including the recently published Into the Maelstrom: Music, Improvisation, and the Dream of Freedom.
But Toop’s turn away from music, that complicated category of organized sound, has been crucial in one very important aspect: It has allowed him to ask probing questions about the nature of listening. Those questions come to a head on Entities Inertias Faint Beings, his first studio album since 2007’s Sound Body. Offering a vibrant array of rustle and hum, the new album traces the seam between sound and music, between the intentional and the incidental, between expression and mute abstraction. A partial index of its sounds would include the whine of rubbed wineglass rims; shortwave radios on the fritz; the electric buzz of the forest canopy at night; the languid click of fingernails across guitar strings; the whirr and flap of a 16mm film projector’s take-up reel. It is an album about paying attention to the hidden sounds that surround us, about turning silence inside out. And it is an album about using sound to find one's own bearings.
Entities Inertias Faint Beings got its start as an autobiography—or, more precisely, it is the result of what turned out to be an abortive case of writer’s block. Its genesis lies in three periods of solitude: first a stay on Tamborine Mountain in subtropical Queensland, Australia (“so silent at night that I listened to recorded music—Japanese gagaku, Buddhist ritual from Bhutan, Korean Confucian music—as if drifting into cavernous black space,” Toop writes in his introduction to the album), and then on Queensland’s Gold Coast, where cicadas harmonized with helicopters. Back in Cornwall, trying and failing to write his life’s story, he began sifting through several years' worth of personal recordings he had stored on his computer: small, percussive thunks; filament-like drones; the crinkling of paper. Shuffling, layering, and arranging—not so much composing as feeling his way through the material, as if improvising—he added new sounds to the mix, like a quiet passage of acoustic guitar from one of his daily practice sessions, and a hydrophone recording from his garden pond. And in London, he fleshed out the pieces with the help of musician friends. The improvising saxophonist John Butcher lends trilling, bird-like sounds to two tracks; Rie Nakajima's battery-powered motorized objects rattle and whirr, suggesting insect colonies in upheaval.
The overall result—thematically, anyway—is something like one of W.G. Sebald’s literary peregrinations: a palimpsest of place, memory, and accident, although its precise route is unknown to all but its creator. There is little to tell us what any of these clicks and pings might actually be. Several of the album’s track titles suggest cryptic headings scrawled on notecards in dusty filing cabinets: “dry keys echo in the dark and humid early hours”; “pieces of wood and iron, phials of odours”; “sea slug.” They function as indices of possible experiences, and if they explain little—do the bassy gurgles of “sea slug” really come from a gastropod mollusk?—they offer unusual and inviting travelogues consisting of little more than white noise and feral throb.
But Toop can’t quite resist sneaking music—that most elegantly ordered aspect of organized noise—back into the equation. Again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album. In the album’s centerpiece, “ancestral beings, sightless by their own dust,” Sylvia Hallett’s sarangi, a bowed string instrument from Hindustani classical music, weaves an eerie, mournful air over slow, methodical pulses. Then, at the track’s end, a jungle’s worth of growling, chirping, buzzing sounds swells and is swallowed in turn by the steady gush of a tropical rainstorm. Toop has compared his compositional processes to traditional Japanese stone gardens—one track, “setting stones,” quotes a thousand-year-old passage on the subject—and at its most engrossing, Entities captures the uncanny qualities of inanimate objects in conversation with one another. It is a way of suggesting that the music exists independently even of its creator; it is a product of the act of listening itself. By the act of focusing our ears, we bring it to life—and vice versa." [Pitchfork]
|
2016 |
€23.50 |
|
| TORBA |
Musique Inconcrete |
LP |
After the quickly sold out »Ggràn« cassette, released on Fragment Factory in 2016, we are very happy to welcome back the Italian sound artist Mauro Diciocia aka Torba for his 2nd contribution to the FF label catalogue. »Musique Inconcrète« is the follow-up to »Musica Conventionale«, released earlier this year on his own Edizioni Aaltra imprint, and marks the second installment in a trilogy of related recordings, informally named »Le Musiche«. While being active in the field of contemporary sound art and noise music for more than a decade, Diciocia has produced a whole lot of mostly small run cassette releases. This LP is Torba's first and long overdue full-length album for the vinyl format.
While Diciocia's latest work is far from being composed in classical terms, the concept behind the album revolves around the idea of sketch or annotation. Or better still: The inconcrète. A semi-false (or semi-correct) french word, used to undermine the consistency of the french Musique Concrète tradition in a rather light-hearted manner. During the conception of this album, MD was strongly influenced by the work »Incompiuto - The Birth of a Style« by the Italian contemporary art collective Alterazioni Video. They loudly claim that Incompiuto – the unfinished – is the only Italian art style of some significance in the past 50 years: "The term ‘incompiuto’ refers to the architectural and infrastructural works whose construction has been halted, and which can be witnessed throughout the entire Italian peninsula. They are all publicly funded, and for a variety of reasons (design errors, political decisions, inaccurate cost estimates, contractors' bankruptcies, evident disregard of building regulations, the disappearance of funds, etc.) their construction has been interrupted, leaving behind a series of ruins in reverse.” (Alterazioni Video)
Far from any reference to post-architecture or mafia-political controversy, the final output of »Musique Inconcrète« is a macro cut-up of sound-screens reorganized as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and a few inserts of other people's music manipulated on ¼-inch tape, the whole LP is made out of field recordings collected in the region of Salento in southern Italy, where Diciocia is currently living. All environmental sounds were captured with common consumer electronics (walkman and mobile phones) in order to give back the domestic feeling of an abandoned opera. Speaking of geography, the first track Lapjèdr Fòr is the only exception. Intended as an introduction to the whole narration, it testifies MD's emotional and non-linear journey back from Germany, where he spent about eight years, to Southern Italy: It contains a clashing mix of recordings made in Berlin and around the seaside of Torre Lapillo.
The pictures for the artwork of the album were taken by the photographer Gabriele Albergo, whose perpetual-in-progress project »Salento Death Valley - A Black Diary of the Most Beloved Italian Peninsula« aims to deconstruct the touristically idealized image of the region through the serial production of what he calls anti-postcards.
Edition of 300 copies on black vinyl.
https://fragmentfactory.bandcamp.com/album/musique-inconcr-te
"Many of the sounds on Musique Inconcrète are thin, threadlike, fibrous, like amplified insect legs or the metallic rustle of uncut guitar strings. Usually such a description would apply to an album with much more sound processing and alteration involved in its construction, not a work that relies as heavily on mostly unmanipulated field recordings as this does, but the singular vision that audio collage maestro Mauro Diciocia (a.k.a. Torba) has adopted for Musique Inconcrète is unconcerned with “usually.” The six tracks on the LP are true sonic sketches, a structure he borrows from the Alterazioni Video collective’s tradition of Incompiuto—the incomplete. Diciocia warmly embraces a state of unfinishedness, fully content to explore acoustic settings and movements with qualities that might often be cited as weaknesses: insubstantiality, choppiness, frailty. He uses the aforementioned field recordings—most of which were captured in southern Italy—as fragile canvases for his sketches, their beautifully mundane soundscapes both contributing their own unique textures to the music as well as serving as a base for quiet interjections of buzzing static; occasional and very choice musical samples; and other oddities. The recordings themselves are often shaky and unstable, an effect that’s achieved via either subtle processing or the recording medium itself; Diciocia chose to use basic electronics like small tape recorders and mobile phones to evoke “the domestic feeling of an abandoned opera.” Such careful efforts to fully adopt an intentional lack of polish or seamlessness make Musique Inconcrète not only a fascinating and thought-provoking release but also more lush and well-realized than one could ever think possible." [Noisenotmusic]
"Wenn das neue Torba-Album ein Pendant in der Welt der haptisch erfahrbaren Artefakte hat, dann ist es die Ruine – ein Phänomen, welches das Künstlerkollektiv Alterazione Video jüngst am Beispiel unvollendeter Architektur und Infrastruktur untersuchte, an verschiedenen Konstruktionen, die aus Geldmangel, wegen technischer Probleme, politischer Planänderungen und ähnlicher Gründe Fragment bleiben mussten. In der dazu entstandenen Studie wurden sie als die bedeutendsten Kunstwerke des heutigen Italiens bezeichnet.
“Musique Inconcrète”, erneut eine Reihe an feinsinnigen Cut-Up-Kollagen, wurde stark von diesen Überlegungen getriggert und setzt sich aus eher spontan zusammengesetzten Komponenten zusammen, denen man ihre Fragmentiertheit anmerkt. Benannt hat Torba das Resultat allerdings nicht nach dem Unvollendeten, sondern nach dem “Inkonkreten”, was eine ganze Reihe weiterer Bedeutungsnuancen eröffnet.
Im Vergleich zur One Track-CD “Musica Convenzionale”, dem ersten Teil der losen Reihe “Le Musiche”, erst recht aber zu früheren Veröffentlichungen, sind die sieben Tracks des neuen Longplayers noch ein ganzes Stück dezenter, andeutungshafter und ungreifbarer: Mikrosequenzen, deren Soundmaterial diffus an Zikaden, Straßenlärm, Sinustöne, Wind und Wasser und zwitschernde Vögel, aber auch an jazziges Basspiel erinnert, eine Viel-, wenn nicht Unzahl an per Telefon aufgezeichnetem Material, dazu Songzitate und immer wieder dezente Manipulation – all das liegt übereinander, greift ineinander und verschmilzt doch nur soweit miteinander, dass das Konstrukt einer Einheit verwehrt bleibt. Alles verbindet sich gerade so stark, dass die Konturen einzelner Klänge undeutlich und eben unkonkret werden.
Man kann darin freilich eine Kritik an den Ideen der Musique Concrète, oder zumindest das Aufzeigen einer Kehrseite und eines blinden Flecks sehen, betonten die Pioniere dieser Musik doch besonders das Material in seiner wie selbstverständlich angenommenen Abgegrenztheit. Die einzig deutliche Grenze, die Torba hier zieht, ist die des immer wieder überraschenden Schlusspunktes einer Sequenz oder einer Tonspur, womit er an einige seine früheren Tape-Veröffentlichungen anknüpft. Torba ist nach wie vor ein Gelände mit vielen abrupt endenden Sackgassen. Mehr noch als in den opulenteren Stücken wird dies in den zwei minimalistischen “Intermezzi” deutlich, in denen der (teils verfremdete und im Tempo hochgeschraubte) Auftakt einer berühmten Klaviersonate durch ein Szenario verhuschter Sounds getrieben wird. Daran, dass das Motiv immer wieder nach drei Tönen de nova da capo geht, mag man sich gar nicht gewöhnen, und soll es vielleicht auch nicht.
In dieser Spannung, in der die einzige klare Kontur die Evidenz des Unfertigen ist, liegt die Signifikanz und natürlich die größte Herausforderung von “Musique Inconcrète”. Hat man sich daran gewöhnt, erkennt man viel Schönheit in dem Gebräu aus Verkehrslärm, Stimmengewirr und verschwommener Jahrmarktsmusik." (U.S./African Paper) |
2019 |
€18.00 |
|
| TORTURING GIRL (=TORTURING NURSE + ALO GIRL) |
same |
LP |
Torturing Girl is a great collaboration between Torturing Nurse and Alo Girl. In 2004, Junky and Misuzu created the Harsh Noise project “Torturing Nurse” in Shanghai in the spirit of Hijokaidan. Originally, the band’s classical line-up included Youki, Misuzu, Miriam and Junky. They use contact mike, metal, pedal, feedback, voice and guitar. Since 2010 Tourturing Nurse consists of Junky and Youki. Alo Girl is dissolute and cruelly Italian HNW/ Harsh noise project by Cristiano Renzoni (whose also the other half of Richard Ramirez’s An Innocent Young Throat-Cutter) and it debuts in 2009 with its first LP. He uses analog electronics, pedal and contact mike in order to create sonic wall construction where brutality appears to be the inevitable outcome. This angry LP comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 119 hand numbered copies w/8 pages mini-booklet.
Listen to extract at: www.urashima.it/uma019.html
|
2011 |
€25.00 |
|
| TOTSTELLEN |
Fliehkraft |
mCD-R |
“Rasende soziale Rotation wirkt auf einige wie der Sog eines Strudels in sein Zentrum. Für andere ist die Wirkung wie die Fliehkraft auf einer Drehscheibe, die Dich bei einer falschen Bewegung ins Abseits schleudert. Nicht wenige sind beiden Kräften ausgesetzt & zerreissen.“ [from the liner notes]
One-tracker release about „social rotation“, raw ambient Industrial with a political approach, eerie & with pure analogue effects and field recordings, from Hamburg. Comes in a nice handsewed cover. Authentic stuff !
|
2003 |
€5.50 |
|
|
Tunnel / Brücke |
CD-R |
"Eine der Hamburger Elbebrücken diente als Klangquelle für eine akustische Studie über das architektonische Phänomen Tunnel und Brücke. Raumzeitliche Aspekte wie Hall oder Dopplereffekt bestimmen das dröhnminimalistische Klangbild. Pathetische Zeilen wie 'Die Sehnsucht kehrt sich um Eine neue Hoffnung keimt Der Kreis schließt sich' machen aber deutlich, dass es nicht bloß darum geht, wie es sich anhört, wenn Autos hin und her fahren. Obwohl sich manchmal sogar die Illusion landender Jumbojets einstellt. Rhythmische und peitschend-klackernde Momente, eine Fata Morgana von Meeresbrandung, die Stakkatos von Maschinengewehrsalven, Funkgejaule, rituelle oder martialische Paukenschläge auf Metall summieren sich zu Bunkerbesatzungsparanoia. Im Dunkeln treibt die Einbildungskraft Blüten. Der Totsteller schreibt Tunnel und Brücke einen totalitären
Charakter zu - es geht nur von A nach B, keine Abzweigung, keine Auswege, nur vorwärts. Die Alternativlosigkeit würgt. Der Ausweg
wäre, von der Brücke zu springen oder sich an der Tunnelwand den Schädel einzuschlagen. Für weniger morbide Assoziationen wie ‚Fluchttunnel‘ oder ‚überbrücken statt ersaufen‘ verlangt Totstellen Eigeninitiative." [Bad Alchemy]
"A study of architecture and the perspectives it implies. An acoustic reflection of so called civilisation. Entirely recorded inside the structure of a motorwaybridge, wich is also a tunnel or even a labyrith underneath the droning traffic. A collaboration between Reduktive Musiken and Totes Format. First edition of 100 copies! Comes with colour-cover and inlaycard." [label info]
www.reduktivemusiken.de
|
2007 |
€9.00 |
|
|
KSR |
CD-R |
"Gerda Grimm ist mit ihrem Projekt TOTSTELLEN eine der Wenigen, die mit Noiseästhetik und entsprechender Verpackung unvermindert auch noch ein genuin industriales, nämlich fundamental systemkritisches Bewusstsein verbinden. Die Verhältnisse werden als Zumutung wahrgenommen, als anästhetischer Angriff auf Sinn und Sinnlichkeit. Ästhetik ist untrennbar mit Ethik verbunden. Hinter kapitalistischen Fassaden fällt der Blick 360° auf dystopische
Abgründe. Die Utopien der einen erfüllen sich als Alpträume der anderen. Unproduktive Relikte, zwischenzeitlich als Niemandsnischen besetzt, werden von Abrissbaggern demoliert. Zwischen den Trümmern beginnt die Suche nach neuen Alternativen, nach Auswegen aus Nutzungszwang und Profitlogik. Schritte knirschen auf verschneitem Bauschutt. Der Krach des Abbruchs und der Klang der Fragmente und des Schutts sind auf KSR (Totes Format / 2000+1 tilt, totform07, CD-R + video) Quelle einer Musik aus geklopfter, federnder, rumpelnder, sägender Zweckfreiheit, mit dem Beat von
Mauerspechten, der sich mit alarmiertem Sirenengesang mischt. Tinguely-Automaten aus Schrottteilen schnurren und pulsieren ihren spielerischen Leerlauf. Homo ludens vs. Homo oeconomicus, ohne große Worte." [Rigobert Dittmann / Bad Alchemy]
www.tiltrecordings.org
"KSR consists of recordings of empty office buildings KSR 8 and 10, where a lot of money has been raised and now they are abandoned. The field-recordings are edited with a four-track recorder. Also Totstellen uses instruments made from objects found in these empty buildings. The recordings were made in 2002 and 2003 in Hamburg. The atmosphere of the music in noise and industrial. KSR 8 ends with a lot of feedback tones. KSR 10 is is more quiet and you will walk into different rooms and atmospheres. This one also shows a film with shots of the demolition of one of those buildings. A beautiful piece of music about critics to the ruins of capitalism." [JKH/Vital Weekly]
|
2009 |
€12.00 |
|
| |
Mein Licht beleuchtet nur Abgruende |
CD-R |
"processed fieldrecordings of a journey through the baltic states, finland + lapland. reflections on constructed nature + disruption as utopia.
01 - anorexie im bauch eines wals (12:42)
02 - faules blut in molochs adern (19:38)
03 - keinen traum mehr zu haben (01:24)
04 - fuer die noch lenenden toten (17:32)
05 - vermehrt zu gast im laeukemiecluster (23:38)" [label info]
http://telenautik.de/grimm/totstellen
"Der Alptraum kommt in lautleisegefälligen Schritten, die baltischen Länder bieten neben der touristisch entlegenen Industrieromantik auch etwas wie ein dreckig-verschlafenes Lokalkolorit, welchem mit Mikrophon und Sampler zu Leibe gegangen werden kann. Wann beginnt der Alptraum wirklich? Dann wenn man aufwacht und feststellt, dass die Realität sich bei aller Authentizität doch beliebig verformen lässt. Totstellen hat in 5 Kompositionen seine einjährige Reise durch die baltischen Länder festgehalten, streng feldrekorderistisch, wie ein audiophiles Tagebuch welches die jeweiligen Reisemomente auf ehrlichste und naheliegendste Art zu skizzieren vermag. Mal rauschen die Bäche, dann wiederum dräunt und hallt der industrielle Alltag der Straßen und öffentlichen Plätze durch die Aufnahmen, werden Funkstimmen und Wassertropfen zu grotesken Klangmonstern, die ihre Formwandlung auf unerklärlich hässlich-faszinierende Weise exhibitionistisch zur Schau stellen. Wenngleich Totstellen’s Abgründe sich ihrer Funktion wohl nur im Gedächtnis seiner eigenen Reiseerinnerungen öffnen, atmet »Mein Licht Beleuchtet Nur Abgründe« eine ganz eigene Sprache, das verworren-gutturale Geflecht aus Erinnerung und Lücke. Die archaische Umverpackung, handgenäht und mit Siebdruck versehen, macht aus diesem Release eine besonders intime Angelegenheit. Chapeau." [Thorsten Soltau / AEMAG]
"...Totstellen uses both field recordings, but plays music, sound material creates what he encounters, like the rustle of plastic and metal buckets on ticking. In one way or another, the atmosphere is nostalgic and melancholic compositions and are true sound paintings. These beautiful CDR's packaged in a self-sewn cover with a picture book where the emptiness of the city and nature plays a central role. Highly recommended!" [JKH/Vital
Weekly]
|
2010 |
€12.00 |
|
| TOTSTELLEN / LOW.FILE |
Boys like girls |
MC (C-30) |
Neuer Post-Industrial aus Hamburg & Berlin! TOTSTELLEN: schwelende Drones, metallisches Summen, kurz auftauchende verzerrte rhythms, verfremdete Stimmen und found sounds. Sehr dichte und intensive, taumelnde Atmosphäre...
LOW.FILE: rauschige Drones, Pianofetzen, harsche glitch-noise-DATA-Attacken und lange spannende Unheimlichkeitswolken..
Ein Exzellentes Tape !
“Exceptional noise/ambient music dealing with gender questions. programmatically low fi, but nevertheless sharp and precise. TOTSTELLEN from hamburg, known to some for ‘neo-industrial’ noise and creepy dark things, introducing an introverted notion here, quite similar to minimalist low.file from berlin, whose main topic in audio and visual art is image – identity construction and marketing. these pieces consist of elements like broken rhythm signals, text and image data tranformed into audio data, field recordings, hijacked adn reorganized cage piano and a sample of a young girl’s voice, wondering why girls in boy’s clothes are said to be cute while boys in girl’s clothes are considered embarassing.” [label description]
|
2003 |
€4.50 |
|
| TOY BIZARRE |
kdi dctb 039 |
mCD |
"Der Code kdi dctb ist bei Cédric Peyronnets Fieldrecordings so obligatorisch wie in gewissen Parallelwelten das BWV oder dergl. ‚kdi dctb 039‘ speziell ist der Mittelteil einer Trilogie, die mit ’kdi dctb 151’ auf dem Split mit Dale Lloyd auf Bremsstrahlung in San Diego begann. Dass Peyronnet auf puren Naturklang (keine Synthesizer, Sampler etc.) pocht, wurde schon als bewusste Abkehr aufgefasst von der erzfranzösischen Pariser Musique- Concrète-Schule. Aber die Lauschangriffe auf die akustische Umwelt, hier nur deklariert mit ‚made in various places from 1994 to 2007‘, sind nicht weniger ‚typisch
französisch‘. Oben propellert ein Flieger, unten knistern Laub und Ästchen, dazwischen ein Hüsteln, Klackern und Knurschen, ein Zwitschern, Bitzeln und Zirpen, wie ein Glas prall gefüllt mit ‚Wald & Wiese‘. Duchamp hat 1919 in einer Apothekenambulle ‚Pariser Luft‘ als Readymade-Gastgeschenk mit in die USA genommen. Peyronnet könnte entsprechend 20 Minuten ‚Heimatklang‘ verschenken, so komprimiert, dass er explosiv verpufft, dass es wie ein Percussionorchester aufrauscht und dann minutenlang nachbebt, als synästhetisches Konzentrat von ‚Natur‘, über die hinweg erneut
Flugzeuge ihre Bahn ziehen" [Bad Alchemy]
"kdi dctb 039 is a part of a trilogy made up of 'kdi dctb 151' (See bremsstrahlung recordings), 'kdi dctb 039' & 'kdi dctb 180' (TBR).
Another piece about childhood memories composed only with field recordings made in various places visited from 1994 to 2007 : acoustic spaces, sound objects, sound auscultations, bits of soundscapes... Microphone and recorder as the primary tools. It's sometimes good to make a pause, seat and take a look at the
past - then, some sound fragments may appear... our sound memory. toy.bizarre (Cédric Peyronnet / ingeos) - sometimes qualified as "rural headphone electro(acoustro)nic music" - works on field recordings, phonography, soundscapes, sound art, since 1985. He has released more than 40 works on CDs, tapes, videos, compilations...Contact : http://www.ingeos.org" [label info]
"Throughout the '90s, Cedric Peyronnet would boldy announce that none of his Toy Bizarre recordings were made with synthesizers
or samplers, instead with field recordings and collage techniques as his twin media. It has been speculated that this notion comes from a
punk attitude against France's institutional avant-garde which evolved out of the work of Pierre Schaefer and Pierre Henri; but at the same time, Peyronnet's recordings focus on the specificity of sound locations, and the technology of samplers and synthesizers didn't have the ability to reflect the unpredictability that Peyronnet witnessed in environmental sound. While Peyronnet doesn't
mentioned his aversion to technology on this 3" from Ferns, he's retained the same adventurous sensibility for dynamic edits coupled with nocturnal, slippery ambience. From the jump-start opening of crackling twigs and grasses with an airplane's Doppler-effected
engine roaring in the distance, Peyronnet's 20 minute composition dissolves into elegantly fluid timbres weaving out of tactile sounds
from sand, grit, gravel, and other bits of detritus. Once all of the sounds have all settled into a drift of stasis, a quick jump to another set of textures and abrasions begins with a corresponding set of sympathetic drones. Fans of Loren Chasse's field recording work,
Tarab, and Steve Roden should all take note of this exceptional release." [Aquarius Records]
|
2007 |
€6.50 |
|
| TOY BIZARRE & PIERRE REDON |
Saisons |
CD |
Die field recording drones von TOY BIZARRE im Zusammenspiel mit PIERRE REDONs feiner Gitarrenarbeit! Auf vier Stücken (zweimal beide zusammen, je eines beide solo) vermischen sich kunstvoll schwelend flächigen Klänge, immer wieder durchbrochen von elektro-akustischen Momenten, fein & subtil verwoben.
"This collaborative effort brings us some of the most beautiful and atmospheric instances of composition with nature. the four tracks, some
solitary works, some creatied by using field sourcings of the opponent, feature subtle wildlife field recordings, detailed electro-acoustic passages, swelling metallic drones and amplified silences." [label info]
"...Toy Bizarre is perhaps one of the last 'old' guys to use his band name rather than his own name, Cedric Peyronnet, which is good. Pierre Redon is a much younger guy and never used a band name, which is also good. They have been playing music together since 2002. Peyronnet is in fine electro-acoustic mood and Redon's main instrument is the guitar and electronics. They both play two pieces, Redon springtime and autumn (first and last piece), Toy Bizarre summer and winter (the two pieces in the middle). Listened closely to the music, one can spot the differences, even when Redon uses field recordings and Toy Bizarre makes his field recordings sound like drones. The result should appeal to all lovers of drone related music with a good, sturdy look at the world of field recordings. Subtle music goes loud, noise music goes subtle. Mind you, this is not a work of microsound. There is much more happening than just a few static crackles built from a ten second rain sample. This is quite vivid, imaginative electro-acoustic music. Great stuff." [FdW / Vital Weekly]
|
2008 |
€13.00 |
|
| TRANSITIONAL |
Nothing Real Nothing Absent |
CD |
Erinnert sich noch jemand an die begnadeten HEAD OF DAVID? Das lief damals unter "britischem Noise-Rock", war aber weitaus abgründiger und experimenteller als viele andere Bands mit derselben Stilrichtung aus dieser Zeit, von der Innovationskraft & rabenschwarzen Radikalität ehesten vielleicht noch mit der New Yorker Band LIVE SKULL vergleichbar. DAVE COCHRANE gehörte zur Urbesetzung von HEAD OF DAVID, war später bei GOD, SWEET TOOTH und JESU, und brilliert nun in diesem neuen Duo TRANSITIONAL, das irgendwo zwischen JESU-Rock und elektronischen Power-Trance & Drone angesiedelt ist, mitreissend wie hier rohe Kraft in betörende Bahnen gelenkt wird....trancige Beats, Weite, rauhe Sounds wie Wellen & Wind...
"Transitional is the new project of musician producer Kevin Laska (Novatron) and long time Justin K Broadrick and Kevin Martin collaborator Dave Cochrane (Jesu, Grey Machine,). The debut 'Nothing real Nothing Absent' offers a rich variety in their approach to sound combining crushing atmospheres through a mixture of electronic ambience, mangling bass lines and distorted epic layers of textured guitar. Injected with driving rhythms and effected vocal phrasing Laska and Cochrane build discordant worlds on an immense scale which pull you down to another level of fear and ethereal bliss before kicking off with some more soul dismantling sonic dysfunction.
This is a band which can deliver both sonic tranquility and extremely heavy slabs of dense music and just about everything in between; Heavy electronic machinery, juggernaut bass lines and hypnotic guitars go from passive relaxation to an unstoppable machine within a single surge. Kevin Laska's woven creations of bleak electronic/organic mesmerizing mayhem and bliss has found a new level. Now joined by legendary bassist Dave Cochrane who played with the likes of Kevin Martin in God, Ice and The Bug and Justin Broadrick in Jesu and Head of David. Born September 2006 Laska's found himself in another quality up with Cochrane, following his last collaboration with a.o. Russel Smith and Anthony Difranco (Ramleh, ex Skullflower) as Novatron. Transitional; a solid, textured and dynamic sonic journey through a world that is both self deprecating and enlightening, but either way leaves you wanting more." [label info]
www.conspiracyrecords.com
|
2007 |
€13.00 |
|
| TREMBLAY, JACQUES |
Chroniques d'une Seduction |
CD |
"Auf Chroniques d‘une séduction (IMED 0897) verbindet JACQUES TREMBLAY (*1962, Jonquière, Québec) 3 Kompositionen durch den roten Faden ‚Andersheit‘. ‚Espresso espressivo‘ (2003-04) lobt Kaffee als sinnlichen Teleporteur, der schon Bach in einen anderen Zustand versetzte. ‚L‘énigme anima‘ (1997, 2001) lässt C. G. Jungs Persona - als Gitarre - und Anima - als Countertenorstimme - sich gegenseitig stimulieren. Aber das sind nur Präliminarien zu ‚Empathies entropiques‘ (1998-2001), ein polyglottes Opus von 47 Min., angeregt durch Martin Bubers Ich und Du und Yves Daoust gewidmet, von dem Tremblay alles Wesentliche seiner Kunst gelernt hat. Die Episoden ‚La petite Camille‘, ‚L‘enfant d‘Afrique‘, ‚Ganga is Divine‘, ‚Lolita corpse et âme‘, ‚Polonaise‘, ‚Tryptique russe‘, ‚Rêve libanais‘ und ‚Haiti troubadour‘ sind jeweils durch eine andere Sprache anders - Babygebabbel, Afrikanisch, Arabisch, Englisch, Russisch, Französisch. Das Andere bringt in Verlegenheit - speziell, wenn der Sohn eines KZ-Überlebenden erzählt - und fasziniert zugleich. ‚Empathies entropiques‘ möchte dazu verführen, sich verführen zu lassen, das eigene Fremdeln als Verwunderung zu genießen, den Krampf des Verstehenmüssens zu lösen und das Unverständliche empathisch und musikalisch zu hören." [Bad Alchemy]
“Espresso espressivo” (2003-04). “L’énigme anima (1997, 2001)”. “Empathies entropiques (1998-2001)”. “The main theme running through all three of the works included on this cd is otherness. Each piece illustrates different facets of this theme. O the irony! As I try to fold back around my memories, my ability to focus is suddenly challenged by my noisy neighbour going by and talking loudly into his cell phone headset. The noise of this undesired speech immediately ties up my memory. This foreign tongue and its strong accents are heckling me. However, I persist in writing, which soon relegates the surrounding audio flow to the background. Since I cannot grasp the meaning of the words, my neighbour’s conversation becomes beat, movement, pace. And my listening finds purchase on the musicality of the sound. Later, when I resume my active listening, I realize that elsewhere in the background, over my head in fact, the patrons of the fruit store are ‘pacing around,’ influenced by the ebb of a radio, whose sound reaches me through the floor-ceiling in a highly-filtered form. Finally, further in the background is an animated layer of vehicle sounds pulsated by the clock mounted on the wall… An Arabian song comes from a car, panning from left to right... Multiplicity is here and now and... My attitude hesitates between shutting it all out or marveling at it. I listen... looking from the inside out... and rather than closing itself up, my perception tries to feed off these sonic imprints. The above sums up pretty well how I found my pace in realizing these works. My vision extrapolated into numerous ramifications along the way. My attention still thought it was focusing on a familiar sound, but it was actually slipping into the chronicles of intrigue and fascination. And for this experience, the ‘I’ becomes the ‘other.’ And being able to dissociate oneself from it is strangely fascinating. Isn’t that part of the Other’s seductive power? This very otherness holds the power to awake us, dust down our old ready-to-ware suits-ideas, initiating a new fresh attitude toward astonishment and discovery.” Jacques Tremblay
www.empreintesdigitales.com
|
2008 |
€14.50 |
|
| TREMBLAY, PIERRE-ALEXANDRE |
Alter ego |
DVD-A |
Autoportrait (2001). au Croisé, le silence, seul, tient lieu de parole (2000). Binary (Virtual Rapper Remix) (1998). fugue; qui sent le temps? (1997). la cloche fêlée (2004)
"The other self - Finding in music an accomplice, the other, without whom nothing is possible, without whom one cannot grow. Better: through his contact, one really exists, since one plainly sees oneself. A mirror. the other me - My music as an intimate insight, naked, subject to the world's judgement: an act of humility. Through it I present a hidden side of my torment, in my name, alone to take on the poetry of its imperfection. Of my imperfection. the other you - Proposing dreams fragments, paths for wandering, where others can hopefully loose themselves and self-identify to the extent of purging their humanity. Or just to enjoy the road. the other thing - work, not as a superficial exercise of aesthetic seduction, but as an attempt to transcend differences toward the Übermensch. Strong arguments, amoral, music as a vehicle of reflections, Expressionist and Romantic, inducing an effervescence, an urgency to live. Perhaps simply beautiful? other." Pierre-Alexandre Tremblay.
First initiated to the world of classical guitar at an early age, Pierre Alexandre Tremblay subsequently dedicated body and soul to composition and bass guitar during his adolescent years. With the support and guidance of Jean-Guy Larin, Michel Tétreault, Michel Donato and Marcelle Deschênes, the young composer forged his unique language in Montréal's teeming cultural life of the '90s and, in 1998, completed his bachelor's degree in composition at the Université de Montréal. Pierre Alexandre Tremblay continued to explore further musical endeavours in the creative atmosphere of England at the beginning of the millennium. He was awarded his PhD in Electroacoustic Composition from the University of Birmingham (UK) in 2005, under the supervision of Jonty Harrison. Since then, Pierre Alexandre Tremblay teaches composition at the University of Huddersfield (UK). In parallel with his academic path, Pierre Alexandre Tremblay formed, in 1996, the contemporary jazz ensemble [iks], which he still leads and with which he continues to tour Europe, America, and Africa. With this ensemble, that has released six albums to date, he practices improvisation on his instrument and, more recently, on realtime processing devices. He is also frequently in the studio for popular music artists, both as producer and session bassist. Well versed in these aesthetic approaches that he considers complementary, Pierre Alexandre Tremblay now seeks to unite them into a single coherent poetic language. He spends his spare time, pursuing his interests in reading and photography, and with his family. In addition, as founding member of the no-tv collective, he does not own a working television set.
[label info / credits]
www.empreintesdigitales.com
|
2006 |
€12.00 |
|
| TREPANERINGSRITUALEN |
Deathward, To The Womb |
LP |
"Trepaneringsritualen's long out of print debut release, Deathward, To The Womb (2012) finally sees a proper reissue. An invocation not so much of Babalon herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus. In the lyrics - based on the texts of Frater T.O.P.A.N. on the Babalon Working - the perilous flame that is Babalon is called upon to ravage creation. She is asked to scorch the earth clean for the coming cosmic renovation. The Eternal Virgin would spring from Her womb. From Her love, the new divine man would be born. 70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent. "All love songs are of me" She says. This is certainly true of the first five songs of Deathward, To The Womb. The final songs, "All Hail The Black Flame", seem different altogether. In this guise, Babalon brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer. "She is flame of life, power of darkness - She destroys with a glance - She may take thy soul. She feeds upon the death of men." Babalon was summoned at Winter Solstice 2015 under the sign of n, with assistance from Alone In The Hollow Garden, A.I.L of Arktau Eos, Michael Idehall, KzR of Bölzer, Nÿland ii of Hadewych, and Æther. To destroy and to give life. This ritual has concluded and was successful. Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled "I Remember When I Was God", and attributed to Teeraal Räum Pheynix."
www.coldspring.co.uk
"Seit "Perfection & Permanence", dem letzten regulären, 2014 erschienenen Studioalbum von TREPANERINGSRITUALEN kümmert man sich beim neuen Hauslabel COLD SPRING offenbar verstärkt um das Aufforsten vergriffener Werke des umtriebigen Okkult-Post-Industrial-Kuttenträgers aus Göteborg, und so ist nach "Veil The World", der Reissue eines Tape-Boxsets aus dem Jahre 2011, nun "Deathward, To The Womb" dran. Das Original erschien 2012 als eine der allerletzten Veröffentlichungen des, noch im selben Jahr verschiedenen, schwedischen Label RELEASE THE BATS im 10''-Format in einer recht übersichtlichen Auflage von 275 Stück. Damit sich die Anschaffung der, nunmehr als CD und LP erhältlichen Wiederveröffentlichung auch für jene Klientel lohnt, die das gute Stück im Original ihr Eigen nennen, hat man seitens COLD SPRING noch den knapp 13-minütigen Track "I Remember When I Was God" obendrauf gepackt, der 2015 in genretranszendierender Zusammenarbeit mit allerlei illustren Zunftgenossen wie MICHAEL IDEHALL, ÆTHER oder dem BÖLZER-Frontmann KZR aufgenommen wurde. Auf der CD prangen zwischen dem letzten regulären Stück der Original-10'' und dem besagten Bonbon übrigens zwölf, jeweils viersekündige "Silent Tracks" – was genau das letztendlich nun soll, erschließt sich dem Rezensenten nicht wirklich, und daran ändert auch eine entsprechende Anmerkung auf der discogs-Seite der CD – "Tracks 7-18 contain no music, but are part of the T × R × P ritual" - rein gar nichts, doch was soll's: dass THOMAS MARTIN EKELUND, der Mann hinter TREPANERINGSRITUALEN, eine ausgeprägt paramystizistische Ader und ein erklärtes Faible für okkultistische Umtriebe hat, ist ja nun hinlänglich bekannt, und insofern wird sich der Mann schon irgendwas dabei gedacht haben, was dem Endergebnis dienlich ist bzw. war. Der Verbraucher muss schließlich nicht alles wissen & verstehen, was zum Produkt beigetragen hat, und entscheidend ist ja, nach des Altkanzlers Helmut Kohl weisen Worten, am Ende immer nur, was hinten 'rauskommt: im vorliegenden Fall weiß das jedenfalls durchaus zu gefallen.
Nach dieser kurzen Einleitung dürfte dem Leser bereits klargeworden sein, dass es sich bei "Deathward, To The Womb" um ein dezidiert "rituelles" Werk handelt, weshalb derjenige an dieser Stelle bereits vorgewarnt sein soll, der primär auf nach vorne losbratzende Gassenhauer wie "Judas Goat", "Papist Pretender" oder "Castrate Christ" schielt: Abgesehen von der geradezu atemberaubend treibenden Quasi-T × R × P-Hymne "All Hail The Black Flame", einer todsicheren Bank während jeder Live-Darbietung des Schweden, ist's mit dergleichen nach vorne losgehendem, rumpeligen Black-Post-Industrial auf dem vorliegenden Album ansonsten eher Essig. Es dominiert jene konzentrierte, fiebertraumartige Lo-Fi-Gruselatmosphäre, die die Phantasie des Hörers auch ohne expliziten Hinweis in nachtfinstere Bereiche namenloser In- & Evokationen lenkt, wie sie Meister EKELUND so gerne thematisiert. Und ganz in diesem Sinne rekurriert "Deathward, To The Womb" auf die so genannten "Babalon Workings", eine Serie magischer Rituale, die 1946 vom späteren Scientology-Gründer L. Ron Hubbard und dem Raketeningenieur (sic!) und Autor Jack Parsons – okkulter Ordensname "Frater T.O.P.A.N" – durchgeführt wurden, um eine Inkarnation der thelemitischen Entität Babalon – einer Art archetypischen weiblichen Gottheit auf Basis der mythomagischen Modelle Aleister Crowleys – zu manifestieren. Wie die Fama munkelt, warnte "Ipsissimus" Crowley Parsons vor den schwer kontrollierbaren Effekten seines Unternehmens, und das nimmt wenig wunder, bezeichnet Babalon doch ein Konzept, das seine passendste Analogie wohl in der hinduistischen Göttin Durga bzw. deren dezidiert "dunklem" Aspekt Kali hat: es vereinigt in sich die Polarität des Hervorbringens und des Verschlingens, mithin des Lebens und des Todes. Parsons jedoch war guter Dinge, erklärte nach einiger Zeit den ersten Teil des Rituals für erfolgreich abgeschlossen, um unmittelbar danach seine spätere Frau Marjorie Cameron kennenzulernen, bei der es sich seiner Überzeugung nach prompt um ebenjene Manifestation der Babalon handelte, die Hubbard und er beschworen hatten. Nachdem Parsons aufgrund eines tödlichen Unfalls verstorben war (ursächlich war eine Explosion in der heimischen Küche während des Hantierens mit allerlei hochsensiblen Substanzen, die das halbe Haus in Schutt und Asche legte – wahrlich ein, eines Raketeningenieurs würdiges Ende!), verrannte sich seine Witwe in die Theorie, ihr Göttergatte sei von finsteren Mächten ermordet worden, blieb ihrem magischen way of life aber treu und spielte noch bis ins hohe Alter eine illustre Rolle in thelemitischen Künstler- und Okkultistenkreisen. Zu ihrem Freundes- und Bekanntenkreis zählte von KENNETH ANGER (in dessen Kurzfilm "Inauguration Of The Pleasure Dome" sie die Rolle der Scarlet Woman aka Babalon bzw. der Kali übernahm) über ANTON LA VEY bis zu GENESIS P. ORRIDGE so ziemlich alles, was in der einschlägigen Szene Rang & Namen hatte. Marjorie Cameron verschied 1995 im Alter von 76 Jahren, nachdem sie auf dem Sterbebett im Krankenhaus die letzten thelemitischen Sakramente durch eine Hohepriesterin des O.T.O erhalten hatte.
Der vergleichsweise ausführliche Exkurs über die Dame ist durch die thematische Agenda von "Deathward, To The Womb" bedingt: "An invocation not so much of BABALON Herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus." Die Lyrics, so die labelseitige Auskunft weiter, seien anhand der Schriften des Frater T.O.P.A.N alias Jack Parsons entstanden und thematisieren das Babalon-Konzept als schwarze, den Erdkreis kathartisch reinigende, Flamme, nach deren segensreichem Großreinemachen aus der Asche der alten Welt ein neuer Quasi-Gott-Mensch hervorgeht. Die fragliche eschatologische Powerfrau sah Parsons, wie gesagt, in seiner Marjorie bereits idealtypisch verkörpert, womit der Erfolg der gesamten Veranstaltung für ihn außer Frage stand – schon Crowley war da skeptisch, und im Lichte der Erfahrung haut der Promotext in exakt dieselbe Kerbe: "70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent." Und in der Tat – blickt man in der Weltgeschichte so um sich, ist man spontan geneigt, zuzustimmen: weit & breit nüscht zu sehen vom "new divine man", ganz im Gegenteil. So gesehen verlegt "Deathward, To The Womb" den Focus von PARSONSs schwachbrüstiger Happy-End-Finalität auf den wesentlich lebenswirklicheren, nämlich verschlingenden, kaliesken Aspekt Babalons, der exemplarisch im bereits erwähnten "All Hail The Black Flame" zum Ausdruck kommt: "In this guise, BABALON brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer." Rein musikalisch handelt es sich hier zweifellos um den T × R × P -Klopper schlechthin: unterlegt von martialischem, treibend-wummerndem Getrommel und rhythmischem Metallschlagwerk krakeelt sich EKELUND die schwarze Seele aus dem Leibe und beschwört das Jüngste Gericht – herrlich, einfach herrlich!
"»All love songs are of me« She says. This is certainly true of the first five songs of Deathward, To The Womb", so der Promotext, wobei, naja, von "love songs" im engeren Sinne hier sicherlich nur die wenigsten sprechen würden, doch insofern die ersten fünf Stücke sich alle durch ihren rituell-kontemplativen, teilweise devotionalen und bisweilen gar hymnischen Charakter auszeichnen, kann man sie in einem sehr weiten, übertragenen Sinne tatsächlich so bezeichnen. "The Birth Of Babalon" und der anschließende Titeltrack klingen wie Meditationssessions am Grunde des Hades – hier wie zumeist ist es freilich insbesondere EKELUNDs gutturales Gegurgel, das diesen speziellen, dämonischen Mehrwert maßgeblich generiert. "Osiris, Slain & Risen" (der Bezug zum Babalon-Konzept ergibt sich durch Osiris' Ehefrau Isis, die die Einzelteile des von seinem Bruder Seth Ermordeten und Zerstückelten einsammelt und neu zusammensetzt) wirkt durch den monotonen, trockenen und dumpfen Grundrhythmus, über dem EKELUNDs Gezeter dahintreibt, fast noch eine Spur finsterer. "She Is Flame Of Light" ist ein weiterer Höhepunkt des Albums und als solcher treibender und hypnotischer als die vorangegangenen Tracks, wobei es insbesondere die stimmig übereinandergeschichteten Vocals sind, die für den morbiden Charme ursächlich sind. "Sacrament & Crucifixion", obgleich ebenfalls keineswegs übel, geht danach etwas unter und hinterlässt insgesamt einen vergleichsweise indifferenten Gesamteindruck. Danach folgt "All Hail The Black Flame": toll, toll, toll – aber davon hatten wir's ja schon mehrfach. Bleibt zu guter letzt noch der Bonustrack "I Remember When I Was God", doch, um's kurz zu machen: obgleich der Rezensent insbesondere die langen, rituellen Stücke von TREPANERINGSRITUALEN – so z.B. "ÅKALLAN: Mímir" vom DEATHSTENCH- oder "Edifice Of Nine Sauvastikas" vom ÆTHER-Split – ausdrücklich zu schätzen weiß, so haut ihn das hier jetzt nicht so wirklich aus den Latschen. Irgendwie klingt die Nummer im Ganzen ein klitzekleines bisschen disparat, man vermisst diese gewisse innere Spannung, die die einzelnen Elemente zusammenhält und zu einem kohärenten Ganzen zusammenfasst. Mag am Ende vielleicht auch an der Vielzahl der Beteiligten liegen, denn, wie sagt das Sprichwort doch so schön: "Zu viele Köche verderben den Brei". Und bei "I Remember When I Was God" haben möglicherweise wirklich zwei oder drei Köche zu viel mitgemischt. Wobei der Brei freilich trotzdem nicht unbedingt verdorben, sondern durchaus genießbar ist, nichtsdestoweniger hat man dergleichen von TREPANERINGSRITUALEN schon mal besser gehört.
Summa summarum rubriziert "Deathward, To The Womb" trotzdem ohne Wenn & Aber unter "Pflichtkauf": zum einen, weil es sich dabei schon jetzt um so etwas wie einen zeitgenössischen Klassiker des Genres handelt, zum anderen, weil es einfach ein spannendes, fesselndes Album ist, das selbst in seinen ruhigen Passagen so mitreißend und stimmungsintensiv ist wie wenig andere. Obendrein bekommt derjenige, der vor dem Hintergrund der vergleichsweise schmissigen 2014er Scheibe "Perfection & Permanence" Lust bekommen hat, sich in die etwas abgelegeneren Gefilde des EKELUNDschen Oevres einzuarbeiten, mit dem hier versammelten Menü eine hervorragende Einführung an die Hand. Im übrigen macht diese Neuauflage Lust auf mehr. Und wer "A" sagt, muss bekanntlich auch "B" sagen. Ganz in diesem Sinne fiebert der Autor dieser Zeilen jetzt schon prophylaktisch möglichen Reissues von "Roi Perdu" oder "Septentrional" entgegen: ist das nicht 'ne super Idee, Herr EKELUND? Bei COLD SPRING wenigstens wäre man dafür bestimmt Feuer & Flamme – schwarze Flamme!" [Endsal / NON-POP] |
2017 |
€19.00 |
|
| TRIANGULAR ASCENSION |
Leviathan Device |
CD |
"Triangular Ascension is the debut album by Venezuela's Federico Agreda and a much welcomed addition to the Cyclic Law Roster. Taking inspiration from Thomas Hobbes book "Leviathan", the album aims to depict the inner nightmare of the reality of mankind, ever dwelling in fear and self-destruction. Upon activation of the "Device", the water once used by the Elohim to create life, rages over the lands cleansing the planet from every living creature that crawls the soil, concluding in a post-apocalyptic requiem sung by the leviathans themselves. The music translates into a carefully crafted work full of cinematic drones of ruthless atmospheric power, destined to make Triangular Ascension a name to be reckoned with.
Edition of 1000 copies in 4 panel Digipack.
9 Tracks. Running Time 59:40" [label info]
www.cycliclaw.com
www.cycliclaw.com
|
2011 |
€13.00 |
|
| TROUM |
Tjukurrpa (part two: drones) |
CD |
Der zweite Teil der Trilogie zeigt die „dronige“ Seite von TROUM, fünf lange Stücke mit transzendental-entrückten DRONES von meditativer Atmosphäre bis hin zu rituell-apokalyptischen, monumentalen Klangräumen... ein weiterer Versuch, die Ratio auszuschalten und in grenzenlose, entsubjektierte Bewußtseinssphären zu gelangen! Kommt wieder im kreisförmigen Cover....second CD in the Tjukurrpa – trilogy, another try to loose ratio and reach boundless spheres of mind.
“This part two is dedicated to "drones", presenting five highly atmospheric and droning tracks ranging from minimal to monumental sounds, from dark ambient to more ritualistic areas: these are drones to loose your rational mind in.. The music on Tjukurrpa II is made by loops based on metal-sounds, percussion & other more obscure sources, as well as mouth-organ, choirs, guitars, and effects.” [press release]
“All in all "Tjukurrpa" is a step towards unconsciousness, estrangement and self-knowledge. Having plunged so deep into one’s inner space one risks never to come back again. Roaming about the corridors of your own soul, try not to get lost completely.” [Nikolai Kiryukhin]
„ Just like Maeror Tri, Troum seem to have mastered this area of subconscious music best.“ [Frans de Waard, VitalWeekly]
|
2002 |
€13.00 |
|
|
Ryna |
CD |
Wiederveröffentlichung des Debut-Albums von 1998, mit neuer Artwork von TILMANN BENNINGHAUS (Berlin). Re-release of Troum's long sold out first album from 1998 with new artwork by Tilmann Benninghaus. Digipack.
"...Die acht Stuecke greifen sehr gekonnt ineinander, steigern sich von Minute zu Minute. Praesentieren sich die ersten Tracks sehr einheitlich, ambient, setzen dann leichte Rhythmusstrukturen ein, um im Finale Riurja" ihren Hoehepunkt zu finden. Alle, die sich mit auditiven Aphrodisiaka berauschen, sollten diesen Edelstein besitzen: Ein begeisterndes Noise-Ambient-Werk!" [Der Schrei]
"Vielmehr versetzen sie Gitarrensaiten in harmonische Schwingungen, um damit sinnlich erfahrbar zu machen, dass Begriffe und Ideen Herrn & Damen ohne Unterleib bleiben müssen, wenn sie sich nicht entpuppen zu Flügelwesen, Tänzern und Sängern. TROUMS Dröhnwellen singen von der Einheit von Pneuma, Psyche & Soma. Eine Einheit, die ständiger Modulation ausgesetzt ist. Beispielhaft für einen Modulator steht bei TROUM der ‚Thalamus‘, der wörtlich ‚Schlafzimmer‘ genannte Teil des Zwischenhirns, der die ein- und ausgehenden informativen Erregungen des Großhirns moduliert. Muss man das wissen? Es kann zumindest nicht schaden, sich dessen bewusst zu sein, dass TROUM im Klang & Fleisch gewordenen Wort ‚Traum‘ die psycho-physischen und environmentalen Fundamente vibrieren lässt." [Rigobert Dittmann, Bad Alchemy]
"...The general feel of the sounds here is reminiscent of the earth moving, tectonic plates in constant shuffle, the tracks building and then either shifting or worn away via attrition. Its as if Maeror Tri learned to fly through ingenuity, smoke and mirrors, while Troum has taken the ingenuity, smoke and mirrors and, somehow, grown wings. Amazing stuff!" [JC Smith]
"I believe it was 1997 when a small posting came my way stating that Maeror Tri had dissolved. At the time, this German trio had
become one of my (Jim's) favorite ensembles alongside the likes of Organum, Skullflower, and :zoviet*france:. Maeror Tri's dedication to grimly focused atmospheric music harbored all of the things that succeeded in the campaigns of industrial and ambient music; and the
Maeror Tri anonymity (or at least a mysteriousness about the group that lead to such a reading of their collective persona) certainly enhanced their charm. Albums such as Emotional Engramm and Multiple Personality Disorder had achieved heavy rotation status on my stereo (and still get pulled from the shelves quite often in this day and age); so the news that Maeror Tri was no more was met with sadness. Fortunately, two thirds of the Maeror Tri ensemble had decided to continue on but under the moniker Troum. While the name of this duo was an archaic German word for dream, Troum's pursuit of unconscious symbolism through their heavily processed guitar drones still maintained the ashen darkness that Maeror Tri perpetuated, as was evident on their first CD release Ryna, which originally came out in
1998 on the Belgian label Myotis. It should be noted that Ryna is not the first Troum recording; that honor is held by a cassette called Dreaming Muzak that came housed in a tiny pillow. Ryna quickly went out of print, along with much of the Maeror Tri back catalogue; but thankfully, Troum have repressed this early gem through their own Transgredient imprint. An album of constantly billowing black clouds, Ryna achieves the same dark ambient / dronescape signature that had marked so many great Maeror Tri / Troum releases. On occasion, cracked / decayed loops of rhythmic surging emerged from beyond the horizon of Troum's guitar suites, alluding to a Norse mythological bellow of impending doom and apocalyptic battle. While I've not done the side-by-side taste test of the two albums, the 2007 redux of Ryna appears to much louder and cleaner. Regardless, it's a pleasure to hear this record once again!" [Aquarius Records]
|
2006 |
€12.00 |
|
|
AIWS |
CD |
"AIWS is the first full-length cd release from Troum since 2003. It covers studio-recordings composed from 2002-2005. These musicians have compiled some of their most favorable pieces through the years to be placed on this release. Presenting nine analogue (4&8 track) recorded compositions that lead the listener through vast feelings of beautifully deep melancholic and hypnotic states of mind. Composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves.
Ingredients: Sufi-songs, old vinyl-crackles, acoustic & e-guitars, e-bow, e-bass, voice & whisperings, accordion & flute. Stunning photography & design work by Alan McClelland(Eye.lyft). One of the most emotional and profound Troum releases to date now available on Transgredient Records. Dedicated to Eternity.
TRACK LISTING of AIWS [* and meaning of titles & phrases]
1. AHMATEINS
2. AGGILUS
3. SPIRARE
4. PER SONUM
5. PANTAH
6. [GA] PLAIAN
7. PENTHOS
8. NEHEH
9. PELETÄ
total length: 49:30 min
[* AIWS=Eternity (gothic language), also shortcut for "Alice-In-Wonderland-Syndrome". 1. "Inspiration" (gothic) 2. "Angel - Carrier" (gothic) 3. "breathing - aspirating - sighing - smelling " (latin) 4. "through sound" (latin) 5. "way - path - line" (old indian) 6. "supplication" (persian) 7. "the sorrow of mourning - lament" (greek - also a greek god), 8. "Eternity" (egypt) 9. "escape - flight, also: rescue - salvation" (hebrew) " [label info]
"... nach einigen 12“s und Kollaborationen die 7. CD des TROUM-Duos. GLIT[S]CH & BARAKA[H]
sind dafür bekannt, dass sie sich zu Nietzsches „Die Welt ist tief, viel tiefer als der Tag gedacht“ tief in die Augen blicken und dann ihren Fliegenden Teppich starten. ‚Ahmateins‘ ist, bewusst analog und lo-fi, gewebt aus engen Gitarrenwellen und sämigen Drones von E-Bow und E-Bass. Flug und Flucht, Atmen und Seufzen sind dabei eins. Sound ist der Weg und das Ziel. AIWS ist nicht nur das gotische Wort für Ewigkeit, es steht auch für das Alice in Wonderland Syndrom. Prosaisch ist das eine mit Kopfschmerzen verbundene Sehstörung, metaphorisch aber heißt das doch: Die Welt mit Alicens Augen als Wunderland sehen können.
Troums Zauberteppich schwebt auf harmonischen Strömen durch Rauch und Licht dahin, auf einem spiraligen Kurs ins Sublime. ‚Pantah‘ lässt den Saitenklang deutlicher erkennen, in [Ga]plaian‘ ist Sufigesang verdichtet, in ‚Penthos‘ scheint ein Akkordeon zu pumpen, in ‚Neheh‘ Licht nicht bloß zu schimmern, sondern zu singen. Tiefenmusic Reaching Our Unconscious Minds."
[Bad Alchemy]
"....The pieces on this new CD were recorded from 2002-2005 on Troum's own analogue equipment, all live to four-eight track recorders, without the involvement of computers. Troum, a duo (be it hard to believe), is best a live band, even when working in the studio. Their instruments are guitars, e-bow, bass, voices, accordion & flute, old vinyl. And oh, sound effects. Lots of those are involved in the music of Troum, but they never stand in the way of the end result. Spacious head music. Loud at times, quiet when necessary, but there is a certain roughness about the band, which is an element I really like. Even when things are quiet, they never really are quiet. 'Neheh' is just an example of some sparse organ like loops, feeding through some delay and bouncing gentle forward, but with a certain grittiness. Highly atmospheric even when experienced without the help of any chemicals or other illegal substances and the best but perhaps more frightful experience when played in the dark and with the headphones tied to your head. You are bound to play it again, if not only because it might be too scary to leave the room... Of all things experimental, ambient and industrial (Menche, Zoviet*France, Lustmord), Troum can easily stand the test and be the best of the lot." [FdW / Vital Weekly]
|
2007 |
€12.00 |
|
|
Symballein |
CD |
Sechs Stücke aus der Frühphase von TROUM, erschienen auf obskuren & raren Compilations im Zeitraum 1997 - 1999; dunkel, dronig-morastig, tieffrequent, von massiver Konsistenz, post-industriell, jenseitig ...am ehesten zu vergleichen mit der ebenfalls damals erschienenen Debut-CD RYNA.
"...alle sechs sind gute beispiele für die "kl_F/B-S/comp-Theorie", bilden trotzdem ein fast perfektes gesamtwerk und zeigen troum durchweg von ihrer düsteren seite; kavernenartig, rhythmen durch meterdicke wände gefiltert, stimmen aus der zwischenwelt. ein stärkerer kontrast zur aktuellen, dagegen fast leichten A.I.W.S. erscheint kaum möglich......
ps: die "kl_F/B-S/comp-Theorie", deren erste erwähnung hier nicht mehr eruiert werden kann, stellt die (unbewiesene) vermutung in den raum, dass bands kleinere Formate/B-Seiten/compilation-Beiträge gerne dafür nutzen, ein wenig abseitigere tracks zu platzieren. neben dem wunsch, auch mal über die eigenen stränge schlagen zu können, der experimentierlust zu frönen, wird vermutet, dass zum teil auch stücke dergestalt eine heimat finden, die aufgrund von laufzeitbeschränkungen der veröffentlichungsmedien in vorhergehenden releases gekippt werden mussten.
psps: und des wird zeit, endlich einmal small voices aus italien zu loben; allgemein + besonders und jetzt besonders wegen der coverartworks: hier strukturpappe-aufklapper mit schlitz zur cd-aufnahme: eine weitere perfekte annäherung an das lp-cover als die sowieso perfekte verpackung." [n, Unruhr.de]
"Symballein" is the second TROUM releases on SmallVoices label after the well ... "Autopoiesis" LP picture disc (SVV001) actually SOLD OUT. This album is a collection of very rare material, from the very beginning of Troum (period: 1997 - 1999). As Troum meaning the music is dreamy... The concept of the ‘Dream’ is the common thread running through Troum; the name, the music and the philosophy. For not only is TROUM the old German word for "DREAM" but, according to their website, ‘the dream, seen as a central manifestation of the unconscious, symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the human’s inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter’.
In Symballein dreams are obscure and indecipherable..., in one word nightmares; the music is archaic and droney, with multi-layered guitar drones..., oneiric ambient industrial nearly to Maeror Tri best releases. The disc in packaged in a elegant and luxurious embossed cardboard digi-sleeve. Symballein: "perceivable & non-perceivable things fall into one" [label press release]
|
2007 |
€10.00 |
|
|
SIGQAN |
CD |
"...„Sigqan" von 2003, remastered und in neuem cover auf neuem label, diesmal dem eigenen. und gerade bei so verbesserungen ist das ergebnis ja oft zwiespältig; das re-master hier dagegen subtil lebendiger, körper- und räumlicher, die (für troum verhältnisse) fast minimalistische, auf gebündelte sounds setzende klangästhetik unterstützend bzw. eben einfach besser ans ohr bringend: dunkel, fast glazial, gegeneinander verschiebende ebenen rund um den hauptstrom der einzelnen teile der sigqan-trilogie, im „part 3" mit ergänzender, eher subtiler rhythmustextur; bis zum ende nur noch ein feedback zwischen cello- und trompetenästetik den beginn widerspiegelt. unter den troum alben vielleicht eines der focussiertesten, vielleicht immer ein wenig versteckt zwischen der grossen tjukurrpa-trilogie; in jedem fall: schwer empfohlen. das neue cover, wieder ein digipack, diesmal in farbe, textur und besonders typografie irgendwie nicht einem bestimmten grafischen (zeit)geschmack verpflichtet wie damals die erste auflage." [N, Unruhr.de]
"Deep beneath the ocean is a world of mystery, wonder, darkness, and danger. Even if it weren't for the cover art of this German duo's brilliant new album, there is unmistakably no other place in the universe that has influenced the sounds and movement of what is represented within. These drones are not passive in the least. The depth and volume are all encompassing, and moving slowly but steadily like an ancient and lonely large whale through the graveyards of shipwrecks, at the very beginning of the food chain in which all living creatures depend. Recorded live in the studio without overdubs, the first two parts are based on live performances the band was touring around with in 2001, the first being a dark blue rumble, heavy on the low end and marked by patient melodic movement, the second with swirling guitar strums and leads like the sun coming through in bended bands of beams: flickering, reflected, and refracted. The intangible overwhelming feeling of weight and pressure is unavoidable and inescapable, like being frozen in a dream, unable to move, but calm and comforting all the same. Around the half-way mark, it dips back into the darker regions as pitch and pace slow down deeper and deeper and deeper and deeper yet into the cold, black unknown. The third part was recorded as an afterthought, and is described as a new ending. Its brightness and chugging backwards-sounding guitars brilliantly accent the feel that it is a journey which is reaching its end. At this point, it feels that the central figure in the journey seems to be a vessyl of some sort, and the 16-minute Part 3 is thematic of a glorious resurfacing, reintroduction to the bright light of day, and returning to solid ground. But, as the brightness comes, so does an ominous sense that all might not be right. The world looks different than before, the places are familiar but everything's seemed to have changed. The credits may roll but this is certainly not the end." [Jon Whitney / Brainwashed]
“Finally, the first Troum record to be widely available in the United States, released through Relapse subsidiary Desolation House, and we're pleased to say it's maybe their best yet. Troum are the ambient-drone ensemble that emerged from the dissolution of proto-industrial dronesters Maeror Tri. Unlike the primarily guitar based whir and rumble of Maeror Tri, Troum obfuscate their sound sources, laptops, found sounds, accordians, guitars too maybe, and the results are timeless, mysterious, haunting, ethereal and utterly breathtaking dronescapes. Sigqan is a lengthy three part epic, beginning with rich sonorous foghorn like swells, that ebb and flow, separated by near silence, and slowly building in intensity from warm crescendos to huge doomy pulses. Eventually, these roaring rumbles joined by complementary shimmers of high end, that sound out, and then dissipate like sonic ripples, fading into blackness. The swells slowly grow closer and closer until the edges begin to blur and a subtly more continuous melodic framework begins to emerge and so begins the second movement, a creepy and slightly ominous, slowly fluctuating slow-motion-melody, whose lazily shifting notes keep the sonic landscape dense and rich, and keeps the sounds from flatlining into monochromatic drones. As the piece winds down, the dynamics and melody start to smear together into a warm, diffused fuzzy hum, with the subtle traces of melody sinking deeper and deeper into the dark warmth. The third and final movement was a sonic afterthought, added/recorded later than the first two, but is a pleasantly dreamy coda, with a slightly sunnier tone, a keening upper register melody, stretched out into subtly slithering iridescence with a shuffling, staticky rhythm just below the surface. So nice.“ [Aquarius Records, 2003]
"Beauty and profundity are the evident merits of the album - like the unity of oceanic and atmospheric elements, and namely the ocean is most frequently mentioned association used by critics and musicians. When you are at a depth of thousands metres, even the storm on the surface is impossible to hear." [Dmitry Vasilyev, IEM]
|
2009 |
€13.00 |
|
|
Ljubimaya / Daur |
CD |
CD-Wiederveröffentlichung zweier bisher nur als 10" Vinyl erschienenen Mini-Alben; DAUR ( 3 tracks) erschien 1998 auf dem KIRCHENKAMPF-Label COHORT und enthält allerfrühestes TROUM-Material bzw. Aufnahmen aus der Zeit entstanden "zwischen" MAEROR TRI und TROUM als der weitere Status des Projekts noch unklar war.
Von DAUR gab es 300 Kopien auf blauen Vinyl in einem merkwürdigen Kork- & Alu-Cover, ein kleiner Teil der Auflage (24 Stück) kam in einem Aluminium-Gitter Cover. LJUBIMAYA war eine frühe WAYSTYX-Veröffentlichung (2003( mit ebenfalls drei Stücken... für das re-issue gibt es eine neue Coverartwork von HUM, Auflage 500 Stück.
"Reissue of two 10" from the years 1998 and 2003. Daur is the very first release of TROUM and it resents very post-rock sounding material wth a lot of decipherable guitar parts and good drive. Ljubimaya was released by the Russian label Waystyx and carries you towards lyrical and touchy eternity of everbeginning melodies without an end, into emptiness of existence with all the uterine roar provided by YEN POX project in one of the tracks. The covers uses psychodelic image manipulations by Dmitri "HUM" Chistov" [press-release]
"Troum means dream, and dream is a symbol for unconscious. Just like a daydream, this music can drive us to very deep, out of mind control domains from emotional side. Floating, blurred soundscapes takes you to the limits of everyday life. The enigmatic non-being, unreacheable ultimate harmony is far from mind capabilities and refuses to be rationally analyzed. This minialbum is the first vinyl release of Moscow based label Waystyx, and it remember us about russian tour of the legendary duo, which took place about a year ago. Dense and spheric, their sound progressed to the more subtle, fine aesthetics, carrying slightly minor intonations through all three pieces of this album, creating the wonderful shapes out of massive noise foundament. Especially speaking of “Meerestraum” (“The Sea Dream”), which is majestically eminent, enchanting your perception, drilling the dusky space of unconscious chaos, it fulfill your soul with confusion and yearning for mysteries and unknown places....." [Dmitry Vasilyev, IEM Magazine]
|
2009 |
€12.50 |
|
| |
Mare morphosis |
CD |
"'Mare morphosis' forms the third & final part of TROUMs so called 'Power Romantic' trilogy that started with 'Mare Idiophonika' in 2010. The basic materials & arrangements for this one long epic piece were created from 2009-2013 (partly based on the recordings for the 'Bach Eingeschaltet, Dritter Band' 7" dealing with experimental reworkings of J.S.BACH pieces) & to some extent used live in different live-programmes: A piece like an 'Ocean of Transformations', morphing through various stages of intensity. 'Mare morphosis' stands out in the history of TROUM studio-albums as their most symphonic, refined and orchestral effort so far. Cover photography by Paul Takahashi, graphic design by Tilmann Benninghaus (8 panel fold out digipack). First edition: 1000 copies.
'Mare morphosis definitely gives Troum’s music a new dimension, reflecting ancient waves, amplifying the power of Sehnsucht, drumming the drowning heart." [Denis Boyer / Fear Drop]
"Mare morphosis" ist eines der stimmungsvollsten und abwechslungsreichsten Werke von TROUM, die ich kenne. Die einzelnen Abschnitte wirken tatsächlich wie Sätze einer Sinfonie, ohne dass die Gesamtanmutung vernachlässigt wird: Es geht hörbar um die mächtigste aller Naturgewalten, das Wasser, in seinen unterschiedlichen Ausprägungen. Von ästhetisch über melancholisch bis düster und bedrohlich; vermutlich sind die 'Veränderungen' im Titel so zu deuten. Wunderschön und mit vielen Details zum Mehrfach-Hören gespickt.' [Michael We / nonpop.de]" [label info]
"What comes with the Power Romantic trilogy (which pt. 1 and 2 are: Mare Idiophonika, Grote Mandrenke) is brooding from the core of Troum’s universe. Relating Troum with strong Romantic tropisms is like sewing an endless canvas. In every musical piece they work, the two musicians BarakaH and Glit[s]ch navigate a vast sea of sound, recalling the Romantic feeling in front of deep landscapes that reflect the very soul, threatening in a voluptuous appeal the observer to dissolve in the totality. Troum’s attraction to the notion of Dissolution is felt every time that the sound waves inflate to shape a luminous drone, every time that the pulsation melts into a magmatic rumbling. And what about the beauty of sadness, celebrated since the days of Maeror Tri…
That sea of sound, of profound melancholic drones and waves gets its monument with the Power Romantic trilogy in which Troum show their skill in harmony, but not only. Drones and harmony still reign but a clear way is designed for melody and rhythms (as it already was in Tjukurrpa pt. 3). The oceanic feeling is fueled by new movements, like a storm upon and under the fluid. Mare morphosis, pt. 3 of the Power Romantic trilogy, opens as the very building of a Sunken Cathedral, with heavy rhythms like stone columns gently embraced by subtle sharpened melodic phrases. The whole soundscape navigates then by the tide and lets the strong motion of sound rumbling and driving to surface the heavy layers of undercurrents, bringing up to light their deep melancholic germ of melody. Mare morphosis definitely gives Troum’s music a new dimension, reflecting ancient waves, amplifying the power of Sehnsucht, drumming the drowning heart." [Denis Boyer / Fear Drop]
listen: http://troum.bandcamp.com/album/mare-morphosis-cd-2013
www.troum.com
|
2013 |
€12.00 |
|
| TROUM & MARTYN BATES |
To a Child, Dancing in the Wind |
CD |
Nach über 2 Jahren konnte die lange geplante Zusammenarbeit von TROUM mit MARTYN BATES endlich fertiggestellt werden. Gedichte des irischen Dichters W.B.YEATS dienten als textliche Grundlage für sechs Stücke voller Sehnsucht & Emotion, Drone-Harmonics treffen auf expressiv gesungene Poesie....
“ - Profound songs inspired by YEATS-poems: The acoustic transformation of the deepest yearning - For this release, the german ‘transcendental-drone’-duo TROUM teams up with the legendary british singer / songwriter and EYELESS IN GAZA-member MARTYN BATES.
More than 2 years in the making, MARTYN BATES has sung & played (mouth organ & melodica) over basic material TROUM provided – consisting of harmonic minimal loops & basic song structures derived from accordeon, e-bass & guitar, percussion), who were then also responsible for the final subsequent additions mastering (adding more guitar-work, voices & balalaika).
MARTYN BATES has chosen to sing four poems of the famous Irish poet W.B.YEATS, and he did this with a most impressive sensitivity for TROUMS very sublime & rather hidden harmonic structures. There are also two instrumentals in a more experimental style on this disc, one being a dark drone reprise of the main piece “MAD AS THE MIST AND SNOW #2”. MARTYN’s voice is surely not something for everyone – it’s of an extreme emotional & yearnful quality that might be not easy to stand – a yearning which is like a deep “cry out to the horizon”, to something that is unreachable per se, feeling a passion that tears you apart inside. This is pure emotional poetry transformed into yearnful audible spherics!
Artwork: Daniel Crokaert, founder of the dream-ambience CDR-label MYSTERY SEAS in Brussels and a long-time fan of both MARTYN BATES & TROUM, has created a stunning 6-panel digipack using pictures provided by Martyn.
The Artists: MARTYN BATES is the legendary british songwriter, being active since the early 80’s, one half of EYELESS IN GAZA & also working solo with other musicians and with Alan Trench as 12.000 DAYS. He has established a unique own style combining elements of folk & various other influences with this remarkable singing, being expressively poetic & highly emotional at any time.
TROUM is a german duo consisting of 2/3 of the remains of the ambient-industrialists MAEROR TRI (last year saw a rennaisance of M.T. with many re-releases of their works). TROUM describe their music themselves as “transcendental drone-muzak”, a very atmospheric & emotional but often also monumental and noisy, hypnotically & at times trance-inducing rhythmic melange.
General Disc-Info: 6-panel 4-colour digipack, 6 tracks, 38:30 playtime” [press release]
”....Now its so much more than 'just' a drone record: the voice forms a counterpart of the music, perhaps because it fits so well. This is certainly on of the best drone records I heard this year, because it's so familiar as well as such a surprise.” [FdW / Vital Weekly] |
2006 |
€8.00 |
|
| TROUM & RAISON D'ETRE |
De Aeris In Sublunaria Influxu |
CD |
"...Troum und Raison dêtre, das Yin und das Yang des Unbewussten." [Sibylle Bölling]
"Ever wondered how a mix of Troum and raison d’être would sound like? Here is the long awaited answer.
Four years in the making – carefully forged between 2011 and 2014 -, De Aeris In Sublunaria Influxu showcases a magically crafted alchemy between these two titans of the drone and ambient realms.
Troum navigate through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique gorgeous soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions.
Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
Mastered using the K-14 level standard, the album comes lavishly assembled in a custom, sturdy 6-panel digisleeve packaging with amazing minimal artwork by the award-winning Spanish designer Ritxi Ostáriz. Limited to 700 copies." [label info]
www.essence-music.com
"Schön, wenn vorab kaum Worte nötig sind, weil allein die Tatsache der Zusammenarbeit zweier namhafter Künstler oder Bands für sich steht. Das deutsche Duo TROUM trifft auf den Schweden PETER ANDERSSON. Meine persönlichen Drone-Helden, die wie kaum eine andere Gruppe den Begriff 'Drone' mit Leben füllen, treffen einen der wichtigsten Dark Ambient-Workaholics mit seinem Hauptprojekt RAISON D'ÊTRE. Obwohl 'aufeinander treffen' eigentlich nicht das richtige Wording ist. Viel eher passt zum Beispiel 'aneinander schmiegen', denn entsprechend verwoben und organisch ist die über vier Jahre sorgfältig vorbereitete Zusammenarbeit ausgefallen.
"Folia" (01), der Opener und eines der zwei kurzen Stücke, beginnt mit schwebenden Drones, die ich sofort TROUM zuordnen würde. Das Knistern und Knastern wiederum, welches unterschwellig für Unruhe und Grautöne sorgt, gehört zu RAISON D'ÊTRE. Diese Zuordnung lässt sich über weite Teile des Albums vornehmen. Nach dem dezenten Vorspiel entsteht mit "Alio Tempore" (02) das Bild einer riesigen Kathedrale: abwechselnd tönen schwere und leichte Gongs, Soundcluster im Stile eines Chores schieben sich langsam nach vorne. Im Untergrund ergänzt ein Klirren die Szenerie. Über spacige, flirrende (Gitarren?)Sounds ergibt sich ein ruhiger, gleitender Ausklang. Auch "Oculum Mundi" (03) arbeitet mit Kirchenglocken-ähnlichen Loops, wie überhaupt die Stücke oft sakral wirken. Hier folgt allerdings eine hektischere Wendung, mit Dramatik durch mehr Geschwindigkeit inklusive eines mächtigen Trötens. "Atmosphaera" (04) ist warm und weich, sehr dronig eben, mit diesem kleinen Maschinen-Rattern anbei. In "Meditationum" (05), dem längsten Track, bilden atmende, singende Drones eine chorale Fläche, sorgen für weites und gelöstes Ambiente. Konkretere, schnarrende Klänge schieben sich nach einigen Minuten hinein, und die im Verlauf zunehmend längeren, gleißenden Drones erinnern mich an Musik für (oder von) Eisberge(n), untermalt von an dieser Stelle sehr organischen Sounds wie Grillenzirpen. "Flammae" (06) ist mit seinen drei Minuten für mich das schönste und auch wehmütigste Stück des Albums, die Drones formen eine betörende Melodie. Und "Ad Infinitum" (07) wirkt zum Abschluss auf mich besonders mächtig, fast bedrohlich oder unheimlich. Der Track hat was von einer Verabschiedung, von Dahinfloaten, insbesondere am Ende mit eisigem Krächzen und Schieben, mit fast menschlichen, stöhnenden Drones.
Als hätten TROUM und RAISON D'ÊTRE schon immer miteinander gearbeitet, klingt "De Aeris In Sublunaria Influxu" in der Summe seiner Bestandteile äußerst harmonisch. Die angesprochene Aufteilung der Sounds in deutsch und schwedisch, in flächige Drones und Dark Ambient-Geräusche ist zwar möglich, beides ergänzt sich aber durchweg hervorragend und ist so sauber aufeinander abgestimmt und gut produziert, dass die Atmosphäre dadurch gewinnt. Hypnotisierende Soundlandschaften, oder lyrischer: Ein Schweben in warmen Grautönen für dunkle Novemberabende.
Das Album kommt auch in einer limitierten Box mit zusätzlichen Tracks auf den Markt..."
[Michael We. für nonpop.de]
|
2015 |
€14.00 |
|
| TSCHELJABINSK65 |
Titan woods / Ancient forest |
maxi-CD-R |
Ganz anders als auf ihrer industriellen VÖ “Industrielle Zertrümmerung“ geht es hier wesentlich verträumter & melancholischer zu (folky guitars, synths), mit ethno- und dark ambient-Elementen.. well done.
“ 4 TRACKS WITH 26 MINUTES RUNNING TIME.
LIMITED AND NUMBERED EDITION OF 200 COPIES,
IN CARDBOARD FOLDER SLEEVE. 'tscheljabinsk65', a german project, in the area of Dark Ambient. The 4 tracks on "titan woods/ancient forest" shows the new way and the new ideas of
'tscheljabinsk65". The project combines on this release very well, Soundscapes with elements from Neo Folk and fill the compositions with different atmospheres, like spiritual/ethno influences, with very melancholic and melodic moments.
This release is supposed to be understood as the musical expression of human's natural roots still to be found in modern individual's unconsciousness.” [press-release]
|
2002 |
€5.00 |
|
| TSEMBLA |
Fauna |
LP |
"The cicadas rub their legs, singing as if sucking on inhalators, when past the great willows I see a dam resting deep in the shelter of the trees. The shadow of the dam, a dark cloak glowing green, spreads over the branches of the trees and far across the grass, transforming the yard beyond the road’s edge into an odd province ruled by frogs and mosquitoes that gradually slides back into being a harmless lawn. You can hear the sounds of the beasts from even further away. I scurry closer through the thicket and see how dragonflies and spotted butterflies split the ever-changing gauze of sound that the flies weave around the smell. The pool festers, simmering like green watery jelly in the grip of the banks. In the middle of the warm thick slobber you can trace some lazily undulating decomposing plants and, on top of them, the great slime kings. The bullfrogs are gathered there, and their coarse croaking sinks heavily into the tussocks’ threads, their necks pulse as they let out their fat notes over each other, random bass choruses, their big bellies trembling in yellow and brown. The slap and plop sound like obscene threats, the bellowing cutting through the air like a foreign language. The females lay their eggs in the dam, hundreds of little eggs, of which the jelly – the male knows – does not loosen its grip until the spawn turns into tadpoles and the tadpoles into younglings. From the road comes the sound of a car, it slows down. I step back and look to the road: the scream of the breaks, highway dust and music sounding faintly through the coachwork. A man pushes his head out of the window and the tune comes through clearly. He shouts over the din of the radio, through the intoxicating croaking: “How far to Garden Street, to the party?” The music blends with the sounds of the dam and the feeling that the whole slimy species is gathered for some fantastic purpose." [Niko-Matti Ahti]
www.ikuisuus.net
|
2011 |
€14.00 |
|
| TSUKIMONO |
Sketches 6-27 |
CD-R |
Eine weitere Labelgründung gibt es aus UTRECHT zu vermelden! MECHANIZED MIND will sich dem Bereich zwischen experimental Ambient/Drone und Songwriting widmen.
Aus Schweden kommt TSUKIMONO: minimal-loopige Piano-Stücke, die digital verfremdet werden aber von wohlklingender und fliessender Harmonik & Melancholie durchdrungen sind
...“The first release of MechanizedMind is this cd by tsukimono. Continuing his efforts on Garmonbozia and Fukkgod, Tsukimono again cuts and slices guitar and piano, and re aranges to form something completly new, without ever loosing the feeling of the original recordings. His music is a perfect balance between acoustic music and experimental electronics.
Tsukimono is often compared to Fennesz and the likes, a great honour ofcourse, but it´s too easy. They might share the cutting and slicing, but what is done with it afterwards is different. Sketches 6-27 might sound hectic at times, or noisy, but sit back, let the music take you on a ride, and you'll see it's really just dreamy music, made to enjoy with closed curtains, late at night and as little light as possible. Starting out with a stunning piano piece, the cd slowly builds up to the end, introducing guitar and many more (treated) sounds.” [label description]
|
2003 |
€6.00 |
|
| TSUNODA, TOSHIYA / JUSTIN BENNETT |
Cleavage of Acoustics / Cacerolada |
LP |
Nr. 3 in der Mixer Split LP Reihe ! JUSTIN BENNETT hat einem Protestmarsch in Barcelona gegen den Irak-Krieg im März 2003 beigewohnt, eine unglaubliche detailreicher Soundkulissensumpf aus Sirenen, Autohupen, Perkussion, Pfeifen & Gegröhl. T. TSUNODA arbeitet diesmal nicht mit reinen field recordings, sondern lässt Sinuswellen auf konkretes Material treffen, was zu knisternd-resonanzbildenden Effekten und merkwürdigen „small sounds“ führt.
Tolle Geräuschmusikplatte !
“Both Justin Bennett and Toshiya Tsunoda have gained a reputation when it comes to fieldrecording-based soundworks. Using their sonic surroundings as the startingpoint for their work, both are unique in approach and result. "Cacerolada" is based on a noise-protest against the Iraq-war, recorded in Barcelona. It wakes up and dies out as any day does, gradually moving along all kinds of sonic occurrences in between. Compared to Tsunoda's, Bennett's work comes from a more contemplative approach, outlining to his listener the beauty, absurdness or musicality of the everyday soundtrack he's living in. Originally these protests served a highly political goal, to record them and treat these recordings as a piece, is what made "Cacerolada" into a sound-object, to be listened to with different ears. This is the core of Bennett's work. Using hardly any processing-tools (Bennett composes with the raw building-blocks he records), these environmental-pieces are very much like documents, with specific artistic or aesthetical qualities. He hunts for certain scenes or situations and captures moments in time that contain a specific type of gesture he is looking for. The reference to daily life might be very much upfront, though Bennett's work is much more than a highly associative collection of recorded sounds. His recordings easily keep up as complete compositions with a strong musical form, taking the listener beyond what is heard at first sight and this is exactly where the strength in Bennett's work as a composer and sound-artist lies. These works show a delicate timespam, organically interpolating from scene to scene. The so familiar sounding material constructs and underlines compositional shape and development, adding a rare compositional richness to environmental-soundworks.
Tsunoda's "Cleavage of Acoustics" stands in close relation to previous works in which he tries to integrate somewhat technical concepts into the everyday beauty of singing birds and chirping crickets. Tsunoda adds to the body of these compositions of the public domain, as Justin Bennett does, but takes a different route to get there. He experiments to find out the musical relevance of technicality for natural sounds and forces a symbiosis between the two. The results still contain the associative character and organic development so typical for environmental recordings, but have a new, more abstract, mimicry. The sometime subtle, sometimes clashing, but always interesting interference between these two worlds, is what gives Tsunoda's work a very unique twist. It can exist as a completely autonomous entity while grafted upon the soundmaterial we all know so well. Tsunoda, like Bennett, makes us hear our surrounding acoustic reality in a different way. Not by fencing off certain parts of it, as Bennett does, but through simple yet very effective technical interventions, making it's appearance shift a bit or two.
"When listening to field recordings, I am always surprised by the richness of it's acoustics. Vibrations echoe from various places, in mixed complexity, changing constantly over time. In some way, it looks like stratum. I would like to sharply cleave the stratum to see the surface of the crevice. This work shows the audibility of sound vibrations through an uncommon process. I tried to cut off the source (field recording) material using a gate device and sine-waves. In each track, specific sine-waves have been mixed with the source-material.
In this work, I regard the sine-wave as the standard speed signal for the source. This has made any alternation within the audio signal detectable for the gate device. The linear audio signal (monoral) is cut horizontally into the advance direction, turning it into two signals. The amplitude of the alternating current has a separated + and - side, with 0 volt as base for the gate device. This split signal is simultaneously reproduced through the right- and left- channel of stereophonic audio equipment. Try mixing these 2 channels. The waveform is almost restored to it's original form, giving a peculiar result compared to the separated signal playback." [press release]
|
2004 |
€12.00 |
|
| TUDOR, DAVID |
Music for Piano |
do-CD |
"Doppel-CD mit Aufnahmen des herausragenden Avantgarde-Pianisten. Mit Klavierkompositionen von Sylvano Bussotti, John Cage, Morton Feldman, Christian Wolff.
David Tudor, Pianist - ein Beruf, eine Berufung, ein Leben. Von 1950 bis etwa 1965 war David Tudor der Inbegriff des Pianisten, der einfach alles spielen konnte. Rasch war David Tudor nicht mehr ein Name, sondern eine Instrumentationsanweisung, und Dutzende von Stücken waren geschrieben "for David Tudor". Schon um 1960, nachdem er alle Zumutungen der seriellen Klavierstücke bewältigt hatte, unterscheidet er zwischen Kompositionen, die ihn mit Leben erfüllen und solchen, die ihn kalt lassen - das Kernrepertoire Tudors kristallisiert sich heraus. Das Hauptkriterium für seine Wahl bildet den Eigenanteil, den er als Interpret an der Komposition hat. Er unterscheidet dabei fein zwischen der freien Wahl ("freedom of choice") zwischen vorgefertigten Teilen - gemeinhin Aleatorik genannt, wie beispielsweise Stockhausens "Klavierstück XI", das ebenso wie dessen Klavierstücke V-VIII Tudor gewidmet ist - von unbestimmten ("indeterminated") Aktionen. Im ersten Fall haben sie eine Tendenz "to put me to sleep", wohingegen Stücke, die weniger einengend sind, dazu führen, dass er sagen kann 'I feel that I'm alive in every part of my conciousness'. Das Programm dieser CDs bildet diese Vorliebe ab." [Frank Hilberg]
www.edition-rz.de
|
2007 |
€22.50 |
|
| TUNNELS OF ĀH (TUNNELS OF AH) |
Surgical Fires |
CD |
Following the sulphureous sting of 2015's 'Thus Avici', Tunnels Of Ah's third album, 'Surgical Fires' is a dense, fermentative working.
Asemic vocals are sunk beneath an alienated electronic landscape of seismic drones and paranormal frequencies. Loss, gain, conflict, resolution, decay and transformation as an initiatory path is the current running through 'Surgical Fires'; the surgery alluded to in the title being psychic surgery.
With original album artwork by Stephen Ah Burroughs (HEAD OF DAVID) and a vocal contribution from London-based ritual artist Soror Anji Cheung, 'Surgical Fires' is another singular Tunnels Of Ah release evasive of categorisation.
www.coldspring.co.uk
|
2016 |
€13.00 |
|
| |
The Smeared Cloth |
do-CD |
"The Smeared Cloth" is a double CD compilation containing the TUNNELS OF ĀH recordings from 2012-2018, which have not yet been published on any medium. The first disc is filled with compositions from the period before the debut in Cold Spring and outtakes from the sessions for "Thus Avici", the next album for the British label.
The second disc contains tracks recorded during and between the sessions for "Surgical Fires" and "Charnel Transmissions". Although they were created as loose compositions, out of the concepts clearly outlined on each of the mentioned albums, they sound incredibly coherent, giving impression of being part of a concept release, this makes them a pleasure to listen to; especially when we get carried away in the world created by Stephen Ah Burroughs with the sounds characteristic of his work. Sometimes they evoke associations with ancient rituals, intensifying the impression of Egyptian darkness, the feeling of coldness and emptiness coming as if from a deep dungeon, and with them an echo. All this is a superstructure for the 21 tracks filling both discs, outlined and maintained, in a convention that allows them to be stylistically located somewhere between isolating dark ambient and death industrial, where the gloom aura and dense, mechanical structures coexist as if in symbiosis, thanks to which the balance between building the atmosphere and reflecting the true nature of the industrial collision. This release is undoubtedly a must-have for TOĀH fans, but it can also delight those who appreciate death industrial at a high level. The album's released on two CDs folded in a six-panel ecopack.
Tracks 1-11 taken from "The Smeared Cloth" CD1
Tracks 12-21 taken from "The Smeared Cloth" CD2
https://zoharum.bandcamp.com/album/the-smeared-cloth-2012-2018-unearthed
"In den frühen 80ern gründete Stephen R. Borroughs zusammen mit Justin Broadrick und Dave Cochrane das Trio HEAD of David, das einen der noisigsten Grundsteine dessen legte, das später Industrial Metal genannt werden sollte. Im Lauf der Jahre konzentrierte er sich mehr und mehr auf Soloprojekte, und neben Frag war dies seit etwas über zehn Jahren Tunnels of Āh, mit dem er einen Ritualkosmos von fast räudiger Abgründigkeit entstehen ließ.
Dass Tunnels of Ah trotz der starken Abstraktion seiner ästhetischen Konzepte ein konsequent verfolgtes atmosphärisches Thema hat, wird bereits deutlich, wenn man die mittlerweile sechs Alben, die seit 2013 auf Cold Spring und zuletzt Hypershape erschienen sind, im Vergleich hört, denn da fallen die verbindenden Elemente sehr deutlich ins Auge. Mehr noch beeindruckt einen die musikalisches Stringenz angesichts der jüngst auf Tape und Doppel-CD erschienenen Compilation “The Smeared Cloth 2012 – 2018 Unearthed”, denn hier lassen frühe Stücke und Outtakes aus verschiedenen Albumsessions ein überraschend zusammenhängendes Bild entstehen.
“The Smeared Cloth” ist nichts für Hörer, die Probleme mit Beklemmung, Dunkelheit und niederdrückender Schwere haben. Eine finstere, bedrohliche Stimmung zieht sich durch die oft kreisenden Soundgebilde, lassen durch ambiente Dröhnung, Saitenrasseln oder sirrende Streichersounds filmreife Phasen der Spannung und durch paukende und prasselnde Takte und plötzliche Schuttlawinen aufwühlende Momente entstehen, steigern sich vom subtilen Hauch eines – nur oberflächlich sanft wirkenden, in Wirklichkeit höllischen – Windes zu infernalischen Szenen von hochtönendem, schleifenden Lärm. Klangfarben von Stein und noch stärker Metall prägt das Gesamtbild, doch ist in gewissen Abständen auch immer die Illusion des Organischen spürbar, als würde das harte und kalte Material mit dürren Reiserbesen und ähnlichem traktiert. Auch die entmenschlichte menschliche Stimme ist gelegentlich zu hören, mal in Rezitation, mal als finsteres Growlen und Keifen, mal in Form eines sakralen Gesangs.
Wenn man in den 20 Stücken die Kohärenz betont, sollte man hinzufügen, dass in ihnen natürlich auch Raum für Variation ist. Sollte ich einige herausragende Stücke betonen, dann wären es wahrscheinlich “Keys King At Womb Door Again”, in welchem sich ein anfangs kaum spürbares lykanthropisches Hecheln langsam zu etwas (noch) Monströse(re)m steigert – eine Entwicklung, die vielleicht etwas vorhersehbar ist, doch die urige Soundgestaltung, die durchweg an etwas Altes, seit Urzeiten Verschüttetes denken lässt, fällt weitaus stärker ins Gewicht. Ferner “Fountain of Life”, das nach gängigem Verständnis wohl eher wie das Gegenteil seines Titels klingt und an einen zerbrochenen Brunnen erinnert, dessen Wasser ein paar Erdklumpen mit sich reißt und am Ende im Schlamm versiegt. Nicht zuletzt auch der Titeltrack, dessen Spoken Word-Passage wie das Monument eines sinnlosen Aufwands vor infernalischer Kulisse am Ende von einer Schuttlawine geschluckt wird.
Nach den über zwei dystopischen Stunden scheiden sich wahrscheinlich die Geister: Während die einen fürs erste genug gelitten haben, sind die anderen nun gewappnet für die regulären Alben des Projektes, und “The Smeared Cloth” gibt da tatsächlich einen großartigen Einblick in einen Kosmos, den ich allen empfehlen kann, die frühe Coil, alte Broken Flag-Releases und ausgewählte Death Industrial-Platten nebeneinander im Regal stehen haben."
[African Paper]
"Eager to get back into the Tunnels. Not long ago, I gave 'Deathless Mind' another spin, and I had been looking forward to some new material from Burroughs. Still.. two whole CDs, dearie me. I'm curious if I can make it through in one go. Also, it is not exactly 'new' material, but rather excerpts and unused tracks from two distinct periods: the first CD collects all discards from the Lost Corridors and Thus Avici era; the second contains material from the period between Surgical
Fires and Charnel Transmissions - compiled into this 2,5-hour lasting tour de force. Me, oh my.
Though branded as 'dark ambient' on Discogs, we've come to know Tunnels of Āh for industrial ambient landscapes and complex saturated loops and textures that range timbrally from (seemingly) acoustic in origin to overtly synthetic. Also, the 'loops' here should mostly be taken less literally; there are elements that seem to repeat, but for the most part, the chopped-up complexity of the textures ensures we won't have the typical 'looper' kind of experience in which repetition is often an easy way of tricking our brain into believing it is listening to something musical.
On CD 1, many sounds seem to have acoustic sources, which is much more noticeable than on the more recent albums. We also seem to get a lot more vocal delivery than usual, making tracks like 'Brute World' and 'To the Pschal Victim' almost have an early Current 93 or 'ambient Test Dept kind' of ring to them.
It is also completely dissimilar in many ways, e.g., production-wise, but for fans of those bands, these tracks may be the right point of entry into the Tunnels. The vocals are often mixed in quite deeply, so you won't be listening to poetry with a noisy background.
With the choppy granulated ambient of 'Lost Corridors', a track that did not feature on the eponymous 2013 album, there seems to be somewhat of a 'natural' ending to the first part of the first CD. The subsequent ambient track 'Fountain Of Life' ramps the intensity again with its swirling vortex of delayed grit. Both 'Great Darkness' and 'The Cloth is Smeared' really stand out as two of the more memorable pieces.
Disc 2 starts with the interesting combination of 'To the Paschal Victim' and 'Circumcision', which seem to be variations on the same bass riff/loop - though the latter track slides off into a murky bass swamp about halfway through. 'Red Distribution' and 'White Distribution' wrap this disc up in a
manner that reminded me of Charnel Transmissions. There is a certain kind of dense lo-fi elegance to them, which also made me fall for that album when it first came out.
I've said this before, and I'll repeat it: What I love about Tunnels Of Āh is that though it is clearly tarnished with the brush of industrial and perhaps even reminiscent of some noise - due to its complex textures, it never becomes too harsh or punishing, which given the length of most tracks may be a very deliberate choice either during mastering or in the composition process. Moreover, a wise one, since especially with a leviathan of this length, balance is a thing to aim for.
Does it work as an album, though, or is this merely a release for us to be complete? Tough question. The first CD is consistent, albeit on the long side. With 77 minutes, it is about half an hour longer than any Tunnels release on average, and I definitely had to listen to the whole release in phases. That said, when it
comes to textures and intensity, there seems to have been some thought put into the dynamic distribution of the tracks and though longer than usual, I would say both these discs work as stand-alone albums. Another keeper in a long line of excellent works from the Tunnels." [LdW / Vital Weekly]
|
2023 |
€17.00 |
|
| TUTSCHKU, HANS |
Moment |
CD |
"Hans Tutschku (Weimar, Germany, 1966), composer living in USA, member of Ensemble für Intuitive Musik Weimar. “Extrémités lointaines” (1998), “… Erinnerung…” (1996), “Les invisibles” (1996), “Sieben Stufen” (1995), “Die zerschlagene Stimme” (1991)." [label info]
www.empreintesdigitales.com
|
1999 |
€14.00 |
|
| TUXEDOMOON |
Cabin in the Sky |
CD |
"2004 läutete das Album „Cabin In The Sky“ die Wiederkehr einer der bemerkenswertesten Avantgardebands der USA ein. Tuxedomoon hatten sich 1977 in San Francisco gegründet und konnten sich mit ihrer Mischung aus New Wave, Jazz Fusion und experimentellen Klängen nicht nur im Umfeld von Punk behaupten. Bis zu ihrem vorerst letzten Studioalbum 1987 etablierten sie sich als eine der anspruchsvollsten US-Gruppen. Mit „Cabin In The Sky“ gelang der weltweit verstreut lebenden Band um Blaine L. Reininger eine glorreiche Rückkehr. Mit der Unterstützung von so verschiedenen Künstlern wie DJ Hell, John McEntire (Tortoise), Juryman und Tarwater entstand ein für Tuxedomoon-Verhältnisse recht poppiges Album. Impressionistische Streicher, melancholische Brass- und Akkordeon-Fantasien, elektronische Kritzeleien, ein paar zarte Beats und dazwischen immer wieder einige poetische Zeilen auf Italienisch, Englisch und Französisch: „Cabin In The Sky“ bietet ein zwar abgehobenes, aber nie schwereloses Abenteuer. Ein perfektes, da zeitgemäßes Wiederhören." [Indigo] |
2004 |
€13.00 |
|
| TWELVE THOUSAND DAYS |
In the garden of the wild stars |
CD |
Neues Projekt von MARTYN BATES (EYELESS IN GAZA) und ALAN TRENCH (ORCHIS, und World Serpent – Begründer) mit melancholischem Dark Folk, der durch diverse elektronische Effekte angereichert wird und durch Martyn's unglaublich emotionale Stimme geprägt wird... das ganze hat auch manchmal einen etwas "mittelalterlichen" Touch... manches erinnert auch an EYELESS IN GAZA oder BATES auf solopfaden, vielleicht etwas düsterer, aber sehr song-orientiert... "rather chilly, heavily melancholic, bitter and very beautiful.."
[Drone Rec. info 2000]
www.musicamaximamagnetica.com
|
2000 |
€13.50 |
|
| |
Insect Silence |
CD |
"MARTYN BATES (Eyeless In Gaza) & ALAN TRENCH (Orchis, Howling Larsons) return after a long hiatus with the fourth TWELVE THOUSAND DAYS album. From the opening “Death Went Fishing” (a free translation of “vgíke o cháros na psarépsei”, the classic rebetiko by Giannis Papaioannou) to the closing, haunting notes of “Red And Golden Fire”, the listener is taken on a journey made up of a thousand journeys, a thousand side trips, a thousand destinations, hinging around the sprawling central trip of “Pathless”, in which the ramifications of choices made swim into hazy view. The 13 tracks that make up “Insect Silence” are a concatenation of dulcimers, whistles, guitars, synths, disturbing digital background noise (“Night Harmonium”) and other instrumentation with slices of pure, aching melody echoing through strange darkened corners, all enlivened and enlit by the wondrous tones of Martyn Bates.
MARTYN BATES is well-known for his brilliant long-time work with EYELESS IN GAZA, for his solo albums and for collaborations with MICK HARRIS and ANNE CLARK.
ALAN TRENCH: co-founder of World Serpent Distribution and musician with brilliant projects/groups ORCHIS, HOWLING LARSONS, TEMPLE MUSIC." [label info]
https://finalmuzik.bandcamp.com/album/twelve-thousand-days-insect-silence
"It's been quite some time since Martyn Bates (Eyeless in Gaza) and Alan Trench (Temple Music, Orchis) have come together as Twelve Thousand Days. It's fair to say much water has passed under the bridge since their last album From The Walled Garden in 2006. Insect Silence follows a ditched compilation release with the same title scheduled for release a number of years back. Insect Silence continues with the folk based music provided by Alan Trench and fronted by the distinctive voice of Martyn Bates but Insect Silence more so than their previous albums doesn't dwell solely in folk music. It may be its starting point but Insect Silence differs with passages of psych guitar and its layering of synths and electronics, as well as in the ambient interludes which feature throughout and often open up the tracks way beyond its grounding in folk music. Lyrically Insect Silence is couched in an English familiarity and in the eternal themes of life, love and death. Just shy of 70 minutes it's a long winding path of 13 tracks involving a large assortment of instrumentation which are woven into a complex and intricate tapestry of sound. You will be surprised by the pathways Twelve Thousand Days roam on .
Insect Silence opens to the spirited acoustic folk and percussive tambourine bashing of 'Death Went Fishing', outwitting death as it rushes onwards, weaving soaring psych guitars, which return throughout Insect Silence, as Bates implores that "he will return again". Its sets the scene for Insect Silence an album loosely based around folk music employing a rich multitude of instrumentation including guitars, dulcimers, harmonium, whistles as well as electronics. Twelve Thousand Days stretch the parameters of folk music with psych-guitar and ambient and instrumental interludes sprinkled throughout the 13 tracks. At times it likes listening to a Krautrock inspired psych-folk album with space rock leanings. In a good way, of course.
Opening to an ambient interlude 'Mad As The Mist' is the first of three musical settings of the words of Irish poet W.B. Yeats. Dreamy folk guitars entwine twang and strum, as Bates in his pure folk tones recalls philosophers such as Plato, Homer, Tully and Cicero, swelling into another passage of soaring solo of psych guitar and back again to dreamy folk song. More restless psych-guitar features on 'A Coat'. There's more of an experimental edge to the Yeats setting here pitching Bates' strained (and occasionally treated) voice to the fore, embellished by the pluck of guitar notes augmented by glinting electronics, bass throb and a needling guitar casting vibrations of psychedelic proportions. 'Arrow', the final piece in the Yeats trilogy is starker and played more straightforward with the beautiful folk voice over ringing acoustic guitar and warm synth backing.
Away from the Yeats tracks, a number of which Bates recorded with Troum in different musical forms, 'Errant Desires' moves to graceful ambience with flourishes of guitar notes. Bates' pure mournful tones add a sleepy lamentful melody, as faint electronics flicker behind the gentle flurry of guitar notes and assorted instrumentation. Beautifully atmospheric, it's one of my favourites on Insect Silence. Bates' voice is measured and melodic illuminating the sense of life passing in the evocative lyrics of rain falling, captured in our hands and gladly falling to the earth. More timeless folk arrives in the form of 'She Raises Her Eyes' where in captivating melodic tones Bates sings of a longing recalling long cold December months over duelling dulcimer chime.
One of the more surprising tracks appearing in the first half of the album is 'Invoke Hecate' where over passages of whistle and rousing, beating strum, Twelve Thousand Days sounding not unlike Ostara invoke the Goddess of Witchcraft, through an assortment of occult techniques. Alan Trench in past endeavours has facilitated many musicians in the apocalyptic folk genre but this rare sojourn, even with it blistering psych solo, can still raise an eyebrow and something of a smirk.
As mentioned earlier, Insect Silence is interspersed with instrumentals taking the music down alternate pathways, straying far off the beaten track. The first of these 'Night Harmonium' carries an air of arcane English mysticism with its loose folk stylings where strings chime and whistle billows merge over background synths and static clicks. The instrumental 'Old Ladies As Birds' is another brooding mystical moment where layers of whistles and flutes cast an age old melody over wheezing harmonium while loose guitar notes chime and ring out as distant electronics shudder underneath. While 'Old Ladies As Birds' is evocative of transforming souls and spirits, the jaunty folk offering of 'Fieldwork' is celebratory. Based on whistles and acoustic strum it comes across like a folk dance or Pagan procession. If 'Fieldwork' revels in a lost Englishness 'Descent' is dealing with nostalgia. A vintage crackling recording of 'See, The Conqu'ring Hero Comes' shrouds the descending organ scales of 'Descent'. Bates' voice is quiet, distant and softly murmured amidst the eerie disembodied voices of the choir as percussion rattles. You can almost picture the landscape on the pastoral 'Red and Golden Fire' another experimental offering mixing lulling electronics with whistles and flutes which closes the album.
Insect Silence hinges around 'Pathless' an epic experimental 16-minute musical and lyrical journey which we all make on our travels through life. Set in the middle of the album it continues the theme first introduced on the opener 'Death Went Fishing'. With the huntsman at our heels, we try to outwit death to no avail. Travelling from ringing guitar with Bates' voice, wrapped in layered accompaniment, veering between passages of Krautrock electronics and wavering synths to psaltery, whistles and location recordings. All the elements of Insect Silence emanate from and come together on this track to great effect. As it flows together seamlessly it's difficult to pinpoint where 'Pathless Part I' ends and 'Pathless Part II' begins but it may be when a heartbeat bass pulses and acoustic guitars ring out and the spoken word of Lisa (I think this is Elizabeth S who features on releases from Eyeless In Gaza) surfaces amidst guitars and layers of spacey synths which lull, crash and wail, before Bates returns, to close this epic track in high registered tones.
Insect Silence bustles with an immediacy, there's a sense of freshness of getting it all down on tape before the additional sound layers of instrumentation are added. Ambient, electronics, psych guitar, whistles, location recordings are all here embellishing the tracks making it intricate and complex. At the heart of it is an open-ended folk sound reflected in Bates' beautiful, distinctive voice which illuminate the timeless themes. Insect Silence is by far the best I've heard from Twelve Thousand Days and though the tracks are disparate there's an arching basis in folk music which traverses into other areas which holds it all together. As we said, Insect Silence is a journey, a pathway laid down just waiting for us to follow. Insect Silence is released digitally and on CD by Final Muzik in an edition of 500 copies. For more information go to Final Muzik and to download go to Final Muzik Bandcamp." [Compulsion Online]
"Man neigt gerne dazu, Bands, die sich nur alle Schaltjahre oder seltener zu neuen Aktivitäten zusammentun, als klammheimlich aufgelöst zu betrachten, erst recht dann, wenn es sich dabei um noch anderweitig aktive Musiker handelt – so wie Sänger Martyn Bates mit Eyeless in Gaza und seinem Soloprojekt und Instrumentalist Alan Trench mit seinen Folk- und Psychedelic-Gruppen Temple Music, Orchis und Black Lesbian Fishermen. Nachdem mit ihrem Duo Twelve Thousand Days wahrscheinlich nur noch wenige gerechnet hätten, steht mit „Insect Silence“ nun ganz überraschend ein neues Album in den Regalen, das fast da anknüpft, wo die beiden vor gut zwölf Jahren mit „From the Walled Garden“ aufhörten. Fast, denn gerade bei Alan sind doch ein paar Spuren seiner neuen Arbeiten herauszuhören.
Wie man es von früheren Aufnahmen her kennt, wechseln sich schmissige, fast frohsinnige Folksongs ab mit verträumt melancholischen Klageliedern und geheimnisvollen ambienten Soundscapes, und zusammen mit Bates’ unverkennbarer Stimme, die so klar und jugendlich wie eh und je klingt, kreiert die Musik ein verzaubertes Setting, das an ein langsam vor dem Auge verschwimmendes Jugenstilgemälde erinnert.
„Death Went Fishing“ und „Invoce Hecate“ zählen zu den eingängigen Folkstücken, die mit feurigem Geschrammel und ekstatischen Rasseln nach vorn galoppieren – mystische oder makabre Töne schleichen sich über sanft gesungene Textzeilen in die Szenerie und bilden mit der harmonischen Musik eine heikle Mischung, und schon mit den allerorts spürbaren heidnischen Untertönen sind die Stücke vor jedem Indie- und Pop-Appeal gefeit. Impressionistische Tableaus wie „Mad as the Mist“, dessen anfangs noch ziellos umhertastendes Gitarrenspiel sich erst nach und nach zu einem anmutigen Stimmungsbild zusammensetzt, bilden einen Gegenpol dazu, ebenfalls das aus einer balladesken Märchenwelt herübergewehte „Old Ladies as Birds“ und das mit Knacken und Knistern leicht verfremdete Zwischenspiel „Night Harmonium“ – beide Stücke gewinnen noch an Charisma durch Alans berührendes Flötenspiel.
In einigen dieser Tracks sind aber auch räudige Psych Rock-Elemente zuhören, die der Musik eine Kantigkeit verleihen, die in den klassischen Zeiten des englischen Folk nichts ungewöhnliches gewesen wären – zünftige E-Gitarrensoli und dröhnende Riffs, die die Folkmelodien, die sie spielen, gleichsam zerschreddern, als wären sie eine nationalhymne in Woodstock. Weder Eyeless in Gaza noch Orchis waren frei von solch rauen Beigaben, doch hier hat sich v.a. die Sprache jüngerer Temple Music in die Stilpalette geschlichen und gibt dem naturverbundenen Sound eine deutliche Prise Realismus.
Es gäbe einiges, das sich in den einzelnen Songs hervorheben ließ, die anrührende Melodie in „Errant Desires“, die cinematischen Verfremdungseffekte in „Red and Golden Fire“ und der melierte Orgelsound in „Descent“, der in ein verwehtes Sample des Liedes „Hail the Conquering Hero!“ (im Deutschen die Melodie von „Tochter Zion, freue dich“) übergeht, sind nur einige davon, doch alles in allem funktioniert „Insect Silence“ am besten als zusammenhängendes Werk, das mit mehrmaligem Hören immer mehr zu verzaubern weiß." [U.S., African Paper]
|
2018 |
€13.00 |
|
| TWIG HARPER |
New Lost Knowns |
LP |
*Edition of 200 housed in silk screened jackets, white vinyl - One of our favourite labels, Planam, pulls out a real time-and-space bender from James Twig Harper, who's perhaps best known for his collaborations with Nate Young in Nautical Almanac and alongside Daniel Higgs for Thrill Jockey. Theres some genuine weirdness within, some of the strangest we've heard since Planam first gave birth to Pat Murano's Decimus series, but with a distinctly unique fidelity and gyroscopic dynamic that makes for a deliciously disorienting experience all of its own conception. There's an animalistic or perhaps even plant-like bio-logic to its devolved, dubbed-out arcana, a grunting, scraping, grubbing ecological complexity of sounds that grows, twists and bifurcates at seemingly haphazard junctions to catalyse chain reactions of constant change and multiple layers of surreality. The 2nd side in particular enters passages which sound almost like a primitive take on Florian Hecker's plonging, rubbery computer music or Rashad Becker's perplexing notional folk music." [Soundohm]
"in the beginning of what exactly was this beginning that has remained one of the mysteries ever since? in this beginning the year might or might not be 2011 and the whole practice could still be in-process now (though we firmly reject the meaning of the meaning as an open forma s we consider it more a time-binding). it is doubtful if this sonic process would have ever evolved beyond the animal stage suspended as it is in a fragile balance between sounding familiar to the nervous system and unfamiliar and alien. this process is wholly dependant upon the integrity of the system and its necessary environment. an extermination program created by working multiple channels, reducing mixes, removing sections, adding segments, layering inversions under continual growths and constant changes, until we can no longer recognize the original source or process itself. a very limited unit of sound and image biologically activated to act as communicable dizziness existing in the past present and future when listening to it. let's turn it on. lp record and silkscreened sleeve are the access, your playback new "reality". edition of 200 copies which will turn your eyes and ears inside out, upward, backwards and in all directions." (label info)
|
2013 |
€21.50 |
|
| TZESNE |
Asimilacionismo |
LP |
"Twelve years separate the debut mini-album "Huffduff" from this solo LP titled "Asimilacionismo". Tzesne’s new vinyl is not a peaceful continuation of the last. Rather that being produced using drone-ambient techniques, his new work is atypical. Perhaps the easiness to find opportunities, or the hodgepodge of media used to register these intermediate materials, was the trigger to question where these methods occur and how to confront them by injecting some type of risk. This meant including a concept when composing, and opening a door to a game of possession-dispossession, implication and subjectivity; the one that has served to shape this story is the one named "assimilationism". All authors own tools and personal style are yielded to another authors, so that in turn the speech of the first one can be constructed. The result is the work itself, which emerges from a movement of resistance, widening as far as it is allowed to, considering the compositional margins, and reaching places where previous works have never ventured. But it is also possible to leave this information to one side and focus on listening alone, as it still holds the possibility to transform the place and the moment in which you are.
Tzesne | "Asimilacionismo"
seriesnegras | 2016
12” l white viny l 180 gr.
200 copies pressed
Contents: 9 tracks
Total duration: 39:18
Composed Amsia * Sounds Tzesne
Recording & Mixing: 2014 - 2016
Mastering: Tzesne & Amsia
Graphic: Jon Martín"
www.seriesnegras.org, www.artoartian.org
"Zweites Solo-Vinyl nach der Drone 7“ von 2005 überhaupt von diesem baskischen experimental Soundartist. Tzesne arbeitet fast immer mit (bearbeiteten) Fieldrecordings, bevorzugt solchen, die auf extra zu solchen Zwecken unternommenen Exkursionen aufgenommen wurden; als Verbindung mit dem Ort (der Aufnahme) oder bestimmten Handlungen, die dann das Thema der VÖ werden. Bzw. in abstrakt abstrahierter Weise an das Thema der Inspiration erinnern und so die Atmosphäre bestimmen. „Asimilacionismo“ führt genau diese Haltung fort und ist trotzdem ziemlich anders; geheimnisvoll, so dass es fast unbefriedigend ist, dass überhaupt keine weiteren Informationen vorliegen; auch über „Amsia“ nicht, der / die hinten auf dem Cover im Kleingedruckten Credits für Komposition bekommt (und Tzesne für „Sounds“). Neben dem Titel steht auf dem Cover vorn dann aber allein Tzesne… Wer soll das durchschauen? Was bleibt ist die Konzentration auf die Musik an sich, die auf „Asimilacionismo“ tatsächlich so erscheint wie eine Art von Erweiterung der undergründigen Soundpalette von Tzesne: Seite A dieser auf weisses Vinyl gepressten Platte, deren Labelartwork zusammen mit der Vinylfarbe diese Bezeichnung auch tatsächlich verdient, entwickelt ein zunehmend unruhiger werdendes Gespinst aus industriell anmutenden Loops, die über vier Etappen in ein immer elektronischeres Alter-Eho morphen, mit ebensolchen Sounds; definitiv neu im Hause Tzesne. Auch Seite 2 zeigt diese leichte Verschiebung der musikalischen Akzente, nutzt fünf Etappen, durch nahezu identifizierbare Fetzen von Gesprächen auf eine Art fast wie ein Hörspiel erscheinend, die jenseits von Fieldrecordings liegenden Elemente so etwas wie eine musikalische Grundierung, als Verstärkung der durch die Feldaufnahmen bestimmten Eindeutigkeit. Und am Ende das Finish in einem der für Tzesnes Ansatz typischen Multischicht-Fieldrecordings mit ihrer Vexiergestalt zwischen Versprechen und Auflösung (des Rätsels…). Sehr empfohlen, definitiv ganz oben / perfekt. Gerade auch, was Spannungsbogen und Dynamik betrifft. …wahrscheinlich am besten über den Artist selbst zu bekommen." [N / Black Magazin]
|
2016 |
€20.00 |
|
| UGGERI, MATTEO & MOURNING DOVE |
Does the Moon not Dream |
CD |
Elena Botts is American, lives in Washington DC. Matteo Uggeri is Italian, lives in Milan. When this album was conceived, in 2018, she was 22, he was 44.
Three years after its conceiving, the album is now released in Spring 2021 by the historical ADN records (adnrecords.com), that since 1984 has published artists like Pascal Comelade, Merzbow, Pierre Bastien, Tasaday, Riccardo Sinigaglia, Cranioclast, Sigillum S, Christina Kubisch, Third Ear band and many others…
Elena's works under her moniker Mourning Dove are primarily built on her voice and poems, Matteo's ones are usually instrumental releases in the so-called field of 'modern classical/experimental'.
This joint album was made in an extremely spontaneous way, sending files across the Atlantic ocean: Elena recorded a set of spoken poems and three sung pieces, often outdoor, walking in streets and fields, and Matteo arranged them all grabbing mostly acoustic sounds often provided by his long time collaborators.
Due to the strong and at the same time delicate timbre of Elena's voice, in spite of the relatively wide set of instruments, the album sounds minimal and rarefied, as a long gentle suite of sparse notes and occasional rhythms driven by female vocal chords.
Mourning Dove (Elena Botts): lyrics, vocals.
Matteo Uggeri: sounds, composing and mixing.
My Dear Killer: acoustic and electric guitar.
Andrea Serrapiglio: cello.
Francesca Stella Riva: trombone.
alessandro sesana: trumpet.
Maurizio Abate: mandoloncello.
Franz Krostopovic: piano and violin.
Alberto Carozzi: electric guitar.
Cristiano Lupo: bass.
Made in Washington DC and Milan in summer 2019.
Mastered by Marco Milanesio in January 2021.
Photos by Elena Botts. Artwork by Matteo Uggeri.
https://matteouggeri.bandcamp.com/album/does-the-moon-not-dream
"Dass die Zusammenarbeit zwischen Matteo Uggeri und der Autorin Elena Botts alias Mourning Dove so spontan zustande gekommen ist wie es in den Liner Notes ihres gemeinsamen Albums “Does The Moon Not Dream” heißt, mag man sich kaum vorstellen. Meist sanfte Sounds verschiedener Umgebungen und Klangfarben, die bei genauerem Hören eine vielfältige Stimmungspalette entfalten, entspanntes Fingerpicking, stimmungsvolle Pianoparts und wehmütige Streicher, in ernsten Tönen vorgetragene Poesie und ein jazzig eingefärbter Sopran: All dies und einiges mehr fügt sich derart passgenau zum Narrativ eines musikalischen Hörspiels zusammen, dass man die dirigierende Hand einer alles im Griff habenden Personen vermutet. Umso schöner, wenn sich so etwas spontan ergibt.
Die ruhige Gangart, mit der das Album startet, sollte nicht hinwegtäuschen über eine unterschwellige Aufgewühltheit, die nie ganz aus der Musik verschwindet und mit einem gewissen stoischen Charakter in den Dialog tritt. Im Opener, dessen Titel “Modular” bestens zu seinem kollagenhaften Charakter passt, gibt entspanntes, fast pastorales Gitarrenpicking den Hintergrund für den Sound zielgerichteter Schritte, für ein sanft leuchtendes Dröhnen, das bei genauerem Hinhören eher aufgeweckt als entspannt anmutet – und für eine fragile Stimme, die fast erschöpft eine Wahrnehmung beschreibt, die die so fragmetiert anmutet wie die Puzzelteile der Musik. Alles wirkt auf spröde Art organisch, auch der wie von einer alten Shellackplatte anmutende Sporan, der in “Ghosts of Sand” überleitet und diesem – entrückt, verschwommen und abgehoben im besten Sinne einen weitaus songhafteren Zug verleiht.
Jeder der Tracks ist voller kleiner klanglicher und atmosphärischer Ideen: Auf Samples basierende Perkussion, die durch manche Stücke peitscht, mäandernde Sounds aus dem Fundus indischer Instrumente, glasklare Pianotupfer, Wind und quietschende Türen. Gedämpfte Bläser in “Bushwick”, Straßensounds in “An eleven Hour Sleep”, tropfendes Nass in dem berührenden “Mare Aperto” und “Bella Ciao“, von dem ich nicht sagen kann, ob es mehr als nur von Titel her auf das bekannte Partisanenlied bezug nimmt. Orientalisierende Gitarren in “Our Lady” von keinem geringeren als My Dear killer. Dann immer wieder die erschöpfte und doch resolute Rezitation.
Viele dieser Details kehren in der einen oder anderen Abwandlung leitmotivisch wieder, und dies ist nur ein Grund, das Album als Ganzes, als gelungenes musikalisches Hörspiel zu rezipieren."
[Uwe Schneider (African Paper)] |
2021 |
€13.00 |
|
| UHUSHUHU (Ухушуху) |
Long Songs pleasant for Hearing |
MC |
" "U'hu! Shu'hu!" - hoot owls in a forest, as told by Daniil Kharms, and in the sky, above a rainbow, long songs pleasant for hearing are sung to a cherubim. Uhushuhu is a name of a project run by members of the creative group "Utrovortu" and their "Long Songs…" is the first studio record made after a few interesting performances at small underground city clubs and forest open-air festivals in the Leningrad region.
Following these songs we set off on a journey through structures and surfaces in a shell of experimental drone ambient. We will face sonic anomalies, random wanderings in unstable and unpredictable spheres, vague rustles and semblant echoes, spaces of various densities, mood and nature, hidden dead-ends, spontaneous phonations and labyrinths enclosed in themselves.
Second edition - 55 copies on white cassettes with stickers, two-sided full-colour cover." [label info]
"Reissued on cassette, but not for long! The Uhushuhu collective have been known to perform and produce their work under the canopy of the Russian forests outside of St. Petersburg, making them something of a Russian reincarnation of Jewelled Antler. There's much more of an electronic underbelly to Uhushuhu than Jewelled Antler, while retaining the pine-cone drone ethos of luminously radiant psychedelic dronescaping. The first track actually holds a number of aesthetic similarities to the long form works of Motion Sickness Of Time Travel - sinewy, seductive, and slippery passages of intertwining synth melodies softened through reverb and spaciousness, furthered along by watery field recordings and damp ruminations on subterranean lairs, wormholes, and caves. Each of the album's three tracks clock well past the 15 minute mark, leading towards deeper, more shambolic explorations of sublime atmosphere. Quite a lovely piece of work, with the cassette limited to 55 copies." [Aquarius Records]
|
2015 |
€8.50 |
|
| ULLMANN, JAKOB |
A Catalogue of Sounds |
CD |
„Konzertmitschnitt vom 3.Oktober 1997 im Sendesaal des Hessischen Rundfunks. "Ulmann's Musik realisiert mit grosser Bestimmtheit ein unendliches Spektrum von Abstufungen in allen Bereichen musikalischer Gestaltung. Dass die Musik des "catalogue" fast durchgehend zuerst leise erklingt, führt eher die Wahrnehmung kleinster Differenzierungen; es versetzt das Ohr in einen Zustand nie nachlassender, höchster Aufmerksamkeit." [label info]
„Eine Komposition für Violine, Viola, Violoncello und Ensemble (1995 ¬ 97). Fast durchgehend erklingen 73.16 Minuten verhaltener Epik. „Der musikalische Strom erleidet fast ständig kleine Irritationen, bildet Schwellen oder spritzt (...) kurz auf wie durch hineingeworfene Kiesel.“ (Linernotes) Im leisen Spiel haben die Variationen eine ungemeine Wirkung. Sie tröpfeln einem förmlich ins Ohr. Fremde Stimmen beginnen bald zu raunen, zu tuscheln und zu stöhnen. Diese Musik ist weder meditativ noch ist sie der minimal music zuzuordnen. Hörerin und Hörer lauschen einer epischen Tondichtung, die in stringenter Weise jede Überfülle vermeidet.
A composition for violin, viola, violoncello and ensemble (1995 ¬ 97). These 73.16 epic minutes are played nearly alway in a reserved manner. „The musical stream is constantly subjected to small irritations, sometimes ist flow quickens, sometimes there are brief splasheslike those caused by pebbels thrown into water.“ (linernotes) In this softly playing the variations are exceptionally effective. They are dripping in the listeners ear positively. Soon strange voices beginn to murmur, to whisper and to moan. Neither this music is meditative nor its in the style of minimal music. Its an epic sound poem of conciseness avoiding every overflow of expressivity.” [Peter Schlewinski for Drone Records]
|
2005 |
€16.00 |
|
| ULTRASOUND |
Death comes from the left |
7inch |
Endlich wieder erhältlich, die feine Single des US-“handplayed deep ambience” – Projekts in der zweien Auflage ! Klares Vinyl, klare Hülle...
„Eine pulsierende Wolke aus Gitarrenschwingungen in typischer Ultrasoundwärme. Kirk Laktas & Robert F. Ovetz an Gitarren & Bass, hier verstärkt zum Quartett mit Natalie Hill (guitar) & Tiana Hux (percussion), lassen wieder ihren dröhnenden Drachen steigen, mäandernde Waves als healing force, ein sonores Om aus allen Klangfarben des Regenbogens zusammengesetzt...“ [Bad Alchemy]
“Coming originally from Texas, the trio ultrasound (partly ex-STARS OF THE LID) are now located in Den Haag, Netherlands, and Austin, Texas, USA. They did a couple of fantastic guitar-drone-releases in the 90s, climaxing in their so far latest CD-album Hamesh, that went into new musical territory combining melodic songs with drones. With this, their first ever 7 EP, they present two unbelievable emotional touching pieces of guitar & bass-drone-music, where long echoes of overtone guitar-sounds melt in one stream of pure sensible acoustics... ultrasound submerges the listener into a deep salty sea to float on the frail border between air and water, light and reflection, perception and knowing. This is pure yearning transformed into sounds.“ [original info August 2001 ]
|
2005 |
€6.00 |
|
| UN CADDIE RENVERSE DANS L'HERBE |
The reversed supermarket trolley files towards the rainbow |
CD |
Neues Werk des Electronica-Projektes in unglaublicher Aufmachung (wie ein 3D-Kinderbuch mit Elementen zum Hochklappen) !
"This is a unique rare live recording of "Un Caddie Renversé dans l' Herbe" which took place at Iasmos, on Saturday, November 12th 2005
during the birthday party of Amaryllis.
Enjoy the dreamy, surreal, avantgarde, ethnic sounds of Un Caddie mixed with sounds, toy instruments and songs the children perform.
An unsusual & fascinating combination of laptop & traditional instruments as Balaphon, Mbira, Kalimba, Berimbau plus Piano, Cello, Guitar, Bass, Melodica, Chimes and more!
The CD comes in an extremely special design and package which is folded like a cartoon picture toy-book and is limited to 388 hand-numbered copies..." [label info]
|
2006 |
€13.00 |
|
| UNVEILED |
Winter Songs |
CD & DVD-R |
Nach der Zusammenarbeit mit NURSE WITH WOUND auf der „Chance meeting of NWW..“ (brag 004) hier ein neues Album der Dänen, lt. liner-notes Musik für ein öffentliches okkultes Ritual des Apachen und Hohepriesters der Church of Satan STEVEN JOHNSON LEYBA, der öffentlich den US Präsidenten verfluchte, die amerikanische Flagge verbrannte und die dunklen Naturkräfte anrief.. (fand im Oktober 2001 in Kopenhagen statt). Ob Witz oder nicht, enthalten sind hier drei schleppend- dunkle Stücke, leicht perkussiv & loopig - repetitiv, in wallender Bewegung Trance-induzierend.. kommt im schmucken Porn-Art-Cover ...
After their collaboration with NWW a new album of this danish project, made for an occult ritual where the american president was cursed by the Mescalero Apache and Highpriest of the Church of Satan STEVEN JOHNSON LEYBA (Copenhagen Oct. 2001). Joke or not, this is finest ritual ambient, three pieces of slow & loopy & trance-inducing dark sounds.. comes with nice porn-art-cover.
|
2004 |
€18.00 |
|
| UP-TIGHT |
The Night is yours |
CD |
"Finally out this mighty masterpiece of dark and wild psychedelia from the Japanese three-piece legends! Fuzz and reverb drenched jamming sounds from the basements of Hamamatsu evoking the always welcomed ghosts of Amon Düül and Les Rallizes Denudes.
Originally released as an instantly sold-out LP edition on Sloow Tapes in 2011, we decided to do justice and make The Night Is Yours available again, this time as a CD edition limited to 200 copies. Housed in our high quality tip-on mini-LP gatefold packaging (plus insert) featuring new sonic treatment by the mastermind Aoki Tomoyuki and expanded trippy artwork by Bart De Paepe!"
“Tokyo psych monsters Up-Tight come out of the classically wasted/drug-damaged school of excessive fuzz and reverb, giving the nod to the endless jam style of Les Rallizes Denudes while spiking their sound with dark downer ballads that owe as much to The Jacks as they do to The Velvet Underground. The Night Is Yours is the absolute apex of their catalogue to date, crossing beautiful comedown folk-psych moves with whole sides of extended scorch. Indeed, there’s a new focus on psychedelic ritual here, especially apparent on the staggering “She’s So Heavy” with choirs of disembodied monks chanting in the background while the bass – played with all of the thunderous power of Mik from Kousokuya – marches the group ever forward and vocalist Tomoyuki hovers over the track like a wraith. If you can picture Spacemen 3 circa “The Perfect Prescription” produced by Ghost circa “Temple Stone” then you’re close to the outrageous levels of psychedelic excess captured here. Tomoyuki’s guitar tone has to be heard to be believed, with tactile garage punk crunch put to the service of endlessly euphoric orbits of three droning chords. Up-Tight have been responsible for a buncha the most memorable releases to come out of the post-PSF underground but this has to be their recorded pinnacle, the perfect balance of two chord Velvet downers and strung-out post-Rallizes string violence. One of our records of the year so far! Highly recommended!” (Volcanic Tongue)
www.essence-music.com
|
2014 |
€15.50 |
|
| UR |
Trieb |
CD |
Die italienische Drone/Noise-Band mit der ersten "fabriggepressten" CD... ihr bassiger Impro-Drone Sound erinnert an SILVESTER ANFANG oder alte MAEROR TRI, mit vielen recht weirden sounds im sumpfigen Drone-Morast.. gefällt uns super!! Teils ausuferend-ekstatisch aber auch mit ruhigen, schwelenden parts... rauhe aber nicht unsensible dunkle Dronescapes...
"Ur was born from the collaboration between Federico Esposito and Mauro Sciaccaluga, both hailing from the hardcore-punk scene and from bands like Heartside (F.E.), Never Was, Downright, Kafka, Stalker (M.S.). The two joined in 2003 to work on F.E.’s industrial solo-project (a.k.a. Den LXV) live set, later they decided to collaborate and improvise together to create a new entity. Andrea Ferraris joined the band in the early days of 2005, contributing to define further on the sonic identity of the combo. A.F. is well known for having played and recorded with different bands ranging from hardcore to indie-post rock to experimental music (Airchamber3, Deep End, Burning Defeat, Permanent Scar, Onefineday, Ultraviolet Make Me Sick, Permanent Scar, etc…). Ur music is mostly based on improvisation that usually starts with drones or samples (with no pre-definite structure), to which they superimpose layers of electro-acoustic noisescapes coming from objects, field recordings, analog and traditional instruments processed using a load of pedals and effects. The sound ends painting a solid, harsh and dramatic industrial lounge where archaic instincts and modern obsessions meet. To use the words of a sound engineer after one of their live sets: “…it all sounds like early Pink Floyd on acid...on muriatic acid”. [label info]
"....Their music is mostly based on free improvisation and its sonorities can't easily be described without referring to the well-known and wildest experiments of Industrial music of the late '70s / early '80s. There is a strong dramatic feeling in their powerful sound, where everything seems to reproduce a sort of wedding between the modernity of the media and the primordial instincts of the performers..." [Gothtronic.com]
www.topheth.org
|
2008 |
€13.00 |
|
| URBAN SAX |
Urban Sax 1 |
LP + DVD |
"Urban Sax was founded in 1973 by French experimental musician Gilbert Artman, a.o. the mastermind behind Lard Free. Driven by his interest in the relation between space and sound, he experimented with large groups of saxofonists, varying from 16 to 34 players, at times also including bass players, percussionists, vocalists and even dancers. An early experiment took place in the French village of Menton, where Artman placed the musicians on rooftops, in various streets, on squares, and in gardens. Though the total experiences of these experiments/events can't be captured on whatever sound carrier, several recordings were made through the years. The debut-LP 'Urban Sax 1' was originally released in 1977 on Cézanne/Cobra and features recordings made by 16 sax players. Fans of adventurous musicians s.a. La Monte Young, Phil Niblock, Glenn Branca, Steve Reich or Terry Riley should really check this out! This reissue comes with remastered sound and a booklet offering rare pix and liner notes by Artman himself." [label info]
www.wah-wahsupersonic.com
|
2016 |
€24.00 |
|
| URE THRALL |
Arabian Knightmares |
CD |
Wiederveröffentlichung des Masterpiece von URE THRALL in beeindruckender Aufmachung, spezielles fold-out-Cover mit diversen Postkarten auf Kunstpapier.
Dark atmospheric, slowly percussive, oriental harmonies, all handplayed, very dense and moving.. another great work by this californian artist.....with help by FERRARA PAN & THE FRUITLESS HAND and other friends.....maybe think of ZOVIET FRANCE melting with VOICE AND EYE and MUSLIMGAUZE and TROUM...
"Arabian Knightmares is one man's effort to reflect the unfolding events of the current worldwide sectarian war in a series of harmonic constructs, utilizing actual sounds from the major events of the struggle (9/11, the Iraq War, etc.) to provide a historic point of reference. The forlorn yet beautiful emotions that are unmistakable in Muslim song and prayer are reflecteded here in a context so unique that it is deeply stirring in a musical sense and simultaneoously brutal with its emotional impact on the listener. Tears are not uncommon.
Features PREMONITION 9/11 from the out of print Drone Records Single from 2003, plus an ambient remix. 10 plus minutes of ominous arabian tinted darkness, with excerpts from “the war”. [Ure Thrall]
Comes in a special well designed cardboard cover with multiple inserts and postcards." [press release]
|
2006 |
€8.00 |
|
| USENBENZ, ANDREAS |
Bells Breath |
LP |
“Bells Breath” transforms the tolling of the bells in the Ulm Minster into a work of sound art. This project by Andreas Usenbenz and Dorothee Köhl was created for the 125th anniversary of the minster spire’s completion and was presented in the form of an audio installation inside the minster in the fall of 2015.
There are 13 bells in the bell tower, ten of which are in use. Each bell has its own size and pitch, and each has its own function.
“Bells Breath” strips away that function, creating a new form of auditory experience. The moment of the bell tolling has been recorded, the tone stretched and the individual tones are layered on top of each other. The sound installation was situated on the ground floor inside the minster, beneath the bell frame. A platform for people to step or sit on created a spacial frame of reference, the sound was triggered by the listeners by pressing a button.
When dealing with this work, it is helpful to have a brief look at Minimal Art. In the early 1960ies, a new understanding of art was being developed in contrast to abstract painting. Part of it was an abandonment of categories that had been considered essential until then, like the aesthetic experience or the artists signature style. Industrially produced materials were now being used, every day objects were stripped bare of their function. Experiencing art turned into an experience of self-awareness on behalf of the audience.
Sculptor Tony Smith was aware of the importance of this type of experience as early as the mid-fifties. He took his students on a nocturnal journey on the still uncompleted New Jersey Turnpike. Driving down the road lacking crash barriers and road markings didn’t serve any functional purpose. Instead, the dark and the passing industrial complexes appeared in a different state of perception. It’s this experience that Smith regarded as having an artistic quality.
This kind of quality can be described further using the “Mirrored Cubes” by Robert Morris. The installation consists of four mirrored cubes. They are positioned in a square, one edge length apart from each other, therefore eliminating the element of composition. The surface, as perceived by the audience, is only a reflection of the surroundings and of itself. Artwork and location become an inseparable one. What the audience experiences is an amplified perception of itself and of the spacial situation here and now.
The here and now are two elements that appear on different levels in “Bell’s Breath”. The work strongly relates to the location, the tower hall right beneath the bell frame. At the same time, the sounds’ original function is being eliminated by prolonging and layering the different sounds. This, together with the audience’s presence in the space creates a new experience of perception.
releases February 17, 2017
All field recordings, sound design & compositions by Andreas Usenbenz, between march 2015 and may 2016
The music is based on field recordings of 10 different church bells installed in the Minster of Ulm. Usenbenz recorded the bells using a wide spaced A – B pair with omni directional DPA microphones,
a Sennheiser ORTF setup and contact microphones mounted directly to the bells or their direct environment.
The Bells where rung by the Sacristan. Additionally, Usenbenz played them with different props to tease very specific sounds out of the bells. No additional sounds were used in these compositions.
Produced at Klangmanufaktur
Artwork by Chris Corrado
Mastered by Stephan Mathieu
Cut by CGB at Dubplates & Mastering, Berlin
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2017 |
€16.50 |
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Bells Breath |
CD |
All field recordings, sound design & compositions by Andreas Usenbenz, between march 2015 and may 2016
The music is based on field recordings of 10 different church bells installed in the Minster of Ulm. Usenbenz recorded the bells using a wide spaced A - B pair with omni directional DPA microphones,
a Sennheiser ORTF setup and contact microphones mounted directly to the bells or their direct environment.
The Bells where rung by the Sacristan. Additionally, Usenbenz played them with different props to tease very specific sounds out of the bells. No additional sounds were used in these compositions.
https://klanggold.bandcamp.com/album/bells-breath-lp
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2017 |
€10.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
33 rpm : Ten Hours of Sound from France |
CD |
23FIVE INCORPORATED ist nicht nur seit Jahren der wichtigste Konzertveranstalter für experimentelle Musik in San Francisco, sondern inzwischen auch als Label tätig. In Zusammenarbeit mit dem San Francisco Museum of Modern Art ist eine Compilation-Reihe entstanden, die pro Ausgabe Projekte eines einzigen Landes vorstellt. Hier also Frankreich, das vom 6.-14.09.2003 im San Francisco Museum of Modern Art vorgestellt wurde. Zu hören gibt es hier eine Auswahl mit 12, sehr elektro-akustisch & musique-concrete - ausgerichteten tracks von KASPER T. TOEPLITZ, KRISTOF K.ROLL, JEAN-CLAUDE RISSET, LIONEL MARCHETTI, CHRISTOPHE HAVEL, LAURENT DAILLEAU, MATHIEU CHAMAGE, pizMO, JEAN-PHILIPPE GROSS, und MIMETIC. Mit ausführlichem Beiheft (24 Seiten) zum Konzept der Ausstellung und zur französischen Tradition der Musique Concrete.
“ 24 Page Book + CD curated by Laurent Dailleau. The CD compendium of 33 RPM-a co-presentation between 23five Incorporated and SFMOMA-celebrates the contemporary models that French composers have built in response to the historical influences of musique concrete and computer music. Featuring compositions from Kasper T.Toeplitz, Kristoff K. Roll, Jean-Claude Risset, Lionel Marchetti, Christophe Havel, Laurent Dailleau, Mathieu Chamagne, pizMO, Jean-Philippe Gross, and Mimetic. In contrast to the encyclopaedic catalogue to the 10 hour program, the
selection within the 33 RPM CD emphasizes an acousmatic approach towards electro-acoustic construction. Kasper T. Toeplitz offers a tumultous wash from churing electric generators, while Lionel Marchetti presents a queasy demonstration for sinusodial currents matched against a lonesome accordion and Jean-Claude Risset investigates the microtonal resonances from a handful of found instruments.” [press release]
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2003 |
€12.00 |
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Antologia de Musica Electronica Portugesa |
CD |
Feine Erkundungen in die elektro-akustische und experimental-elektronische Szene Portugals, vieles unbekanntes, produziert von RAFAEL TORAL.
“Compiled by Rafael Toral and Plancton Music this anthology waeves a historic thread that freely crosses boundaries between the authors' cultural territories and also documents as many approaches to electronic music as possible, both on material and conceptual levels. tracklisting : 1. Nuno Canavarro - Alsee (1987) 0' 52" 2. Cândido Lima - Oceanos - (1978) 5' 53"
3. Nuno Rebelo - New Amp - (1984) 3' 42" 4. Isabel Soveral - Anamorphoses I (1994) 5' 19" 5. Filipe Pires - Homo Sapiens (1972) 4' 38" 6. Telectu - Performance # (1984) 4' 47"
7. Jorge Peixinho - Elegia a Amílcar Cabral (1973) 5' 13"
8. Rafael Toral - Mills Session (introdução) (1997) 2' 22"
9. João Pedro Oliveira - Silence to Light (1992) 3' 34"
10. Anar Band - Plasticman (1977) 4' 42" 11. René Bertholo - África Aqui (1996) 1' 46" 12. Carlos Zíngaro - #444-07 (1981) 3' 24"
13. Emanuel Dimas de Melo Pimenta - Lisbon Revisited (1986) 3' 06" 14. No Noise Reduction - RLO II (1995) 3' 32"
15. António Ferreira - O Verão Nasceu da Paixão de 1921 (1988) 8' 52" [label info]
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2004 |
€15.00 |
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Circuits of Steel |
do-CD |
Zusammenstellung der Underground - Industrial & Elektronik- Szene aus der alten Stahlindustrie-Haupstadt PITTSBURGH. Eine Riesenauswahl an garantiert frischen und unbekannten acts, von harsh noise über rhythmischen Sachen oder experimental HipHop bis hin zu abstraktesten glitch-sounds und Sound-Installationskünstlern, hier gibt es was zu entdecken, zum Sonderpreis !
Low priced Compilation of the experimental / electronic / Industrial-Underground of PITTSBURGH. Many different styles are featured here, many new names to discover, i.e. JEREMY BOYLE, COLONGIB, GIRL TALK, MICHAEL JOHNSEN, OPERATION RE-INFORMATION, POWER FRENCH, TENTATIVELY A CONVENIENCE, XANOPTICON, etc. etc. 30 tracks/projects as a whole !!!!!
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2002 |
€8.00 |
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Coilectif. In Memory ov John Balance and Homage to COIL |
CD |
Die "französische JOHN BALANCE-Hommage" mit 17 Stücken aus Experimental, Post-Industrial, Impro / free Jazz, Ambient & Electronik, mit erwartungsgemäss vielen Verweisen und Verwendung von COIL-Materialien... fast durchweg exzellentes Material, einige alte Industrial-Helden von denen mal lange nichts gehört hat (wie VIVENZA, ETANT DONNES) sind dabei, aber es gibt auch viele neue Namen zu entdecken, alle vereint durch den grossen Einfluss den COIL augenscheinlich auf sie hatte...
"17 french bands from the genesis of industrial, experimental, free jazz musics, for the most part unclassable underground musics, and more recent and emergent artists from the same vein, form Coilectif. These artists explore and express, openly and without limits, what Coil's heritage suggests to them, an opportunity to make an homage to Geff Rushton aka John Balance or Jhon[n] who left us on November 13th 2004. Coilectif is also an homage to all the musicians and illustrators Scherer & Ouporov participating to the project united for the first time in such an outline, where each one of them expresses what Coil's universe evoques to him through lunar, astral and visionary excursions, keeping his own artistic identity. It is not a compilation of remixes of Coil, nor a catalogue of tracks of these artists released before, but a genuine concept of creation in which this collective of artists homogenizes itself around a real artistic project. The 17 new tracks form an intimate, magnetic and timeless piece of work. The vynil and CD editions come with quotations of various artists and with a text written for the project by the writer and philosopher Jean-Marc Vivenza called 'méditation sur la mort '.Coilectf is : ART&TECHNIQUE, BELA GOOSY, DEFICIT DES ANNEES ANTERIEURES, DE MANGE MACHINE, DESACCORD MAJEUR, ETANT DONNES, GAS ANOREX, GITANJALI & THE MASTERS OF MYSTIC ENTERTAINMENT, ILITCH, JAC BERROCAL & JACK BELSEN, LAURENT PERNICE & JACQUES BARBERI, LES NOUVELLES LECTURES COSMOPOLITES, OTHILA, PACIFIC 231, PALO ALTO, SERVOVALVE, VIVENZA." [press release]
https://www.rotorelief.com/release/rotor0001/
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2006 |
€14.50 |
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Debris Field (MAX EASTLEY / LOREN CHASSE / COLIN POTTER / PHIL MOULDYCLIFF / KEITH ROWE / etc.) |
CD & book |
Katalog und -CD zum Thema “Trümmer” einer Ausstellung, die von April bis Juni in einer Kunstgalerie in Bolton (UK) stattfand und von PHIL MOULDYCLIFF kuratiert wurde. Abbildungen von Bildern, Skultputuren, Zeichnungen, Texte & Biographien der hier vorgestellten 13 Künstler, sowie ein 48+ minütiger feinstofflich-ambientöser Installationssoundtrack von LOREN CHASSE, PHIL MOULDYCLIFF, COLIN POTTER und KEITH ROWE machen dies zu einer äusserst sehens- und hörenswerten Publikation.
“This is the CD and catalogue for the 'Debris Field' exhibition at Bolton Museum curated by Phil Mouldycliff. The CD is an edited version of 'Debris Field ambient wash', a 48 minute piece that is split into 3 movements. The catalogue includes an essay by Mouldycliff titled 'Tracing paths through debris fields' which gives some insight into the exhibition and CD. Also includes photographs of some of the exhibits and artist biographies for those involved including Colin Potter, Keith Rowe, Max Eastley, Tom Philips etc” [ICR]
“ 'Debris Fields' was curated by Phil Mouldycliff and deals with 'remains', the debris after the act. It's not an exhibition about music per se, as it includes paintings, drawings, prints, sculptures and also music. Some of the participating artists are also musicians, such as Loren Chasse, Keith Rowe and Phil Mouldycliff and they all delivered some music to Colin Potter, who presented 'Debris field Ambient Wash', a mix of all the sounds into a 'discreet, constantly changing audible environment' to fill up the space with the exhibits. While flipping pages of the catalogue at home, this music fills also up the private space, and the big advantage is of course you can turn up the volume much louder and enjoy things perhaps better than in the public space. The music alone is worth getting the catalogue for.” [FdW / Vital Weekly]
"...Under the curatorial vision of Phil Mouldycliff, 13 artists embarked on a sound-art exhibition at the Bolton Museum, Art Gallery
and Aquarium, whereby (to the best of our understanding) the artists were given access to the Museum's collections of natural artifacts to use within the installations and as sound making devices. In turn these installations (which also involved paintings, drawings, prints, sound, and sculptures fabricated by the exhibiting artists) became something of what Mouldycliff qualified as an "accumulation of
fragments." The participating artists included Colin Potter, Loren Chasse, Keith Rowe, Max Eastley, Russell Mills, Julian Lees, Peter
Oakley, Tom Phillips, Colin Fallows, Hugh Davies, Glenda Lees, Paul Mason, and Phil Mouldycliff.
As none of us had the good fortune of experiencing the exhibition, we can only comment on the catalogue (which artfully
presents the numerous ideas behind all of the contributing artists) and the accompanying CD which features a mix of material produced for
the catalogue by Colin Potter of various sounds produced by Rowe, Chasse, Mouldycliff and himself. As the disc begins, it's apparent who
is the creator of those first sounds: AQ-fav sound artist Loren Chasse as he presents a delicate crackling of natural tactility above a rarified drone of accumulated environmental ambience (i.e. surf and wind), very much sounding like those heard on his The Air In The Sand release. The ominous shadows and oceanic rumbles which Potter has employed so successfully in Nurse With Wound, Monos, and Ora act as the glue holding the entire composition together, with Keith Rowe's
small yet growling machines and vibrating strings only occasionally emerging from the din. Mouldycliff's contributions are a little harder to pinpoint, as we're honestly not all that familiar with his work (sorry Phil!). The disc itself is a wonderful listen, and certainly continues along what Mouldycliff intends, as "pathways through the assembled clutter as if exploring a debris field on the bottom of the sea." [Aquarius Records]
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2006 |
€16.00 |
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Epitaph for John |
CD |
Über 3 Jahre nach seinem Tod erscheint diese Memorial-Compilation für den ursprünglich aus Berlin stammenden Komponisten JOHN WATERMANN, der nur 48 Jahre alt wurde. Neben dem über 13 minütigen Originalmaterial von WATERMANNs „Toowong Cemetary“ , welches zu seinen letzten Aufnahmen zählen dürfte, gibt es hier Bearbeitungen desselben Materials zu hören von FRANS DE WAARD aka FREIBAND und anderen, die engen Kontakt mit WATERMANN hatten: ASMUS TIETCHENS, RLW, und MERZBOW.
Dies ist eine würdige Gedenk-Compilation mit grossartigem Material, hier zeigen diese Koryphäen der unabhängigen Geräuschmusik-Szene ihre ganze Klasse! Kommt mit kompletter Discographie und vielen weiteren Infos!!
“CD only (compilation with Asmus Tietchens, RLW, Merzbow, Freiband and John Watermann). In late 2000, I received an e-mail from John Watermann. It was rather out of the blue, since we hadn't been in contact for maybe ten years. I don't have that e-mail anymore, but I remember that it started like this: "I hope you remember me? I have been diagnozed with cancer which is incurable", and then he went on to propose that I buy the remainder of his self-released CD-Rom, "A Rose Is A Rose". John also proposed that we do a musical collaboration together. I mailed him a CDR of field recordings that I had made in the summer of 2000 in Sweden, and he mailed me a CDR called 'Toowong Cemetary'. During the next year and in early 2002, John and I e-mailed about how we should approach this collaborative work. I did a fair share of processing on his sound material, but it seemed hard for me to finish. In my various e-mail communications with John, I didn't dare ask what would happen if he would die and the work was not completed.
In the afternoon of April 3th 2002, I got an e-mail from Shannon O'Neill, telling me that John had passed away. Afterwards, I got in contact with Barbara Heath and Malcolm Cones, who were both dealing with John's estate. They send me a couple of CDRs containing all the recent soundwork John had been working on, but they contained nothing of our collaboration. I left my music unfinished, until mid-2003 when I thought of inviting Asmus Tietchens to do some work on John's original sounds. I knew that they were in close contact. After Asmus had finished, and I still wasn't ready with my piece, so I invited two more people, Ralf Wehowsky and Masami Akita. In the previous years Masami worked on an extensive collaboration with John and Ralf Wehowsky mentions Watermann as one of the few artists he was keen follower of. Once I had their contributions, I decided to start from scratch and take their finished works as new raw sound material, which is why my piece is now at the end of the CD.” [Frans de Waard – liner notes]
“Over the course of his life John Watermann worked with almost every conceivable artistic medium. In many ways, he was the epitome of the "total artist"; almost every element of his life being in some way his own artistic project. As a young man in his native Germany he worked as a photographer and documentary filmmaker, also etching, painting and writing. His experience as a youth in Germany in the Second World War influencing his work from then right through until his death.
Following his move to Australia Watermann worked as jeweller, opening a number of shops in Sydney with his longtime Australian partner Barbara Heath (an accomplished jeweller in her own right) and meanwhile continued to write, paint and even sculpt. Eventually, after traveling the east coast of Australia in a self-built sailing boat, Watermann settled in Brisbane and began to produce his music.
He first released his music in 1989 in the form of the album "Warmth is the Fifth Room". Like most of his releases, the cassette appeared in a run of very few copies on his own label "Nightshift", and was consequently almost impossible to find.
Over the next 10 years he released numerous albums and contributed to a number of compilations, both under his own name as a solo artist, in collaboration with others (such as Merzbow) and under a number of pseudonyms (including Radio Mull, Spinal Machine and Total Disease). Also, apart from his music, in the 1990s he created an interactive cd-rom work "Rose is a Rose" and published the webzine "Lean Yellow Supporting".
Sadly, on April 2nd 2002 John Watermann died suddenly of an infection resulting from his ongoing treatment for cancer. Having in the final year of his life returned to painting and writing (alongside a burgeoning interest in cooking), he still had vast plans for future projects.
Among these unfulfilled projects were plans to collaborate with Frans de Waard on a new release. Although only preliminary discussions on the collaboration took place and Watermann never completed any work towards the project, Watermann's source material that was to be the basis of the work now serves as a basis for this tribute release.
Despite his vast artistic output, Watermann has been known almost exclusively for his music and even then his work remains largely undiscovered, perhaps for no other reason than its sheer unavailability. In many ways Watermann could be considered a classic example of the artists' artist, his work influencing many far more prominent sonic alchemists. And perhaps then this release serves as a record of Watermann and his influence, documenting the respect he reserved from his peers and, hopefully, introducing his work to a new audience.” [Ben Byrne] . tracklisting:
1. Asmus Tietchens - JWAT 1 (03:05)
2. Asmus Tietchens - JWAT 2 (02:37)
3. Asmus Tietchens - JWAT 3 (05:39)
4. Asmus Tietchens - JWAT 4 (03:55)
5. RLW: Seeking Perfection - Somewhere Else (12:52)
6. Merzbow - Untitled For John (05:28)
7. Freiband - Threnody (10:26)
8. John Watermann - Toowong Cemetary (13:32)
[press-release]
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2005 |
€13.00 |
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Four Studies for a Human Portrait : Tribute to Francis Bacon |
CD |
„We live with this vast sea which we call the unconscious and which we don’t know. Everything which is going on probably sinks into it. Every so often these images refloat”.
Starkes Tribut an den genialen Maler FRANCIS BACON (1909-1992). Vier seiner Bilder – „Portrait of a Cardinal“ (1955) – „Fragment of a Crucifixion“ (1950) – „Painting“ (1946) – “Figure in Movement” (1978) wurden auf dieser Compilation in Klänge umgesetzt bzw. dienten als Inspiration für Stücke von HENRIK NORDVARGR BJÖRKK, CONTAGIOUS ORGASM, HENTAI, und LASSE MARHAUG. Seine expressiven Mater-Bilder sind natürlich hervorragende Vorlagen für Industrial-Musiker, wenn es um Angst vor Selbst-Verlust & dem nicht-fassbaren Grauenvollen an sich geht...
„Ich habe vor Jahren ein sehr starkes Erlebnis vor einem seiner "schreienden Päpste" gehabt. Bevor ich das Bild sah, spürte ich körperlich diesen Schrei, die Verzweiflung, das Grauenvolle! Dann wandte ich mich dem Bild zu und ich erlebte so etwas wie einen Schock. Ich war nicht fähig, mich zu bewegen oder zu denken. Da war dieses Bild, das mich völlig gefangennahm und ich spürte körperlich eine Vibration, wie ich es niemals vorher oder nachher bei einem Bild erlebt habe. Ich war völlig von diesem Bild gefesselt und spürte eine wahnsinnig starke negative Ausstrahlung. Ich wurde einfach gezwungen, mich mit der Aussage des Bildes auseinanderzusetzen.
Das ist Kunst. Kunst, die einen Menschen berühren und ihn rütteln kann. Kunst, jenseits von Dekoration und Gefälligkeit. Kunst, die uns nicht nur etwas zu sagen hat, sondern die in der Lage ist, laut zu schreien. Dieser Schrei aus menschlichen Mündern ist eines der Hauptthemen bei Francis Bacon geblieben. Die Schreienden befinden sich dabei häufig in einem "Käfig". Es werden von Francis Bacon eigene Seelenräume, Seelenkäfige, geschaffen....“ [Inga Schnekenburger]
Double digipack. Compilation dedicated to FRANCIS BACON using his paintings as inspiration: H. NORDVARGR BJÖRKK, CONTAGIOUS ORGASM, HENTAI, LASSE MARHAUG.
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2005 |
€13.00 |
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Go-To-Cat-Man-Do |
CD |
Ein neues polnisches Experimental-Label mit erster Veröffentlichung – gleich eine gue Compilation mit grösstenteils polnischen Acts, meist akustisch-handgespieltes Material mit viel Atmosphäre.... Sehr schöne Stücke von ZA SIODMA GORA, ONE INCH OF SHADOW, VION & MEM (ex EA!, überraschend konkret & noisy) , WOLFRAM, und wieder viele neue Namen aus der schier unerschöpflichen polnischen Experimental-Szene... wie PATRYK ZAKROCKI, JOHANNES BERGMARK, superseltsame Sounds von ALEXEI BORISOW, etc...
A new polish experimental label from Warszawa with first release – a compilation presenting mainly the polish scene, lost of handplayed-acoustic material with much atmosphere, some new names to discover, you find MP3s on www.monotyperecords.com.
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2005 |
€13.00 |
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INFERNAL PROTEUS |
BOOK / 4 x CD |
Auf dieser PFLANZEN-Compilation werden 40 verschiedene Pflanzen (davon 1 fiktionale) musikalisch charakterisiert, wobei das Spektrum sehr weitreichend, aber größtenteils im dark ambient / post-industrial und apocalyptic folk – Bereich anzusiedeln ist. Die Aufmachung ist äußerst edel, ein 96seitiges Hardcover-Buch mit Abbildungen / Artwork zu jeder Pflanze.
Die Auswahl der Pflanzen erfolgte durch die beteiligten Projekte und zeigt auch schon, wo ein Hauptinteresse lag: bei den bewussteinsverändernden Pflanzen...;
ein wahrhaft monumentaler Trip in die Pflanzenwelt, eine Compilation die eigentlich Unverbindliches zu verbinden sucht. Einmalig in der Konzeption und Gestaltung, a definite MUST have!
“A professionally and luxury manufactured 96-page hardback book with full colorartwork, containing 4 Compact Discs with 40 first-class artists and a playtime averaging 67 minutes per disc ¬ from Folk to Rhythmic, Pop to Ambient and Electronic to beyond... Every contributing artist was given the freedom to chose one plant or herb of his delight to present within “Infernal Proteus” under the aspect of music and visual art. The result is a new form of book, ground breaking in its expression ¬ a manifestation of true artistic virtue!” [press release] Featured are a.o.:
AH CAMA-SOTZ (Belgium): Morning Glory, ALIO DIE (Italy): Borage, AMBER ASYLUM (USA): Kelp, APOPTOSE (Germany): Oak, AUBE (Japan): Chrysanthemum, BARADELAN (Germany): Bonsai, CHAOS AS SHELTER (Israel): Bellflower, COLECLOUGH & HILL (UK): Beech, YANNICK DAUBY (France): Sundew, ENDVRA (UK): Hops, HEKATE (Germany): Cornflower IGOR18 (Israel): Venus Flytrap, INADE (Germany): Ginkgo DAVE KNOTT (USA): Redwood, LOTUS EATERS (USA): Marijuana, MNORTHAM (USA): Salvia Divinorum, SETH NEHIL (USA): Birch, STEVE RODEN (USA): Pine
TROUM (Germany): Khan Arachnid, ULTRA (USA): Yohimbe WOLFSKIN (Portugal): Thornapple........and many others !
label-website: www.theajnaoffensive.com |
2002 |
€45.00 |
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Minima |
CD |
Sehr kohärente Compilation mit hauptsächlich digital arbeitenden Musikern, auf dem neuen Pariser Label von HERVE BOGHOSSIAN. Angesiedelt zwischen sehr ruhig-harmonischen Material und solchem im Niemandsland zwischen ambience & noise.
„Ein neues französisches Label für clickende wundervolle Musik, das sich erst mal auf einer Compilation vorstellt, die vermutlich in den Clickcharts dieses Jahr ganz oben stehen muss, denn sie weitet den Begriff mit Leuten wie Sogar, Charles Curtis, Komet, Otomo Yoshihide, Taylor Deupree, Sol, Speakerine, Alan Licht und vielen anderen soweit aus, dass am Ende nur noch die Faszination für diese fast unscheinbaren Sounds an den Grenzen des Hörbaren übrig bleibt. Schon der erste Track von Sogar (aka Jürgen Heckel) lässt einen von einer Welt träumen in der das Popmusik ist, einfach weil Popmusik ja auch mal Schönheit, Reinheit, Unglaubliches heissen könnte, weil es aufregend sein könnte Popmusik zu sein,
unwahrscheinlich und unhinterfragbar brilliant. Und glaubt nicht einer der Acts würde einen hier enttäuschen.Ein Label das man auf jeden Fall im Auge behalten sollte“ [debug]
“Minima~List ( list L1 CD ), from a new French label dedicated to all things minimal. There's plenty of microsound courtesy of Taylor Deupree, Richard Chartier and Komet, virtual nothingness from Nosei Sakata, Alan Licht's guitar shimmersand "sustained friction
sonorities" from Charles Curtis. It's not all tiptoeing around the soundfield, though. Where too many of today's minimalists use the term to camouflage a paucity of ideas or their true chillout sentiments, Minima~List is anafraid of the movement's louder
manifestations, be they piercing tones from Otomo Yoshihide, the sound of Miles Davis blowing a bagpipe in an ice storm from Matthieu Saladin, or the Branca-ish guitar squalls of Fabriquedecouleurs.” [THE WIRE]
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2002 |
€10.00 |
|
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Montreal Sound Matter / Montreal Matiere Sonore |
CD |
Compilation zu einer Ausstellung & Workshop von FRANCISCO LOPEZ vom August 2006 mit elektro-akustischen Arbeiten die Feldaufnahmen aus Montreal als Basismaterial einsetzten... hier gibt es einiges neues zu entdecken !
“Works by Francisco López / Louis Dufort / Steve Heimbecker / Hélène Prévost / Mathieu Lévesque / a_dontigny / Chantal Dumas / Tomas Phillips. Montreal Sound Matter / Montréal matières sonore brings together eight Canadian and international sound artists. The project began with a workshop on environmental sound collecting by Francisco López and led to the development of a collective sound project including an album, a sound installation, and a concert. This is the recording. The artists create an immersive sound installation made up of fragments of Montreal, which propose a reflection and a questioning on the city. Far from being a postcard, these sound portraits suggest an abstract view of Montreal made up of fragments modeled or transformed to the liking of the artists. Through these places turned non-places and thus more or less unrecognizable, the pieces present an interesting variety of aesthetics, constructions and creative processes.”[Esther Bourdages, curator]
“Yet it is not about the city as a conglomerate of soundmarks or stereotyped symbolic elements--it does not aim at making a sound portrait or a representational creation. My proposal to all the participating artists involved in the project was to foresee the city --both outdoors and indoors, both the public and the private spaces-- as a constantly-changing generator of sound matter. The original source environmental recordings were carried out by the participating artists in Montreal during April 2006, and we all shared the common pool of sound matter thus generated to create the individual pieces. I believe this is an interesting way of setting up a challenging situation in which we are dealing with a limited and intentionally restricted universe of sonic extractions of reality, and also -and more importantly-a straightforward way of proceeding to reveal the creative individual substance of each one of us.” [Francisco López]
„.-...Not to make an audio postcard of the city, but rather a more abstract and personal view of the city, by people who already lived there much longer than Lopez. So it's not a matter of saying, 'oh this is that street, or this nice restaurant ('Schwarz', anyone?)', but to sit back and take it in as a long soundscape of the city. Rather than seeing this as eight separate pieces of music, I see it as one city seen through eight microphones and some of them present their work in their most pure form, like an unaltered recording, some as a cut-up and with some it's hard to recognize any sort of field recording at all, such is the case with Tomas Philips. But all the tracks are thus placed on the CD that they make their trip through the city, from busyness to quietness and back again. Only towards the very end of the CD, in the piece by Mathieu Levesque, there is a bit of music sipping through: a computerized game music thingy. In the end we know nothing more about Montreal, but we do experienced a beautiful trip through a very nice city. It also includes pieces by Helene Prevost, Steve Heimbecker, Louis Dufort, Chantal Dumas, A_dontigny and of course Lopez himself.“ [FdW / Vital Weekly]
|
2006 |
€13.00 |
|
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Myths 3 |
CD |
Eine der ganz frühen SUB ROSA – Veröffentlichungen (1987 als LP) wieder erhältlich: Teil 3 der MYTHS – Reihe enthält lange Stücke von Ambience- & Minimal – Komponisten: JON HASSELL, HAROLD BUDD, GAVIN BRYARS, und sakralen Gesängen aus dem “ARCHIVES SONORES SUB ROSA”, die hier gut hereinpassen in das line-up...
“This is a reissue of the third volume in this early Sub Rosa compilation series, originally released in 1987. Features long tracks from Jon Hassell (duo with J.A. Deane, from 1985), never released since; Harold Budd (duo with Eugen Bowen, from 1983) in the mood of "The Serpent in Quicksilver" (with a splendid steel guitar); Gavin Bryars (duo with Andrew Thomson, from 1987); an unpublished sketch for two pianos called "Sketch For Sub Rosa" (later published on ECM with a chamber ensemble); and an excerpt from Les Archives Sonores Sub Rosa, a short film without image. Spanning from 1972-1975, Harold Budd created four individual works under the collective title The Pavilion of Dreams, produced by ambient pioneer Brian Eno. His two subsequent collaborations with Eno, The Plateaux of Mirror and The Pearl, established his trademark atmospheric piano style. Jon Hassell's first recordings were made with minimalist masters La Monte Young and Terry Riley, through whom he met the Hindustani raga master, Pandit Pran Nath. From his studies of the classical Indian music of the Kirana tradition he adapted these techniques to the trumpet and developed a new style of playing which forms the basis of his own unique sound world. Gavin Bryars has written a large number of works, including three operas, and a number of instrumental pieces. His first major work as composer was The Sinking of the Titanic on Brian Eno's Obscure label in 1975. This collection gathers together the most stunning of ambient, atmospheric sound worlds from three very important composers.” [press release]
|
1989 |
€13.00 |
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On Paper |
do-CD |
Nice Portugesian compilation on the theme PAPER, with material from VITOR JOAQUIM, STEPHAN MATHIEU, PURE, PETRO TULEDA, PAOLO RAPOSO, etc.....
“Auslotung von Aggregatzuständen, ihre Beschreibung und Veränderung, und das alles in Sound. Das Label Crónica aus Porto setzt auf Intermedialität, allen Widrigkeiten wie »zu arty« und »zu offensichtlich« zum Trotz. Diese formschöne Doppel-CD-Compilation österreichischer, deutscher und portugiesischer Klangkunst hat das Papier zum Thema. Sozusagen eine Brücke zwischen den Cut-Ups auf Papier und deren akustischer Abbildung. Nicht: Wie fasse ich mein Gedicht in Töne, sondern: Wie geschieht der Transfer der »Restgeräusche« des Papiers auf eine musikalische Oberfläche? Kratzen, schaben, reißen, schneiden,... alles wunderbare Soundquellen, die es per Mikrofon abzunehmen gilt. Dann aber sind diese Geräusche ihrer Ursprünge eigentlich so beraubt, dass sie zu »freien« Klängen werden und die einzigen Unterscheidungsmerkmale nur noch zwischen dem eigentlichen Gegenstand (Papier) und der Peripherie (Stift, Mund, Stimme,...) auszumachen sind. Wenn es so etwas gibt wie das »originär Sonische« des Papiers, dann ist es auch nach diesen 13 Beiträgen gut in irgendwelchen schwarzen Wissenslöchern verborgen, von weiteren Komponenten wie räumliche und zeitliche Verdichtungen – also krümmen und zerknüllen – mal ganz abgesehen. Und das trotz einer sehr guten Auswahl an Musikern wie Vitor Joaquim, Stephan Matieu, Pure und Petro Tuleda. Allemal ein ambitionierter Sampler, der völlig unprätentiös daherkommt und nichts weniger im Sinn hat, als Wissenschaft und Rock’n’Roll miteinander kurzzuschließen. Dranbleiben, Crónica verspricht viel Gutes.“ [SKUG-Journal]
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2003 |
€10.00 |
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|
The Golden Road |
7 |
Feine neuseeländisch–norwegisch–britische Compilation EP, in 4 verschiedenen Artwork-Ausführungen. BRUCE RUSSEL (CORPUS HERMETICUM!), ANTONYM, TAMING POWER (EARLY MORNING RECORDS), SINDRE BJERGA / ANDERS GJERDE (GOLD SOUNDZ / HUMBUG).
“This is the second record in the EP compilation series, which started in 2001. The records are released according to this concept: 4 artists are given approx. 4 minutes each, and can use these minutes for whatever purpose they want as long as the result has something to do with experimental music. Each artist is given 1/4 of the pressing to create covers for and to make a personal edition - which means that all releases in this series exist in 4 different editions which are distributed by the individual artists.” [label info]
|
2003 |
€6.00 |
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Variable Resistance |
CD |
23FIVE INCORPORATED ist nicht nur seit Jahren der wichtigste Konzertveranstalter für experimentelle Musik in San Francisco, sondern inzwischen auch als Label tätig. In Zusammenarbeit mit dem San Francisco Museum of Modern Art ist eine Compilation-Reihe entstanden, die pro Ausgabe Projekte eines einzigen Landes vorstellt. Diese CD ist AUSTRALIEN gewidmet und beinhaltet Stücke von AMBARCHI, PIMMON, DARRIN VERHAGEN, PHILIP SAMARTZIS und einigen anderen...sehr schöne Zusammenstellung!
“Variable Resistance" was the second 'listening room' event co-sponsored by SF sound art organization 23five, Incorporated and the San Francisco Museum of Modern Art. Where the first collaboration between 23five and the Museum centered on Japanese experimental music, this one takes a southern route to Australia, which has enjoyed a healthy explosion of adventurous musicians exporting their wares across the globe. Assembled by noted sound artist Philip Samartzis, "Variable Resistance" is a title that encapsulates the tone and extent of the work on hand, referencing not only the electronic gizmo (the variable resistor) as key to many of the featured homespun constructions, but also as an applicable non-definition of those artists who "offer variable resistance in how they are defined and the positions they occupy in a broader cultural context, fragmented, and dispersed among remote cities and divided by enormous physical and psychological space." That said, Samartzis attempts to breakdown the Australian aesthetic into a number of sub-genres: Microphonics, Metallic Plates & Resonating Strings, Residue, Flutter & Flux, Malfunction & Resistance, Improvised Composition, Suspended Time & Expanding Space, Electrical Impulses & Variable Flow, Soundhackers, and Microwaves, Collisions, & Noise. While each of these subgenres do offer some help in interpreting the work of these artists, those featuring on this cd (a condensed version of the SFMOMA event) are pretty good at resisting any imposed characterization. Much of the work on "Variable Resistance" is based upon live improvisation filtered through a number of DSP techniques (with obvious exceptions and detours) with tracks from Oren Ambarchi, Robbie Avenaim, Philip Samartzis, David Brown, Xonk, Thembi Soddell, Darrin Verhagen, Pimmon, and Delire.” [Aquarius Records]
|
2002 |
€13.00 |
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Variations |
CD |
Exzellente erste Veröffentlichung des PARADIGM-Labels, mit ausschließlich Londoner Experimental / Musique Concrete / Elektro-Akustik / Geräuschmusik-Künstlern. JOHN WALL, ANDREW JACQUES, CROW, ALQUIMIA, JOHN GRIEVE, KYMATIK, ADAM BOHMANN (Morphogenesis). Viel Unbekanntes, viel zu entdecken.. |
1995 |
€13.50 |
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|
Variations 2 |
CD |
"Teil 2 der Variations-Serie, für die wir eine Riesen-Lanze brechen möchten!: fast durchweg empfehlenswertes Material von größtenteils unbekannten: AKEMI ISHIJIMA (unglaubliche Sounds!!) , MICHAEL ORMISTON (multidimensional violins), TOM WALLACE (subliminal sounds with an unbelievebal outburst), HUGH DAVIS (drones with scrapes) , BOB COBBING AND LAWRENCE UPTON (einfacb nur abartig) , JOHN GRIEVE (a real sound-storm!) , CLIVE GRAHAM (Paradigm-Disc-Betreiber und MORPHOGENESIS-Mitglied mit seinem bisher einzigen Solostück, einem fantastischen Ambient-Water-Stück!), ROLF GEHLHAAR, meist aus der Kunst-/ Installations-Szene, Ambient, Noise & Minimal-Kompositionen mit großer Variationsbreite und extremer Spannung!!!" [Drone Rec. info 1998]
|
1998 |
€13.50 |
|
|
Water & Architecture |
CD |
Nachpressung dieser schönen Compilation zwischen Post-Rock und Avantgarde / Ambient-Electronica auf Sub Rosa, zum Thema Wasser & Architektur....
“Nature, cities, water, concrete... Water eating rocks, shores. Cities eating landscapes, life. Those two elements are interconnected, though fighting. In between there are humans, needing both elements to survive. A shelter to protect the close to 70% of water a body is made of. What is the connection, the dialogue, the potential of construction/destruction? What is the impact of architecture on water, what is its influence on modern cities? Featuring unreleased material from: Directions: Post-rock with electronica flavours,featuring Bundy K. Brown (Tortoise,Bastro,Gastr del Sol...) and Doug Sharin (June of 44, Him, Rex...) Recorded in Tortoise Studio, Chicago. Seefeel :Too Pure, Warp... Seefeel was some unique act in the pop-electronica scene. Somewhere in between folk-dub-intelligent electro. These two tracks are mixing natural rhythms, minimal electronica... Atom Heart: It was the first track released by Atom TM in his new studio located in Santiago. It starts as some German techno groove to end into some electro-'limbo'. Amazing.
Bisk: The Osaka post Drum'n' Bass wizard "desturcturer", Naohiro Fujikawa, in a three piece suite of sounds, strange, odd, Bisk...
AER (ALPHA ECHO ROMEO): aka Jon Wozencroft, british designer, co-founder of the Touch label composer these tracks with sounds collected worldwide. Architectural experimentation.” [press release]
www.subrosa.net
|
1998 |
€14.00 |
|
|
Zeitenwechsel 2 |
CD |
Ein wunderschönes Atonal-Drone-Stück von ELLEN FULLMAN mit ihrem „long string instrument“ & Oboe eröffnet diese CD, es folgen geräuschhaft-konkrete Fliessklänge von HORATIO VAGGIONE (basierend auf Kontrabaßflötenklängen), bei FAST FORWARD mischen sich dann auf dem Shamisen eingespielte Sounds mit konkretem Material (von fallenden Versandrollen) zu einer meditativen Melange. Das Steel Pan – Stück mit TAKEHISA KOSUGI ist perkussiver und verspielt-harmonischer aber nicht minder exotisch, während MARIO VERANDI mit Plastikflaschen-wassergeräuschen in obskura komponiert... am Ende offenbart OLAG NEUWIRTH mit einem recht langen Stück, wie man mit 3 Schlagzeugern & live-elektronik ungewöhnliche und spannende Soundscapes erzeugen kann. Insgesamt eine sehr ansprechende und grenzüberschreitende Zusammenstellung, diese Compilation zum 35jährigen Bestehen des DAAD (Berliner Künstlerprogramm des Deutschen Akademischen Austauschdiensts) !
Excellent, genre-exceeding compilation from the Berlin based DAAD!
Ellen Fullman: Transmission Particle 1 for Long String Instrument and Oboe (2001; 9:00 min)
Ellen Fullman, Long String Instrument; Eliza Slavet, Oboe
Horatio Vaggione: Scir for Kontrabaßflöte and tape (1988; 11:37 min) Beate-Gabriela Schmitt, Kontrabaßflöte
Fast Forward: Oji for Tape (2001; 7:25 min)
Fast Forward / Takehisa Kosugi: Parabola for violin, electronics, steel pan a.o. instruments (1991; 12:38 min) Fast Forward, steel pan u.a.; Takehisa Kosugi, violin, electronics
Mario Verandi: Plastic Water for 8 channel tape (2000; 7:31 min)
Olga Neuwirth: Pallas/Construction for 3 percussionists and Live Electronics (1996; 27:20 min)
Robyn Schulkowsky, Miquel Bernat, Gerrit Nulens, percussion; Olga Neuwirth, Live Electronics.
|
2001 |
€14.00 |
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Avanto 2006 |
CD |
"Nur drei Künstler des ewig langen und großartigen Lineups der letztjährigen Avanto-Ausgabe sind vertreten: Tony Conrad (13 min), Ralf Wehowsky (22 min) und Jim O'Rourke (26 min). Conrads epische Solo-Violine (für La Monte) wird auf ganz untypische Art gestrichen, erklimmt zaghaft niedrige Gebirgsketten und verlischt in seichten Untiefen. Wehowsky kommt äußerst stark: Aufnahmen von Topias Tiheäsalo an der Gitarre und der Rogalli Revival Band werden um sich selbst gestülpt und nach außen geschnallt. Fein elaboriert gerinnt die Musik vom konkret Unhörbaren zum zentriert Kaputten, vom lyrisch Verstörenden zur Unordnung im Lauten. O'Rourke reanimiert eine Drone-Arbeit aus den 1990ern; äußerst langsam entfalten sich Geschmack und Tiefe, bis jede alte Idee sich zu Tode vergegenwärtigt hat und Schweigen den Ton angeben muß. Top Comp!" [Erik Benndorf]
“avanto is annual festival of experimental music and film. Since 2000, avanto has introduced contemporary and historical works of experimental music and film to enthusiastic audiences. avanto 2006 CD includes previously unreleased compositions by Tony Conrad, Ralf Wehowsky and Jim O'Rourke. Wehowsky’s and O’Rourke’s pieces premiered at avanto in the tape music concert on Saturday 18 November.” [press release]
"Tony Conrad (violin): DAGADAG for La Monte. Ralf Wehowsky: Würgengels Lachende Hand. Composed by Ralf Wehosky between April and September 2006. The sound material for the piece has been supplied by Topias Tiheäsalo (guitar) and The Rogalli Revival Band, MK II (Sonja & Sören: vocals, Ch. Rogalli: oud; recorded in April 2006 by RLW), transformed and morphed by Ralf Wehowsky. Jim O’Rourke: Out with the Old. Recorded in 1990-1991-1994-2006." [liner notes]
|
2006 |
€13.00 |
|
|
KKH 1 LOCK GROOVES |
7inch |
Obskure Veröffentlichung des "Königlichen Stockholmer Unversitätskollegs für die bildenden Künste", diverse schwedische Soundartisten / Studenten haben unter der Initiative von CM VON HAUSSWOLFF Endlosrillen beigesteuert: LINDA JANSSON, CM VON HAUSSWOLFF, KLASNY RUSSIA ERIKSSON, MATHIAS JOSEFSON (MOLJEBKA PVLSE), LENA BERGENDAHL, JENS EVALDSSON, NANNA HELLBERG auf Seite 1, auf der B-Seite ein Remix von allen von HAUSSWOLFF.
"The lock groove pressed in a lump of vinyl is a great tool for DJs, and of course we are all DJs... well, all but me (someone's gotta give up). C.M. von Hauswolff seems also an unlikely figure as a DJ, but on his initiative six students of the Royal University College of Fine Arts in Stockholm produced this 7" - each, plus Hauswolff making one lock groove. They are cut on side A. On side B, Hauswolff produces a piece of music out of it. Also it should be noted that all seven participants have now a group where the lock grooves are mixed live on seven record players. It's been a while since I heard such worn out ideas. But hey, I'm not a DJ, so I don't need the tools." [FdW / Vital Weekly]
Address: http://www.kkh.se/royalrecords
|
2007 |
€6.00 |
|
|
Sur-Terre.Net |
CD |
Geräuschmusik- & "Experimental Drone"- Soundtrack für einen Film von GREGORY CHATONSKY, der für ARTE TV produziert wurde. Die Highlights kommen unserer Ansicht nach von FRANCISCO LOPEZ, PITA & HAZARD, die mit tiefbassigen knirschenden Drones und wahren Rauschbomben begeistern, insgesamt eine sehr abwechslungsreiche Compilation zwischen digitaler Electronica & field-recording Geräuschkunst..
Soundtrack for an ARTE-film by GREGORY CHATONSKY, with tracks by: SCANNER, FENNESZ, ATAU TANAKA / FRANCISCO LOPEZ, STEVE RODEN, VLADISLAV DELAY, TIM HECKER, HAZARD, PURE, PITA, CHRISTOPHE CHARLES, HELLER, ABSTRACKT KEAL AGRAM, ROBERT BABICZ, GENERAL MAGIC...
|
2006 |
€13.50 |
|
|
Three aural interpretations of a drawing by Eric Lanzillotta |
7inch |
RALF WEHOWSKY (aka RLW), LEIF ELGGREN und JEPH JERMAN "transformieren" auf dieser Konzept-Single Zeichnungen von ERIC LANZILOTTA (der ex-ANOMALOUS RECORDS-Betreiber) in Klang, drei sehr verschiedene Arten von körniger und collagierter Geräuschmusik. Klares Vinyl, Mini-Poster.
"Limited edition of 250 copies pressed on clear vinyl and packaged in double-sided 14.5" by 10.5" poster sleeve. This 33 RPM EP include three sound artists playing a drawing by Eric Lanzillotta. Each artist has a unique, though abstract take on the drawing, which is included in the inside of the poster sleeve. The sounds include the calm physical motions of Jeph Jerman, the static activity of Leif Elggren and noise music of Ralf Wehowsky (sounding a bit like P16.D4 here).
Jeph Jerman gained attention under the name Hands To, but has created his most refined work under his own name. He performs mostly with natural objects (stones, plant parts, feathers, etc) and has collaborated regularly with Wally Shoup, Greg Davis, Sean Meehan, Tim Barnes, Mike Shannon, Dave Knott, Eric Lunde, and many others. He has had several previous releases on Anomalous Records, and a new CD of his work will be released by Little Enjoyer this year.
Leif Elggren is a pioneering sound, performance, book and installation artist from Sweden, as well one of the two kings of Elgaland-Vargaland. In the last 30 years, he has released a great deal of material on labels such as Radium 226.05, Anckarström, Flykingen, Ash International, Korm Plastics, Some, Absurd, Meeuw Muzak, Kning Disk, iDEAL Recordings, Touch and his own Firework Edition, which has also published many of his book works, such as the legendary "Experiment with Dreams" done in collaboration with Thomas Liljenberg.
Ralf Wehowsky started making music in the Neue Deutsch Welle period of Germany history with his band P.D., which later became the group P16.D4. Since the dissolution of these groups, he has been recorded largely as a solo artist, though in truth always incorporating collaborations with various friends. Over the years he has worked with Andrew Chalk, bernhard günter, Kevin Drumm, Lionel Marchetti, Bruce Russell, David Grubbs, Jim O'Rourke, and many others." [label press release]
|
2007 |
€8.00 |
|
|
Roulette Russe pour un peu de Caviar |
CD |
DMITRY VASILYEV ist seit Jahren mit seinem I.E.M.-Magazin einer der Hauptakteure und Unterstützer der russischen Experimental-Elektronik-Drone Szene; seit einiger Zeit nun betreibt er darüberhinaus das MONOCHROME VISION-Label, welches neben Wiederveröffentlichungen längst vergessener Perlen des globalen Experimental-Undergrounds auch aktuellen Musiken verlegt. Der Franzose PHILIPPE BLANCHARD hat nun, als Kenner der russischen Szene, für Monchrome Vision eine Compilation mit einem Querschnitt zusammengestellt, die wieder beeindruckend zeigt, welch besondere Qualität viele russische Experimental-Projekte aufweisen. Neben bekannteren Drone Records-Favoriten wie CISFINITUM, HUM und BARDOSENETICCUBE finden sich hier auch für uns neue Namen wie KOLPAKOPF, INSTANT MOVIE COMBINATIONS oder INTERIOR DISPOSITION.... hervorragende Tracks, meist im "transcendental / experimental Drone"-Bereich. Einen wirklichen Ausfall gibt es hier nicht zu vermelden, und so möchten wir diese Comp. fast uneingeschränkt empfehlen, man kann sie "in einem Rutsch" durchhören!
"The compilation of exclusive tracks by russian artists, intended for the presentation on "Bruit de la neige" 2007 festival by Studio Forum (Annecy, France). Some of them are good known in Russia and worldwide, some are just the newcomers, but all are showing the great potential of russian experimental music scene in the fields of electroacoustic, abstract electronic music, drone ambient and noise collages. Release date is 30th March 2007. Limited edition of 500 copies in jewelcase." [label info]
label: www.monochromevision.ru
|
2007 |
€13.00 |
|
|
Beyond ignorance and borders. An African, Middle-Eastern, Asian noise and electronic compilation |
CD |
Äusserst bemerkenswerte Veröffentlichung des belgischen Kosmopoliten C-DRIK (Ambre, Ammo, etc.), eine Experimental-Compilation mit Acts aus Ländern mit denen man wirklich nicht rechnet! Breites Spektrum von Ambient bis Noise, Analog bis Digital, alles frisch & unverbraucht & meist mit grosser Energie versehen, die vielen Namen sind nahezu alle unbekannt, es gibt hier (aus der SOUND Perspektive) viele neue Welten & Musiken zu entdecken!!
"Throughout the last twenty years or so various noise compilations with focus on the different cultures around the Globe have been released; from the "Japanese/American Noise Treaty" (Relapse/Release) across "Sound Of Sadism : An International Power Electronics Compilation" (Crowd Control Activities) to the "Extreme Music From…."-series with editions focusing on Africa, Russia, Japan and Women (Susan Lawly Label). Now Belgium label Syrphe Records has brought us a new compilation of noise music. Titled "Beyond ignorance and borders" the compilation presents us for artists of nationalities from the Eastern world. The contributions do not come from Japan, the kingdom of Noise, but from other countries that are relatively unknown regarding noise music. And this is what makes this compilation very interesting. Twenty tracks from countries such as Vietnam, Malaysia, Singapore, Lebanon, South Korea (just to name a few), the styles ranges from extreme noise to breakcore and field recording. What makes this album interesting is that the origin of many of the artists represented on the compilation seems to saturate the expressional style on the contributions. Highlights on the compilation is the weird technoid track "629" by Skorfuse (Philippines), harsh noise tracks such as "Useless summer" by Yan Jun (China) and the ultra-aggressive "Ithrane n ithige" from Algerian artist Nepa Ios. Also the ear-shattering closer "The night as it was raining (aka 26 aunigrai)" from Goh Lee Kwang (Malaysia) is remarkable. This is certainly a great compilation, worth investing whether you are noise-head or simply an adventurous listener of the more extreme kind. Highly recommended!" [NM / Vital Weekly]
label: www.syrphe.com
|
2007 |
€12.00 |
|
|
MUZYKA VOLN |
CD |
Hochklassige Bestandsaufnahme der sehr aktiven russischen Experimental Drone-Szene, alle Aufnahmen stammen von 2005-2007. 12 Projekte stellen sich hier vor, wobei einige dem geneigten Drone Rec.-Hörer bereits bekannt sein dürften. Ein paar Eindrücke:
KSHATRIY: das Eröffnungsstück, kaum zu durchschauender "mysterious drone", neuer Name für uns, Entdeckung!
CLOSING THE ETERNITY: Bemerkenswert der Einsatz von Instrumenten & field recordings. Ein Hyper-Resonanzraum öffnet sich..
HUM: schöner Titel "Halo Magnetica"; metallisch - magnetisch - sirrend - minimal, ein einziges auf- und abschwellen von extremst amorphen Klangwolken, die doch voller Details sind.
NECROPOLIS: superdunkel & tief dröhnend, irgendwo sind Harmonien, sehr surreal, ausserweltlich, sehr schön. Wer sich dem rauschig-tieffrequenten Sphären-Drone annähern will, findet mit MUZYKA VOLN einen idealen Einstiegspunkt. Für Fans der russischen Szene sollte sie eh obligatorisch sein, wurden doch alle Stücke exklusiv aufgenommen.
Allen hier Beteiligten scheint gemeinsam zu sein, dass die Welt wie wir sie kennen als viel zu eng empfunden wird. Das "Ausserweltliche" repräsentiert hier möglicherweise einen 'innerweltlichen', psychischen Innenraum, der nach Auflösung der Begrenzungen des Ichs zu streben scheint, eine Überwindung des Selbst im Zuge der Verschmelzung mit Raum & Zeit, wie in fötaler Seinsweise... Der "Drone" ist wie ein Sog des Unbewussten in Richtung Präsymbolik & dem Reich des Vorsprachlichen.
"The first release of a new sublabel of ZHELEZOBETON - Muzyka Voln - is a compilation of the same name, containing compositions from twelve Russian projects playing ambient / drone music. A selection of audio-tales in which each project introduces the listener to its own sound world he's living in: mystical stories, isolationism, altered states of consciousness, space landscapes, monotonous technogenic rumble, guitar passages and much more... Specially for this compilation exclusive tracks were provided by: Anthesteria feat. Kaj?, Bardoseneticcube, Cisfinitum, Closing The Eternity, Exit In Grey, Hum, Instant Movie Combinations, Kshatriy, Lunar^Abyss^Deus^Organum, Necropolis, Polaris and RemoteBand. This compilation may be useful for those interested in the Russian experimental scene and just for lovers of beautiful contemplative music. The CD is housed in a six-panel digipak decorated with photos of Baltic Sea made by Pavel "fljõt" Pevnitsky." [label info]
label: http://zhb.radionoise.ru/
|
2008 |
€13.00 |
|
|
Dark Ambient Radio Volume 1 |
CD |
Das Hamburger Internet-Radio "Dark-Ambient-Radio" steht seit einigen Jahren für ein anspruchsvolles Programm und bietet den Hörern zudem eine Plattform für Austausch & Kommunikation. Auf der ersten CD-Compilation des Independent-Senders finden sich einige bekanntere Acts, aber überwiegend gibt es wohl für die meisten was neues zu entdecken. Im Dark Ambient Genre mischen sich der Sinn für Geräuschhaftes und Soundeffekte mit der Sehnsuchtsweite der Drones, wobei harmonische Elemente oft ein minimales Gerüst bilden.
Dabei sollen dunkle, kosmische, melancholische Atmosphären entstehen... Die "Dark-Ambient-Radio" Zusammenstellung führt das sehr schön vor, unsere persönlichen Highlights kommen von: SVARTSINN & ALLSEITS (die "andere Seite" von ALL SIDES), NAGUAL ART, PHELIOS...
"At eleven the track-count stops and another marvelous sampler will have played on your stereo. With the title Dark-Ambient-Radio, Vol. 1, there is not much to guess about the content of this album.
The collected artists on this sampler are in between completely new and world-famous (within the genre that is). The absolute most well-known on here is Ah Cama-Sotz, but also Svartsinn and Phelios have earned their place in the dark ambient genre already.
For Evoke Scurvee, Nihil Communication, Mytrip, and Nagual Art this is the first occurence on a CD. All others on this album have had releases before, so depending on how much you like dark ambient, you might have stumbled upon tracks or releases already.
So the balance of "something old, something new" slightly tilts towards the "new" and that is always good. Getting to know new names and finding the well hidden pearl in the oyster gives you the feeling there is still stuff to explore in an at times slow developing genre.
But does this album contain dark ambient? Well, yes and no. Partially there is definitly some references toward the definition, but at times there is also a lot of experimentation with fieldrecordings, samples, drones, and emotion. A purist would call file those tracks under drones or experimental. But let's just f*ck purism this time. :-)
A must-have for explorers and those dark of mind ..." [Bauke van der Wal / Gothtronic]
& live-stream at: www.darkambientradio.de
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2008 |
€13.00 |
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An Uncommon Nature |
LP |
"Edle neue Compilation auf dem Seattler Label Anomalous Records- vereint einige interessante Acts aus dem konkreten wie sphärischen Minimalismus-Bereich, die auf Anomalous aktiv sind... (s.u.). Kommt mit 4 ästhetischen Fotopostkarten zum Thema...
Great compilation presenting nearly all acts from the Seattle-based label. From concrete to spheric minimalism. Exclusive tracks by JEPH JERMAN, MIRROR, AGOG, CLIMAX GOLDEN TWINS, JONATHAN COLECLOUGH, MIKE SHANNON, MONOS, RICHARD LERMAN, DAVE KNOTT. Comes with 4 postcards with b/w prints of photographs by Rachael Jackson." [Drone Rec. info 2001]
“ While unified by a common theme, the tracks are quite varied including desert contact mic recordings of rain and wind on a tree [Jeph Jerman], processed sounds of a gate [Jonathan Coleclough], erhu played on a beach [Mike Shannon], mysterious singing 'water babies' [Agog], a mixture of wild celery stalks, tundra grass, a cord made from sinew, a whalebone roof support and the seals [Richard Lerman], and the straight recording of an approaching thunderstorm [Dave Knott]. This attention to detail in audio is matched by the close up photographs of fungi, dripping sap, and trees which surrounds it.” [from the press-release]
|
2001 |
€14.00 |
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AIRPORT SYMPHONY |
do-CD |
Australische Compilation zum Thema "Erfahrungen des Reisens in moderner Zeit" mit Beiträgen v.a. aus dem Microsound und digital-ambience & drone Bereich. Jeder Musiker / Klangkünstler benutzte dabei Original-Aufnahmen vom Brisbaner Flughafen, das ganze kommt in einer Metallbox mit Banderole verpackt.
"With David Grubbs, Richard Chartier, Francisco López, Camilla Hannan, Taylor Deupree, Christophe Charles, Dale Lloyd, Marc Behrens, Toshiya Tsunoda, Tim Hecker, Stephan Mathieu, Fennesz, Burkhard Beins, Jason Kahn, Ulrich Krieger, Keichi Sugimoto, Christopher Willits, Joel Stern. 'AIRPORT SYMPHONY' commissioned by the Queensland Music Festival and Brisbane Airport Corporation, documents and synthesises the experiences of travel. Each piece represents a personal meditation on aspects of travel in the modern age and suggests ways in which we control, augment and ultimately exists in a time where almost no part of the face of the planet is inaccessible. Each of the pieces features a source recording made in and around Brisbane Airport between March and June 2007 in a raw form or transformed by processing. Audio diary entries cataloguing the epic possibilities of flight, aero-passage and human bodies in motion and even at rest." [L. English, June 2007]
|
2007 |
€18.00 |
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SPIRE LIVE FUNDAMENTALIS |
do-LP |
Der dritte Teil in der SPIRE LIVE-Serie, lange Stücke mit "modernem" Orgelbezug & -einsatz von PHILIP JECK, CHARLES MATTHEWS, MARCUS DAVIDSON, BJ NILSEN und FENNESZ, - Aufnahmen von den zwei SPIRE - Konzerten auas Göteborg und Brüssel. Ganz wunderbar tönen wieder BJ NILSEN und FENNESZ, der eine löst die Orgel-Töne in rostig-rauhen Resonanzen auf, der andere klingt ("rein ORGANisch") höchst melancholisch und polyphon... aber auch die anderen Stücke (u.a. eine Version eines SCELSI-Stückes) sind die Anschaffung wert.
"Spire Live - Fundamentalis is a double LP-only collection of exclusive live tracks recorded at various Spire events held throughout 2005 and 2006. Released in association with U.S. label, Autofact, Touch presents a selection of tracks performed by the main performers of Spire: Fennesz, Philip Jeck, BJNilsen, Charles Matthews and Marcus Davidson. Improvised pieces from Fennesz, BJNilsen and Philip Jeck contrast with a performance by Charles Matthews of a scored composition by Italian composer Giacinto Scelsi, "In Nomine Lucis," and Marcus Davidson's self-penned "Standing Wave," which ends side two with a locked groove. Cut to preserve and enhance the bottom end frequencies, Fundamentalis is not merely a document; the tension between and within the individual pieces is palpable. As the Touch label places it, Fennesz's set "...evokes the rolling centuries in all their pain and beauty, leaving us at once becalmed and energized, but never oppressed under the weight of time." Electronics breathe new life not only into the organ, but also into the setting. But a new technological successor does not mean replacement. Ultimately, it's the majestic sound of the organ, so steeped in centuries of tradition that one remembers above all else. Spire is one of the most innovative projects around, drawing on the full canon of organ works, from the very first annotation in the Robertsbridge Codex from the 14th century, to Max MSP patches and software sampling. With two CD releases and nine performances in cathedrals and churches throughout Europe, Spire remains a potent live force in harnessing the sounds of the ages. Art direction and design by Jon Wozencroft." [label info]
".... Jeck's side is everything we could hope for, long lazy loops, slathered in record static, hiss, crack and pop, dreamy melodies skipped into haunting rhythms, everything washed out and blurred, a worn weary sonic drift, organs and voices, soaring and whirring, very mechanical and machinelike, but simultaneously, warm and emotional.
Serene, hypnotic, mesmerizing, what else can we say about the magic of Jeck's music that we haven't said before??
Matthews' half of side two is super minimal and hushed, mostly organs, allowed to wheeze and whir, slightly dissonant, but dense and layered, the tones hovering in a suspension of rumbles and shimmers, very dramatic and cinematic, understated and reverent, almost like some strange religious musical ritual. The second half, ostensibly Davidson's, although he is credited with a locked groove, is a dark
drone-y flow, keyboards blurred into warm streaks, also slightly atonal, ominous, intense, the muted rumble builds to an almost cacophonous organ-ic frenzy, that heard at full volume must have stirred the soul for sure.
The second disc is split evenly between Nilsen and Fennesz. Nilsen's side, recorded in a church in Sweden, is a dark, harrowing,
rumbling, post industrial dronescape, the tones rough around the edges, the melodies lugubrious and caustic, building up into a serious din, metallic washes of sound, thick shards of pulsing buzz, very brittle and sharp, before slipping into something a little more serene, but no less intense, more muted metallic tones, drifting in a churning sea of hissing static and electronic grit, a barely noticeable rhythm, more of a pulse or swell, finishing off in a deep grinding low end blur, like a much more minimal 20th century SUNNO))).
The Fennesz track is all organ, the root of all of these pieces, but here, the organ is unaltered, barely unadulterated, allowed to warmly wheeze, strange tangled melodies, glistening and glimmering, the tones beginning to change shape, the melodies allowed to elongate and blur slightly until they're swallowed up by a warm cloud of static and hiss before fading out completely. The second half of Fennesz' side is a more murky underwater reading of the first half, not as much grit and gristle as we usually expect, instead, the sound is whirling and muted, reminding us of Oval, but with the glitching skips smoother out, leaving just warm shimmering sonic swells, sun dappled melodies, and rich layered high end drones, drifting serenely, pastorally.
Gorgeously packaged, super thick full color gatefold sleeve, super striking Wozencroft photos, pressed on thick vinyl. And as if you even need to be told, quite limited indeed." [Aquarius Records review]
www.a-fact.com
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2008 |
€18.50 |
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ESCAPING FROM COLOR: RAPOON RECOMPOSED & REMIXED |
CD |
Eine der schönsten Compilations des abgelaufenen Jahres kommt vom ukrainischen QUASI POP-Label: eine Remix-Zusammenstellung von RAPOONschen Basis-Sounds. Das "Source"-Material von RAPOON war so variabel und vielseitig dass es zu einer grossen Bandbreite gekommen ist, es fängt mit einem atemberaubend guten Stück von FRANCISCO LOPEZ an und wird zum Ende hin immer experimenteller und noisiger; weitere Highlights sind die Stücke von JORGE CASTRO und TV POW, aber es gibt eine Menge guter bis sehr guter Tracks hier!
"The conception, the idea, realisation and sound sources of this CD are all based on original sound material (loops and sounds) from Rapoon's “Tribal Sci Fi” CD-ROM (courtesy of Sony/Sonic Foundry). Not the entire original Rapoon's tracks have been re-mixed or re-composed, but the general “sound” (or the sound aesthetic of Rapoon's music) instead. All the artists have provided their own original compositions, that less or more based on the audio-sources from Rapoon. Thank you very much for all contributors!
File under: drone/dark ambient/electroacoustic/industrial/noise."
1. Francisco Lopez “Untitled #193”
2. TV Pow “Ladder Friends Remix”
3. Machinefabriek “Drijfzand”
4. Troum “Farawer”
5. Steve Roden “Colorscape Forming”
6. Jorge Castro “Depths”
7. Paulo Raposo “Tidal Winds”
8. Aidan Baker “Percussive Drone”
9. Anla Courtis “Rapooned Rapunga”
10. Gert-Jan Prins “Raponsje”
11. Heimir Bjorgulfsson “Obmam Ognom”
12. Mike Shiflet “Version Belize”
13. Family Underground “Tube”
14. Ronnie Sundin “Distant Demons”
15. Cisfinitum & Rapoon “Live in Ikra, Moscow 2006”
[label notes]
"Again Quasi Pop Label hits the target, with one of the most interesting compilation Cds coming lately to my hands. so, this is at my eyes a kind of tribute to British ethnic ambient industrial solo project known as RAPOON, which has been developing all its talent through the years. Through “escaping from color: Rapoon recomposed & remixed” album. We swim in an experimental sea of creativity, originality and dynamism. This time Quasi Pop Label in the shape of Edward.S has gathered a selection of one of the most representative projects inside experimental/ambient scene to escape from reality and to enter in a no colors world, when Rapoon is the only tangible reality. A reality based in 15 compositions, all of them bringing the necessary essence to represent in a concrete way the nature of an act such as Rapoon.
FRANCISCO LOPEZ, with more a high quantity of releases, and having traveled the world developing electro acoustic performances, is opening this album with a minimalistic ambient composition, floating slowly from start to finish. TV POW, surprises this time with an excellent track, full of dense percussive sounds and effects surrounding the whole track. Really one of the best tracks here. The german duo of Baraka (H) and Glit(S)ch known as TROUM,one of the most representative acts nowadays comes with a tribal ethnic composition with impressive percussive elements which moulds perfectly with the structure of the track in general.
The sound & Media explorer from Portugal, PABLO RAPOSO, makes its presence in this album with an interesting track, in the hands of drone sounds mutating into dense ambient atmospheres, creating architectural spaces through such musical vortex, as only Mr. Raposo could create. AIDAN BAKER, devour us with a magnificent convergence of drone elements, mixed with dense eerie percussive sounds floating between each atmosphere, to create an hypnotic voyage to the most hidden realms of Rapoon. FAMILY UNDERGROUND is a Danish trio, adapting its track into psychedelic drone/noise invasion full of madness. Another artist to mention is Swedish RONNIE SUDIN, creating hypnologic states, covering a wide range of styles as experimental and electronics. This time he develops a provocative ambient piece with vibrating elements, abrasive atmospheres and subliminal vociferations at the core of this track.
CISFINITUM, the Russian ambient act, develops a perfect emotive live track which was recorded 29.10.2006 at “Lkra” Club in Moscow, together with RAPOON, in which the percussive elements and atmospheres are the predominant patterns marked here. Limited to 500 copies, and coming in a kind of digipack with abstract drawings and general art, which reflects in part the material included on this excellent release." [Edgar Kerval / HEATHEN HARVEST]
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2008 |
€13.00 |
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Zelphabet Vol. A |
CD |
Wahnwitziges Noise-Culture Compilation-Projekt von G.X.-JUPITTER-LARSEN, welches 26teilig das ganze Alphabet umfassen soll, wobei allerdings die Vornamen der beteiligten Musiker zählen - auf dem ersten Teil versammeln sich ACHIM WOLLSCHEID, AMK, ARCANE DEVICE und ASMUS TIETCHENS - also alles schon sehr lange aktive Urgesteine der Szene: Irre Xylophon-Arrangements von ACHIM. Loop & Turntable-Madness von AMK. Spannende Klangcollagen mit alten Analog-sounds von ARCANE DEVICE. Und uns ASMUS: hintergründige Sphären & Drones und anorganisch-konkretes Geschacher im Vordergrund. AA, ein sehr guter ANFANG.
"Almost close to thirty years now span the career of G.X. Jupitter-Larsen, better known as The Haters, and throughout these many years he has met many other musicians, labels and such like. His telephone book is well stocked with names so it seemed him a good thing to make the musical variation of his phonebook, an ambitious twenty-six (well, actually one more) series of compact discs with each three or four musicians with the same letter at the start of their name. So that accounts for the presence of Achim Wollscheid and Asmus Tietchens with the letter 'A'. With names like AMK and Arcane Device further on 'A', one could all too easily think that G.X. knows only old folks, but on 'B' we find the young ones The Beast People, 16 Bitch Pile-Up and Bob Bellerue with just one older person, blackhumour. 'B' is unmistakably the noise variation, with loud distorted pieces by the three new (relatively speaking of course) acts. Blackhumour, where has he been I was thinking, hands in one of his trademark pieces of unprocessed voices. Looped around, cutting them shorter as the piece progresses, this is both a stand still but since I gather not many people know him, it's good to get reacquainted. Bob Bellerue's piece of subdued noise is the best of the rest. AMK on 'A' also does what he seemingly always does, playing with damaged records. It's the least interesting piece on that one. Achim Wollscheid has a great computer controlled piece of playing Xylophone. Arcane Device created a recent mix of old feedback pieces and Asmus is in his recent mood of shimmering microtonal bits and pieces, fed through ring modulation. Great promising start, can't hardly wait. But it looks like a definite compendium of thirty years of difficult music. Subscribe now to this wiki of noise and know all there is to know." [FdW / Vital Weekly, reviewing part A & B]
www.zelphabet.com
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2008 |
€6.00 |
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OEC 100 / THE OLD EUROPA CAFE |
7 x CD-Box |
OLD EUROPA CAFE fing wie einige andere heute noch existierende Experimental-Labels (z.B. ANT-ZEN, KORM PLASTICS) in den 80er Jahren als Cassetten-Label an, um später auch Vinyl & CDs herauszugeben... Nun gibt es das Label von Mastermind RODOLFO PROTTI bereits seit 25 Jahren, und das wird mit dieser irren Compilation eindrucksvoll zum Ausdruck gebracht. 101 Stücke von Gruppen, Musikern & Projekten die irgendwie mit OLD EUROPA CAFE in Verbindung standen oder stehen sind hier verewigt, und das Thema soll sein: EUROPA. Von Post-Industrial über Harsh Noise, Dark Ambient und Neo-Folk, das Spektrum des Labels reicht sehr weit, die Wurzeln liegen aber ganz klar in geräuschvollen Industrialsounds..
"This compilation was planed during 2007 for the 25th OEC anniversary. For celebrate the label and all the work done over all those years 101 artists / groups / projects which was / are / will be involved with OEC was invited to submit an unreleased or anyway re-worked / exclusive track devoted to the theme :
Europa !
Europe : from Portugal to Russia
Europe : his history
Europe : his culture
Europe : his cities
Europe : his beauty
…. At last, a true Old Europe Cafe soundtrack ....
Tracklisting / in Alfabetical Order :
1. A Challenge of Honour - Iberia
2. Aesthetic Meat Front – Twilight in Berlin
3. Ain Soph – Tra le Rovine
4. Albireon – Un Cavallo Senza Nome (Sonne Hagal’s Italian covered track)
5. Alessandro Pacciani – The Colour of the Human Ashes
6. All My Faith Lost … - Septembre 1871
7. Argine – Risveglio
8. Artefactum – The Night Waltz in Vienna
9. Asianova – Trieste
10. Astro - Old European Son
11. Autopsia & K.Rossmann – Fragment II
12. Bad Sector – Old Europa On Air
13. Beyond Sensory Experience - Fadren
14. Black Sun Productions – Gegen Verfuehrung / Grande Inno di Ringraziamento
15. Bleiburg – Europaean Heartbeat
16. Camerata Mediolanense - Guillotine
17. Circus Joy – Signora Europa
18. Claustrum – Penitential
19. Cristian Renou – U-Rop Impress (heavy version)
20. Cropcircle – The Balkan Doll will never Grow
21. D.B.P.I.T. – Lili Marlene
22. David E. Williams – Erlkönig
23. Dawn & Dusk Entwined – Occident
24. Dead Man’s Hill - Parc Abbey / The Heverlee Lakes
25. Deutsch Nepal – The Lonely Comming Down
26. Discordance – Jokela, Finland
27. Division S – Further Knowledge
28. Dogs Hate Monet - In This Dream
29. Dream Weapon Ritual – excerpt from The Mysteries Of E
30. Egida Aurea – L’Ardente Fiaccola della ragione
31. Folkstorm - United under a black sun of utmost splendour
32. Foreign Trade – With You
33. Foresta di Ferro – Europe Greets the Storm
34. Furvus – Evropa
35. Gerechtigkeits Liga – Controlled Europe
36. Grey Wolves – Decapitation Zone (Euro Carve Up)
37. GX Jupitter-Larsen – Norge Om Polybølge
38. H.E.R.R. – A Newer Rome (2007 Version)
39. Horologium – European Macht Muzik
40. Hybryds – Resistance (Old Europa Mix) with samplefood by Wejdas
41. 40.Jerome Deppe and Gentlemen Oscura – Song for Nero
42. K. Meizter – Prypiat
43. Kallabris – Holzweg , Scherzo for Scandinavian wood winds and tape manipulation
44. Kenji Siratori – Crusade 2007
45. Knifeladder – Warsaw , 4pm
46. Lark Blames – Small Cars
47. Lonsai Maikov & Dissonant Elephant – Occident : 111
48. Lt. Caramel – Estación de Princípe Pío
49. Macelleria Mobile di Mezzanotte- White Jazz (Excelsior Cafe Version)
50. Malato – EU
51. Mauro Guazzotti – Clockwork Europe
52. Moljebka Pulse – Avra
53. Musterion – Underneath Stockholm
54. MZ.412 - Overthrowing European Christianity
55. Naevus – The Petty Task
56. Nazi UFO Commander – Flying Dutchman
57. Ninth Desert – Oscript
58. Njurmannen - Music for an erotic TV show
59. Nocturne – Old Nocturne Cafe
60. Nordvargr - Facing the ghost of the past
61. Northgate – Brief
62. Ô Paradis – Contigo
63. Organisation Toth – Follow the L.ight O.V. .E.uropa
64. Pacific 231 – Mezquita
65. Peter Andresson – Kitchenscape
66. Post Contemporary Corporation – Il Martirio di Wagner (live attack !)
67. Rapoon – We Whisper Revolutions in the Cafe’s of Europe
68. Richard Ramirez – The Colours of Dark Clouds over Italy
69. Roma Amor – Der Treue Husar
70. Runes Order – In the Endless Regions of Europa (Hate IV)
71. S.Q.E. – Shards
72. Sacher Pelz – Pchearsezl
73. Sala Delle Colonne – Scilla e Cariddi
74. Second Amendment – The Stranger
75. Seelenblut – Sudden Light
76. Seelenlicht – Return to Summerisle
77. Selfishadows – Poison
78. Shining Vriel – Of Coin + Ruin
79. Siegmar Fricke - Euroceutik 2007
80. Simulacrum – Naturatum EU
81. Sleeping Pictures – Kiss the Dirt
82. Slogun - Palma:1986-2002
83. Space Alliance – Abduction of Europa
84. Spiritual Front – Funeral Blues
85. TAC - Sixth From Jupiter
86. Tam Quam Tabula Rasa – New Ropes Suffocate my Hopes (Rendhagyò Olasz Dallam)
87. Tears of Othila – Up our Banners ! (Special Old Europa version)
88. Teatro Satanico – Veneto Industrial in Europa
89. The Lindberg Baby – No Promises
90. The Soil Bleed Black - Thou Art Mine
91. Thomas Nola et Son Orchestre – Mother’s Ruin
92. Tribe of a Circle - Demokratür - Final Act
93. Troum / Asianova / Voice of Eye – Dream for a New Europa (Re-Entry Edit)
94. Ventral Metaphor – Lost in Pordenone
95. Vestigial – Substorm’s Curtains
96. Voice of Eye – Inside the Breath of the Adriatic
97. Vox Populi! – Soft entrance to nature’s camino de luz
98. Wermut – Maladia Europa II
99. Wertham – Which Way Western Man
100. Wheian – Europa
101. XX Century Zorro – Phelin Phelix
Cover art-work features reproductions of oil paintings by : Mass Inc.
As you can see this will be a true Mammoth compilation !
We didn't put limits to the sound stiles , so here you can really hear all the sounds
of the Industrial sub-culture featured on OEC !
A BIG document on OEC work ...
A BIG thank you to all the artists who was walking with OEC !!!
A BIG thank you to all who was supporting OEC for such a long time !!!"
[label info]
www.oldeuropacafe.com
|
2008 |
€36.00 |
|
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This Infernal Love of Life |
CD |
Wiederveröffentlichung einer schwedischen Compilation-LP von 1989 mit ELD-OMALA (symphonisch-apokalyptische Sounds), WHITE STAINS (experimenteller Ritual-Folk, waren eng mit PSYCHIC TV & TOPY verbandelt), PHAUSS (lebendiger Infinity-Drone / Noise), Z. KARKOWSKI (schon damals kaum zu beschreibender undurchdringlicher Komplex- & Amorph Noise voller innerer Bewegung)
Thema der Compilation war der "Wille zum Leben", das Feiern der Lebenskräfte, eine entsprechend rituelle & kraftvolle Zusammenstellung ist es geworden... ein sehr lohnenswerter Re-Release, neues Cover, Auflage 500 Stück.
"A visionary showcase of Sweden's finest artists, paying tribute to the mighty currents of LIFE within us all. This album was originally released as an LP by TOPYSCAN in Stockholm in 1989, in a limited, hand-numbered edition. Included was a booklet with texts, artwork and photographs by the artists.
The idea, if any, was to invite artists working with sound and experimental music to illustrate the philosophical, emotional concept of the "will to live". Eld-Omala and White Stains were based in Stockholm, Phauss and Karkowski in Gothenburg. One could say that this album presents a pretty correct picture of what was going on musically in Sweden at the time. Digitally remastered by Thomas Tibert in 2006,
the album comes with new cover,first time in digital format." [label info]
www.monochromevision.ru
|
2008 |
€13.00 |
|
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v-p v-f is v-n |
7 |
Höchst obskure 7"-Compilation mit 20 (!) Stücken, wobei 5 Endlosrillen eingearbeitet wurden, überwiegend sind Projekte aus der "Microsound-Drone-Ambience" Szene vertreten, z.B. LAWRENCE ENGLISH, CIVYUI KKLIU, ILYA MONOSOV, ALFREDO COSTA MONTEIRO.. die Bandbreite ist aber sehr gross und machen dies zu einer spannenden Hörerfahrung. Kommt im sehr schönen "letter-press" Cover, wie alles auf WINDS MEASURE RECORDINGS... (Label aus New York City).
"v-p v-f is v-n 7" compilation series, 7001
jeph jerman + albert casais, ting ting jahe, richard garet, alfredo costa monteiro, ben owen, lawrence english, jeph jerman, civyiu kkliu, tommy birchett, ilya monosov, mpld, andy graydon, and ben scott. edition: 350 7" black vinyl record letterpress sleeve and insert." [label info]
" "v-p v-f is v-n is a 7” black vinyl compilation consisting of twenty terse pieces (with five being lock grooves) - nine on side I rotating at 33RPM and eleven on the side II spinning at 45RPM - and serves as aural digest of the was, is, and will be of Winds Measure Recordings collaborators.
This wonderful 7”-teaser is a little sonic who’s-who (and who will be) of Winds Measure Recordings collaborators. There are a lot names (most familiar to me, a few not) present on this compilation - label owner Ben Owen, Jeph Jerman, Albert Casais (Omnid), Ting Ting Jahe (collective), Richard Garet, Lawrence English, Civyiu Kkliu, Tommy Birchett, Ilya Monosov, Andy Graydon, Alfredo Costa Monteiro, mpld (project of Gill Arno), Ben Scott (participant in Ting Ting Jahe),Tommy Birchett (also participant in Ting Ting Jahe), and Rudolf Unger.
As I was listening to v-p v-f is v-n for the second time, I had the volume turned up fairly high having discovered that several of the tracks especially on the 33RPM side are moderately subtle and/or sprarse explorations of sound (although dotted with a few startling moments). The other members of my family, not really appreciating my peculiar musical interests in general, kept asking (actually yelling) “What’s that noise?”. Well there is a lot of noise on this album, but to my ears, the noises that these artists make is music.
There are some considerably abstract, challenging sounds here in the sense of being quiet, fragmented, and rough. Listening to the first three pieces on side I - Jeph Jerman & Albert Casais, Ting Ting Jahe, & Richard Garet - will confirm this observation. Be forewarned to drop the volume before the piercing frequencies of Alfredo Costa Monterio’s Élytre [track 4] kicks in and quickly disrupts the quiet atmosphere established by its predecessors. In sharp contrast, Ben Owen brings back a sense of calm down with Typhoon, kii-tanabe consisting of what appears to be a minimally processed field recording containing some vocals and natural background ambiance, and then Lawrence English complements this with a droning piece of naturalness titled Water Run Sand. mpld follows this up with another drone segment titled Red Tape but this time sounding coarser and very machine-like. Side I concludes with two lock grooves (Jeph Jerman, Ben Owen).
Side II begins with Civyiu Kkliu and Rudolf Unger joining forces to produce a minute’s worth of vibrating, rumbling noise that becomes a little broken towards the end. Jeph Jerman then delivers a beautiful 50-second piece of macrobiotic resonations that goes hand-in-hand with Ben Owens’ sparse and reverberating 16-second miniature s-s-e, sm ca. Listen carefully or Tommy Birchett’s barely audible 11-second interlude will be absorbed by Ben Owens’ piece or made imperceptible by Andy Graydon’s gorgeous Two Fold Note - a dark and harmonious tonal drone. Ben Scott’s ccc is an interesting 25-second experiment in percussive clatter that is followed directly by Ilya Monosov’s For Well Treated Trumpet. Short Version - a rather warped and amusing piece of discordant abstractness. Side II concludes with three lock grooves (Civyiu Kkliu, mpld x 2) and short-lived 7-second reprise by Tommy Birchett.
v-p v-f is v-n gives a candid retrospective of what Winds Measure Recording has offered and also provides a peek at what the near future might hold. Nice to see it released on vinyl as this medium serves the label’s sonic aesthetic well." [Larry Johnson, EARLabs]
www.windsmeasurerecordings.net
|
2008 |
€9.00 |
|
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SACRAL SYMPHONY |
CD |
"Steht der Name EVGENY VORONOVSKI auf einem Produkt, kann sich dahinter eigentlich nur Qualität verbergen; das hat der Russe in den vergangenen Jahren oft genug bewiesen. Zum einen ist er Bestandteil von NEUTRAL, der momentan zum Duo geschrumpften, akustischen Neofolk-Vorzeigeband aus Russland. Dort geht er seinem gelernten Handwerk nach und spielt – als studierter Geiger – die Violine. Zum anderen ist er der Kopf hinter CISFINITUM, einem Projekt, das außerordentlich atmosphärischen Dark Ambient produziert. Gerade mit der elektronischen Musik war VORONOVSKI auf zahllosen Samplern vertreten: "Iznutri" (Besprechung), "Energia" (Besprechung) oder der "Heilige Feuer"-Serie. Nun hat er den Spieß umgedreht und Material von anderen Bands eingesammelt, ist mit CISFINITUM allerdings auch selbst vertreten. Die insgesamt fünf Projekte aus Russland, Deutschland, Großbritannien und der Ukraine steuern jeweils rund 15 Minuten lange, exklusive Stücke bei, die auf meditativen Drones basieren. Zusammen gehalten werden sie von der losen, titelgebenden Vorgabe 'sakral'. Ein Versuch also, etwas Heiliges, Religiöses einzufangen, eine 'höhere Sphäre', was allen Beteiligten auf ihre Art und Weise gelingt.
Die Herangehensweise von 1000SCHOEN, einem Ein-Mann-Ambientprojekt aus Bremen, ist die – und das ist nicht negativ gemeint – naivste von allen. Nichts klingt 'dark', die puren Ambientflächen warten mit Windspiel und Sitar auf. Wuchtige Geigendrones im Mittelteil und später auch eine E-Gitarre verleihen die nötige Intensität. "Dageraad" ist warme, freundliche Entspannungsmusik, deren urige, natürliche Stimmung manchmal an den Balkanfolk von SVARROGH erinnert, an einen Guru auf dem Hügel, der einsam sein Instrument bearbeitet.
TROUM, ebenfalls aus Bremen, sind sehr viel düsterer. Das Projekt um STEFAN KNAPPE von DRONE RECORDS arbeitet mit dicht aneinander gedrängten Drones, die klingen, als ob Wind durch unterschiedliche Metallröhren weht. Wie durch eine Nebelwand tauchen dazu an- und abschwellende, geloopte Chor-Versatzstücke auf. Ab der Mitte des Songs erwecken die verfremdeten Vocals den Anschein einer rituellen Beschwörung. Die Synthesizerflächen von TROUM decken die ganze Bandbreite nach der Einnahme von halluzinogenen Drogen ab: Mal ist es ein Gleiten durch Licht, mal stiert ein Alp durch dunkle Wolken. Streckenweise klingt "Palas Tyn" wie ein frühes, sehr abgedrehtes Instrumental von PINK FLOYD.
EVGENY VORONOVSKI beweist vor allem dadurch Klasse, dass er mit CISFINITUM nur wenig Material braucht, um große Welten zu erschaffen. In "Autumn Ritual" mäandern ausladende, träge und warme Synthesizer-Drones durch das All, eine – wie es so schön heißt – 'Reise durch Raum und Zeit'. Sollte die Menschheit einmal schockgefrostet werden müssen, um im Tiefschlaf auf einen anderen Planeten zu fliegen, ist diese elektronische Kammermusik in Superzeitlupe perfekt für den Kopfhörer im Kryogentank.
ROBIN STOREY alias RAPOON steuert mit "One Last Breath" den experimentellsten Track der Zusammenstellung bei. Der Mitbegründer von ZOVIET FRANCE arbeitet hauptsächlich mit Stimmeffekten. Dazu hat er sich sowohl beim KIEV CHAMBER CHOIR bedient und dessen Gesänge bearbeitet als auch die eigene Stimme aufgenommen und verfremdet. Alles zusammen ergibt Himmelschor-Drones, die allerdings verzischt und verzerrt sind. Die Tür in eine andere Welt steht zwar offen, ist aber unerreichbar. Im letzten Drittel des längsten Songs dieses Samplers (19:43) gehen die Gesangsloops in ebenfalls scheppernde Posaunenklänge über, die nach und nach immer klarer werden, so dass ganz zum Schluss ein winziges Stückchen Engel erhascht werden kann.
Den Schlusspunkt setzt der Ukrainer OLEGH KOLYADA, der unter vielen Namen aktiv ist. (Ein NONPOP-Interview mit ihm gibt es hier.) Als FIRST HUMAN FERRO zeigt er in der Regel ein etwas härteres, post-industrielles Gesicht, das sich nun aber der sakralen Gesamtstimmung anpasst: Wir dürfen bei der Entstehung eines Universums zuhören. Leuchtende, helle Wolken aus Synthie-Tönen ploppen wie zukünftige Planeten in eine noch nicht vorhandene Atmosphäre. Später untermalt ein Sample mit wunderbarer, irdischer Klaviermusik das Szenario. Dieses Vermischen zweier unterschiedlicher (Atmo)Sphären hat viel vom 'geistigen' Sound des Zwillingsprojekts ODA RELICTA.
Es gilt, was schon eingangs erwähnt wurde: Der Macher bürgt für Qualität. Das ist in diesem Fall nicht anders und umfasst selbstverständlich alle beteiligten Projekte, nicht nur CISFINITUM. Allerdings muss sich der Hörer über die meditative Anlage des Samplers im Klaren sein, damit es keine Überraschungen gibt. Bis auf einige TROUM-Passagen ist die Musik wesentlich mehr Ambient als 'Dark', die Drones sind beruhigend und viele von ihnen nicht von dieser Welt, das heißt typisch 'spacig'. Spaß macht ganz nebenbei auch die Interpretationsfreiheit, die "Sacral Symphony" bietet. Hinter den sphärischen Tracks können sich Weltraumabenteuer, religiöse Erfahrungen oder einfach – wie EVGENY VORONOVSKI das vorschlägt – 'russischer Spirit' verbergen. Guter Sound für die restfeierliche Stimmung der Nach-Weihnachtszeit." [Michael We. für nonpop.de]
"You don't have to be a religious fanatic to hear the quality in this latest effort from Belgium label EE Tapes. The album titled "Sacral symphony" presents five grandiose pieces of drone-based electronics from five well-known and acclaimed composers of drifting ambience. The compilation is compiled by Russian composer Eugeny Voronovski who also contributes under his artist alias Cisfinitum. German composer 1000Schøen opens the symphonic extravaganza with a hypnotic piece titled "Dageraad" that includes acoustic sounds of guitars and flutes to create lush piece of ambience. Next artist is also German. Troum
contributes with the piece titled "Palas tyn" consisting of church bell-sounding drone accompanied by warm drones moving in deeper sound levels. Eugeny Voronovski alias Cisfinitum contributes with the beautiful piece "Autumn ritual" based on ochestral ambience reminding me of works from Angelo Badalamenti. Things get even more grandiose with the otherworldly piece from Rapoon, "One last breath", a dark and beautiful piece of processed choir samples. Final piece comes from the artist titled First Human Ferro, a remarkable piece of spacey ambient based on church organ samples with echoed acoustic sound like in a church. An excellent piece to end this otherworldy ambient compilation from EE Tapes." [NM / Vital Weekly]
label website: www.eetapes.be
|
2008 |
€13.00 |
|
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The Recommended Records Sampler 1982 - 25th Anniversary Edition |
do-CD |
".. Chris Cutler hat es sich wenige Jahre zuvor mit Gleichgesinnten zur Aufgabe gemacht ein Label zu eröffnen für musikalische Weitsicht. Inhalt, Rock, wohl nicht wirklich, für New Wave war alles viel zu wenig stylisch. Musikalisch hatte der Zuhörer eher den Eindruck, eine Symbiose aus Genanntem mit improvisierten Soft Machine zu hören. Das Label hatte es in den zurückliegenden Tagen wirklich geschafft, einen eigenen erkennbaren Sound mit dem dementsprechenden Coverartwork zu kreieren. Die Veröffentlichung dieses Samplers hatte damals natürlich die Aufgabe der klassischen Labelschau, heute wirkt es wie ein wunderbares musikalisches Fotoalbum. Man trifft auf alte Bekannte wie Henry Cow, Robert Wyatt und den Homosexuals oder gar Conventum. Schön ist es, aus dem Booklet zu erfahren, dass Joseph Racaille immer noch musikalisch umtriebig ist. Natürlich mit dabei die martialische Kunst von Faust. Wer das gemeinsame Tassengeschepper aus einem damaligen Cafe mit dem dazugehörigen Soundtrack kennt, gegenüber dem hektischen Wegwerfen eines Coffee-To-Go Bechers, der sollte hier dem Kauf zum Wiederentdecken auf jeden Fall nachkommen. Neue Hörer und Interessierte sowieso." [Morton, Unruhr.de]
"A keystone reissue of an historic collection featuring: Faust (D), Art Bears (UK), ZNR (F), Robert Wyatt (UK), The Residents (USA), Henry Cow (UK), This Heat (UK), Art Zoyd (F), Univers Zero (B), Stormy Six (I), Aqsak Maboul (B), Picchio Dal Pozzo (I), Decibel (MX), Goebbels and Harth (D), The Homosexuals (UK), The Work (UK), Amos and Sarah (UK), Ron Pate/Raudelunas (USA), Conventum (CAN), Hector Zazou, Joseph Racaille and Patrick Portella (F). Total Time: 2 hours. Recommended Records was set up in the late 1970s by Chris Cutler and Nick Hobbs - both then busy with Henry Cow - on the back of the worst possible business model imaginable: to collect and distribute music which, in Cutler’s judgement, was original, important or excellent - and otherwise generally unknown. No major labels, just releases by independents or artists themselves, with particular emphasis on ignored European releases. It was an interesting moment: punk and the new wave had unsettled the old certainties, major labels were floundering and a new generation was setting up its own channels of information and distribution. Out of this stimulating chaos, all sorts of innovations and alternative propositions emerged, especially outside the UK/US axis, which by then had become complacent and arrogant - because they had ‘invented’ rock and what else was there to know? Thus Recommended quickly became the principle source of information about a diverse new underground of innovative music that wasn’t jazz, rock, new wave, or anything quite. By 1982, Recommended was in its fourth year. The catalogue had expanded and the label was firmly established. A sampler seemed an obvious and necessary next step. Compiling extracts from existing releases would have been boring, so we asked the most interesting groups in our catalogue to record something new. The result was two hours of music released as a double LP in a hand silk-screened sleeve that was, as it turned out, a time capsule - a tidy slice taken across a fascinating forking of musical paths that captured a moment of growth that foresaw a variety of possible futures. 26 years on it has become a highly prized collectors item, not only because of the breadth and quality of the music it contains, but also because of its early geographical reach. A lot has changed in little more than a generation." [label info]
|
2008 |
€17.50 |
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Table for Six: All Quiet? # 3 |
CD |
Das wohl am längsten bestehende belgische Label für elektronisch-experimentelle, post-industrielle und dronig-ambiente Klänge geht mit seiner TABLE FOR SIX-Reihe in die dritte Runde (sechs lange Beiträge)! Wieder präsentiert sich eine gelungene Mischung aus Altbekannten oder älteren Acts (FRANS DE WAARD, ANEMONE TUBE (nach langer Pause wieder aktiv wie's scheint) und (AD)VANCE(D) (ex VANCE ORCHESTRA), und den Newcomern NEUESTRASSE (mächtig atmosphärische dark ambient Drone aus Italien), STORMHAT (post-industrieller drone-industrial mit ungewöhnlicher Komplexität im Microsound-Bereich, sehr genial! Dänemark), und BRUNE DE ANGELIS (elektro-akustisch beeinflusste dunkel-symphonische Musik, nicht so weit entfernt von alten TIETCHENS-Sachen). Insgesamt sehr dunkel-atmosphärisch geprägt, Spezial 7"-Siebdruck-Cover, keine Ausfälle, was will man mehr !
"EE Tapes was originally a tape-exclusive label established in Belgium back 1987, but during the years the media forms released from the label has changed, to the present state of being a CD-only label. Present release is another shot from the "Table For Six"-series, that celebrates different forms of ambient with contributions from interesting composers of the scene. On this third chapter contributions comes from newcomers as well as from more established artists. Despite the focus on ambient the approaches to the style is quite different with everything from concrete sounds to abstracts noise. Opening piece titled "Bulo omega" is twelve minute work of buzzing drones from Italian artist Neuestrasse. Washes of noise waves creates a quite organic edge to the expressions of noise. Organic is also the word to describe the following contribution from Danish artists Stormhat that specializes in ambient-scapes exclusively based on field recordings. His piece "Substanser" nicely mixes abstract concrete sounds with recognizable found sounds. German project Anemone Tube continues with a minimalist piece of beautiful ambient based on processed choir-samples and grandiose soundscapes. With its warm atmosphere, the work titled "Projected cataclysm" from Anemone Tube stand in extreme contrast to the following icy drone work from Dutch sound artist Frans De Waard. His piece titled "Wortel (root)" is another minimalist work based on buzzing drones operating in subconscious levels with a very interesting result. Once in a while the drones fades away giving space for swarms of high frequency noises and crackling electronics wiping out any sign of buzzing tranquility. Dutch artist (Ad)vance(d) closes the compilation with another great piece of ambience based on field recordings with subtle melodies moving in deeper layers. Excellent compilation that also presents some quite bizarre and beautiful jazz-like ambient-noise-spheres based on acoustic instruments such as horns and string instruments from Italian artist Bruno De Angelis. Thus a great span in the contributing expressions. Good work." [NM, Vital Weekly]
" 1 | Neuestrasse (Italy): atmospheric ambient noise aka Matteo Roncari | newcomer in the dark ambient scene, although he had a first CD out already on polish War Office Propaganda label in 2006 neuestrasse@tiscali.it
2 | Stormhat (Denmark): obsessive experimental sonics aka Peter Bach Nicholaisen | climbing up fast on today's ladder of field recording-fame with CDreleases out on US-labels Cohort Records & Diophantine Discs www.stormhat.dk
3 | Anemone Tube (Germany/Netherlands): contemplative digital synths - aka Stefan Hanser, (harsh) noise artist returning after a long silence & now residing in the Netherlands, showcasing a very unusual piece for his doing in the best 80s prog synth tradition, but
with modern tools www.myspace.com/anemonetube
4 | Bruno De Angelis (Italy/UK): modern classical improvisation - former member of Influenza Prods (80s) and still active with Mana Erg (90s - now), always doing a kind of cinematographic stuff so far, here presenting a most special solo outing bruno.deangelis@yahoo.co. uk
5 | Frans de Waard (Netherlands): noise collage of tape-hiss only, back to the root(s) -
it all started with the cassette....
pioneer with Korm Plastics, (ex-)Staalplaat, Kapotte Muziek, Beequeen, Freiband, Shifts, etc etc.... www.fransdewaard.blogspot.com
6 | (ad)vance(d) (Netherlands) : floating space sounds built up with field recordings & a lot of
imagination - aka Mars F. Wellink (ex-Vance Orchestra) who teams up with Jan Dekker for this exclusive contribution: a well-balanced composition between dream, sleep & reality maybe..... mars.f.wellink@xmsnet.nl"
[label info]
|
2008 |
€13.00 |
|
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TESLA : Werkstatt Klangapparate |
DVD |
"Die werkstatt_klangapparate startete im herbst 2006 bei tesla in berlin. insgesamt wurden im laufe eines jahres vier künstlerische projekte erarbeitet und präsentiert, die sich mit historischen klangapparaten, deren künstlerischen möglichkeiten und ihrer verwendung als instrument, klangerzeuger oder klangobjekt auseinandersetzten.
wann wird der apparat zum instrument oder das instrument zum apparat? wo beginnt der dialog des künstlers mit der maschine? drei salongespräche stellten die thematik, die künstler und ihre arbeiten vor. in zwei open studios und vier projektresidenzen konnten die künstler mit den entsprechenden apparaturen ihre ideen vor ort entwickeln und die präsentationen vorbereiten. die werkstatt_klangapparate folgte damit der konzeptionellen programmatik des tesla , themen in sich vernetzt, variabel und modulweise in verbindung mit zu projektresidenzen eingeladenen künstlern zu realisieren. diese programmatische offenheit erlaubte u.a. interessante einblicke in die konkreten künstlerischen produktionen, die dann im november 2006 und im juni 2007 im kubus im podewils'schen palais der öffentlichkeit vorgestellt wurden.
alle vier performances wurden ausführlich mit foto, ton und video dokumentiert. die hier vorliegende dvd präsentiert die sound performances von steve roden& martin riches, thilges und frank bretschneider in tonaufnahmen und die video-sound-performance von benzo in ton und bild. von den drei sound-performances finden sich auf dieser dvd als bonusmaterial ausschnitte der video-dokumentation. aufgenommen wurde außerdem ein ausführlicher bericht über das gesamtprojekt." [carsten seiffarth]
www.edition-rz.de
|
2007 |
€12.00 |
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SOURCE RECORDS 1-6. Music of the Avant Garde, 1968-1971 |
3 x CD |
Absolut lohnenswerte Wiederveröffentlichung von sechs 10" Vinylen die vor gefühlten Ewigkeiten (1968-1971) im Rahmen des "Music of the Avant Garde" Journals herauskamen. Enthält z.T. echt wahnwitzige Stücke aus der "klassischen" nordamerikanischen Elektronik- Avantgarde, z.B. geht ROBERT ASHLEYs "The Wolfman" (1964) locker als ausschweifende Feedback-Elektro-Noise-Orgie als auch als etwas angegrauter "Industrial" durch, oder DAVID BEHRMANs "Wave Train" (1966) als röhrend-droniger Dark Ambient...
Man steht / sitzt / oder liegt mit offenen Mund vor diesen Pioniertaten der Geräuschmusik, das alles wirkt so gar nicht angestrengt kopflastig oder intellektuell, sonder eher "direct into the face (ears)". Super!!
"..."Source: Music Of The Avant-Garde" was a magazine which included scores, articles, interviews, essays and music, placed on a 10" record. First released in 1967 and then semiannually until 1973, although the records were released until 1971. Some of these pieces on these records have turned to be true classics of our time. Here we have the first version of 'I Am Sitting In A Room' by Alvin Lucier, 'The Wolfman' by Robert Ashley and 'Wave Train' by David Behrman. Some other composers here are still the big shots of today, like Allan Bryant, Alvin Curran and Annea Lockwood, and some I must, perhaps shamefully, admit I never heard of, like Larry Austin (the founder of the magazine), Arthur Woodbary, Mark Riener, Lowell Cross (who has a great drone like piece), Stanley Lunetta (with a great noise based of electronics) and Arrigo Lora-Totino, who has a piece that uses just voices. Most pieces clock in at fifteen minutes, the length of a 10" side. All of the pieces deal with electronics in some way, along with real instruments. One could say that its a pity that the magazine, the printed words, aren't available, say as PDF's on the disc (or a website), but this is a lovely three CD set of some great music. Always nice to hear Lucier's piece again, even in this shorter version than on the CD by Lovely music, some interesting discoveries such as Larry Austin himself, Lunetta and Cross. A most needed re-issue." " [FdW / Vital Weekly]
"Source Records 1-6. Music of the Avant Garde, 1968-1971. The digital reissue of the Source LP's on 3 CDs :
CD One - Source Records 1 and 2
Robert Ashley, The Wolfman;
David Behrman, Wave Train;
Larry Austin, Accidents;
Allan Bryant, Pitch Out
CD Two - Source Records 3 and 4
Alvin Lucier, I am sitting in a room;
Arthur Woodbury, Velox;
Mark Riener, Phlegethon;
Larry Austin, Caritas;
Stanley Lunetta, moosack machine
CD Three - Source Records 5 and 6
Lowell Cross, Video II (B)/(C)/(L);
Arrigo Lora-Totino, english phonemes;
Alvin Curran, Magic Carpet;
Annea Lockwood, Tiger Balm
Pogus is extremely proud to reissue the recordings included in the seminal new music journal, Source: Music of the Avant Garde, Vols. 1-6, Issues 1-11, Source Records 1-6, 1967-1973. The original six ten-inch LP Source Records contained some of the most important experimental music of the nineteen-sixties to mid nineteen-seventies and they have now been reissued as a 3 CD set. Source ended publication in 1973, having published, since 1967, contemporary musical materials, scores, articles, interviews, photo essays and recordings over seven years, with up to 2000 subscribers to the semiannual journal: the subscribers avidly anticipated receiving two new and critically acclaimed issues each year during that period.
Most of the original tape masters for the records, after over forty years, have vanished or have seriously deteriorated; hence, we have carefully transferred, noise-reduced, and crackle-removed all the actual LP record tracks to the digital medium, then mastered to the compact disc format for this reissue: the result is an authentic recreation of the original LP, characteristic sound." [label info]
www.pogus.com
|
2009 |
€33.00 |
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MICHIGAN |
6 x LP-Box |
In der üblichen brachialen aber handgemachten RRR-Aufmachung kommt nach der CALIFORNIA-Box eine weitere Region der USA unter die Noise Culture-Lupe: MICHIGAN, Heimat von z.B. WOLF EYES, PRINCESS DRAGONMOM und HIVE MIND. Diese 6 LP-Box mit 12 Projekten (jedes erhält eine volle Seite Spielzeit) gibt den umfassenden Überblick über die Noise-Szene des "Staates der Großen Seen"!
"Hanson & RRRecords present: Michigan, a 6-LP boxset featuring a full side each from twelve Michigan noise projects. Full LP sides from: Princess Dragonmom, Raven Strain, Redrot, Aaron Dilloway, Tovah D-Day, Charlie Draheim, Hive Mind, Mammal, Evenings, Cotton Museum, Sick Llama and Wolf Eyes. Compiled by Greh Holger and Aaron Dilloway. Limited to 600 copies. Packaged in fully silkscreened record mailers." [label info]
www.rrrecords.com |
2009 |
€55.00 |
|
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An Anthology of Chinese Experimental Music (1992-2008) |
4 x CD |
Diese Compilation hat definitiv hat das Zeug zum Klassiker, handelt es sich doch um den allerersten umfassenden Überblick über die wachsende chinesische & asiatische Experimental & Elektronik & Noise-Szene, die hier in ihrer ganzen Vielfalt präsentiert wird. Ein guter Teil dieses Mammutswerks (48 Stücke!) bewegt sich im experimentellen Drone & Ambient-Bereich, aber es gibt auch einige Extrem-Noise Beiträge, Rhythmisches, hyper-abstraktes, Musique Concrete, Microsound. vier CDs mit für uns fast nur unbekannten Acts, eine wahre akustische Entdeckungsfahrt!! Anspieltips: DAJUIN YAO, STRINGRAYS, WANG FAN, LOGA, von denen mal hoffentlich wieder hören wird ! Mega-Digipack mit 2 Booklets, inklusive Text von Z. KARKOWSKI & YAN JUN "An Overview of Experimental and Non-Academic Music in China". SONDERPREIS!!
"Bis zur letzten Minute interessant bleibt dieser viereinhalb-Stunden-Rundumschlag durch experimentelle Musik aus China, zusammengestellt vom Aktivisten Dickson Dee, der dieses Feld seit zwanzig Jahren von Hongkong aus bestellt. Anders als der Titel suggerieren mag, konzentrieren sich die vier CDs dieser Box auf eine ganz junge Szene, die experimentellen Rock der 90er hinter sich gelassen hat und stattdessen (meist elektronisch) auf abstrakterer Stufe mit Klang experimentiert, für uns grob umrissen durch Noise, Ambient, Soundscape, in China selbst unter Sound Art zusammengefasst. Knapp die Hälfte der Stücke sind von 2007, ein weiteres Viertel von 2006; der Rest bleibt für eher punktuell scheinende Pionierarbeiten. Neben einem Booklet mit kurzen Texten zur Selbstvorstellung fast aller Künstler gibt es ein weiteres mit einem sehr erhellenden Text vor allem zur Genese experimenteller Musik in der VR China von Zbigniew Karkowski und Yan Jun, die drei Fünftel der Beiträge ausmachen (dazu kommen je ein Fünftel aus Hongkong und Taipei, plus ein Beitrag je aus Singapur und Malaysia). Dieser Text zeichnet die Linie nach von Kulturrevolution über Recycling und Piraterie westlicher Medien und klärt etwa über die besondere Ausgangslage der traditionslosen, wertungsfrei offenen Rezeptionssituation auf. Wie gesagt, das ist spannend, dennoch bemerkt man beim Durchhören eine gewisse Schieflage der Bandbreite, von der nicht klar wird, wie subjektiv sie geprägt ist. So einige Arbeiten konzentrieren sich auf Feedback und Distortion, von hier und heute aus besehen die schwächsten Glieder (Torturing Nurse verschwenden leider ihre Viertelstunde); besser gefallen mir die Sound- und Dronescapes, die oft Fieldrecordings verwenden und nicht unbedingt bahnbrechender, aber konzentrierter und eindrücklicher sind, und grade auch (aber nicht nur) von den Pionieren kommen: Dickson Dee selbst, Wang Fan, Dajuin Yao. Bemerkenswert aber auch Hong Qiles krasser, modemartiger Schreddernoise aus Fuzhou wie auch mein Favorit Loga, einer der ganz wenigen, die mit Rhythmus arbeiten, der sich bei ihm ganz unmerklich aus einer Klanglangschaft entwickelt. Dazwischen verstecken sich immer wieder isolierte Preziosen – Stimmauslotungen (Alice Hui-Sheng Chang), verträumte Popelektronika, die auch auf Noble stattfinden könnte (Nara), ein Beatstück mit Matmos-Funk (Sun Dawei), 50er-Jahre-WDR-Elektronik (Circadian), manch uneinsortierbares und offenbar folgenlos gebliebenes aus den 90ern, und man fragt sich ein wenig: gibt es da so wenig dazwischen? Beatexperimente? Oder Plunderphonics, im weitesten Sinne, wenn doch die Kultur auf Trash und Piraterie gewachsen ist? Aber das ist einfach Potential für die nächsten vier CDs, die genauso willkommen wären, wie diese hier, die natürlich ein Standardwerk ist." [multipara / de:bug]
"FOR THE VERY FIRST TIME, AN EXCEPTIONAL AND
VERY COMPLETE PANORAMA (MORE THAN 5 HOURS / 4 CDs)
SINCE ORIGINS (1992) OF ALL EXPERIMENTAL AND ELECTRONIC MUSIC IN CHINA, HONG KONG, TAIWAN, SINGAPORE AND MALAYSIA.
4 CD SET DIGIPACK
+ 2 x 16 PAGE BOOKLETS
AN ANTHOLOGY OF CHINESE ELECTRONIC MUSIC (1992-2008) from Mainland China (Beijing, Shanghai, Chengdu, Guilin, Hangzhou, Shenzhen, Guangzhou, Fuzhou, Shanxi, Harbin) Hong Kong - Taiwan - Singapore - Malaysia.
This anthology features 48 artists from within the Chinese area of influence. It is designed
as a journey through what is currently happening underground, under extremely diverse forms.
It also looks at the recent past and the key role of pioneers like Wang Fan, Dajuin Yao,
and also Hong Kong-based Li Chin Sung aka Dickson Dee who, for almost two decades, has been spreading the word about Experimental music in Mainland China. This album was curated by Dickson Dee on Guy Marc Hinant's invitation. It includes an enlightening presentation on the
short yet intense advent and history of the Chinese noise explosion,co-written by Zbigniew
Karkowski and Yan Jun.
________________________________________
The Sound of the Underground: An Overview of Experimental and Non-Academic Music in China
The Chinese Cultural Revolution (1966-76) in one way or another eradicated most of the
existing culture in China. At the same time as intellectuals were sent to rural labor camps,
countless ancient buildings, antiques, books, paintings and various artifacts were just
destroyed. This period created an enormous intellectual, cultural and artistic vacuum in
China - destruction that in a sense, time is still healing.
So tradition of music culture and especially non-academic, purely experimental music,
started from 'point blank' scratch sometime in the 80ies. With the market economy introduced in that decade and further media developments in the 90ies, there was a kind of an explosion in youth culture that had been held back for decades. Movements and music scenes that previously never reached China - like for instance psychedelic music, punk or neo-dada started to appear and expanded at astonishing pace.
The birth of these alternative rock and punk music scenes that later developed into even
more experimental trends is a direct result of global capitalism and profound change in China's position within the World Order. It however did not develop the same way as it
usually does in the West - with one eye looking forward and the other one always glancing
at history. It started with 'dakou' and with piracy.
tracklisting
4 x CD
CD1
01. Li Chin Sung aka Dickson Dee (Hong Kong) / Somewhere (1994) / 10'33
02. Zenlu (Shenzhen) / Zen (2007) / 9'19
03. Bai Tian (Chengdu) / Wet (2007) / 4'05
04. Cheewei (Singapore) / Evening has arrived (2006) / 8'02
05. Lim Giang (Taipei) / "???" (2006) / 8'41
06. Ang Song Ming aka Circadian (Singapore) / Book radio mixer (2007) / 3'02
07. Chung-Han Yao (Taipei) / Untitled (2005) / 5'02
08. Goh Lee Kwang (Malaysia) / Frong spraying (2007) / 3'42
09. Wu Quan (Beijing) / Weather forest (2006) / 5'04
10. Me:Mo (Beijing) / pro.a (2007) / 4'30
11. Wang Jong-Kuen (Taipei) / Leaving (2006) / 5'40
12. Dajuin Yao (Zuoying) / Psycho Realm (2006) / 5'29
CD2
01. Sun Dawei (Beijing) / Crawing state (2007) / 4'14
02. Nara (Beijing) / Dream a little dream (2007) / 6'54
03. WFDD / Wang Fan + Dickson Dee (Beijing/Hong Kong) / Sin (2007) / 8'36
04. Stingrays (Singapore) / 061020 (2006) / 5'18
05. Dennis Wong aka Wong Chung-Fai (Hong Kong) / para_dot (2006) / 5'12
06. Fathmount aka Wilson Lee (Hong Kong) / A yoke of oxen (2007) / 4'56
07. PNF (Hong Kong) / Chi (1994) / 3'11
08. Li Wen Tai aka Vince Li (Hong Kong) / Eat (2007) / 4'57
09. Shenggy (Beijing) / Junggy 's decay (2007) / 3'05
10. Ronez aka Zhou Pei (Guilin) / Kikusui Back (2006) / 4'57
11. Zhou Ri Sheng (Shanxi) / Noise God (2006) / 7'22
12. Fish (Taipei) / Rusty Crane Keelong (2007) / 4'46
CD3
01.Torturing Nurse (Shanghai) / Fugitive (2006) / 14'46
02. Wang Fan (Beijing) / Zero (2006) / 6'28
03. Wuwei + Ulrich Morits (Shanghai/Berlin) / Toy Ships (2003) / 2'48
04. Xper. Xr. & The Orphic Orchestra (Hong Kong) Hickory Dickory Dock (1992) / 1'01
05. Hong Qile (Fuzhou) / j gmc (2007) / 8'00
06. Ying Fan (Taipei) / L2255 mix (2007) / 3'58
07. Dead J aka Shao Yanpeng (Beijing) / untitled (2007) / 3'49
08. Z.S.L.O (Taipei) / 422189 (1997) / 3'09
09. Jedung Kying / Edging + Junky (Guangzhou/Shanghai) Dabao (2007) / 3'01
10. Tats Lau (Hong Kong) / Face The Antagonish (1992) / 2'53
11. Li Jianhong (Hangzhou) / Sod (2007) / 5'32
12. Dino (Taipei) / untitled (2005) / 6'45
CD4
01. Wang Changcun (Harbin) Through the tide of faces (2007) / 4'59
02. D!O!D!O!D! / Li Jianhong + Huangjin (Hangzhou) A dark knife (2006) / 5'36
03. Yan Jun (Beijing) / Its more than enough (2006) / 5'35
04. Loga (Fuzhou) / 620 (2007) / 9'22
05. Pei aka Liu Pei-Wen (Taipei) / Bird lady (2007) / 7'43
06. Eric Lin aka Lin Chi-Wei (Taipei) / untitled (2007) / 3'10
07. Alice Hui-Sheng Chang (Taiwan) There she is, standing and walking on her own (2007) / 3'59
08. Ching Shen Ching (Taiwan) / V-zone (1997) / Fuji Wang + Anes: electronics / 7'25
09. Dancing Stone (Hong Kong) / Two (1995) / Nelson Hui: flute + Ling Lee: voice / 2'13
10. Illuminated 6.6.6. (Hong Kong) / Enjoy the silence (1992) / 6'06
11. Juno aka Timmy Lok (Hong Kong) / Possiblilities (1995) / 3'18
12. Simon Ho (Hong Kong) / 5 (2005) / 6'53 "
[full label info]
www.subrosa.net
|
2009 |
€25.00 |
|
|
Abnormal Beauty |
CD |
Dark Ambient und Neo-Klassik Post Industrial Compilation von diesem aufstrebenen polnischen Label, einige sehr bekannte Acts, eine völlig unbekannte, sehr gute Mischung !!
"Dark and beautiful compilation of first league music projects. Without any further delays, ladies and gentleman we present to you: PARANOIA INDUCTA, DESIDERII MARGINIS, [haven], KRĘPULEC, NEKYIA, BOCKSHOLM (Peter Andersson / Raison d'etre), KARJALAN SISSIT, HOROLOGIUM, DEAD MAN'S HILL, STAHLWERK 9, CONTEMPLATRON, MROK. The CD is released in nicely designed digipack, made carefully for release, remastered and professionally produced." [label info]
www.beastofprey.com
|
2009 |
€12.00 |
|
|
Risveglio Di Una Citta (In Memory of Luigi Russolo) |
6 x CD-R / book |
Ein weitere "LUIGI RUSSOLO-Memorial" Veröffentlichung, dem Erfinder der "sechs Geräuschfamilien des futuristischen Orchesters" wird hier vom polnischen Liebhaber-Label IMPULSY STETOSKOPU (stets handgearbeitete Cover) ein Tribut gezollt. Sechs Geräuschmusik-Projekte verteilen sich auf 6 CDrs (CRIA CUERVOS, LIEUTENANT CARAMEL, BIG CITY ORCHESTRA, HEAD58m, GOVERMENT ALPHA, HYWARE), das ganze ist als Vollfarb-laminierte A4-Mappe gestaltet mit vielen Fotos, Malereien, und 2 Texten zum Thema RUSSOLO versehen. Wow ! Limitiert auf nur 160 Exemplare !
www.myspace.com/impulsystetoskopu
|
2008 |
€33.00 |
|
|
Ya Ji |
CD |
Das dürfte die erste in China veröffentlichte CD sein, die wir anbieten. Eine Compilation mit Collaboration-parts von BAI TIAN (auch auf der SUB ROSA Anthologie enthalten), SHIZI (auch aus China), sowie ANDERS PETERSON (aka OBJEKT4 und RELAPXYCH) und die legendären LOOP ORCHESTRA! Glitchig ambientes, drones, plunderphonics.. inkl. inlay mit liner notes über alle Stücke auf englisch und chinesisch!
"Ya Ji (Elegant Meeting):
A truly International sound project between China, Sweden and Australia. Proving that experimental music is very much acultural. The artists involved are Bai Tian from and currently lives in Chengdu (Sichuan province) and Shizi from Lanzhou (now lives in Beijing) in China, Anders Peterson from Stockholm and The Loop Orchestra from Sydney. The Artists have remixed each other’s work and these remixes are joined together to make up the 16 minute collaborative first track. Sound files were exchanged through the Internet. So it is a real cross-cultural/international sound project and in that respect it is unique. The other tracks on the CD are pieces by each of the artists.
The CD is released on the Chinese label KwanYin Records which is under the Sub Jam (www.subjam.org) collective from Beijing . All of the Artwork, CD production and final mastering was done in China.
The music ranges from the sound journey of the first collaborative track , Ya Ji, through to the beautiful final slowly unfolding piece by Shizi . The 16 minute collaboration is in four separate chapters. The first is a collaboration between Bai Tian and Anders Peterson. The second is a remix by The Loop Orchestra of the collaboration. The Loop Orchestra remix is then remixed by Shizi. The piece is really like a sound journey from minimal beats which become buried by dronal loops and finally slowly collapsing into the abyss.
The second track , In , by Bai Tian is a bright crisp digital electronic piece which references the heyday of European digital electronica of the late 90s.
Track three, insomniactivity is by relapxych.0 (Anders Peterson from Stockholm, Sweden). It is a marriage of instrumentation and electronica.
The next piece (track four), Vibraloops, by The Loop Orchestra is a colourful and humourous tape-loop rendition of a 1940s/50s vibraphone orchestra. Full of kitsch and colour it is beautifully percussive and opposite to the previous piece is very much low technology or as they like to say a category called No Tech. Purely tape loops played on reel-to-reel tape machines.
Track five, Background Shadows is a radio studio remix of the CD Her Face Amongst the Shadows by Objekt4 (the previous sound project of Anders Peterson). The remix is by John Blades and Richard Fielding who co-present the experimental radio program Background Noise on 2 mbs FM in Sydney. For this they used the radio studio as an instrument. Listen at www.anonradio.net .
The final track, track six is by Shizi and is a layered drone piece which is like being consumed by a thick fog. A very appropriate closing to the elegant meeting.
The whole CD can really be described as a sound journey with a beginning, a middle and an end.
THE ARTISTS:
Anders Peterson (relapxych.0)
After working for many years with sound design, film music, sound recording, mastering / remastering, acoustic design and also as a musician (guitars / bass) I eventually found the most rewarding personal experience from the sounds of nature (water, wind, fire, earth), with its endless variation and amazing organic qualities, constantly evolving, and by capturing (recording) ambience from certain places I finally obtained sounds that had massive potential to be truly *original* and *unique* to myself. The next step was to combine these recordings with musical instruments and “approaches”, combining harmonics and “body” from musical instruments with the organic flow and constantly varying rhythms of for example dripping water, gusts of wind or cracking ice, through digitally coded cross-synthesis, hybrid sounds carefully sculptured by hand. Creating musical ambience instead of ambient music.
www.ghostsounds.net
Bai Tian (aka Bai+ian) is a emerging sound artist, flute player and organizer of independent music based in Chengdu, China. He plays in a wide range of styles such as ambient, cut’n'paste and electronic music etc. He has performed with Chinese and international artists such as Huan Qing, Zafka, Zbignew Karkowski and Li Chin Sung. He has participated in exhibitions such as 156M Contemporary Art Exhibition (Chengdu), Getitlouder (Chengdu) and China Power Station (London).
www.myspace.com/baiii
Shizi was born in Lanzhou, China in 1984. He is a drummer, and improvised music player. As member of “Noise Association of Lanzhou” he started his underground music career in the late 1990’s. He has worked with more than 10 bands/projects with different styles. Once he moved to Beijing for university in 2003, he started to work in the palm of electronic/experimental and improv music. Now he is studying sound design at Beijing Film Academy.
www.myspace.com/shiziofnoise
The Loop Orchestra was formed in 1982 by Richard Fielding and John Blades. It is a collective of reel-to-reel tape machines which are approximately 30 to 35 years old. The reel-to-reel tape machines play lengths of quarter inch tape joined into loops of varying size onto which sound is recorded from various sources. This methodology is historically significant in the history of electronic music from the 1950s. The loops are mixed together to create a layered and slowly evolving soundscape. They have had CD and record releases in Australia and Europe since their first release (the LP record Suspense) in 1991. There are currently five members: John Blades, Richard Fielding, Manny Gasparinatos, Hamish Mackenzie and Juke Wyatt. The Members for this recording were John Blades, Richard Fielding, Manny Gasparinatos and Patrick Gibson. For information and a full list of performances and releases visit. www.thelooprchestra.com."
[press release]
|
2008 |
€12.00 |
|
|
Dark Ambient Radio Volume 2 |
CD |
"This compilation is the result of almost one year of careful design and polishing of cutting-edge dark ambient songs, good cooperation, and intense competition. After already releasing a very good compilation with Vol.1, Dark Ambient Radio managed to raise the level with this superb collection of dark ambient music. This is not a big surprise since the 11 songs on the CD were selected out of 26 quality tracks that have been submitted during 2008 and would have been sufficient to release a good 2CD compilation. The selection of the tracks was a painful but fair process as the participating artists voted for the tracks individually and the agglomerated rating decided which tracks ended up on the compilation. So you can be sure that there is no weak track on the CD. All tracks have been done exclusively for this compilation.
Das Genre 'Dark Ambient' ist eine Randerscheinung einer Randerscheinung. Das liegt zum einen daran, dass im Gegensatz zur populären Ambient-Musik nicht auf Easy-Listening-Qualitäten gesetzt wird, sondern im Gegenteil das psychoaktive Potential der Vorarbeiten von innovativen Ambient-Künstlern wie z.B. Brian Eno bis in den letzten dunklen Winkel ausgelotet wird (ohne aber zu sehr in Noise- oder Industrial-Gefilde zu geraten bzw. sich in abstrakten Genüssen wie Minimalismus oder der meisten Elektroakustik zu ergehen). Zum Anderen fehlt dieser Art von experimenteller Musik eine angemessene Öffentlichkeit, etwa eine Club-Szene. Letzterer Mangel wurde allerdings mit der Gründung des Dark Ambient Radio ein wenig gelindert.
Die 2. Compilation, die aus dem Umfeld dieses Web-Radio Projekts hervorging, ist Resultat eines rigiden Auswahlprozesses: Nicht weniger als 33 Acts aus dem Bereich Drone, Ritual, Black & Dark Ambient wollten wissen, wer der Beste ist und haben sich fast ein ganzes Jahr Zeit genommen, um an ihren Tracks zu feilen. Die elf besten Stücke wurden mit Hilfe eines Ratings der Künstler untereinander bestimmt. Schwache Tracks sucht man deshalb auf dieser Zusammenstellung vergeblich. Vertreten sind Künstler aus Argentinien, Bulgarien, Deutschland, Kroatien, Norwegen und Polen. 74 Minuten internationaler Underground-Ambient at its best! Wer jetzt noch nicht den Mut geschöpft hat, sich eine einmalige Sammlung zu zu legen, kann vielleicht erst einmal über das Internet auf Dark Ambient Radio hineinschnuppern. Aber vielleicht es doch der beste Weg, sich anhand einer repräsentativen Genre-Compilation einen Musikstil an zu eigenen... Manchmal ist es eben wie beim Kaffeetrinken: Zuerst das Sahnehäubchen -- das schmeckt am Besten!
Künstler-Info:
Tholen ist das Dark Ambient Projekt des leipziger Multi-Genre-Künstlers Eisen. Mit Sternklang hat er mit Sicherheit eines der besten Dark Ambient Alben des Jahres 2007 veröffentlicht. Mit dem grandiosen Auftakt-Stück auf Vol.2 lässt er erahnen, auf was wir uns beim 2. Tholen-Album, das demnächst bei Cyclic Law erschein, freuen dürfen.
Inner Vision Laboratory ist das ambitionierte Dark Ambient Projekt des polnischen Musikers Karol Skrzypiec.
Mit Arkhitektur Noir führt George Georgiev die Tradition der Beteiligung bulgarischer Künstler an DAR Compilations fort.
THERRADAEMON ist das neueste Projekt des norwegischen Ambient-Künstlers Hærleif Langås, besser bekannt durch sein Vorgängerprojekt Northaunt.
Aspectee ist das Solo-Projekt des kieler Musikers Michael Frenkel. Das Aspectee Debut-Album ist November ’09 bei First Fallen Star erschienen. Es ist das Nachfolge-Projekt von Evoke Scurvee, eines inzwischen (zu unrecht) in der Versenkung verschwundenen Elektronik-Projekts, das Ende der 90er aktiv war.
Phelios scheint im Moment eines der rührigsten Dark Ambient Acts zu sein. Der wuppertaler Musiker hat in den letzten Jahren neben drei Alben und zahlreichen Compilation-Beiträgen vor allem live eine außerordentliche Präsenz gezeigt, u.a. auf dem WGT, in der Wuppertaler Schwebebahn oder als Initiator des Phobos-Festivals. Aktuell erscheint ein Vinyl-Split zusammen mit Kammarheit bei Loki Foundation. Ein weiteres Album wird demnächst bei Malignant Records (USA) erscheinen.
CrepusculaR ist ein das Projekt des argentinischen Musikers Angel Jose Lozano. Dies ist seine erste Veröffentlichung auf Polycarbonat.
Nagual Art ist das Dark Ambient Projekt des Freiberger Musikers Andreas Kantner, der mit diesem Projekt bereits mehrere Alben erschuf, die allesamt als freie MP3-Downloads verfügbar sind und von der Qualität her allemal eine CD-Veröffentlichung wert wären. Die Beschränkung auf Internet-Downloads hängt vielleicht mit seiner Funktion als Chef seines Netlabels Paralucid zusammen.
Das bremer Duo Troum bedarf als Drone Ambient Urgestein sicher keiner weiteren Beschreibung.
Phobos ist das elektronische Sammel-Projekt des kroatischen Musikers Petar Sakic, dessen Tracks sich auf zahlreichen Compilations tummeln, u.a. auch auf den zwei existierende DAR Volumes.
False Mirror ist wiederum ein reines Dark Ambient Projekt. Der Ulmer Musiker Tobias Hornberger war - wie bei Vol.1 so auch bei Vol.2 - prädestiniert für den Schluss-Track mit seinen filigranen und extrem trance-induzierenden Kompositionen. Die ausgefeilte Technik und originelle Sound-Designs sind wohl seiner Experimentierfreudigkeit bei der Klangerzeugung, u.a. selbstgeschriebenen Soft-Synthies und deren Kopplung an optische Sensoren, zu verdanken. Auf Vol.2 kommt aber auch akustisches Instrumentarium zum Zug. Der vorliegende Compilation-Beitrag ist eine gute Einstimmung auf das demnächst auf Malignant Records erscheinende neue Album Derelict World."
[full release info]
www.darkambientradio.de
|
2009 |
€13.00 |
|
|
Le Mystere des Templiers |
CD |
"Musik aus der Zeit der Ritter Christi.
Diese abwechslungsreiche Zusammenstellung von Stücken aus dem 11.-13. Jahrhundert wird interpretiert von den Ensembles Organum (mit Marcel Pérès), Discantus (m. Brigitte Lesne), Gilles Binchois (Dominique Vellard) sowie Alla Francesca. Zum Teil können die Werke einzelnen Komponisten wie Hildegard von Bingen (1098-1179), Gauthier de Coincy (1177-1236), Leonin (1150-1210) und Alfonso el Sabio (1221-1284) zugeordnet werden, zum Teil stammen sie aus Sammlungen (Codex Las Huelgas, Ecole de Notre Dame, Hymnaire de Pairis). Von Gregorianik über ausgefeilte Polyphonie, wie sie in der Kathedrale Notre-Dame de Paris florierte, bis hin zu Hildegard-Mystik und Instrumentalstücken werden sehr unterschiedliche
Stilrichtungen mittelalterlicher Musik abgedeckt - ein umfassender Einstieg in eine lang zurückliegende Epoche, aus der uns vor allem Vokalkompositionen überliefert sind." [label info]
|
2009 |
€13.00 |
|
|
Twisted Cabaret Vol. 1 |
CD |
"Ein internationaler, avantgardistischer Haufen tanzt mit einer gesunden Portion kabarettistischer Lebensmüdigkeit im Dreivierteltakt in den Tod. Oder zumindest in den Vollsuff. Bei 18 Songs kein einziger Totalausfall, dazu sind viele Stücke selten oder sogar exklusiv. Kaufen! www.youtube.com/useser/volvoxmusic
TRACKLISTING: 01. THE TIGER LILLIES - START A FIRE 02. BABY DEE - THE EARLIE KING 03. EVELYN EVELYN - HAVE YOU SEEN MY SISTER EVELYN 04. THE REAL TUESDAY WELD - THE SWEETEST SONGS 05. THE DRESDEN DOLLS - BANK OF BOSTON BEAUTY QUEEN 06. BUDAM - DA DA DA DIE 07. LE MAXI MONSTER MUSIC SHOW - J'AURAIS AIM 08. THE RESIDENTS - THE DYING OILMAN 09. KOKUSYOKU SUMIRE - GEKKO RENKA 10. KATZENJAMMER KABARETT - SAYLOR SANDHAM'S SISTER 11. VERMILLION LIES - BONNIE & CLYDE 12. LITTLE ANNIE - SIT ON DOWN 13. DE KIFT - KNOECK 14. THE LEGENDARY PINK DOTS - MAN OR MOUSE 15. ARANOS - NEW GUITAR 16. MARCELLA PUPPINI AND THE FORGET ME NOTS - WHAT HAVE YOU DONE TO YOUR FACE? 17. EL TIGER COMICS GROUP & JOEL HUBAUT - VAPAMOU RIRE 18. LITTLE WHITE RABBITS STILL BLEED - BALLOON ANIMAL SUICIDE (BIG BLUE RIBBONS)" [label info / Cargo ]
"Seit Charlotte Rampling in Cavanis Sadiconazista-Film Der Nachtportier diesen Song von Friedrich Hollaender im KZ um ihr Leben sang, klingt bei mir Cabaret beklemmend pervers wie Macabaret. Darüber schiebt sich das Großstadt-Triptychon von Dix und der Conferencier im Kit Kat Club plärrt grinsend seine Zoten. Hinter dem Rücken deutscher Abgrundsvergessenheit hat sich aber anderswo etwas entwickelt, Dark Cabaret getauft oder "Brechtian punk cabaret", das den Spirit von vor 1933 mit anderen Mitteln, mit Postpunk-, Gothik- oder bloßer Nostalgie-Attitüde wieder aufgreift. Versammelt auf Twisted Cabaret Vol. 1 (Volvox Music, VOL0902/0903, CD + DVD) sind die stilprägenden The Tiger Lillies aus London als Brandstifter mit groteskem Zündstoff, The Dresden Dolls aus Boston und das französische Katzenjammer Kabarett mit den ‚erwachsenen‘ Altstimmen von Amanda Palmer bzw. Mary Komplikated. Little Annie bietet einen ihrer Songs from the Coal Mine Canary und eine verboten glaubwürdige Version von Aznavours ‚Yesterday When I Was Young‘. Irritationsveteranen wie The Residents und unverwüstlichen Tänzern über Abgründen wie The Legendary Pink Dots mit dem herzensbrecherischen Edward Ka-Spel als ‚Man or Mouse‘ (unter lauter Schafen) stehen Baby Dee zur Seite, hinter deren rauer Schale eine Seele steckt, die in Kilogramm gewogen werden kann, und Aranos als Stehgeiger mit einer heißen Kartoffel im Mund. The Real Tuesday Weld steuern im 3/4-Takt fingerdick Patina bei, die großartigen Marcella Puppini and The Forget Me Nots lassen Männer Männchen machen. Dazu krähen die kessen Mädels von Kokusyoku Sumire Tango Balkanese oder, halb Geisha, halb Rokoko, Enkaschlager, dass die Perücke stäubt. Vermillion Lies spielen kriminellen Rock‘n‘Roll aus Oakland, als männliches Gegenstück kurbeln die Muncie Bros. aus Indianapolis aka Little White Rabbit Still Bleed Red ihre Klappsmühle, während Evelyn Evelyn sich schwuder & bresterlich eine Gitarre teilen. Mit The Maxi Monster Music und dem Schellackgesang ihrer üppigen Bearded Lady zu Singender Säge und Zweifingerklavier und der theatralischen eL TiGeR CoMiCs GRouP mit ihrem heiseren Chansonier Joel Hubaut treten weitere Franzosen auf, De Kift verblüffen mit holländischem Rap zu Blasmusik und Slide Guitar, der toteslüsterne Budam von den Färöer Inseln stimmt einen morbiden Humptatawalzer an. Fehlen bloß die World/Inferno Friendship Society und Daniel Kahn & The Painted Bird. Einige der Lieder sind exklusiv, einige rar, nicht wenige glamourös oder fatal, aber alle stellen sie seltsame Sachen mit Herz oder Hirn (soweit vorhanden) an. Von den Blauen Engeln und Seeräuber Jennies ganz zu schweigen. Die besten unter diesen Galgenliedersängern und Pfeffermühlenfatalisten können jederzeit die bad alchemystischsten Zeilen, die ich kenne, unterschreiben: Wenn ich mir was wünschen dürfte, möcht ich etwas glücklich sein, denn wenn ich gar zu glücklich wäre, hätte ich Heimweh nach dem Traurigsein. Was singt Amanda Palmer da auf der DVD? I want all the details of the pain and misery, und Ka-Spel, für den sie sich ans Klavier setzt, würzt nach mit Asche und 15 toten Fliegen. Aber die DVD ist eh schon wegen The Tiger Lillies Freakshow unbezahlbar." [Rigo Dittmann / Bad Alchemy]
|
2010 |
€14.50 |
|
|
SURFACE TENSION |
BOOK & CD |
300 Seiten starkes, sehr schön aufgemachtes Kunstbuch (herausgegeben von BRANDON LABELLE und KEN EHRLICH) mit CD zum Thema „Kunst im öffentlichen Raum“ bzw. zur Frage des Ortes der Kunst, der Dialektik von Innen und Aussen, der Beziehung von innerem Wunsch und äusserem Raum... mit vielen Projektbeschreibungen & Essays, Fotos, und CD mit Klang- und Installationskünstlern: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka.
Super-Aufmachung & hochinteressante Musik & Projekte, mit diesem Buch kann man Stunden verbringen !!
"Edited by Brandon LaBelle and Ken Ehrlich. CD compiled by Stephen Vitiello. CD mastered and manufactured by Ground Fault Recordings. Published by Errant Bodies Press (300 page, 8.5"x11", book with compact disc)"
"Surface Tension aims to broadly explore the notion of Site by addressing questions of public space and the frictions and conversations that occur as intersections of the imagined and the real. Through investigating these interactions, Surface Tension will seek to make apparent connections between cultural production and the very spaces in which such work functions. As much as the rhetoric of globalization, virtuality, and digital networking dominates contemporary discourses of place and space, Surface Tension looks towards proximate space and experiences of locality to tease out the tensions between contemporary global communications and the site-specifics of everyday life. Rather than reinforce existing notions of an authentic alternative vs. a 'wired' culture, we hope to explore the cultural and personal investments made in technology in order to examine how social andpolitical space is inhabited and made manifest. This entails a consideration of the desires, impulses, and longings which occur within and against the contexts of social spaces and cultural arenas, and how this very interaction performs within the dynamics of spatial organization. Out of these relations comes the radically diverse ways space can be negotiated, manipulated, and traversed."
"From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces."
Essays/Writings: Kathy Battista, Jennifer Gabrys, Gordon Matta-Clark, Margaret Morgan, Paul Panhuysen, Lucy Lippard, Laurie Palmer, Brandon LaBelle, Ken Ehrlich, Jane Rendell, Juli Carson, Atau Tanaka, Michael Asher, Simon Leung Documentation of Projects: Concrete Steps, Jen Hofer/Melissa Dyne, Kim Abeles, Carol Brown, Wochenklausur, Christof Migone/Alex St-onge, Michael Rakowitz, Eyal Weizman, Rafael Lozano-Hemmer, Tanja Jordan, Lizzie Scott, Lize Mogel, Terry Fox, Lynn Kirby, Octavio Camargo, Colette Meacher, Valerie Trever CD: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka."
[label info]
|
2003 |
€25.00 |
|
|
Things that happened |
do-CDR |
"5 complete recordings from concerts at different Gagarin Festivals at Rote Flora and 1 from a Unüberhörbar festival at Hörbar. Both are clubs in Hamburg.
Comes in silk printed LP cover with 2 CDrs on a cardboard and a 4 page A4 insert.
First edition of 100 handnumbered copies.
Comes also as strictly limited edition of 30 copies with anti LP by Paulina Dieb for the artists and some helpers: please have a look for cat-nr rmsc 002 (single copy series).
Tracklist:
A1. Audible Pain - Dermatologische Verwerfung (2:54)
A2. Audible Pain - Freudsche Fehlleistung (2:35)
A3. Audible Pain - Otitis media acuta (3:50)
A4. Audible Pain - Synaptische Plastizität (2:32)
A5. Audible Pain - Zeitverlust (2:46)
A6. Audible Pain - Hetzen & Rennen (3:40)
A7. Audible Pain - Alb (3:37)
A8. Audible Pain - In der Rolle des Nazivaters (5:11)
A9. Notstandskomitee vs TBC - Live 18. May 2006 at Rote Flora (22:17)
B1. Wäldchengarten - Live 27. May 2005 at Hörbar (35:14)
B2. Government Alpha - Whole Rote Flora Love (10:10)
B3. Praying For Oblivion - Live 18. May 2006 at Rote Flora (7:12) " [label info]
www.reduktivemusiken.de
|
2010 |
€17.50 |
|
|
Psychogeographical Dip |
CD |
"Schonmal was von "Psychogeographie" gehört? Diese von uns bisher leider übersehene Compilation beschäftigt sich damit. 'Psychogeographie' nennt sich die Erforschung von Gesetzmäßigkeiten und Wirkungen der geographischer Umgebung auf die Gefühle & das Verhalten des Menschen. Folgende Musiker & Projekte haben das hier umgesetzt: GEN KEN MONTGOMERY, CHOP SHOP, GEOFF DUGAN, FRANCISCO LOPEZ, SEAN MEEHAN, BRIAN CONLEY, JOHN HUDAK, IF BWANA, PAT COURTNEY. Zu hören sind v.a. spacig-dröhnige field recordings, konkrete metalscapes, spannende Collagen ... im netten Klappcover mit Beilage." [Drone Records 2000]
|
1997 |
€13.00 |
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XXXII° Concorso Internazionale die Musica Elettroacustica e Rumore |
do-CD |
"In March 2010, Le Bruit De La Neige Festival have organized the annual Luigi Russolo - Rossana Maggia Competition at the Faverges Soierie. The aim was to promote the electroacoustic music of young composers (under 35 years old). The Bruitism is a movement of sound art appeared 9th of March 1913 when the painter and composer Luigi Russolo published the manifesto 'L'Arte dei Rumori' (The Art of Noises), inviting the people to appreciate the complex sounds from the nature and industrial environment. This was an important paradigm shift in contemporary music as later with the musique concrete of Pierre Schaeffer or 4'33' silent work by John Cage. 60 composers from 28 countries have participated in this contest. Members of the jury 2010: Jean Louis Belmonte, Philippe Blanchard, Guillaume Caillot, Paul Clouvel, Pierre Coppier, Bernard Donzel-Gargand, Juraj Duris, Pierre Jolivet, Pierre Launay, Victor Nubla, Dmitry Vasilyev. The jury awarded: First Prize Luigi Russolo: Yota Kobayashi (Japan). Second Prize : Elia Marios Joannou (Cyprus). Third Prize : Valérie Delaney (Canada). Mention Rossana Maggia: Sergy Khismatov (Russia). Mention Franco G. Maffina: Sebastian Peter (Germany). Special Mention of the jury: Joan Bages Rubi (Spain). Other works having maximum votes by Erdem Helvacioglu (Turkey), Ka-Ho Cheung (Hong Kong), Andrea Santini (Italy), Jean-François Primeau (Canada), Damien Depannemaeck (France), Dohi Moon (South Korea) and Stefan Fraunberger (Austria)." [label info]
www.monochromevision.ru
|
2010 |
€17.00 |
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|
I.D. Art # 2 |
CD |
"When the Los Angeles Free Music Society 10 CD set came out I eagerly flipped through the contents to see what treasures had finally been made available again. Much to my surprise the early compilation I.D. Art #2 was not included in this otherwise major overview of the LAFMS. I.D. Art #2 was the second LP release on their label, coming after Le Forte Four’s ‘Bikini tennis shoes’ LP, and before the 2LP ‘Live at the Brand’, a split album between Le 44 and The Doo-Dooettes. It dates from 1976. It is also probably the most difficult LP on their catalogue to find. Originally released in an edition of just 200 copies, most of which were given out to the 44 artists and groups who appeared on this extraordinary LP. The deal was that each track was paid for by the contributor at a rate of $8 per minute in exchange for 4 copies of the disc. Consequently very few copies were ever made available via the LAFMS mail order service.
With a running time of 66 minutes and the sheer variety of contributions, I.D. Art #2 remained for most people a mysterious and tantalising item.
Most of the contributors came from the students at Otis Art Institute in LA, and many make their only ever recordings for this disc. Among the known names from the LAFMS scene are: Le Forte Four, Joe Potts, Fredrick Nilsen, Mr Foon, Ace & Duce, Dennis Mehaffey as well as 6 tracks by Smegma. Other artists include the painter Miles Forst, violinist Josie Roth, film makers Doug Henry and Gary Beydler, mail artist and dog portrait painter Irene Dogmatic, Otis librarian Joan Hugo, graphic designer Kathe Schreyer and many other creative artists and designers at the start of their careers who submitted their audio idea, be it via telephone, in subways, recontextualising old vinyl, philosophising, story telling, being abstract, joking, rehearsing and lo even playing instruments. This exhilerating journey, bursting with ideas was compiled by Joe Potts and Waynna Kato." [label info]
tracklist:
• 1a. Mac McCloud; b. Mac McCloud (2:19)
• 2. Harold Schroeder “Silent rituals” (3:32)
• 3. Greg Neutra/J.D. Elliot “Grieg fatigue” (2:01)
• 4. Smegma a. “Rrose Selavy will wait for my washing machine, even” b. “The Andalusian dog often digs into the furniture with onyx fingers.” (2:02)
• 5. Smegma “Potatoe war” (0:59) mp3
• 6. Fredrik Nilsen “You can’t hide from aldehyde” (1:40)
• 7. Miles Forst “Art, art, art” (0:41)
• 8. Smegma “One moment” (1:30)
• 9. Smegma “Pig face blues” (0:24)
• 10. Doug Henry “View this command as a verbal enactment of a command” (0:15)
• 11. Josie Roth “Heal, and another little time” (1:01)
• 12. Joe Potts “I don’t want to go to the farm” (0:21)
• 13. Otto Fick (0:48)
• 14. Smegma “Excerpt from: I’ll have Julie Nixon-Eisenhower for my appetizer (sour lungs to my surprise)” (3:01)
• 15. Karen Kato “Xmas 1952” (0:35)
• 16. J.J. Allen Vargas “Victim of racism” (1:25)
• 17. Dennis Guy Mehaffey “Busta Nosa” (1:47)
• 18. M/R/Zuniga “Vulnerability: rape, male vs. female” (1:31)
• 19. Mike Green “Martin Heiddeger revisited” (dedicated to Molly) (0:15).
• 20. Mehaffey a. Introdution by Buckminster Fuller. b. “I stumble/You laugh” (4:01)
• 21. Jules Lemelle (1:03).
• 22. Maureen Abbott (0:14).
• 23. Smegma “Take one” (3:29).
• 24. Dan Weiss/P. Hamilton Ross “A bicentennial tribute to America’s freight trains” (0:56).
• 25. Mr. Foon “Timeless #1” (5:50)
• 26. Bertil Petersson “Monologue to Henry VIII” (2:05)
• 27. Amrein & Stoll (1:04)
• 28. Ace & Duce “Dogs are barking" (0:37)
• 29. Irene Dogmatic/Rose Tatoo (0:36)
• 30. Gordon Shields “Cotton duck, up and back” (0:59)
• 31. Gary Beydler “Record stick” (0:16).
• 32. Tom Kemp “Pasadena subway station poetry stills” (3:39)
• 33. Donald Spaulding “I don’t want this to happen” (0:32)
• 34. Janice Felger/Joan Hugo “One minute of art news update in 30 seconds (1:04)
• 35. Sue Farthing (0:22)
• 36. Waynna Kato “White/Noise” (0:29)
• 37. Jim Abuan/Peter Muzzey “Why does love have to be so sad?” (0:20)
• 38. Juan Gomez “This is my country” (2:47)
• 39. P.J. Campbell (1:01).
• 40. Kathe Schreyer “Don’t make me laugh” (0:15)
• 41. Mary Dana Chodzko “Patty Smith by Mary Dana Chodzko” (1:42).
• 42. Gary Laskin “Have sex with Rex” (1:25)
• 43. Jean Koller “Dream” (3:20).
• 44. Le Forte Four a. Discarded portion of the soundtrack for Rick’s film “Burger madness” b. From “The origin of Largie Schrapnel” c. “I haven’t heard you for a long time...” d. “Fat ape” (1:17)
www.stalk.net/paradigm
|
2007 |
€13.00 |
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|
A tasty Swarm of small Signals |
DVD-Audio |
"A Tasty Swarm of Small Signals is an impressive sound art project comprising 91 micro-compositions by sound artists from every corner of the globe. This wide range collection has been curated by Francisco López and includes original work of James Webb, Lawrence English, Francisco López, Asmus Tietchens, Louis Dufort, Alan Courtis and Zbigniew Karkowski. Working with field recordings, sound manipulation, and generated sounds, these internationally acclaimed artists offer us the possibility of listening and experiencing some of the most enticing proposals, tendencies, approaches and investigations in this field of art. James Webb opens the collection with 'Sightings into the dreams of others'. His pieces share a dreamy atmosphere, an oneiric quality, both beautiful and strange. With a delicate, poetic touch Webb introduces several sounds like bird chipping, piano notes and morse code signalling, creating an elegant whole that has the effect of drawing our attention out of the work itself, back into our own sound environment, and finally integrating both. As in Webb's work, the next artist of the collection, Lawrence English, requires the imagination of the listener to complete the pieces here presented. Through an artful integration of field recordings and synthetic sounds, English creates suggestive and beautiful compositions which wake up our imagination and make us see that we are always part of the work itself, in the same way as we are part of the world we look at. The world is not just a set of objects around us and the compositions are not just a set of sounds. We relate to each object, to each sound, with our personal emotions and memories. The world which we live in, as English's compositions, is always a unique experience, a personal creation. While Lawrence English is able to integrate field recordings and created sounds in an extraordinary way, Francisco López goes further and blurs any distinction between these different sounds. By an artful manipulation of the field recordings the artist makes the natural sounds no longer identifiable, and as a result they move away of any reference or visual association. In his proposal López directs our attention to the sounds themselves, and lets them follow their own path, their own development into other sounds and variations. Similarly Asmus Tietchens also focuses on the manipulation of field recordings in ways suggested by the sounds themselves. His artful employment of silence and isolated sounds, (small signals), is complemented by an increasingly obscure atmosphere, conforming a subtle composition. Short bubble like percussive sounds hit repeatedly on a persistent silence, than soon evolves into a dark ambience. No rhythms, no sequence, no pattern, no thought. Just unidentifiable sounds, dropping from nowhere on top a black background, a cosmic silence, a universal darkness. Louis Dufort proposal deals with the inner structure of sound matter. He places sounds under his unique microscope to show us the different frequencies, reflections and elements each sound contains. This approach is able to focus all our attention on the sounds themselves, instead of being treated as elements of a structure that encompasses them and gives them a specific meaning obtained from their place in the structure. In Alan's Courtis pieces, in contrast to Asmus Tietchens proposal for this collection, there is no silence, but a succession of disquieting sounds and distortions, and a constant feeling that we are reaching some kind of limit, something is about to break through. Waves of sound take over, fill all space and ourselves, and carry us through a labyrinth of sounds and variations where we seem to disappear and where only sounds remain. Karkowski proposal is an investigation in the vibration of electronic sounds and takes us to an experience of this ever lasting reality. Everything is a vibration taking place in time. Our first exposure to these pieces can be confounding, but if we get past our tendency to look for rhythm and harmony, an experience of sound can get through, showing us the ever present vibrations surrounding us, inside of us, everywhere. All these proposals are presented in an audio DVD, where each artist presents thirteen two minute compositions over a fixed image, adding to more than three hours of sound. It offers us a taste of the most interesting proposals in experimental sound art, and of the most compelling experiences that this art form can bring us to."[S. Porrúa]
www.storung.com
"This might be the future of releasing music. I think I said that before, with some of the Empreintes Digitales DVD's, containing no images but 24-bit audio. And a lot more difficult to extract and rip and share (for free). But perhaps also a bit too much for audiophiles? I am not sure. Francisco Lopez curated this project, with consists of seven artists, each delivering no less than thirteen two-minute audio compositions. Why seven, thirteen and two, you may wonder? I am not sure either, but Lopez did a nice selection. Besides himself we have here James Webb, Lawrence English, Asmus Tietchens, Louis Dufort, Alan Courtis and Zbigniew Karkwoski. Which I guess makes an interesting selection from various parts of the world of experimental music. The serious avant-garde is represented by Dufort, who does a fine job on the matter at hand, and while heavily under the influence of acousmatica, the briefness of the pieces makes it all nice. Webb and English both represent the world of field recordings and ambience. Delicate pieces here, in which a certain amount of musical-ness slip through the gaps. Lopez and Tietchens also deal with field recordings and electronics, but their work is much more abstract than English and Webb's. In Lopez' case thirteen pieces of mildly droning affairs of heavily treated rainfall or ventilation shafts (or some such, you can't be sure with Lopez), whereas Tietchens offers his highly atomized sparks of sounds and silence. Alan Courtis and Zbigniew Karkwoski are both on the more traditional noise spectrum, each at a side, firmly apart. Karkowski with some highly computerized noise patterns, at times fiercely loud and sometimes a bit less loud, but throughout firmly gritty and digital, while Courtis is much more quiet (than we are used of him?), but not allowing any silence in his work. Drone based soundscapes of a big city at night - perhaps - like indicated through the visual on display. An excellent compilation, which is of course a bit long - three hours - to be played at once, but you could select one a day and have a great week." [FdW/Vital Weekly]
|
2010 |
€18.00 |
|
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The Ballad of Genesis and Lady Jaye (OST) |
CD |
"Der Soundtrack zum intimen, rührenden Porträt über Leben und Kunst des bahnbrechenden Performance Künstlers und Musikpionieres Genesis Breyer P-Orridge (THROBBING GRISTLE, PSYCHIC TV) und seiner besseren Hälfte und Kollaborateurin Lady Jaye, das sich um die gewagten sexuellen Transformationen, denen sich das Paar im Rahmen ihres "Pandrogyne"-Projektes unterwarf, dreht. Mit dabei ist natürlich Musik von PSYCHIC TV, THEE MAJESTY und anderen Kollaborationen von P-Orridge. Im Jahr 2000 begann Genesis eine Reihe von Operationen mit dem Ziel, seiner Liebe Lady Jaye (alias Jacqueline Breyer) ähnlicher zu werden, die seit fast 15 Jahren bessere Hälfte und künstlerische Partnerin ist. Es war der ultimative Akt der Hingabe und die subversivste Performance, die Genesis jemals zeigte: er wurde in einem triumphalen Akt der künstlerischen Selbstverwirklichung zu einer Sie. Genesis nannte das Projekt "Creating The Pandrogyne". www.balladofgenesisandladyjaye.com
TRACKLISTING: 01. COUCOU 02. I LOVE YOU, I KNOW - GENESIS P-ORRIDGE, LADY J, BRYIN DALL & ALICE GENESE 03. PSYCHIC TV/PTV3 - BB 04. I AM MAKING A MIRROR - PSYCHIC TV/PTV3 05. MILK BABA (EDIT) - PSYCHIC TV/PTV3 06. MAYBE IT SMELLS GOOD . . . OR BAD - GENESIS BREYER P-ORRIDGE & BRYIN DALL BOYS 07. ARE GIRLS AND GIRLS ARE BOYS - PSYCHIC TV/PTV3 08. THE TRUTH - THEE MAJESTY 09. WISDOM - THEE MAJESTY 10. THE FINAL WAR (BLEAK BOX MIX) - LADY JAYE & GENESIS P., B. DALL & D. RUSH 11. SOUL SEARCHING - GENESIS BREYER P-ORRIDGE & DEREK RUSH 12. WHITE NIGHTS - PSYCHIC TV 13. MOTHER JACK (A CHILDREN'S STORY) - PSYCHIC TV 14. NEW YORK STORY - PSYCHIC TV/PTV3 15. ALIEN BRAIN (EDIT) - PSYCHIC TV/PTV3 16. KISS ME (MAGGOT BRAIN) (EDIT) - PSYCHIC TV/PTV3 17. THE THIN GARDEN - PSYCHIC TV/PTV3 18. DEMILITARIZED OZONE (EDIT) - TONY CONRAD, GENESIS P-ORRIDGE & EDLEY ODOWD 19. THE ORCHIDS - PSYCHIC TV" [label info]
"The soundtrack to the intimate, affecting portrait of the life and work of ground-breaking performance artist and music pioneer Genesis Breyer P-Orridge (Throbbing Gristle, Psychic TV) and his other half and collaborator, Lady Jaye, centered around the daring sexual transformations the pair underwent for their “Pandrogyne” project. Featuring music by Psychic TV, Thee Majesty and various collaborators (Bryin Dall, Derek Rush, Tony Conrad). This is a love story, and a portrait of two lives that illustrate the transformative powers of both love and art. In warm and intimate images captured handheld, Marie Losier crafts a labyrinthine mise-en-scene of interviews, home movies, and performance footage. The Ballad of Genesis and Lady Jaye documents a truly new brand of Romantic consciousness, one in defiance of the daily dehumanization of the body by the pervasive presence of advertising and pornography, conveying beauty, dignity and devotion from a perspective never before seen on film."
|
2012 |
€13.00 |
|
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Benefiets for Japan |
do-CD |
"Wir haben beschlossen, eine Benefiets CD fuer Japan herauszugeben, und dazu viele Freunde und Kuenstler eingeladen.
Von jeder CD gehen fuenf Euro an das Rote Kreuz und sowie an "heart on coin - kizuna" - ein Projekt fuer Grundschulen in der vom Tsunami besonders betroffenen Praefektur Miyagi. Ueber deren Hoehe werden wir hier informieren. Wir suchen noch Distribuierungsmoeglichkeiten und freuen uns ueber fleissige Werber.
Vielen Dank.
http://www.aicat.org/heartoncoin/
.
Beitraege von:
(((10)))/japan/south korea
action beat/UK
alice hui-sheng chang/taiwan/australia
and so i watch you from afar/ireland
anla courtis/argentina
astronoise/south korea
christian dergarabedian/argentina/spain
dave phillips/switzerland
emil beaulieau/US
eyes like mirrors/south africa
frans de waard + freiband/netherlands
guts pie earshot/germany
her name is calla/UK
ishida naoki/japan
killer/germany
kim ki o/turkey
limited express/japan
luzparÃs/argentina
manku kapak/germany
michael barthel/germany
noia/peru
prurient/US
rudolf eb.er/switzerland/japan
sudden infant/switzerland/germany
takuji naka/japan
the haters/US
tomokawa kazuki/japan
upcdownc/UK
up-tight/japan
us kids know/south africa
victor gama/angola/portugal
we set sail/south africa (auf der CD falsch verzeichnet!)
yan jun/china
yui ondera/japan
zoul/germany" [label info]
www.licht-ung.de
"Apart from what seems to be a typo on the cover, I have nothing to complain about this double CD compilation. Its over two and half hours of music of an alternative kind. Alternative rock, noise, laptop's, punk, improvised music all cut with a great variety together that makes you like listen to a fine alternative radio station. And the best thing is that five euro goes to the Red Cross, for their work at Fukushima nuclear power plant, as recommended by Japanese friends of the label. Nuf said. Get this and hear music by (((10))), action beat, alice hui-sheng chang, and so i watch you from afar, anla courtis, astronoise, christian dergarabedian, dave phillips, emil beaulieau, eyes like mirrors, frans de waard, freiband, guts pie earshot, her name is calla, ishida naoki, killer, kim ki o, limited express, luzparas, manku kapak, michael barthel, noia, prurient, rudolf eb.er, sudden infant, takuji naka, the haters, tomokawa kazuki, upcdownc, up-tight, us kids know, victor gama, we set sail, yan jun, yui ondera and zoul. Yes, I copied that from the website, while listening to this compilation. Lots of bands you should know, lots of news names, from such unlikely (well) corners as Peru, Angola, South Africa, China and Ireland. So, if you are 'fan' enough to collect all compilations with say The Haters, or, if you a curious to hear a bunch of strange musics, or if you want to support a good cause in return for a small gift, then don't look further and spend your money here." [FdW/Vital Weekly]
|
2012 |
€17.00 |
|
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DRONE-MIND // MIND-DRONE Vol. 2 (SOLD OUT) |
LP |
DRONE-MIND // MIND DRONE - Volume 2 -
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series but on a more user-friendly format. Each LP features four artists from the international drone-scene and is limited to 500 copies and pressed on four different vinyl-colours. Each LP artwork will feature paintings by British painter PETE GREENING. This series shows the various sides of todays experimental drone-music. The title symbolizes the interaction between sound of the Eternal and our psyche and raises questions: Can Drones (or sound per se) be regarded as "intelligent"? Does every mind produce a Drone? Isn't it possible that any organic or non-organic entity produces a Drone? Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive & understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self. Four "Drones" on one record! The second Volume (MIND-02) ist OUT NOW ! (December 2012) and features:
YANN NOVAK / STROM NOIR / EMMA YA / KARL BÖSMANN
YANN NOVAK (U.S.A.): minimal transcension drones
The records starts with a fabulous - silent but dense - drone piece by Californian sound & installation artist YANN NOVAK (coming from L.A.), the first in a series of compositions using the 'silence" of vinyl endgrooves, indeed a perfectly sublime start for a a vinyl release dedicated to drones.
STROM NOIR (SLOVAKIA): shimmering elation drones
STROM NOIR encharms with two stunning 'elation" drones based on guitar harmonics, beautifully shimmering like light radiances - this Slovakian artist is also active with his true DIY-label Black Orchid Productions.
EMME YA (COLOMBIA): sigil dissolution drones
EMME YA is, after the EPs by REYNOLS (DR-42) and C.D. (DR-63) the third ever artist from South America on Drone Records. These 'esoteric' suction sounds are created as 'sigil dissolutions', meaning the unification of sonic sigils with our deeper minds. Mysterious, intense, haunting...
KARL BÖSMANN (GERMANY): post industrial / electronic drones
Behind this project with the odd name we find a german sculptor who attracted lots of attention with some remarkable releases of very unusual & daring drone-based collages - his track for MIND-02 named 'Die Verwandlung' is inspired by Kafkas short story of the same name and stands out as a powerful & threatening & even rhythmic tour de force undergoing dramatic changes from the beginning to the end.
= four projects that differ considerably from each other, but united through the idea of the power of the Drone.
~ ~ The drones of their minds "materialized" ~ ~ The "intelligence" of drones materialized ~ ~
4 Vinyl-colours: RED & BLACK MIXED // SOLID SILVER MIXED WITH BLACK // WHITE, SOLID BLUE & TRANSPARENT GREEN MIXED // CHRYSTAL CLEAR WITH BLUE AND BLACK
Mastered by Sergey Uak-Kib http://kshatriy.pro/
|
2012 |
€15.00 |
|
|
Hassaniya Music |
LP |
"In 2006, Hisham Mayet returned to West Africa to continue his search for an unknown musician he had heard six months earlier on the radio in a Morocco hotel room. Knowing only that it was Sahrawi music — music of the south — he headed down through the vast and remote desert landscape of the Western Sahara and Mauritania in hopes of finding someone who could identify these revelatory recordings.
That artist was Group Doueh. But he also found much, much more as he wandered from Laâyoune, Western Sahara, to Mauritania’s capital city of Nouakchott: From intimate, sinuous home recordings by Group Marwani, to a sublimely devastating track by the enigmatic Abdul Rahman Al-Gheid, to the inimitable tidinit artistry of Sadoum Ouled Aida, the performers on this album exemplify the haunting and intoxicating qualities of Sahrawi music.
Featuring Mayet’s first recordings of the electrifying Group Doueh, as well as dizzying field recordings from Nouakchott’s Marché Capitale — where relentless traffic noise swirls together with fragments of melody from countless cassette vendors’ PA speakers— Hassānīya Music from the Western Sahara and Mauritania is the evocative soundtrack to a chimerical journey that is also documented visually in Sublime Frequencies’ breathtaking film Palace of the Winds. It not only traces Mayet’s own passage through these barren and beautiful lands, but also charts the evolution of Sahrawi music from sung poetry accompanied by traditional acoustic instruments to electrifying modern grooves drenched in reverb and phase effects. Limited edition pressing with Stoughton tip-on full color gatefold jacket." [label info]
www.sublimefrequencies.com
|
2013 |
€27.50 |
|
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Epicurean Escapism II |
CD & DVD + book |
"On the occasion of the second Epicurean Escapism Festival 15th of June 2013 in Berlin a CD/DVD compilation was released, including a CD with exclusive tracks by the performing artists KE/HIL, POST SCRIPTVM, ANEMONE TUBE, DIETER MÜH and TREPANERINGSRITUALEN, a DVD by CON-DOM with super 8 short films and experimental movies created by Mike Dando in the 1980s to early 1990s and finally digitally restored in 2013 and a 20-page catalogue with essay and artworks by ALEX TENNIGKEIT, ANDREW LILES, CARMEN BURGUESS, DENNIS RUDOLPH, PHILIP BEST & RUDOLF EB.ER.
'Epicurean Escapism II' CD, playtime: 53 minutes:
1 Ke/Hil - Dark Germany 3:55
2 Anemone Tube - Apocalyptic Fantasy 3:20
3 Anemone Tube - Accumulations 8:44
4 Post Scriptvm - Leprous Driver 7:42
5 Trepaneringsritualen - Vanärat Är Ditt Namn 3:29
6 Trepaneringsritualen - End Of Flesh 5:10
7 Dieter Müh - Bethlehem 20:34.
Con-Dom - 'We Who Were Living Are Now Dying' DVD, playtime: 55 minutes:
1 Impressions of a System 6:12
2 The Coming of Christ 13:35
3 Our Pleasure In The Pain/Vilification 8:42
4 All In Good Faith 1 14:18
5 All In Good Faith 2 (Get Right With God) 6:52
6 Hunger For Death 5:57." [label info]
www.silkentofu.org
|
2013 |
€22.00 |
|
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INVENTIONEN VII : 30 Jahre Inventionen 1982-2012 |
do-CD & DVD-BOX |
"Ed. RZ 3006-8 2CD + DVD
INVENTIONEN VII: 30 jahre inventionen 1982 - 2012
Fünf Stunden elektroakustisches Material aus 30 Jahren Inventionen in einer Box aus zwei Audio-CDs und einer DVD.
ed. RZ 3006 DVD: MUSIK FÜR MEHR ALS EINEN LAUTSPRECHER
1 Jonty Harrison BEASTory 2010 · 8:09
2 Daniel Teruggi Sounding Landscapes 2007 · 18:06
3 Hans Tutschku Firmament - schlaflos 2010 · 20:23
4 Hans Tutschku Zwei Räume 2008 · 21:04
5 Francis Dhomont Le travail du rêve 2008/09, 2010, 2011 · 17:12
6 Gilles Gobeil Castalie 2008 · 10:41
7 Gilles Gobeil Les lointains noirs et rouges 2009 · 10:46
8 Scott Wilson Böse 2010 · 9:06
9 Kotoka Suzuki Automata - Mechanical Garden 2010 · 8:34
10 Hanna Hartman Measures of Control 2008 · 8:01
11 Richard Barrett Simorgh 2010 · 11:05
12 Pei-Yu Shi Movements 2010 · 3:55
13 Kees Tazelaar Zeitraum-Ort-Zeichen-Sterne 2007 · 19:41
14-17 Trevor Wishart Encounters in the Republic of Heaven, Akt 1-4
2010/2011 · 75:00
18 Iannis Xenakis Bohor 1962 · 21:31
19 Sukhi Kang Inventio - Musicae clavichordii et sonorum artificiosorum 1984 · 23:34
20 Rolf Enström Fractal (Videofassung) 1984 · 24:02
ed. RZ 3007 CD 1 (ed RZ 3002/3 LPs- ) INVENTIONEN
1 Bogusław Schaeffer Berlin 80 II (Tonbandfassung) 1980 · 13:18
2 Ricardo Mandolini Fabulas II 1980 · 10:25
3 Takehito Shimazu Zytoplasma 1980 · 10:46
4 Bogusław Schaeffer Maa'ts 1981 · 9:49
5 Rolf Enström Fractal (Tonbandfassung) 1984 · 22:54
ed. RZ 3008 CD 2 (ed RZ 3001 LP+) RICARDO MANDOLINI: Elektroakustische Musik
1 Estallido breve (Tonbandfassung) 1980 · 8:37
2 Juego de marionetas 1979/1980 · 9:43
3 El cuaderno del alquimista 1979 · 9:27
4 Canción de madera y agua 1981 · 8:27
5 Poema reiterado 1983 · 10:51
6 Elogio de lo efímero 2004 · 12:06
7 El silencio de un trueno (Ausschnitt) 2010 · 11:49
Gesamtspielzeit ca. 310 Minuten" [label info]
www.edition-rz.de
|
2012 |
€29.00 |
|
|
Gyalpo |
CD |
"Dedicated to the great protectors of our realm comes this tributary to the Four Heavenly Kings of Caturmaharajika. Four artists each provide an interpretation of one of the four guardian kings and their continuous efforts to ward off all evil that threatens our world. Expect longform ambient with a mysterious twist. The album comes in a jewelcase with a 16 page booklet.
All hail the purity and splendor of the four mighty protectors of our world. Tirelessly their eyes and ears guard the dominion of man and stave off evil intruders, demons and the grasping hand of death. Holding court on the lower slopes of Mount Sumeru, in Caturmaharajika, the mighty four each govern one of the cardinal directions, protecting the dharma and the virtuous.
Tracklist
1. His Highness Most Precious Lord Namthöse (15:06)
musical interpretation by A.P
2. His Highness Most Honourable Lord Chenmizang (13:39)
musical interpretation by Earth Vibration
3. His Highness Most Exquisite Lord Yülkhorsung (14:08)
musical interpretation by Mathias Grassow
4. His Highness Most Noble Lord Phakyepo (34:17)
musical interpretation by Indo " [label info / credits]
http://gterma.blogspot.se
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2012 |
€13.00 |
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Smm: OPIATE |
LP |
"Vinyl limitiert auf 800 Stück im dicken Sleeve mit bedruckter Innenhülle. 'SMM: Opiate' ist der zweite Teil in der SMM Serie von Ghostly International, die eine Erforschung der weitreichenden Möglichkeiten des Sounds zwischen klassischem Minimalismus, Electronica und Drone, Soundtracks und zerbrechlichen Vorstellungswelten zum Ziel haben.
'SMM:Opiate' ist der Nachfolger zu 'SMM: Context' von 2011 und genau wie damals gesellt sich auch hier eine sorgfältig ausgewählte Selektion von Musik, die über zwei Jahre und die ganze Welt hinweg zusammengestellt wurde.
Als Ganzes ist die Erfahrung sicherlich ähnlich derer des Opiats aus dem Titel, doch tatsächlich ist dies eine Zusammenstellung, die den Hörer dazu einlädt, seinen eigenen Sinn zu finden oder einfach nur der Schönheit der Musik zu huldigen und der Welt für eine Weile zu entkommen.
'SMM: Opiate' versammelt Originaltracks von SIMON SCOTT, A WINGED VICTORY FOR THE SULLEN, CELER, BLACK SWAN, JIM HAYNES, EN, PJUSK, FIELDHEAD und NOVELLER. //
SMM: Opiate is the second release in Ghostly's SMM series, which is an ongoing exploration of the evocative possibilities of sound, with a focus on classical minimalism, electronic and drone composition, film soundtracks, and fragile imaginary landscapes. Opiate is the follow-up to 2011's SMM: Context, and as with that record, it's a carefully chosen selection of music, compiled over some two years from around the world.
The record opens with Simon Scott's "Water Shadow," a luxuriant piece of beatless ambience that's like a wash of warm water or the first touch of the summer sun on your face after a long, cold winter. It's a warmth that doesn't last, though — "Ti Prego Memory Man," by A Winged Victory for the Sullen, is no less beautiful. It's a stately, alpine beauty, its chilly sounds a harbinger of things to come. Celer's "Nothing So Mystical" is more minimal still, while Black Swan's "Passing Heartbreak" brings whispers of humanity, its sound coalescing out of an atmospheric whirl of vocal textures.
The wryly titled "This Is Radio Sweden," by Jim Haynes, is all brooding background noise that's shot through with what sounds like an old-fashioned telephone engaged tone, a track that seems shot through with connotations of absence and loss. EN's "White" is both somber and somehow transportive, setting plucked chords from what sounds like a banjo over a glistening synth figure, while Pjusk's "Dorsk" slows to a sort of stasis, with only the faintest of basslines to indicate any sign of life. Fieldhead's "37th" is like a slow, mindful from such a reverie, and Noveller's "Bright Cloud Blooms" brings the cycle to a close with another brief flush of precious warmth.
As a whole, the compilation seems to follow a narrative arc, descending through a series of stages into near-complete stillness, and then slowly ascending back to where it began. As a whole, the experience is certainly evocative of the opiated sensation evoked by the record's title — but really, it's a compilation that invites you to find your own meaning in it, or simply to appreciate the beauty of its music and escape the world for a while." [label info]
www.ghostly.com
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2013 |
€17.00 |
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United States Bestial Forces |
3 x CD |
"Do you know 50 power electronic bands? –So it looks as you are really familiar with the PE scene!
But do you know 50 US American power electronic bands?
If not LW064 Various Artists US. BESTIAL FORCES! unites really 50 pearls of US American power electronic bands:
F/I/T/H, Richard Ramirez, Genocide Lolita, Violent Pink, Deeper Wells, Frailty of Angels, Gnawed, Magia Nuda, James Balster, Deterge, Blood Rhythms, NYARLATHOTEP, R.S.P., Churner, RU-486 feat. Bereft, Koufar, His Throne, The Vomit Arsonist, Constrictions, Miscreant, Murderous Vision, Nyodene D., Cunting Daughters, Josh Hydeman, Goatlab, The Thin White Puke, Bitchneck, Corpuscle, Bereft, Klit, Hierchiss, Sharpwaist, False Flag, Xiphoid Dementia, Streetmeat, Corephallism, Pharmakon, Slogun, Rape-X features Missy Moist, Zulanwar, Custodian, Grammal Seizure, Striations, Steel Hook Prostheses, Mania, Blessed Sacrifist, Wolverine Carcass, Heavy Breathing, Secret Guilt, Machismo
A very nice mixture from older and younger American PE bands! So don’t miss it!" [label info]
www.lwhite-records.de
|
2014 |
€20.00 |
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Tincture of Japanoise |
CD |
"While Merzbow plays museums and ‘noise’ becomes increasingly canonised in ‘high culture,’ this compilation proves that the underground, countercultural Japanese noise scene is still very much alive and kicking. Noisician ORiFiCE, who also curates the noise-oriented Rollator Series on the attenuation circuit label, has been a keen follower of Japanoise for many years. For this album, he has assembled a range of younger artists from Japan whose pieces display an exhilarating freshness and showcase the great variety of approaches that is covered by the umbrella term ‘noise.’ The great surrealist/punk collage cover was created by established noisician Government Alpha.
“Frustrante oso polar!”, the opening track by Abisyeikah, clearly establishes noise as anti-music: samples of marching bands and other similarly traditional music are sonically destroyed with distorted guitars and computer-game beeps. Sounds like machinegunning reactionary composers at a game arcade, which is to say: a lot of fun! Zr3a also opens his track “Dr. Strangenoise” with a very famous sample … and goes on to desecrate it thoroughly. A great track with a great deal of humour, just as, thankfully, most of the tracks here are self-consciously playful and indulging the bliss of noise instead of rehashing the by now overly familiar poses of cultural pessimism. “Bean” by Naoki Nomoto has a more abstract take on noise. Its feedback and glitch-type sounds created with an analog synthesizer are faintly reminiscent of more academic electronic music. “LxDxP (Love Dream Peace)” by Ememe goes in another direction with its rhythmic quasi-techno noise, a real headbanger. Elma pays tribute to the classic Japanoise sound as defined by Merzbow with the hissing, harsh “(In)Tolerance?” The next piece makes for one of several interesting contrasts that the album offers thanks to ORiFiCE’s clever sequencing of the tracks: “Grandblue” by Hedoromeruhen gives evidence to the territory shared by noise and (free) jazz while taking the piss out of some softer sides of music along the way. With “Gainful Heart Amen Noiser” by Zpore Zpawn, we launch into the finish of the album, in which samples of classical music collide head on with hectic, energetic harsh noise in overdrive. The final track by Jah Excretion is titled “Sleep Garden” – a programmatic title in so far as this piece gives evidence to the (apparent) paradox that the noisiest music can sometimes be the most meditative and soothing." [label info]
www.attenuationcircuit.de
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2014 |
€8.00 |
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Musique Concrete |
LP |
This record represents an important milestone in the development and progression of musique concrète – marking a crossroad for not only the genre itself but also in the paths of its originator Pierre Schaeffer and another of the genre’s most important and respected protagonists Pierre Henry.
Undoubtedly one of the most influential experimental and electroacoustic musicians, Pierre Schaeffer is also credited as being the father of the theory of musique concrete as well as later name coining the term itself. Having found a job in 1936 at Radiodiffusion Française (later Radiodiffusion-Télévision Française or RTF) as an engineer, Scaeffer developed a newly found interest in music and with the blessing of his superiors made the most of his access to the Radiodiffusion Française studios, utilising his abilities as an engineer to experiment with sound whilst collaborating with musicians and composers that passed through the station’s hallowed doors. In 1942 Schaeffer and influential theatre director, producer and actor Jacques Copeau founded the Studio d’Essai (renamed Club d’Essai in 1946) as part of RTF in order to experiment with radiophonic techniques. Drawing on the works of French filmmaker, critic and novelist Jean Epstein, Schaeffer would occupy his time and his mind with the manner in which sound recordings “revealed what was hidden in the act of basic acoustic listening” and in 1948 formally set about his research in ernest – the results of which were presented as a series of studies known as Cinq études de bruits (Five Studies of Noises) during a concert in Paris.
With word of his theories and experiments spreading, Schaeffer was able to press the RTF management to further finance and in doing so expand his research. However, for an undertaking of this size he would need help. Having previously collaborated as part of his early research with a young classically trained composer by the name of Pierre Henry, Schaeffer had no problem convincing the RTF executives he was the right man of the job. By adding a third prong to this sonic fork in the shape of sound engineer Jacques Poullin, Schaeffer was able to complete a powerhouse, which he renamed the Groupe de Musique Concrete, that would push his experiments further than he could have imagined. In1951, RTF handed the trio the keys to one of the earliest purpose-build electroacoustic studios (the other being the WDR Studio in Germany), furnishing it with state of the art bespoke equipment such as a Morphophone (designed by Poullin himself and capable of tape loop-delay) and a Phonogène (a multi-headed tape instrument also designed by Poullin). The studio went from strength to strength, attracting composers such as Karlheinz Stockhausen and Edgard Varèse to collaborate, and in that same year Schaeffer and Henry produced and premiered what is considered to be the first opera concrète, Orphèe 51.
As Schaeffer’s notoriety grew as did demand for his time and he found himself increasingly called away from the studio during which time he would hand the keys to over to his colleagues. Pierre Henry wasted no time in pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart (the two would later collaborate with Michel Colombier on the cult classic Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart). In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalise both their approach as well as personnel. As a result, Henry and several other key members left the group the following year leaving Schaeffer to lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales – one of a number of theoretical and experimental groups overseen by Saeffer’s Service de la Reserche at RTF – and set about recruiting new members including Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as usher in a new steady stream of eager musicians eager to study within what had rapidly become (and still is) a national institution – including a young Jean Michel Jarre!
Featuring the full versions of these seminal early works (abridged versions of which had previously appeared across two 7” singles on Disques BAM) the recordings presented here are the first fruits of this new alliance and served to lay the bedrock for the future of the Groupe de Recherches Musicales research which would later count the likes of Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle (who went on to coin the term Acousmatic Music) amongst its members and cement its place in the annals of experimental, electroacoustic and early electronic music history.
www.finderskeepersrecords.com |
2016 |
€21.00 |
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TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017) |
do-CD |
with: ALLSEITS, CONTRASTATE, V.O.S.(YEN POX), VANCE ORCHESTRA, TARKATAK, RAISON D'ETRE, NADJA, MARTYN BATES w. TROUM, MULTER, QST (Frans de Waard/KAPOTTE MUZIEK), URE THRALL, MYRRMAN (SAL SOLARIS), INADE, DUAL, BAD SECTOR, CISFINITUM, REUTOFF, MOLJEBKA PVLSE, and MARKOW C.
ORIGINAL INVITATION:
"Dear Friends and Dreamers,
Troum did the very first performance under this name (after the demise of Maeror Tri) in March 1997, so this year we reach our 20th anniversary. We have never done any anniversary "celebration" or "remix" projects of Troum material before, so we thought maybe it's the time now!
You can choose any existing Troum material (also taken from multiple tracks) to cover, re-interpretate, re-work/process/arrange or collage it. You can also add your own sounds, create a new track-title, watever comes to your mind! (We are certainly NOT looking for a standard "remix", so we don't send out any specific material to everyone!).
This invitation goes out to various musicians that have worked with us over the 20 years, which became friends or important for our evolution as a band." TROUM, March 2017
2. TRACKLIST:
CD 1
1. ALLSEITS - Times
2. CONTRASTATE - The Silent Fish
3. INADE - The innermost Sun
4. VANCE ORCHESTRA - Giascei
5. TARKATAK - vs. Brinnan
6. RAISON D'ETRE - Ananke
7. NADJA - Mirrored in You
8. MARTYN BATES w. TROUM - An Untitled Protest
9. [MULTER] - Sela Saiwala MNX
CD 2
1. QST - Kapotte Muziek by Troum (QST remix 2017)
2. URE THRALL - Krypte
3. 016 vs. MYRRMAN - Sen №350 (Psychic Automaton Rework)
4. V.O.S. (Steve Hall/YEN POX) - Breath Again
5. DUAL - TTN (Ursprung)
6. BAD SECTOR - Signedumiroir
7. MARKOW C. - Chaneism
8. CISFINITUM - Skaun[ei]s
9. REUTOFF - Hypoxia (Troum Spirare Cover)
10. MOLJEBKA PVLSE - Ennoia
Liner Notes from JIM HAYNES:
It was 1996 when the German industrial project Maeror Tri disbanded, and I recall being deeply saddened by the news. A few years earlier, I had discovered the project while working at a now-defunct distribution company in San Francisco. Fittingly released through Korm Plastics 'Introductions' series, Maeror Tri's Multiple Personality Disorder reflected an interested in psychological pathology as channeled through raw sound. Industrial culture has long used the metaphors of disease as a mirror to shine a light on any number of ills in contemporary society. This particular album addresses four aspects of the titular disorder, itself the most extreme form of schizophrenia which fractures the discrete personalities, which Maeror Tri identified in the general dissociative characteristics: The Administrator, The Anaesthetizer, The Revenger, The Protector. With each of these tracks, Maeror Tri orchestrated dense layers of heavily effected, sustained noise, back-masked growlings, and shimmering drones as emotionally resonant portraits to those four personality traits. With Industrial culture's penchant for sensationalized horror of autopsy and abbatoir footage, Maeror Tri's constructs were uniquely sympathetic to those who suffered from this debilitating disease.
With the posthumous release of Emotional Engramm in 1997, Maeror Tri's compositional complexity began to blossom, relying less on the hypnogogic dislocation of time-lag effects and more on the poetics and the portent of the underlying melodies that rippled through their ghostly accretions for drone and noise. Right as they called it quits, the ideas of Maeror Tri had expressed a maturity that had much more to say through the collapse of sound into an crushed, all-encompassing, cathartic tsunami.
What was to emerge in the wake of Maeror Tri's dissolution did not immediately seem clear. Founding member Stefan Knappe had already established his impeccably curated Drone Records, which initially focused on the improbable medium of the 7" single to release long-form works of dark ambient, heavy drone, and industrial din. Many of these artists that landed on Drone were unknown or under-appreciated projects, but without fail, these proved to be impressive documents and demanded that they be acquired upon sight with or without any idea of who exactly was behind the project. In this series, Knappe did commisson work from a number of highly acclaimed musicians including Inade, Francisco Lopez, Cranioclast, Aidan Baker, The Lotus Eaters, etc. but there were the lesser known acts such as the Hungarian experimental project Hideg Roncs, Holland's esoteric ambient outfit Indra Karmuka, and the hermetic tape machinist Abner Malaty. Drone released exactly 100 singles between 1993 and 2010, at which time the format switched to a four-way split LP format under the Drone-Mind // Mind-Drone banner, in addition to the 10" Substantia Innominata series, both of which maintain high calibre curation to this day.
In 1998, Knappe reconvened with fellow Maeror Tri member Martin Gitschel to form Troum. The name for this new project was taken from an archaic German word for dream and provides clear insight into their investigations manifesting universal archetypes and symbols from a collective unconsciousness into an overwhelming flood of sound. The first recordings for Troum were published on a small cassette housed in a small pillow, ascribed with the title Dreaming Muzak. As with Maeror Tri, Troum sculpt their dronescapes mostly through heavily processed guitars along with an assortment of other instruments. If the intent of Troum was to put the listener to sleep, the lulling vibrating patterns certainly have the capacity; but the overall darkness of these sounds will never inspire the most pleasant of dreams. These are shadowy, bleak, and cold sounds which permeate the album, and lend themselves to images of desolate factories spewing a constant stream of black soot in some wintery post-Soviet country.
At the turn of the millennium, Troum embarked on their ambitious Tjukurrpa trilogy, the title of which has its origin in the physical, spiritual, and psychological state of dreamtime for the Australian Aboriginals, symbolizing Troum's intention to divine transcendence through their hypnogogic compositions. They applied these ideas to the three compositional foundations to their music, in Harmonies, Drones, and Rhythms & Pulsations each of which are highlighted on the trilogies component albums. Harmonies for Troum relate to the cold ambient swirls of resonant timbres from Troum's interlocked guitars that cycle through minor-key chords bathed in a resplendent wash of effects and melancholy atmospheres. Troum's signature drones are heavy, lumbering propositions of earth-shaking rumbles and subterranean minimalism. The use of rhythm appears in Troum's work as percussive mantras with a ritualist approach to metal-bashed patterns and looped sequences.
These fundamental tools - harmonies, drones, and rhythms - represent a set of pre-linguistic symbols that Troum employs to articulate to the primal emotional responses of various psychological states. More often than not, Troum turn towards ashen, sublime, nocturnal, and grim metaphors through their work, even though rapturously golden crescendos flourish on the rare occasion in their body of work. Sigqan (2003) is a harrowing album that plunges deep into an overwhelming gloom through sustained tones and drones. Like the project's name, the title harkens to a pre-medieval dialect of the Goths that roughly translates as the setting or sinking of the sun. Here, Troum addresses the Dark Ages fear that the sun might not rise again, leaving the world in permanent darkness. The Power Romantic trilogy (which include the albums Mare Idiophonika, Grote Mandrenke, Mare Morphosis released from 2010 - 2013) finds the duo embracing the oceanic metaphors that undulate upon the cycles of the tides through billowing shadows of mournful melody and subharmonic rumble. These too are drawn towards hostile metaphors, with Grote Mandrenke referring directly to a massive storm surge that devastated Northern Europe and the Britsh Isles in 1362, sweeping some 25,000 people out to sea and to their deaths.
Through the Drone Records productions and ancillary distribution company, Troum have maintained a very healthy network of connections all across the globe. In doing so, they have also engaged in a select number of ongoing collaborations. Their first was with the occult American project Yen Pox whose collective low-frequency thumming stand at the pinnacle of the dark ambient genre. An enduring presence from the once mighty Cold Meat Industries, Raison D'etre has worked with Troum in transforming raw material through the existential lens of a vacant cathedral. Architectural reverberation and ghostly chorales flutter with a solemn, ethereal impressionism. The baroque post-punk singer-songwriter Martyn Bates of Eyeless In Gaza had long been an inspiration for Knappe and Gitschel in both Troum and Maeror Tri. In fact a dedication to Bates was ascribed to a track from the Tjukurrpa series. In 2006, Bates joined Troum for their collaborative album To a Child Dancing in the Wind, which girds Bates' beatific, lyrical vocalizations to a luminous, shimmering facet to Troum's aesthetic.
This compilation with its remixes, deconstructions, and reconstitutions of Troum's back catalogue and raw material is a celebration not only to Troum's impressive body of work but also to their ongoing and active participation in the broader communities of the avant-garde, minimalism, drone-rock, and industrial culture with unflagging dedication. These propositions respectfully build upon the fluid dynamics of Troum's sound as well as the wordless symbolism of pre-lingusitic conditions that are fundamental to Troum's work. It should be noted that both Dual and Vance Orchestra reunited specifically for this project.
Sibilant. Subaquatic. Serpentine. Ominous. Thunderous. Billowing. Haunted. Hypnogogic. Blossomed with sadness. Best Drones.
JIM HAYNES
|
2018 |
€12.00 |
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National Crime History |
2 x MC |
“Belgium is a swamp, a boggy yet fertile ground in which new emergences are never clearly shaped but subtle, drifting just below the land’s muddy surface. They often remain hidden in the midst of a complex ensemble that is often made of chaos and opposition rather than order and harmony.” (Yannick Franck)
From the North to the South of Belgium, a new generation of artists are connecting the dots between classic Belgian Industrial/EBM and the contemporary electronic scenes that have emerged worldwide these last years. A ‘New Belgian Industrialist Movement’ that freely combines elements such as distorted atmospheres, analog pulsations or mantric rhythms, lingering in the grey area between experimental techno and post-industrial music.
National Crime History is a compilation curated by Belgian labels Silken Tofu and Idiosyncratics, both known for crossing borders and disregarding genre limitationsIt features Icon Template, Ripit, Onrust and Orphan Swords. The fact that these entities are now joining forces should come as no surprise. They have a long history together on many levels and now emerge as a collective that has been taking shape over the years.
Double tape edition of 150 copies (incl download).
Digital release available via https://silkentofu.bandcamp.com/album/national-crime-history" target
--
ONRUST's electronic mindfuck is influenced by 80's rhythmic industrial, 90's underground techno and 00's psyched out drones & mantras. Active for now two years she has quicky become one of the most remarkable acts in the new Belgian industrial techno scene. After several releases on some notable Belgian labels, her first 12” vinyl ‘Luthuli/Tagore‘ was released in 2015 on Silken Tofu.
ORPHAN SWORDS focus on massive beatmaking, throbbing industrial soundscapes and wild live action. Their music has been released on Instruments Of Discipline, Desire Records, Clan Destine, Idiosyncratics and +Nurse+.
ICON TEMPLATE provides raw industrial hypnotism and mindblowing techno rhythms. It expresses a rebellion against the established order by instilling chaos and feed the conscious perceptions of its dark sides. After its first release on An Der Grenze in 2015, Icon template has performed in venues and festivals such as Bozar Electronic Art Festival (BEAF) or FUSE.
RIPIT began his music career as a black metal guitar player. Yet he has quickly developed into a radical electronics act, unveiling noisy and psychedelic rhhythms based on primitive synthesizer use. Nowadays his music has complexified, tending to beat micro-surgery and orchestral bombast. He extensively uses modular synths, ol’time drum machines and no-input mixers to create dancy acid music, plunging the crowd into a magma of electric textures.
--
Mastering by Nicolas Esterle at Ångström Mastering, Brussels
Photography by Yannick Franck
Design by Silken Tofu
-- |
2017 |
€13.00 |
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Wire Recorded Pieces |
LP |
This compilation is for those who are not familiar with the fascinating world of Primal Electronica, Noise, Sound Design, Industrial, Avant-Garde, Tape-Music, etc. _ you name it!. This set hopes to be the gateway to a completely new Revolutionary sound experience, proving what John Cage predicted in the 1930s : "'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." Including a track recorded in 1921, almost a hundred years ago_ and ending in the early 1960s, this selection includes artists of very different nationalities such as Egypt, USA, Hungary, Denmark, Germany, Italy, Sweden, France_ even the USSR! It represents everything New and Revolutionary that we have come to expect since the beginning of the Postmodern era. These are relics with much to say to the contemporary listener as they sound impossibly way ahead of their and our time(s). Revolutionary since much of the included material did and still does push the very definition of what music is. Here are demonstrations of techniques and Sound Systems that shaped Modern Music as we know it today. These are the first examples ever to loop a track, play it in reverse or use a host of other effects which are all so common tools for musicians of today. Songs are sequenced to give a coherent and surprisingly easy way to enjoy and appreciate this music field that can be baffling - in order to give the listener some of the most multilayered (in every sense of the word) experience. Thanks to 21st Century advance techniques, every track here has a low noise floor, which has been achieved without the loss of palpability or dynamic range. These recordings sound fantastic: fresh, jarring, groundbreaking and adventurous._ Enjoy the ride. "WIRE RECORDED PIECES" Precocious Noise and Early Electronica Pt. 2
https://soundmiraclerecordings.bandcamp.com/album/wire-recorded-pieces
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2019 |
€20.00 |
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SEITO: In the Beginning, Woman Was the Sun. |
CD |
"Seitō, das übersetzt Blaustrumpf oder blauer Strumpf bedeutet, war eine literarische Zeitschrift, die von 1911 bis zu ihrem Verbot 1916 in Tokyo herausgegeben wurde und sich zum Ziel setzte, der japanischen Frau eine Stimme zu geben bzw. diese aus ihrer aufgezwungenen Marginalität zu befreien. Wie der Titel der Publikation schon nahelegt, war der Ansatz stark von der europäischen Frauenbewegung inspiriert, doch wenn die als leitende Herausgeberin fungierende Feministin Hiratsuka Raichō in einem zentralen Text auf den Shinto-Schöpfungsmythos verwies und schrieb “When Japan was born, woman was the sun, the true human being”, knüpfte sie auch an eigene Traditionen an und implizierte, dass die Frau in der japanischen Kultur nicht von Beginn an eine marginale Stellung innehatte. Die Ungleichbehandlung galt so als Verfallserscheinung.
Auch wenn man sich mit experimenteller japanischer Musik befasst, unter der das fettestgedruckte Schlagwort sicher nach wie vor Noise ist, könnte man den Eindruck bekommen, dass es sich dabei weitgehend um Männerdomänen handelt – eine Klischeevorstellung letztlich, denn sobald man sich unter der üblichen medialen Wahrnehmungsgrenze umschaut, wird man auch in den abseitigeren Klangkünsten einige interessante Musikerinnen finden. Vermutlich war es auch diese Unterrepräsentiertheit, die die Kuratoren der vorliegenden Compilation dazu bewegte, einen Querschnitt interessanter japanischer Experimentalmusikerinnen zu präsentieren. Titel und Untertitel erinnern an den vor hundert Jahren stattgefundenen Diskurs, und auch die Musik reicht auf Referenzebene bis in diese Zeit zurück.
Noise in brachialer Form, wie man ihn hierzulande gerne mit Japan assoziiert, findet sich kaum in der kleinen Anthologie, vielleicht um den Fokus mehr auf subtile Herangehensweisen zu legen. Als Stilmittel innerhalb einzelner Stücke spielt Lärm aber eine nicht zu unterschätzende Rolle. Vielschichtiges Rauschen und Prasseln sowie hohe Sinustöne überdecken irgendwann den an einen Countertenor erinnernden Gesang Fuji Yukis, und auch wenn sich die verschiedenen Soundschichten immer neu verschieben, stellt sich irgendwann eine monumentale Wirkung ein. Auch bei Kiki Hitomi droht der schleppende Takt und der unheimliche, an ein zombifiziertes Weihnachtslied erinnernde Gesang unter einer Schuttlawine begraben zu werden. Eher verspielt wirken dagegen die Radiosamples und Effekte der in Düsseldorf lebenden Miki Yui.
Einige Beiträge beinhalten Referenzen auf ältere Musik klassischer oder populärer Art, was selbst durchaus Tradition hat, wenn man bedenkt, dass Künstler wie die Group Ongaku schon in den 60ern im Zeichen des Fluxus traditionell japanische Klänge mit Geräuschen des Alltags kombinierten. Mikado Kiko etwa samplet eine Aufnahme des bekannten Songs „Fukagawa Bushi“ aus den 20ern, bei der die Sängerin und Geisha Fumikichi Fujimoto (1897-1976) in anrührender Art und mit Saitenspiel begleitet eine Kriegsgeschichte in einen Song packt. Exotik, die man in die alte Aufnahme projizieren könnte, wird in Mikado Kikos Palimpsest jedoch nicht durch lärmende Verfremdung, sondern durch groovige Dubstep-Rhythmen durchbrochen. Kakushin Nishihara kontrastiert monotones Saitengeschmetter mit drängenden Vocals und einem Fundament aus rauem Noiserock, wohingegen Kuunaki – ein Trio, zu dem die Noise-Musikerin Yuko Araki zählt – mit Rasseln, Pauken und einem kraftvoll-melodischen Gesangspart zum Kampf trommeln. Martialisch geht es auch in Keiko Higuchis Version des traditionellen Songs „Okesa Bushi“ zu, dass übersetzt „Nähende Kriegerinnen“ heißt. Schleppende Klavierakkorde und eindringlicher Gesang steigern sich zu einem furiosen Crescendo, dass all die Kämpfe, von denen diese Musik kündet, noch einmal Revue passieren lässt.
Thematisch knüpft der Sampler ganz gut an die Anthologie „Art of the Muses“ (Syrphe Records 2012) an, die z.T. ähnlich geartete Musikerinnen aus ganz Ostasien vorstellte. Mehr noch im Fokus auf die Geschichte weiblicher Kreativität eines bestimmten Landes liegt die Besonderheit von „Seitō“ aber in der forschen, kämpferischen Ausrichtung der ansonsten recht unterschiedlichen Musik, die dann auch ganz gut zu dem passt, was man sich hierzulande unter einem Blaustrumpf vorstellt. Der einzige Wermutstropfen ist die Kürze der Veröffentlichung, denn zu dem Thema hätte sich bestimmt noch mehr finden lassen." (U.S./African Paper)
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2019 |
€13.00 |
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CHANGEZ RETRAVAILLE (Changez les Blockeurs) |
3 x CD |
Various artists' reworking of TNB's legendary LP from 1982.
Changez Les Blockeurs has attained a somewhat mythical / legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited some of their favourite artists to compose a reworking which have been issued collectively as Changez Retravaillé (Changez Reworked.)
Nurse With Wound, Philip Sanderson (Storm Bugs), Mark Durgan (Putrefier), Phil Julian (Cheapmachines), The Prestidigitators, Anomali, Spoils & Relics, Asmus Tietchens, Ralf Wehowsky (a.k.a. RLW), Das Synthetische Mischgewebe, Kommissar Hjuler, Rudolf Eb.er (Schimphluch Gruppe), Frans de Waard (QST), Jerome Noetinger, Giancarlo / Massimo Toniutti, Alexei Borisov, TNM, Thurston Moore, Jim O'Rourke, GX Jupitter-Larsen (The Haters), John Wiese, Idea Fire Company, Irr. App. (Ext.), Merzbow, K2, Toshiji Mikawa (Incapacitants), Kazumoto Endo, Nobuo Yamada, Daisuke Suzuki, Veltz.
"Nurse With Wound open the Changez Retravaillé compilation, 30 tracks over three CDs. Consistent with their efforts to forge links with the global Noise community, and indeed a strong influence on it, it’s fair to think of this as a gathering of TNB’s peers. Most people in the market for this could have predicted the appearance of Mark Durgan (Putrefier), Rudolf Eb.er (Schimpfluch Gruppe), GX Jupitter-Larsen (The Haters), Merzbow et al. Durgan submits a rather invigorating aural firework display; Anomali and QST (Frans de Waard)’s Techno leanings feel considerably bolder than noise remixed as noise. With that said, harsh noise tornados like that served up by K2 can still rattle your senses." The Wire
Selected comments / reviews of the original LP:
As far as I'm concerned Noise as we know it today starts with Changez Les Blockeurs. It is universally accepted as the first true Noise LP of the modern era. Ron Lessard, RRRecords
A warehouse symphony in which workers pile scrap metal in on honour of Beethoven’s Ode To Joy. A masterpiece. ND
Changez Les Blockeurs is one of the few noise recordings I would unhesitatingly command as 'essential,' containing some of the most pure and untamed experimentation recorded in the late 20th century. Signal To Noise
Changez Les Blockeurs is full of chaotic Dada referentialism. You will be tempted to think first of Satie’s Musique D’ameublement (Furniture Music) in a perverse sense: a squawking symphony filled with rusty wheels and creaking wooden floor. A syntax destruction, an anti-narrative in the form of a happening that draws and maintains an acoustic noise art continuity with the assemblages of pre-Fluxus or to John Cage’s score Living Room Music. ei
Changez Les Blockeurs turned the international Noise scene on its head. It scrambled so many circuits that its influence is inestimable. It strikes parallels with the automatic music of Fluxus and is both ultra-sophisticated and jaw-droppingly crude. A freely improvised electro-acoustic session that utilizes the sound of wheelchair runners, broken glass and bowed metal in order to access a zone of complete brain-stilling gridlock. One of the first post-Throbbing Gristle recordings to run an umbilical to the classical noise of the 20th century.' David Keenan, The Wire / Red Bull Music Academy
Brought up as I was on the camouflaged Pop absurdism of Throbbing Gristle the short step into the anti-art Dada / Fluxus ethos of TNB would have been manna from a post-Punk heaven. Lumps of metal get thrown around in a bid to resurrect the ghost of Tristan Tzara, two invalids in wheelchairs fencing with broken car aerials, a baby elephant blindly trying to escape a room full of bicycles and sackbuts. It’s magnificent in its absurdity. It’s a discomforting listen that has gained near mythical status and deserves its status as one of the most sought after releases of all time. Idwal Fisher
When I listen to Changez Les Blockeurs I think of Tristan Tzara, Hugo Ball, and other self-proclaimed art revolutionaries who followed manifestos that promoted anti-rationalism above all else. With that in mind, part of me feels that attempting to review it is akin to trying to use a rational literary standpoint to critique Tzara’s books of proto-cut-up musings, Blago Bung Blago Bung, i.e. misguided and ultimately pointless. Feral Debris
There is no sense of composition, no beginning nor end, no milestone, no virtuosity. TNB's Dadaism can be compared to NWW’s Surrealism. Changez Les Blockeurs lays bare some primitive reality, defined by what it is not and from their negations only destruction remains. Unique in every sense of the word. Guts Of Darkness
Changez Les Blockeurs can be listened to a hundred times and still keep its mysteries intact. It'll also be just as confounding and compelling the hundredth time as it was the first. There isn't any other recording that sounds like this, not even the TNB records that came after it, solid as many of them are. Howard Stelzer, Intransitive
Changez Les Blockeurs is the ultimate statement in musical nihilism. It's hard to believe humans made this, there is no emotion in the work at all. Never before has anyone used textures like these in a context like this. No matter how much is said about this album, no matter how many meaningless and useless words are typed in an attempt to explain the importance of this record, nothing will come close to listening to it. Forget anything you know about music because it will be abandoned. As a document and as (non)music, TNB had in mind what they wanted to do with this record and executed it flawlessly. Notebooks
www.ricercasonora.com/catalog/changez-retravaille/28/
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2019 |
€26.00 |
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Strain, Crack & Break : Music from the Nurse With Wound List Vol. 1 (France) |
do-LP |
After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.
When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic… As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch up.
Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities… A check-list for the uncharted.
Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.
Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, it is time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.
https://www.finderskeepersrecords.com/shop/strain-crack-break-nurse-with-wound/
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2019 |
€24.00 |
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SEITO: In the Beginning, Woman was the Sun |
LP |
"Seitō {青鞜} gathers Japanese female artists from various electronic and experimental music fields. Like the « Tokyo Flashback » series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. All tracks issued for the first time."
https://akuphone.bandcamp.com/album/seit-in-the-beginning-woman-was-the-sun
"Seitō, das übersetzt Blaustrumpf oder blauer Strumpf bedeutet, war eine literarische Zeitschrift, die von 1911 bis zu ihrem Verbot 1916 in Tokyo herausgegeben wurde und sich zum Ziel setzte, der japanischen Frau eine Stimme zu geben bzw. diese aus ihrer aufgezwungenen Marginalität zu befreien. Wie der Titel der Publikation schon nahelegt, war der Ansatz stark von der europäischen Frauenbewegung inspiriert, doch wenn die als leitende Herausgeberin fungierende Feministin Hiratsuka Raichō in einem zentralen Text auf den Shinto-Schöpfungsmythos verwies und schrieb “When Japan was born, woman was the sun, the true human being”, knüpfte sie auch an eigene Traditionen an und implizierte, dass die Frau in der japanischen Kultur nicht von Beginn an eine marginale Stellung innehatte. Die Ungleichbehandlung galt so als Verfallserscheinung.
Auch wenn man sich mit experimenteller japanischer Musik befasst, unter der das fettestgedruckte Schlagwort sicher nach wie vor Noise ist, könnte man den Eindruck bekommen, dass es sich dabei weitgehend um Männerdomänen handelt – eine Klischeevorstellung letztlich, denn sobald man sich unter der üblichen medialen Wahrnehmungsgrenze umschaut, wird man auch in den abseitigeren Klangkünsten einige interessante Musikerinnen finden. Vermutlich war es auch diese Unterrepräsentiertheit, die die Kuratoren der vorliegenden Compilation dazu bewegte, einen Querschnitt interessanter japanischer Experimentalmusikerinnen zu präsentieren. Titel und Untertitel erinnern an den vor hundert Jahren stattgefundenen Diskurs, und auch die Musik reicht auf Referenzebene bis in diese Zeit zurück.
Noise in brachialer Form, wie man ihn hierzulande gerne mit Japan assoziiert, findet sich kaum in der kleinen Anthologie, vielleicht um den Fokus mehr auf subtile Herangehensweisen zu legen. Als Stilmittel innerhalb einzelner Stücke spielt Lärm aber eine nicht zu unterschätzende Rolle. Vielschichtiges Rauschen und Prasseln sowie hohe Sinustöne überdecken irgendwann den an einen Countertenor erinnernden Gesang Fuji Yukis, und auch wenn sich die verschiedenen Soundschichten immer neu verschieben, stellt sich irgendwann eine monumentale Wirkung ein. Auch bei Kiki Hitomi droht der schleppende Takt und der unheimliche, an ein zombifiziertes Weihnachtslied erinnernde Gesang unter einer Schuttlawine begraben zu werden. Eher verspielt wirken dagegen die Radiosamples und Effekte der in Düsseldorf lebenden Miki Yui.
Einige Beiträge beinhalten Referenzen auf ältere Musik klassischer oder populärer Art, was selbst durchaus Tradition hat, wenn man bedenkt, dass Künstler wie die Group Ongaku schon in den 60ern im Zeichen des Fluxus traditionell japanische Klänge mit Geräuschen des Alltags kombinierten. Mikado Kiko etwa samplet eine Aufnahme des bekannten Songs „Fukagawa Bushi“ aus den 20ern, bei der die Sängerin und Geisha Fumikichi Fujimoto (1897-1976) in anrührender Art und mit Saitenspiel begleitet eine Kriegsgeschichte in einen Song packt. Exotik, die man in die alte Aufnahme projizieren könnte, wird in Mikado Kikos Palimpsest jedoch nicht durch lärmende Verfremdung, sondern durch groovige Dubstep-Rhythmen durchbrochen. Kakushin Nishihara kontrastiert monotones Saitengeschmetter mit drängenden Vocals und einem Fundament aus rauem Noiserock, wohingegen Kuunaki – ein Trio, zu dem die Noise-Musikerin Yuko Araki zählt – mit Rasseln, Pauken und einem kraftvoll-melodischen Gesangspart zum Kampf trommeln. Martialisch geht es auch in Keiko Higuchis Version des traditionellen Songs „Okesa Bushi“ zu, dass übersetzt „Nähende Kriegerinnen“ heißt. Schleppende Klavierakkorde und eindringlicher Gesang steigern sich zu einem furiosen Crescendo, dass all die Kämpfe, von denen diese Musik kündet, noch einmal Revue passieren lässt.
Thematisch knüpft der Sampler ganz gut an die Anthologie „Art of the Muses“ (Syrphe Records 2012) an, die z.T. ähnlich geartete Musikerinnen aus ganz Ostasien vorstellte. Mehr noch im Fokus auf die Geschichte weiblicher Kreativität eines bestimmten Landes liegt die Besonderheit von „Seitō“ aber in der forschen, kämpferischen Ausrichtung der ansonsten recht unterschiedlichen Musik, die dann auch ganz gut zu dem passt, was man sich hierzulande unter einem Blaustrumpf vorstellt. Der einzige Wermutstropfen ist die Kürze der Veröffentlichung, denn zu dem Thema hätte sich bestimmt noch mehr finden lassen. "(U.S./African Paper) |
2019 |
€21.50 |
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Escape |
CD |
Escape ist die Rettung.
Escape ist Ende des Spiels.
Escape macht ungeschehen.
Escape gibt eine zweite Chance.
Escape gewinnt Zeit.
Escape ist plötzlich und eilig.
Escape ist still und heimlich.
Escape klappt nicht immer.
Siebzehn Komponistinnen und Komponisten verklanglichen auf der DEGEM CD 14 ihre unterschiedlichen Perspektiven zum Thema “Escape”: Computertaste oder Schlauchboot – kleine Fluchten oder die eine große… Die meisten der fünfzehn elektroakustischen Musikstücke auf dieser Compilation wurden direkt für dieses CD-Projekt komponiert und hier erstmals veröffentlicht.
Kuratorin: Monika Golla
Gesamtspielzeit 76:15 min.
[01] Simon Vincent:
…Falling Man, Rising Woman…: Conclusion
[04:00] | 2015
[02] Paul Hauptmeier & Martin Recker:
Another Shore (short version)
[06:04] | 2015 – 16
[03] Julia Mihály:
cozy new gastfeindlichkeit
[05:15] | 2016
[04] Kai Niggemann:
Interrupture
[03:40] | 2016
[05] Inge Morgenroth:
Nachtgestalten
[05:57] | 2014 – 16
[06] Mehran Sherkat Naderi:
Ich trenne mich von mir
[04:30] | 2014 – 16
[07] Kirsten Reese:
Jugendvollzugsanstalt
[05:02] | 2016
[08] Sabine Schäfer:
escape, part I
[05:58] | 2016
[09] STROM:
Umschaltplan
[06:08] | 2016
[10] Claudia Robles-Angel:
Departure
[06:00] | 2016
[11] Johannes S. Sistermanns:
Raum_aufgeben_1
[01:32] | 2016
[12] Arsalan Arbedian:
„\a“
[04:04] | 2016
[13] Felix Leuschner:
iScape
[04:59] | 2016
[14] Nikolaus Heyduck:
Sine Wave Peaks
[05:17] | 2016
[15] Hiromi Ishii:
Shinra
[08:05] | 2011
https://www.degem.de/cds-dvds/escape/
|
2016 |
€13.00 |
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Speech after the Removal of the Larynx |
LP |
"The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!"
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2019 |
€20.00 |
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Well known Strangers - UNROCK's ARCHIVAL SINGLE BOX SET |
14 x 7 |
The Well Known Strangers 14×7“ Singles Box Set finally documents what we have been doing during the last few years…..
It features numerous excellent and adventurous contributions from Sir Richard Bishop, the weird lo-fi interpretations of Ennio Morricone songs by Alvarius B., Middle-East-All-Stars Karkhana killing it by playing the tunesian traditional Sidi Mansour which became a smash for German popsters Boney M under the name of Ma Baker decades ago. Sam Shalabi, leader of not only his fine orchestra Land Of Kush, came up with a very fine tuned hommage to Dwars Of East Agouza’s favorite Kebab shop in Cairo. You get Ava Mendoza’s (Who has been voted currently as one of the best contemporary jazz guitar players around the world) outstanding solo-version of her classic Feral Twin….
Beiruts long running free-everything outfit A-Trio (Sharif Sehnaoui, Mazen Kerbaj, Raed Yassin) messing not only around with the Grand Seigneurs from AMM, (Eddie Prevost & John Tilbury) but with Alan Bishop. The exceptional and exploding talents Of Sunn Trios young mastermind Joel Robinson from Arizona, an exclusive by Sunn Trio as an entity, which is from our point of view one of the most exciting newer bands around the planet. Eyvind Kang, a long time contributor with Sun City Girls, John Zorn and so many others, blasting the limits with his viola…..Tashi Dorji, an extraodinary experimental guitarist from Bhutan captured in Unrock’s living room, the Ivory Tower….and shiny little pearls from Dredd Foole collaborateur Ed Yazijian. W.David Oliphant, the pre-industrial legend from Arizona teamed up again with SRB, Cairo’s Dwarfs Of East Agouza are running free around the Camel Toe, Chris Corsano and Bill Orcutt unrock the house down and last but not least Clandestine Trio (Chris Corsano, Richard Bishop & Alan Bishop) flew in from Brussels, Portland & Cairo in November 2017 to play their first ever show to celebrate Unrock’s 25th anniversary as an entity……
With its 128 copies available, it will be a rare collectors item soon.
https://www.unrock.de/unrocks-archival-single-box-set-v-a-well-known-strangers-14x7/
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2021 |
€95.00 |
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DRONE-MIND // MIND-DRONE Vol. 8: AUME, K. ISHIGAMI, HIROSHIMABEND, BALDRUIN |
LP |
Four "Drones" on one record! Volume EIGHT (MIND-08) is OUT NOW (11/2021) feat.:
KAZUYA ISHIGAMI ҉ AUME ҉
HIROSHIMABEND ҉ BALDRUIN
Drone on! We're finally back with a more 'pulsative' and post industrial-influenced issue, presenting the following artists: KAZUYA ISHIGAMI (*1972 / Osaka / Japan) is a prolific composer, engineer, sound designer and performer active for many years (also under the name DARUIN), with broadcasts of his works around the globe. His track 'Clean2020' works on the theme of 'memories" and is based on the idea to accept and acknowledge even the painful memories to reach a state of ease and to transform the subjective past...
AUME is the duo of SCOT JENERIK (23five Inc. / Mobilization Records) and ALEPH OMEGA (ex CHROME), from the US west coast, both also active in F-SPACE before, creating stunning audio-visual 'immersion dark ambience" with true archaic energy..
HIROSHIMABEND (aka 'puppy38') hails from Austin, Texas but has been based in Vienna for many years now, and has impressed with many long-form works in the field of electronic / esoteric emanations, mostly self-released via Opiumdenpluto. He is also active as a visual and mastering artist...- "Listening to the music of hiroshimabend has been likened to swimming in a milky lake of black ink."
BALDRUIN is a German project with a very electronic and musical edge. His pieces appear to be like excursions into a (bad) fairy-tale world.. - "well constructed cosmic ambient-scapes with a dark psychedelic / cinematic / surrealistic touch; when strange voices, subtle percussion and whistling noises enter the scenery.."
Let your MIND be surrounded by adventurous sonic landscapes - organic repetitions as coming from a ghostly otherworld, oriental field recordings, layers of pipe organ-like drones, mysterious electric ether-potentials etc..- "Vier feine Synapsenputzer machen einem mal wieder so manches klar.." [Bad Alchemy}
cover-art & mastering by puppy38 using two paintings by British artist PETE GREENING
https://www.saatchiart.com/Pete_G
Edition of 400 copies on VELVET PURPLE (solid purple and solid red mixed) coloured VINYL.
listen: soundcloud.com/drone-records order: www.dronerecords.de
basic concept:
DRONE-MIND // MIND-DRONE - Volume 8 LP
The series shows the various sides of today's experimental drone-music
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series, with artwork based on paintings by British artist PETE GREENING.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
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"Würden Drone Records den Begriff, der von Beginn an so etwas wie ihr Motto werden sollte, enger fassen, dann wäre ihre Reihe “Drone-Mind // Mind-Drone” wahrscheinlich auf viel weniger Interesse gestoßen und vielleicht sogar eine kurzweilige Angelegenheit geblieben. Stattdessen setzte das Bremer Label von Beginn an auf eine Idee des Drone, die, wie es in einer früheren Besprechung bereits zitiert wurde, pars-pro-toto für verschiedene Arten der Vibration und der Freisetzung von Energie im buchstäblichen wie im übertragenen Sinne stand. Und so sind auch auf dem gerade erschienenen achten Teil der Reihe wieder vier Geheimtipps aus drei Kontinenten vertreten, die die Dröhnung als eine Art verbindendes Element gemeinsam haben, diese jedoch in ganz unterschiedlichem Maß und auf unterschiedliche Art mit anderen Aspekten verknüpfen.
Bereits in der Ankündigung hieß es, dass die neue LP pulsierender ausfallen und Einflüsse des Post-Industrial aufweisen sollte, und den Opener “Clean2020″ des aus Osaka stammenden Sound Designers Kazuya Ishigami kann man da bereits exemplarisch anführen. Der Track, der sich mit dem Thema (auch schmerzhafter) Erinnerugen und ihrer Akzeptanz befasst, entwift ein über zwölf Minuten langes, ansatzweise episodisches Narrativ, das mit Samples und zahlreichen Effekten ein veränderliches Stimmungsbild entwirft. Das an Zikaden (vielleicht nicht nur) erinnernde Zirpen zu Beginn zieht sich durch weite Teile des Stücks, lässt ein durchaus angenehmes Alltagskolorit entstehen, doch ein zwiespältiges Gemisch anderer Sounds – mechanisch anmutendes Klappern, beklemmende Hochtöner, Vögel, das Dudeln einer versteckten Melodie – kommt hinzu, und da die eizelnen Sequenzen in ihrer Dauer und Veränderlichkeit kaum vorhersehbar wirken, ist eine der zentralen Stimmungskomponenten Spannung.
Ein ähnlich veränderliches Soundpanorama entwirft das amerikanische Duo Aume – namentlich Scot Jenerik und Aleph Omega aus dem F-Space-Umfeld. Ihr Beitrag wirft die auditiven Antennen mit rauem Knarren in die Mitte eines Geschehens, dessen Richtung man in den Sprachsamples und dem industriellen Hantieren zunächst noch nicht ausmachen kann. Während es unablässig reibt und schabt und knackt und ein unterschwelliges Dröhnen immer mehr anschwillt und irgendwann den ganzen Raum ausfüllt, treiben die Stimmen einen merkwürdigen Schabernack, scheinen wie Schafe zu blöken, bis alles in Kriegsgeschrei mündet. Doch in der zweiten Hälfte bekommt der Track noch einmal eine überraschende Wendung und prescht mit monoton-rhythmischer Perkussion dem Horizont entgegen.
Insgesamt ist die zweite Seite um einiges “schöngeistiger”. “Puppy38″ des in Wien lebenden Amerikaners Hiroshimabend beginnt mit entrückten Orgelsounds, in die sich ein undefinierbares Summen mischt. Just wenn sich eine hypnotische Wirkung einstellt, setzt eine eindringliche Melodie ein und entführt den entsprechend angefixten auf einen Trip durch einen imaginären Raum voll mit plastischen, knisternden, vibrierenden Sounds und etwas, das wie menschlicher Atem klingt. Hier scheint jede Raumwahrnehmung (bzw. Projektion) so unsicher, das sich kaum sagen lässt, ob die so entrückt anmutenden Sounds nicht doch der Sog eines abgründigen Höllenschlundes sein könnte. Rituelles Pochen holt den Hörer zurück auf vertrauten Boden, wo ein beruhigender Abspann erfolgt.
Baldruin ist das Projekt des deutschen Künstlers Johannes Schebler, der auch musikalisch – sowohl solo als auch mit seiner Band Diamantener Oberhof – sehr umtriebig ist. Seine drei etwas kürzeren Track offenbaren eine Schlagseite in Richtung Psychedelic und World Music eine weitere Facette offenbaren. Fast wie eine perfekte Miniatur führt das mit mollastigen Bläsersounds (einer Duduk?) beginnende “Die Katakomben von Tesco Libra” mit entspannten Handdrums zu einem kleinen Höhepunkt hin, kein Ton ist hier zu viel. Elektronischer und von einer gefahrvollen Spannung durchzogen mutet “Verstecken” an. Die schöne Loungemelodie, die einen mit Lärm, basslastigem Knarren, fiesen Hochtönern und Stimmen gefüllten Raum in einen Traum aus Plastik verwandelt, reizt fast zu einem NWW-Vergleich. Das abschließende “Klima und Psyche” dagegen zeigt Baldruin hier von seiner folkigsten Seite und lässt die Sammlung mit tremolierenden Bläsern, Saitenpicking und klapperden Handdrums in wehmütiger Heiterkeit – falls es so etwas gibt – ausklingen.
Es scheint, als würde dem Phänomen Drone vielerorts eine große Ausschließlichkeit angedichtet: Musik ist entweder Drone oder nicht, und wenn, dann ist sie nur dies. Tatsächlich aber kann Drone sehr unterschiedliches bedeuten und in sehr unterschiedlicher Musik eine Rolle spielen – eine Rolle, die keineswegs an Bedeutung einbüßt, wenn sie ein Aspekt unter mehreren ist. Drone kann den Aufbau einer Musik gestalten, ihre Materialität prägen, eine Musik hypnotischer machen und ihr Rückgrad verleihen, und immer besteht eine starke Wechselbeziehung zwischen dem Dröhnen und dem suchenden, repziperenden und interpretierenden Geist. Dies unter der Formel “Drone-Mind // Mind-Drone” zu vereinen, ist auch beim achten Teil ein starkes Argument gegen alle, die behaupten, Drone hätte sich über die Jahre totgedröhnt." [U.S. / African Paper]
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2021 |
€16.00 |
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The Harmonic Series Volume 2 |
3 x LP |
"A collection of long-form works in just intonation by Kali Malone, Duane Pitre, Catherine Lamb, Tashi Wada, Byron Westbrook, and Caterina Barbieri. Each artist occupies an entire side of the collection's three LPs. Curated by Duane Pitre, Important Records returns with its second volume of compiled works in just intonation. The Harmonic Series Volume 2, issued as a triple-LP collection, features a series of long-form compositions by six of the most important emerging voices of contemporary experimental music. Unlike equal temperament, which equally divides an octave into 12 fixed notes, just intonation utilizes intervals of whole number ratios to determine tonal positions. It results in a highly individualized tonal language and holds the potential for more nuanced relationships and striking, sympathetic resonances. Rooted in ideas that trace their way across the last 2500 years, just intonation lays at the foundation for numerous Indian, Persian, and East Asian musical traditions. It was reintroduced into western music during the 20th century by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young. An interest in just intonation has continued to swell following the appearance of The Harmonic Series in 2009 inspiring Pitre to curate a second compilation. Kali Malone's "Pipe Inversions" -- played by Malone on a small pipe organ, joined by Isak Hedtjärn on bass clarinet -- belongs to a larger body of microtonal organ works that have increasingly placed the composer at the forefront of contemporary minimalism and drone music. Across the length of Duane Pitre's "Three for Rhodes" -- a chamber piece for "unknown instrumentation" - deconstructed rhythms and melodic fragments swell in a dance of harmonic interplay, rising and falling within the work's engrossing architectural complexity. Catherine Lamb's "inter sum" -- one of a tiny number of available works to encounter the composer and renowned violist working on synthesizer -- endeavors to break the visualization of harmony as a vertical reality, rendering it multidimensionally in space. A canon for eight-violins played by Marc Sabat, Tashi Wada's "Midheaven (Alignment Mix)" -- guided by the internal logic of its tuning system -- shape-shifts into an elegantly poetic form of musical conceptualism. Byron Westbrook's "Memory Phasings" -- composed and recorded on a combination of computer controlled modular synthesizers and a Yamaha TX802 -- employs the ratios of just intonation as harmonic building blocks for texture. Deploying just intonation as a means for psycho-physiological exploration, Caterina Barbieri's "Firmamento" -- composed for synthesizer -- deftly intervenes with the expectations of minimalism, durational music, and drone. Cut at Golden and pressed at RTI for maximum fidelity." [press release]
"Emerging during the early years of the new millennium, over the last two decades Important Records has slowly grown into one of the most important imprints in the landscape of experimental sound; a vehicle for historically important works by artists like Arnold Dreyblatt, Christina Kubisch, Ellen Fullman, Eliane Radigue, Pauline Oliveros, Catherine Christer Hennix, Phill Niblock, and numerous others, as much as a platform for a constantly evolving cast of emerging artists at the forefront of the contemporary scene.
Their latest, The Harmonic Series Volume 2, is a crystalline vision of the monumental ambition and artistry that lays at the label’s heart. Curated by Duane Pitre and stretching across an astounding 3 LPs, it looks toward the future of just intonation - the ancient tuning system that lays at the foundation for numerous Indian, Persian, and East Asian traditions - collecting long-form compositions by six of the most important voices in contemporary experimental music: Kali Malone, Catherine Lamb, Tashi Wada, Byron Westbrook, Caterina Barbieri, and Pitre. Vast in scope, immersive, and overwhelmingly beautiful from start to finish, if there’s a compilation to grab this year, this is the one. Words fail to describe how good it is.
Dating back millennia, since its reintroduction into Western music by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young, just intonation has maintained a devoted following within the context of experimental music. Utilizing intervals of whole number ratios to determine tonal positions, chosen by a composer, its origins rest in an attempt to mirror the natural behavior of sound within music.
Often resulting in highly individualized modal scales with nuanced relationships and striking, sympathetic resonances, just intonation offers the potential for a radically expanded range of creative possibilities that are largely unavailable within equal temperament, the tuning system most commonly encountered within music today.
Back in 2009, this led the composer, Duane Pitre, to curate the first Harmonic Series compilation, presenting a multi-generational suite of works by Ellen Fullman & Theresa Wong, Michael Harrison, Pauline Oliveros, Charles Curtis, and numerous others.
Over the years since, interest in the system has continued to swell, witnessing numerous younger artists deploying it in diverse ways, offering Pitre a new chance to explore the subject on even more ambitious terms.
The Harmonic Series Volume 2 comprises brand new works by six of the most important emerging voices of contemporary experimental music - Kali Malone, Catherine Lamb, Tashi Wada, Byron Westbrook, Caterina Barbieri, and Pitre - offering each artist a full side of the collection’s 3 LPs, carefully curated to activate intertwining sequences and relationships between the works.
Beginning with Kali Malone’s Pipe Inversions - played by the author on a small pipe organ, joined by Isak Hedtjärn on bass clarinet - blankets of long tones unfold within shimmering harmonics and rich rhythmic and melodic sequence, before settling into Duane Pitre’s sublime Three Simples for Rhodes - a chamber piece for ”unknown instrumentation” - built from deconstructed rhythms and melodic fragments that swell in a dance of harmonic interplay within the work’s engrossing architectural complexity.
From here we depart into the singular world of Catherine Lamb’s Inter Sum, a rare instance of the renowned violist working on synthesizer, that channels its materiality from her own environmental field, filtered by the synth, to highlight the subtle tonalities and harmonics that often lay unnoticed in the natural world, setting the stage for the deep, enveloping tension that unfurls across the length of Tashi Wada’s Midheaven (Alignment Mix), a canon for eight-violins played by Marc Sabat, where two mirroring, overlain realizations of the composition - one moving forward as the other simultaneously moves backward - slowly converge toward a crescendo of dissonance, with striking harmonic interplay and delicate overtones guiding the way.
The final LP in the collection is graced by a work Byron Westbrook, before concluding with a psycho-physiological exploration by Caterina Barbieri. Westbrook’s Memory Phasings, composed and recorded on a combination of computer controlled modular synthesizers and a Yamaha TX802, stunningly deploys harmonic blocks of texture and long-tones within structures of rapid appreciations and carefully balanced punctuations, that culminates as a shimmer vision of abstraction in sound.
Barbieri’s Firmamento then brings us full circle, concluding the second instalment of the Harmonic series with graceful subtlety introduced by Kali Malone, with a striking effort of durational drone composed for synth.
Resting on the shoulders of an ancient tradition, Important’s The Harmonic Series Volume 2 - through truly visionary works by Malone, Lamb, Wada, Westbrook, Barbieri, and Pitre - paints a wondrously optimistic image of the future of the approach, not to mention experimental music at large.
Issued as a triple LP, cut at Golden and pressed at RTI for maximum fidelity, housed in a heavy duty, single pocket sleeve with printed inner sleeves, it’s impossible to recommend enough. Easily one of the most exciting releases of the year and not to be missed." [Soundohm]
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2021 |
€45.00 |
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Gudelnaya Polyana - Solar Systo Togathering 2020 |
3 x CD set |
Here we have a three-hour long compilation of live recordings, made in September 2020 at Gudelnaya Polyana (Russian for “droning glade”) – the experimental stage of the Solar Systo Togathering festival. The concept of Gudelnaya Polyana is total drone, infinitely diverse, but united in its essence. Every year in any weather dozens of musicians gather in the woods of the Leningrad region to take part in this ritual action, keeping themselves warm with bonfires, hot pu-er tea and kilowatts of sound.
In 2020, we were lucky to record the performances of most artists, and many of them agreed to provide fragments of these recordings for a commemorative compilation. The unity and diversity of droning sound is fully represented here since the festival gathers musicians from different fields: ambient, drone, noise, electronic, academic, and even the ensemble of 12-year-old experimenters made their contribution.
The first disc gently immerses us in the forest thicket, swamps and electrified fogs; the second takes us further into the labyrinths of sound experiments and unlikely consonances; the third begins with the piercing clarity of dawn, which gives way to a calm daytime mood, followed by the coming of night – the deep darkness thickens, we’re riding electromagnetic waves and trying to look beyond human existence…
In order to recapture the atmosphere more precisely, the tracks of 28 artists are smoothly rendered in three hour-long mixes. The artists taking part in this compilation are: AIKO ONLINE feat. KIKIMOTA & ANTON SONDA-JUNGLOV, ANDREW SPRRW & NIKA, AU, DRONE LIBERATION FRONT, EGREGOROS, EVERGREEN DJ, JAGATH, JAM DAZAN, KONTAKT S INOPLANETYANAMI ETO MUZYKA, KRYPTOGEN RUNDFUNK, LUNAR ABYSS, MIRA DREVO, NOISES OF RUSSIA, PETER THEREMIN, PETROGRAD DRONE GATHERING, SACHA RUSH & INSPECTR, SIX DEAD BULGARIANS, SOILCULT, SONOZERO, SVETLO111, SYMPHOCAT, TILE~SHORE, TIM SIX, TREMORKIKIMOR, TRETIY MIR, TUHJADES MAADES, W I I, WALDGRENZE.
zhb.radionoise.ru/eng/zhb-lxxxv.html
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Перед вами – трёхчасовой сборник живых записей, сделанных в сентябре 2020 г. на "Гудельной Поляне" – экспериментальной сцене фестиваля "Solar Systo Togathering". Концепция "Гудельной Поляны" – тотальный гул, бесконечно разнообразный, но единый в своей сущности. Каждый год в любую погоду в лесах Ленинградской области собираются несколько десятков музыкантов, чтобы принять участие в этом ритуальном действии, согреваясь пламенем костра, горячим пуэром и киловаттами звука.
В 2020 году нам удалось записать выступления большей части артистов, многие из которых согласились предоставить фрагменты этих записей для памятного сборника. Единство и многообразие гудельного звучания представлено здесь в полной мере, ведь в фестивале принимают участие самые разные музыканты: эмбиентные, дроновые, шумовые, электронные, академические, и даже ансамбль 12-летних экспериментаторов внёс свою лепту в этот праздник.
На первом диске мы плавно погружаемся в лесную чащу, болота и электрифицированные туманы, на втором – уходим дальше в лабиринты звуковых экспериментов и маловероятных созвучий, на третьем пронзительная ясность рассвета сменяется ровным настроением дня, за которым наступает ночь – дремучая тьма сгущается, и оседлав электромагнитные волны, мы пытаемся заглянуть за пределы человеческого существования...
Для более точной передачи атмосферы треки 28-ми проектов сведены в три часовых микса и плавно перетекают друг в друга. В сборнике приняли участие: КОНТАКТ С ИНОПЛАНЕТЯНАМИ ЭТО МУЗЫКА, МИРА ДРЕВО, ПЁТР ТЕРМЕН, ПЕТРОГРАДСКОЕ ГУДЕЛЬНОЕ СОБРАНИЕ, ШЕСТЬ МЁРТВЫХ БОЛГАР, ШУМЫ РОССИИ, AIKO ONLINE feat. KIKIMOTA & ANTON SONDA-JUNGLOV, ANDREW SPRRW & NIKA, AU, DRONE LIBERATION FRONT, EGREGOROS, EVERGREEN DJ, JAGATH, JAM DAZAN, KRYPTOGEN RUNDFUNK, LUNAR ABYSS, SACHA RUSH & INSPECTR, SOILCULT, SONOZERO, SVETLO111, SYMPHOCAT, TILE~SHORE, TIM SIX, TREMORKIKIMOR, TRETIY MIR, TUHJADES MAADES, W I I, WALDGRENZE.
zhb.radionoise.ru/rus/zhb-lxxxv.html
credits
released May 31, 2021
ZHB-LXXXV
All tracks were recorded live on September 11-14, 2020 at the Gudelnaya Polyana stage of the Solar Systo Togathering open-air festival, which took place in the woods of the Karelian isthmus, Leningrad region, Russia.
Mastered by Alexander Chulkov.
Sound recording, editing, mixing and additional mastering by M.M.
Photography by Dmitry Maslyakov, Yuri Elik and Diana Gerasimova.
https://zhelezobeton.bandcamp.com/album/gudelnaya-polyana-solar-systo-togathering-2020
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2021 |
€20.00 |
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Strain, Crack & Break Vol. 2 : Germany |
do-LP |
With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List. Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next Strain Crack & Break edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen-years-old. From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe (namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt. Including lesser-known artists like the late Wolfgang Dauner whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting ‘em whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a shit about the Fab Four’s Hamburg roots. Elsewhere we have a plethora of German bands made for German audiences as they try and shed second hand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1 newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm hand shakes for the camera. Strain Crack & Break Volume Two is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle, with tracks by Mr. and Mrs. Fuchs (aka Anima-Sound) who played their instruments completely naked throughout their anti-career alongside previously unpressed tracks by the scene’s leading Detroit-born African American drummer Fred Braceful who’s band Exmagma officially had the coolest record sleeves and track titles of ALL TIME (Torpedo Tits? Yes Please!). From an era where it was embarrassing to go into your local record shop and hum the tune over the counter, well that young lad Steve Stapleton was braver than that, and besides, these tracks are unhummable and at times unutterable. Did somebody in the crowd shout out for Joel Vandroogenbroeck! Good luck with that one. Stapleton is sharing. Even Stevens.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of OUR kind of music, back to the disused elevator shaft towards ground zero. Arrriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous nerds have faltered (or simply, got the wrong end of the stick). After Strain Crack & Break Volume One merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, our second lavish metallic gatefold double vinyl compendium drives a much deeper groove, which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl want-list in the early 1970s. Comprising of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats this second volume of the series throws us straight back in the deep end, putting the Bad in Baden and the odour in The Oder with little need for cheap Cologne.
Willkommen to another forgotten plateau found beneath the psychedelic underground, as Steve Stapleton and Finders Keepers dig new tunnels through the fabric of your vinyl wish-list, these German records are heavy, so find Solid Ground or watch you floorboards Strain Crack & Break before your bloody ears.
https://finderskeepersrecords.bandcamp.com/album/strain-crack-break-music-from-the-nurse-with-wound-list-volume-two-germany
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2021 |
€27.50 |
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Anthology Of Experimental Music From China |
CD |
China’s experimental music and sound art scene began to take shape in the post-Tiananmen era in the late 1990s. A few musicians from the mainland’s underground music scene started to experiment with new ways of making music while the music industry co-opted the once revolutionary and independent rock music scene. The Hong Kong based experimental musician Dickson Dee and the U.S. based artist Dajuin Yao introduced Western avant-garde, experimental music to the mainland through the Internet and through the organization of music tours and festivals. The practice and spread of sound art, particularly installation and performative kinds, was made possible partially by venues such as contemporary art galleries and studios that have come to flourish in the cities of Beijing, Shanghai and Guangzhou. Developed outside of academic and official institutions, China’s sound art and experimental music scene encompasses noise music, experimental music, free improvisation, sound performance art, and sound installation.
Wang Jing
The Unexplained Sounds Group is proud to present an anthology of experimental music from China, showcasing veteran musicians alongside many young and promising artists from the contemporary underground music scene.
https://unexplainedsoundsgroup.bandcamp.com/album/anthology-of-experimental-music-from-china
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2021 |
€13.00 |
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An Oblique Reference to Zeros |
do-CD |
"A budget-priced collection of tracks by artists who've had releases out on Fourth Dimension Records or whose music has entered the label's orbit and made a good impression.
In an ideal world there'd be at least several albums by all concerned on Fourth Dimension Records, but the label operates from more or less the same dingy old basement it always has and subsequently has to limp along in usual fashion.
It is precisely because of this that An Oblique Reference to Zeros has been assembled. The music always comes first and because Fourth Dimension Records does not focus on one particular area of music and instead works with a broad range of artists, the idea of bringing a number of them together on a compilation so that listeners can check out the previously unfamiliar made a lot of sense.
Almost all of the tracks here are previously unreleased, remixes or recorded exclusively for this compilation, too.
Packaged in a 6-panel digipak including stunning artwork by Puppy38 and a booklet with text even pointing to what inspired the title, this is an ideal purchase for anybody whose interests in music dovetail with Fourth Dimension's.
And, no, the title had nothing to do with Eno! Artists include: Kleistwahr, Sudden Infant, Hand & Leg, Mad Masks, MAP 71, Alternative TV, Splintered, Hiroshimabend, Tabata Mitsuru, Richard Youngs, JFK + Klaska, Philippe Petit, Schrottersburg, White Pee, Helm, EXTNDDNTWRK, Zsolt Sores, Theme, Band Of Pain, Contrastate, Mahler Haze, Sion Orgon and Gad Whip."
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2022 |
€13.50 |
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Visions of Darkness II ( (In Iranian Contemporary Music ) |
do-CD |
When the anthology "Visions Of Darkness (In Iranian Contemporary Music)" was released in 2017 (co-published in collaboration between Cold Spring and Unexplained Sounds Group), it was immediately clear that the Iranian music scene was not just promising, but already a rich chest of treasures. Years later we have further confirmation of the creative excellence and variety of musical languages that flourished in the Persian land.
In spite of the title, this second volume of the legendary anthology also gives us a broad picture of the musical experience of the Iranian underground that is not limited to the dark ambient, but explores sonic territories that reach concrete music, electroacoustic experimentation and sonic abstractionism. Persia, the cradle of a millenary culture, is teeming with young talents who continue their musical research with enthusiasm, pride and self-denial in the territories of drone music, as in electronic experimentalism and in the contamination of genres.
To some familiar names already present in volume I (Xerxes The Dark, IDFT, Reza Solatipour, etc ..), new discoveries are added that contribute to making the journey through the new Persian music exciting to the point that we can no longer speak of an emerging scene, but of a consolidated musical reality akin to others in the West.
Presented in a double digipak.
https://coldspring.bandcamp.com/album/visions-of-darkness-volume-ii-csr316cd |
2022 |
€17.50 |
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FLUXUS & NEOFLUXUS: STOLEN SYMPHONY |
do-CD |
https://subrosalabel.bandcamp.com/album/fluxus-neofluxus-stolen-symphony-vol-1
This album features pieces by (in alphabetical order): Eric Andersen, John Cage, Henning Christiansen, Bengt af Klintberg, Milan Knízák, Opening Performance Orchestra, Terry Riley, Mieko Shiomi, Yoshi Wada and La Monte Young. The musicians and performers Anna Clementi, Agnese Toniutti, Deborah Walker, Werner Durand, Luciano Chessa, Miroslav Beinhauer, Petr Bakla, Nicolas Horvath, Petr Ferenc and Premysl Ondra have played, performed and declaimed the Fluxus pieces, Arditti Quartet and S.E.M. Ensemble provided one piece from their archives. Milan Knízák, Petr Rezek, Petr Kotík, Olaf Hanel, Eric Andersen, Per Brunskog, Peter van der Meijden, Pavlína Morganová, Natasha Lushetich, Joseph Nechvatal, Natilee Harren, Martin Patrick, Diedrich Diederichsen, Christopher M. Reeves and Hubertus von Amelunxen have written Fluxus-themed texts. Archivio Conz in Berlin provided access to their extensive Fluxus archives and Edizioni Conz provided co-production. Ursula and René Block made possible the realisation of John Cage's historical composition 'Rozart Mix' from the Edition Block archive. The photographic material comes from Marie Knízáková and Milan Knízák's private archive, the German photographer Wolfgang Träger, Archivio Conz's Fluxus archive and Opening Performance Orchestra's digital archive. The cover themes are paintings by Milan Knízák, while the graphic design is the work of Jaroslav Buzek. The whole release is produced by re-set production. The LP edition contains 18 pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments. SIDE 1: 0. John Cage - 0'00'' (1962) (solo to be performed in any way by anyone) 0:00 1. La Monte Young - Compositions 1960 #15 to Richard Huelsenbeck (1960) 4:39 (Agnese Toniutti, piano) 2. Milan Knízák - DKH Quartet (edit) (1973) 4:40 (Arditti Quartet) 3. Henning Christiansen - Wolfsflöte (1986) 4:00 (Werner Durand, wind) 4. Giuseppe Chiari - Metodo Teorico E Pratico Per Suonare Il Violoncello (1962) 7:43 (Deborah Walker, cello) 5. Milan Knízák - White Process (from the cycle 'Processes Mainly For The Space Of Mind) (1978) 0:46 (Petr Ferenc, voice) SIDE 2: 1. Dick Higgins - Emmett William's Ear (1977) 9:40 (Agnese Toniutti, piano) 2. Henning Christiansen - Sturmsax (1986) 3:34 (Werner Durand, wind) 3. Milan Knízák - A Chromatic Scale In Countermovement (1971) 2:04 (Miroslav Beinhauer, broken piano) 4. Giuseppe Chiari - Gesti Sul Piano (1962) 4:40 (Luciano Chessa, piano) 5. Yoshi Wada - Lip Vibrator (1973) 2:24 (Ostravská Banda & Audience) 6. La Monte Young - Composition 1960 #7 (1960) 1:19 (Nicolas Horvath, piano) SIDE 3: 1. Eric Andersen - It Isn't Bad (2021) 1:05 (Eric Andersen) 2. Eric Andersen - Opus 1961 (1961) 5:29 (Miroslav Beinhauer & Petr Bakla, piano) 3. Bengt af Klintberg - Triad No.1 (2021) 5:10 (Werner Durand, bottles) 4. Mieko Shiomi - Imaginary Garden No.3 (2009) 7:38 (Miroslav Beinhauer, piano) 5. Terry Riley - Shoganigidi #1 (2021) 3:18 (Miroslav Beinhauer, broken piano) 6. Milan Knízák - Material Events (from the cycle 'Processes Mainly For The Space Of Mind') (1978) 1:28 (Premek Ondra, voice) SIDE 4: 1. Opening Performance Orchestra - Stolen Symphony (2021) 21:25 (Opening Performance Orchestra, electronics)
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2023 |
€20.00 |
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Fluxus & NeoFluxus: Stolen Symphony (Part I) |
do-LP |
https://subrosalabel.bandcamp.com/album/fluxus-neofluxus-stolen-symphony-vol-1
Double LP version. Gatefold sleeve; includes 24-page large booklet.
All in all, there are more than 50 pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments. This Fluxus edition features (in alphabetical order): Eric Andersen, Ay-O, George Brecht, John Cage, Giancarlo Cardini, Giuseppe Chiari, Henning Christiansen, Philip Corner, Öyvind Fahlström, Ken Friedman, Sten Hanson, Geoffrey Hendricks, Toshi Ichiyanagi, Joe Jones, Bengt af Klintberg, Milan Knízák, Alison Knowles, Larry Miller, George Maciunas, Sara Miyamoto, Nam June Paik, Yoko Ono, Opening Performance Orchestra, Benjamin Patterson, Josef Anton Riedl, Terry Riley, Takako Saito, Tomas Schmit, Dieter Schnebel, Mieko Shiomi, Yasunao Tone, Ben Vautier, Yoshi Wada, and La Monte Young. The musicians and performers Anna Clementi, Agnese Toniutti, Deborah Walker, Werner Durand, Luciano Chessa, Miroslav Beinhauer, Petr Bakla, Nicolas Horvath, Petr Ferenc, and Premysl Ondra have played, performed and declaimed the Fluxus pieces, Arditti Quartet and S.E.M. Ensemble provided one piece from their archives. Milan Knízák, Petr Rezek, Petr Kotík, Olaf Hanel, Eric Andersen, Per Brunskog, Peter van der Meijden, Pavlína Morganová, Natasha Lushetich, Joseph Nechvatal, Natilee Harren, Martin Patrick, Diedrich Diederichsen, Christopher M. Reeves, and Hubertus von Amelunxen have written Fluxus-themed texts. Archivio Conz in Berlin provided access to their extensive Fluxus archives and Edizioni Conz provided coproduction. Ursula and René Block made possible the realization of John Cage's historical composition "Rozart Mix" from the Edition Block archive. The photographic material comes from Marie Knízáková and Milan Knízák's private archive, the German photographer Wolfgang Träger, Archivio Conz's Fluxus archive and Opening Performance Orchestra's digital archive. The cover themes are paintings by Milan Knízák, while the graphic design is the work of Jaroslav Buzek.
1.
La Monte Young Composition 1960 #15 to Richard Huelsenbeck (1960) by Agnese Toniutti (Piano) 04:27
2.
Milan Knízák DKH Quartet (edit) (1973) by Arditti Quartet 04:39
3.
Henning Christiansen Wolfsflöte (1986) by Werner Durand (Winds) 04:02
4.
Giuseppe Chiari Metodo teorico e pratico per suonare il violoncello (1962) by Deborah Walker (Cello) 07:45
5.
Milan Knízák White Process (from the cycle Processes Mainly for the Space of Mind) (1978) by Petr Ferenc (Voice) 00:47
6.
Dick Higgins Emmett William's Ear (1977) by Agnese Toniutti (Piano) 09:42
7.
Milan Knízák A Chromatic Scale in Countermovement (1971) by Miroslav Beinhauer (Broken Piano) 02:07
8.
Henning Christiansen Sturmsax (1986) by Werner Durand (Winds) 03:39
9.
Yoshi Wada Lip Vibrator (1973) by Ostravská Banda & Audience (Paper Tubes) 02:26
10.
Terry Riley Shoganigidi #1 (2021) by Miroslav Beinhauer (Broken Piano) 03:19
11.
Yasunao Tone Clapping Piece (1963) by Residents of the Institute Ostrava Days directed by Eric Andersen 02:37
12.
Mieko Shiomi Direction music for a pianist (1990) by Agnese Toniutti (Piano) 26:01
13.
Dieter Schnebel An-sätze (1985) by Anna Clementi (Voice) 05:39
14.
La Monte Young Composition 1960 #7 (1960) by Nicolas Horvath (Piano) 01:20
15.
Eric Andersen It isn't bad (2021) by Eric Andersen (Voice) 01:06
16.
Eric Andersen Opus 1961 (1961) by Miroslav Beinhauer & Petr Bakla (Piano) 05:31
17.
Bengt af Klintberg Triad No.1 (2021) by Werner Durand (Bottles) 05:15
18.
Mieko Shiomi Imaginary Garden No. 3 (2009) by Miroslav Beinhauer (Piano) 07:36
19.
Milan Knízák Material Events (from the cycle Processes Mainly for the Space of Mind) (1978) by Premek Ondra (Voice) 01:31
20.
Giuseppe Chiari Gesti sul piano (1962) by Luciano Chessa (Piano) 04:37
21.
Öyvind Fahlström Morgon (1952-55) by Anna Clementi (Voice) 05:33
22.
Philip Corner A really Lovely Piece Made For & by Agnese (2019) by Agnese Toniutti (Piano) 03:15
23.
Terry Riley Ear Piece (1962) by Luciano Chessa (Oscillator) 05:02
24.
Philip Corner Small Pieces of a Fluxus Reality (2018) by Agnese Toniutti (Piano) 02:28
25.
Benjamin Patterson Paper Piece (1960) by Luciano Chessa (Paper) 06:01
26.
Philip Corner Toy Piano (2012) by Agnese Toniutti (Piano) 02:21
27.
Sten Hanson A Living Man (Poem) (1971) by Anna Clementi (Voice) 03:53
28.
La Monte Young 556 for Henry Flynt (1961) by the Residents of the Institute Ostrava Days, direction: Eric Andersen) 09:22
29.
Yoko Ono Conversation Piece (1962) by Anna Clementi (Voice) 08:07
30.
Opening Performance Orchestra Stolen Symphony (2021) (Electronics) 21:27
31.
Milan Knízák & Phaerentz & Opening Performance Orchestra BROKEN REBROKEN edit (2020) by Milan Knízák, Phaerentz & Opening Performance Orchestra 03:00
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2023 |
€25.00 |
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| |
DAIS223 (DAIS X RETROSPECT) COMPILATION |
MC + Portable Cassette Player |
Dais Records, das in LA/NYC ansässige Label, das klanglich ausdrucksstarke und visuell dynamische Künstler vertritt, ist mit dem analogen Innovator und Produktdesignstudio Retrospekt eine Kooperation eingegangen. Das Vermächtnis und die Tradition von Dais passen hervorragend zum Leitbild von Retrospekt: "Wiederbelebung von Retro-Tech für eine neue Generation". Das Ergebnis ihrer ersten Zusammenarbeit ist ein schickes, weißes, limitiertes Exemplar des tragbaren Kassettenspielers CP-81 von Retrospekt, das eine exklusive 19-Track-Kompilationskassette mit unveröffentlichtem Material aus den Reihen des Labels mit dem Titel DAIS223 enthält. Nathaniel Young, Kreativdesigner bei Dais, hat die Standardpräsentation des CP-81 sowohl für den Player als auch für die Verpackung neu gestaltet. Die weiße Dais-Edition des Kassettenspielers wird in einer weißen Schachtel mit schwarzem Text verpackt, zusammen mit einem Satz weißer Dais-Kopfhörer und dem C23-Compilation-Tape. Das Gerät verfügt über alle wichtigen Funktionen eines Kassettenspielers: Abspielen, Vorspulen, Zurückspulen, Aufnehmen und wird mit einem verstellbaren Dais-Kopfhörer geliefert. Der Dais x Retrospekt Kassettenspieler ist auf 1000 Stück limitiert - die Kassette wird nicht separat verkauft. Zu den Funktionen gehören: Wiedergabe, schneller Vorlauf, Rücklauf, Aufnahme, Mikrofonbuchse, Kopfhörerbuchse, Typ-C-USB-Stromversorgung, Batteriebetrieb möglich Enthalten sind: Tragbarer Kassettenspieler, C23-Kassettenband, 2x AA-Batterien, Verstellbare Dais-Kopfhörer, Benutzerhandbuch Der Compilation-Titel DAIS223 bezieht sich auf die Katalognummer (DAIS223). DAIS223 enthält unveröffentlichte Tracks von High Vis, High-Functioning Flesh, RIKI, Private World, Helm, Tor Lundvall, CoH, AURAGRAPH, ADULT., Drew McDowall, SRSQ, Cold Gawd, Remixe von SPICE und Cold Showers sowie Demos von Body of Light, Choir Boy, VR Sex und Xeno & Oaklander.
https://daisrecords.bandcamp.com/merch/dais-x-retrospekt-collab-limited-cp-81-cassette-player-and-compilation
We are proud to announce our collaboration with analog innovators and product design studio: Retrospekt.
The Dais x Retrospekt Portable Cassette Player is a limited edition release of Retrospekt’s CP-81: reimagined with a new graphic design in white, with rose-adorned artwork by Dais creative director Nathaniel Young. The device features all of the core cassette player functions, packaged with adjustable Dais branded headphones and an exclusive 19-track compilation cassette of unreleased material from our roster.
Limited to 1000. Tape not sold separately.
DAIS223 Tape Compilation
Listen to Sampler: found.ee/DaisXRetrospekt
SIDE A:
High Vis - Forgot To Grow
High-Functioning Flesh - Down To Sense
Riki - SAS (For Those Who Speak And Spake)
Private World - Through The Distance
Body of Light - Out of Season (Demo Instrumental)
Helm - Evil Ceramics
Choir Boy - Happy to Be Bad With You (Demo)
Tor Lundvall - Black Fly Day
CoH - Vow a Vow
SPICE - I Dont Want To Die In NY (Remix)
SIDE B:
VR SEX - Runway Runaway (Demo)
Xeno & Oaklander - Hoplite (Demo)
Tempers - Camino Del Sol (Antena Cover)
Cold Showers - Sliver (Inner City Remix)
AURAGRAPH - No Control
ADULT. - Few Warnings Are Important (2003)
Drew McDowall - Animals Will Sing
SRSQ - Phantasmata
Cold Gawd - Gin (At The Mountain)
Contents include:
- Portable cassette player
- Dais Records "C23" Compilation Tape
- 2x AA batteries
- Dais adjustable headphones
- User guide
Tape Player Features include:
- Play, fast-forward, rewind, record
- Microphone jack
- Headphones jack
- Type-C USB power supply
- Battery operable
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2023 |
€100.00 |
|
| VAINIO & VIGROUX |
Peau Froide, Leger Soleil |
CD |
Peau froide, lèger soleil”, is the result of a threeyear recording process, initiated by Mika Vainio and Frank Vigroux after a series of shared live experiences.
Sprawling after a show in Paris in 2012, their collaboration is an exercise in sensitive intensity, drifting the whole space between minimalist meditations and maximalist kinetics. Vainio’s signature brutalist electro grooves resonate all throughout the record, constructing a psychic scenario for Vigroux’s researches in spatial abstraction and tonal radicalism.
Densely built though free from structural limitation, this album is an intense 9track motion, serving as the third installment in Cosmo Rhythmatic’s catalog and acting as new chapter in the label’s construction an uncompromising sonic identity.
All tracks written, produced and mixed by Mika Vainio and Franck Vigroux.
Mastered by Dennis Blackham @ SKY Mastering.
Laquer cut @ D&M BERLIN.
Photography BY Umut Ungan (FRONT COVER), Diego JR. (BACK COVER)
https://cosmorhythmatic.bandcamp.com/album/peau-froide-le-ger-soleil |
2015 |
€15.00 |
|
| VAN DER VLEUTEN, MAARTEN |
High Intolerance toward low Energies |
LP |
"Van Der Vleuten, 1967 geboren, veröffentlicht mit der "High Intolerance Towards Low Energies" LP sein erstes Album unter seinem Geburtsnamen, den er fortan für seinen musikalischen Output verwenden will. "High Intolerance Towards Low Energies" ist eine von Tonefloat sehr ansprechend gestaltete LP, limitiert auf 500 Exemplare, und auf 180g Vinyl gepresst. Das luxuriöse Gatefold Cover mit einem eher rostig anmutenden Artwork trifft gut den submarinen Charakter des Albums: Man meint von der Wasseroberfläche des Meeres langsam abzutauchen, Druck baut sich auf, je tiefer man sinkt. Dröhnen in den Ohren und plötzlich sieht man in der Tiefe ein altes, mächtiges Schiffswrack auf dem Grund liegen. Der Rost zeigt, dass es da schon gar Jahrhunderte liegt. Neugierig und interessiert umkreist man es, aber irgendetwas scheint nicht zu stimmen. Flüstern und Murmeln, wabernde Stimmen und rhythmisches, maschinelles Stampfen. Nervöse, pulsierende Bass- Frequenzen und seltsame, gebrochene Melodiefetzen. Halluzinationen? Tiefenrausch? Man weiß es nicht. Maarten Van Der Vleuten gelingt es auf "High Intolerance Towards Low Energies" ein eigentümlich dichtes Gewirr aus Drohnen und Ambiancen zu schaffen, das in seiner Gesamtheit zu überzeugen weiß. Dass Van Der Vleuten mit dieser LP ein anderes Bild im Kopf hatte als mein submariner Eindruck, ist nicht weiter schlimm. Er legt den Fokus der Interpretation eher auf eine radikale Darstellung unserer sich immer schneller beschleunigenden Umwelt und will diesen Eindruck mit "High Intolerance Towards Low Energies" eingefangen haben. Diese Intention passt auch wunderbar zu dem unruhigen, fast bedrohlich wirkenden Charakter des Albums. Die enthaltenen 4 Stücke offenbaren eine nervöse Welt in der man entweder immer wieder ob der Bildhaftigkeit paralysiert und staunend stehen bleibt oder eben wie im Fieberwahn durch einen Irrgarten voller unruhiger, fremder Stimmen stolpert." [Creative-Eclipse]
"Amidst an infinite ocean of information, finding yourself is turning into a complex mission nowadays. On his latest full-length, ambient house pioneer Maarten van der Vleuten is returning to the memories of demolished Dutch monastery Regina Coeli, his head still spinning from the confounding excess of images and impressions. on his long and winding journey, he has come a long way from his early dance singles to being recognised as a widely respected, colourfully uncompromising personality. High intolerance towards low energies, pressed in a limited edition of 500 copies in a luxurious gatefold sleeve, has consciously been conceived as a radical representation of our rapidly accellerating environment: nervously pulsating bass frequencies and frenzied percussion are underpinning shattered sonic figments like the ground drone of a surreal urban raga, with shardes of song and prayer forming broken melodies. Finding his way through this menacing maze has certainly paid off for van der Vleuten: after releasing under 26 different pseudonyms over the last two decades, he has found his definitive musical identity on this haunting soundscape, with future works to be published exclusively under his common name. The album is pressed as a 180 grams black vinyl lp in heavy gatefold picture sleeve." [label info]
www.tonefloat.com
|
2008 |
€16.50 |
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| VAN HASSELT, JAN & CHRISTOPH OGIERMANN |
Der Bau |
2 x MC + BOOK |
https://aufabwegen.bandcamp.com/album/der-bau
"Ich will mich nicht aufspielen aber, sie verzeihen, meine Position ist die des, wie würden sie es nennen, religiös rituellen Spezialisten, was bedeuten würde, dass man mir alles glaubt. Das ist natürlich Unsinn. Aber da ist gar kein Bild. Also, wenn sie den Bau betreten würden, wäre alles nur schwarz."
Von verrauschten Audio-Kassetten erklingen seltsame Stimmen, Texte, wie herausgerissene Seiten aus einem Science Fiction Roman. Sie handeln von dem ›Bau‹, einem gigantischen Stahltank, unweit einer überfüllten Stadt. Fließt etwas hinein in den Bau oder heraus? Kann man ihn betreten? Und wenn ja, ist darin überhaupt etwas zu finden? Getragen, zersetzt und paraphrasiert von elektrischen Schwingungen, singenden Rückkopplungen und den akustischen Schatten der Zukunftsindustrie lässt Jan van Hasselts Lecture Performance ›Der Bau‹ ein dystopisches Kopfkino entstehen.
DER BAU wurde als Theaterperformance entwickelt und 2021 in der Schwankhalle Bremen aufgeführt. Die Performance erscheint nun als Buch plus zwei Audiocassetten im Schuber beim Verlag aufabwegen in Köln. Die Musik auf den Tapes des Komponisten Christoph Ogiermann entstand aus der Theatermusik und wurde um weiteres Material ergänzt.
Jan van Hasselt
Jan van Hasselt arbeitet als Theater-, Film- und Radioautor in Bremen. Seine Performances und Filme bewegen sich gerne an den Grenzbereichen zwischen Film, Kunst und Literatur. Sie wurden in Deutschland, der Schweiz und Österreich in Galerien, Theatern und auf Filmfestivals aufgeführt. Es entstanden Kollaborationen mit Marc Richter (Black to Comm), ANKK L and Christoph Ogiermann.
Jan van Hasselt is a writer, filmmaker and soundartist based in Bremen, Germany. In the last years he mainly worked for theatre, where he produced lecture performances combined with film and live music as well as hybrid performance formats. He collaborated with Marc Richter (Black to Comm), ANKK L and Christoph Ogiermann.
www.jvhasselt.de
Christoph Ogiermann
Geboren 1967. Beginnt 1990 auf Anregung von Erwin Koch-Raphael zu komponieren, schreibt seither Musik. Tätigkeit als Rezitator, Sänger, Geiger und Tastenspieler in den Bereichen Freie Improvisation / Konzeptimprovisation und europäische Kunstmusiken. Komponist. Kurator.
Abschluß des Kompositionsstudiums an der Hochschule für Künste Bremen bei Younghi Pagh- Paan. Weitere wichtige musikalische und philosophische Studien bei Georges Nicolas Wolff und Nicolas Schalz.
Born in 1967, Christoph Ogiermann began composing in 1990 at the suggestion of Erwin Koch-Raphael and has been writing music ever since. He received his diploma in composition in 2000 from the Bremen University for the Arts (Hochschule für Künste), studying with Younghi Pagh-Paan. He also undertook important musical and philosophical studies with Georges Nicolas Wolff and Nicolas Schalz. He works as reciter, singer, violinist and keyboarder in the fields of improvisation and european arts-music.
soundcloud.com/ogiermann
https://aufabwegen.bandcamp.com/album/der-bau
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2023 |
€30.00 |
|
| VAN HOEN, MARK |
Where is the Truth |
CD |
"Mark Van Hoen macht bereits seit 1981 Musik. Damals kaufte sich der Engländer seinen ersten Synthesizer und Kassettenrecorder und begann unter dem Einfluss von Brian Eno und Cabaret Voltaire elektronische Musik zu machen. 1992 gründete er die Band Seefeel, 1993 unterschrieb er unter dem Projektnamen Locust bei R&S Records, Labels wie Touch, 4AD und nun City Centre Offices folgten. Seit langem zählt Hoen zu den einflussreichen elektronischen Musikern der Insel. Das Album "Where Is The Truth?" ist mehr als eine Sammlung von Tracks. Es spiegelt Hoens Umzug von England in die USA, seine Reflektionen über seine Kindheit mit der Entdeckung, dass er selbst adoptiert wurde. Sein lang gehegtes Gefühl, am falschen Ort zu sein, ergab plötzlich Sinn, die sich anschließende kathartische Reise wird auf diesem Album reflektiert. Als Reisebegleiter mit dabei: Neil Halstead (Slowdive, Mojave 3), Julia Frodahl, Edison Woods. Wenn Gandhi das Leben als eine lange, anstrengende Suche nach der Wahrheit sah, dann ist "Where Is The Truth" der perfekte Soundtrack." [label info / Indigo]
www.city-centre-offices.de |
2010 |
€16.00 |
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| |
The Revenant Diary |
CD |
" "Don't look back," repeats one of several voices within Mark Van Hoen's The Revenant Diary, his fifth solo album and first release on Editions Mego. Surrounded by weighted beats, analog synthesizer drones and granular dirt, the unidentified, siren-like female voice's advice is as much seduction as warning. Tellingly so, for as well as being both Van Hoen's most ambitious and his most accessible work, The Revenant Diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. The album's foundation was shaped by a memory and a chance encounter. While remastering some of his early '90s releases and Peel Session tracks, Van Hoen -- a founding member of Seefeel, who also worked as Locust and in Seefeel offshoot Scala and has collaborated with Slowdive, Robert Fripp, Edison Woods and Esben And The Witch, amongst others -- happened upon a track he had recorded in 1982. Attracted by its simplicity, he was inspired to record the basis of The Revenant Diary on 4-track tape, using a minimal set-up, reminiscent of his first early '80s musical adventures as a young teenager. The recollection of one of these -- a 13 year-old Van Hoen's experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices -- provided an evocative inspiration. The Revenant Diary pivots on this combination of complex reflection and simplified technology. A determinedly analog affair, it brims over with Van Hoen's signature sounds: immersively-decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. Fragments of female vocals pepper the album, and notably dominate the 10-minute epic "Holy Me," one of Van Hoen's most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. Less song-based than his last solo work, the well-received Where Is The Truth (CCO 046CD/LP), its palette and structure are more descendants of the 1995 album Truth Is Born Of Arguments, which utilized a similar combination of decayed atmosphere against a granular/glitch rhythmic structure. Tracks like "Laughing Stars At Night" and "Unknown Host" exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. But this is no exercise in Instagram-style disposable nostalgia. Van Hoen's adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, color-saturated hues of rediscovered Polaroid photos, as the cover artwork, designed by Stephen O'Malley, acknowledges. The Revenant Diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound. All titles composed by Mark Van Hoen. Recorded in Brooklyn & Woodstock, NY, 2011. All instruments & processing by Mark Van Hoen with additional vocals by Georgia Belmont." [label info]
www.editionsmego.com
"Over the years I didn't keep up with Mark van Hoen's solo work. I remember Aurobindo to be a nice work but haven't heard that in a long time, and also 'The Last Flowers From The Darkness' has faded from my memory, but then no less than fifteen years have passed. Van Hoen, once a member of of Seefeel, Scala and collaborator with Slowdive, discovered some old tracks which brought him in the a teenage mood again: why not use that old four track tape machine again with a minimal set up? When hearing this, I reminded of his older works again. Van Hoen plays, at least for me, pop like music, with rhythm, broken down guitar sounds, samples and occasionally a female voice dropping into the music. Grainy, down-sampled voices going back to the 2-bit sampling mood add a certain raw texture to the album. Hazy stuff, a bit blurry. Its a clash of the modern versus the old, new and ancient technology meet up in a very nice way. A well entertaining record, filled with melancholy, ambience, choir
like sounds and glitched up rhythms. I am told this is all a bit more abstract than his previous work, but I think this is some very nice alternative popmusic. Certainly the kind of popmusic I like." [FdW/Vital Weekly]
"The Revenant Diary (eMEGO 136) bringt ein Wiederhören mit MARK VAN HOEN, den ich seit den Tagen mit Seefeel und Scala oder als Locust lange nicht mehr auf dem Radar hatte. Maßgebend für die 11 neuen Tracks war, so heißt es hier,
die Erinnerung an sein jüngeres Selbst als tonbandelnder Teenager Anfang der 80er. 'Don't Look Back' und 'I Remember' halten das Motiv der Rückkehr fest, das ihn dazu bewegte, sich diesmal doch wieder althergebrachter technischer
Mittel zu bedienen. Entscheidender ist jedoch das emotionale Moment, ein Schwanken zwischen Nostalgie und Trauer. Da herrschen anziehende und abstoßende Kräfte, die auch in 'Why Hide From Me' und 'No Distance (Except the
one between you and me)' reflektiert werden. Downtempo-Triphopbeats transportieren orchestrale Samples und eine verwehte Frauenstimme (die vokalisierende Georgia Belmont). Orchestral? Vielleicht sind es schimmernde Gitarren, Klanggewölk aus Streichern? Van Hoen inszeniert da eine mehrspurige Unschärfe aus flackernden, kaskadierenden Klangfetzen. Auch Belmonts Gesang
wird dabei zu einem phantastischen Folklorechor. 'Ambient' ist wohl auch ein irreführendes Wort, Van Hoen macht phantastische Musik, durchsetzt mit tierischen Lauten ('Garabndl x'). Das poppige 'Don't Look Back' ist insofern eine schwache Nummer. 'I Remember' hat danach mit seinem verschleppten Beat einen Steampunk-Touch, der Gesang ist nur ein Schatten seiner selbst. 'No Distance' tickert wie ein elektronisches Spinett, über Synthienebelstreifen schimmert ein Knabensopran auf ü. Wieder mädchenhaft, schliert die zerhackte Stimme über das motorische Tuckern und Synthiegeflöte von '37/3d'. Die 80er und 90er im Reißwolf der Erinnerung? "Wo warst Du?" lautet die wehmütige Frage, die Van Hoen aber über krumme Beats stolpern lässt. 'Unknown Host' überbrückt als halbe Samba die Zeit bis zu 'Laughing Stars At Night' mit seinem Baritongitarrenloop über Breakbeats und Lyrics, die hier mehr sind als nur eine Catchphrase. 'Holy Me' multipliziert Belmont für ein verzerrtes Replikantenmadrigal a capella in der Kirche der verlorenen Zeit. Da darf man dann schon mal Einkehr halten." [Bad Alchemy]
|
2012 |
€14.00 |
|
| VEAR, CRAIG |
Summerhouses |
CD |
"SUMMERHOUSES takes us on an acoustic trip through arctic landscapes. The atmospheric pieces are entirely based on field recordings made by Craig Vear himself. By just modulating these few but rich samples, he created 6 ambient tracks, that could hardly be more minimalistic - and could hardly be called music. Only the warm and gentle last track AFTER THE SINKING (check the video!) is based on one (and one only) musical chord, which seems like the lucky escape from the endless, cold, and dark widths of the first five tracks. Play on headphones during your next trans-arctic flight.
SUMMERHOUSES ist eine Klangreise durch arktische Weiten. Die atmosphärischen Stücke basieren ausschließlich auf Geräuschen die der Akrtiserfahrene Craig Vear VOR ORT aufgenommen hat. Allein durch Modulation dieser wenigen (aber gehaltvollen) Samples entstanden 6 Ambient Stücke, die minimalistischer kaum sein könnten - und auch kaum als "Musik" bezeichnet werden können. Lediglich das ruhige und warme letzte Stück AFTER THE SINKING (Video ansehen!) besteht aus nicht mehr und nicht weniger als einem (1) Akkord und wirkt wie die Rettung aus den unendlichen, kalten und düsteren Weiten der anderen 5 Tracks. Der Soundtrack für Ihren nächsten trans-arktischen Flug." [label info]
www.mille-plateaux.com
|
2010 |
€14.00 |
|
| VELEHENTOR |
Boeing: There and back again |
CD |
VELEHENTOR ist die dark-noise-wavig und zynisch-industrielle Seite von CLOSING THE ETERNITY, dem sibirischen Cosmic-Drone-Projekt. „Boeing“ widmet sich drei Sternstunden menschlichen Barbarentums, HIROSHIMA, dem Oklahama-Bombenanschlag (19.04.1995) und dem 9.11.2001. Die sechs Stücke sind meist im elektronisch-rhythmischen Bereich angesiedelt, zwischen tief-melancholischer Tristesse und rasender Industrial-Manie. Authentisch und abwechlungsreich. Kommt in DVD-Box mit Vollfarbbooklet.
VELEHENTOR is the dark-noise-wavey and cynical industrial side of CLOSING THE ETERNITY from Siberia. This release confronts with three extreme incidents of the human monsters (Hiroshima, 9/11 and the Oklahoma-terror-assualt. Six pieces between deep melancholic sadness and manic industrial sounds, mostly electronic-rhythmic based. Very authentic and varying enough. Comes in DVD-box with full-colour booklet.
|
2004 |
€13.00 |
|
| VENROOY, ESTHER |
Shift Coordinate Points |
LP |
Schon mit “To shape volumes, repeat“ (CD, Robo Records] war diese belgische Komponistin aufgefallen, jetzt erscheint diese sehr konzeptuelle Soundart-Platte als erste LP-Veröffentlichung auf dem britischen ENTR’ACTE, die ominöse Spionage-Radiodurchsagen als Soundquellen benutzt.
“Composed and produced by Esther Venrooy in 2005. Commissioned by Happy New Ears with the kind support of the Flemish community. In 1997, British maverick label Irdial-Discs collected a selection of so-called ‘numbers stations’ or ‘spy stations’ recordings under the title The Conet Project. This plays like a ‘best of’ of more than 30 years’ worth of secret radio and contains fragments of American, German, Swedish and Russian transmissions. Belgian composer Esther Venrooy was given permission to work with the material and for the occasion of the celebration of 75 years of Belgian radio created a highly personal interpretation of the medium’s secret history. Using manipulated sound and collage techniques she manages to distill an abstract poetry of sounds and thereby succeeds in extracting some meaning out of these hermetic transmissions.K9 moved back into the combat area ‹ Standing now in the Chineseyouth sent the resistance message jolting clicking tilting through the pinball machine ‹ Enemy plans exploded in a burst of rapidcalculations ‹ Clicking in punch cards of redirected orders ‹
Crackling shortwave static ‹ Word falling ‹ Photo falling ‹ Break through in Grey Room ¬ Pinball led streets ¬ Free doorways ¬“ [label description]
“About nine years ago, Irdial Records released a four CD 'The Conet Project', collecting sounds from number stations, or spy stations: transmissions found on radio waves of various secret services. A great and no doubt worrying work, if you understand the consequences of it, but also a wealth of great sound. I believe it is not allowed to use these sounds at will (I forget what the fuzz was all about, but somebody got sued for sampling some of it), but Esther Venrooy asked and got permission to use the material to create a sound piece for Belgium radio, which existed seventy-five years. If one is familiar with the original 'Conet Project' recordings, then it's easy to spot all the original voices ('five - three - two - zero - five'), but Venrooy knows her classics in music, especially that of musique concrete: the sudden shifts in sounds, the gentle gliding electronic tones, but also incorporating a little melody at the beginning of the second side. There is nothing really frightening about these voices anymore, they are isolated from the original context, and placed in this new, abstract picture, where they become voices of the unknown. They no longer have their original meaning, but rather a new one. This is a more than excellent record, and by far the best work by Venrooy to date.” [FdW / Vital Weekly]
|
2006 |
€15.50 |
|
| VERTONEN |
Return of the Interrobang |
CD |
VERTONEN gehört mittlerweile zu den interessantesten US–Elektro-Geräuschmusikern, tönt stets abwechslungsreich und überraschend. So auch hier, ein übergreifendes „Thema“ sind repetitive Klangstrukturen..... so gibt es ein langes welliges Drone-Stück, welches sich gut entwickelt; pumpende Sinustöne- und Gameboy-artige Sounds beim nächsten, repetitive Orgel-artige Loopmuster, Samples von lockerer Piano-Barmusik, etc. etc.
“Produced with support from a CAAP grant, this disc highlights three aspects of experimental audio I have been exploring over the past years: deep drone washes, throbbing, lurching activities, and manipulated turntables/vinyl.” [Vertonen] “Have seen a lot of Vertonen shows here in Chicago, bumped across a comp track or two, heard him on the radio twice, but this is surprisingly the first time I've sat down at home with a Vertonen release. So far the live stuff has come across as great loud deep-flow crash-sizzle, often with a nasty beat orientation wrecking through it, but on wax it's been unpredictable, softer but somehow heavier--and Return of the Interrobang surprises me further with deep glacial industrial dare-I-say-mellow textures. First track is a rather gorgeous and fairly soft (but thick) drone, not completely unlike something you'd hear from Birchville Cat Motel.... Great tones, glowing embers with doom undercurrents, packed with a sci-fi title: "Toroidal Circulation 1 & 2." (Never mind, I just looked it up and it's a science fact title.) Second track comes in with a hard beat, your basic urban alarm siren drill kind of thing, with mysterious sounds floating in the background, and it's pretty heavy, but ends up the most 'typical' track on the CD, because the remaining three, a trilogy called "The Medical Turntable Variations," are just lovely little subtle stumbling loop miniatures. I mean, sure, you can infer a creepy entropic 'broken machine' connotation with all three tracks, and the title of the third part, "Deplete To Ruination, The Wide Shift," is of course something scary to contemplate, and topical too: the ostensibly approaching era where dystopian science fiction becomes dystopian science fact. (There's that "it's not science fiction, it's science fact" thing again, he's good with that.) Possibly the loveliest of the three, but it does have a haunted piano thing going on...like, say, the haunted piano bar of a big-city luxury hotel in ruins, long abandoned by human life, now a bizarre gargantuan relic of the oil age...oh, and hey, what's an interrobang?! Is that science fiction or science fact?!—[Blastitude 18]
|
2004 |
€12.00 |
|
| VETROPHONIA |
Promzona |
CD |
Das Projekt von ALEXANDER LEBEDEV-FRONTOV (LINIJA MASS, STALNOJ PAKT) und NICK SOUDNIK (ZGA), zwei der lange aktiven Akteure der russischen Experimental-Szene. Auf 'Promzona' wird aus elektronischen & instrumentellen Quellen & found sounds eine sehr agile 'futuristische' mechanisch-industrielle, soundtrackhafte Geräuschmusik geschaffen, die zwischen den Polen 'dunkel-schwelend atmosphärisch' und 'kakophonisch-ausbrechender Maschinen-Lärm' schwankt. Die Musik ist in permanenter Bewegung mit vielen kleinsten und allerkleinsten Details und irren Sounds darin, man fühlt sich mitunter wie im Innern einer riesigen Maschine...
6 Stücke, 70 Minuten Spielzeit, Studio-Aufnahmen vom Sommer 2004, grossformatiges gedrucktes Klappcover.
"Brand new album from this legendary orthodox-futuro-industrial project from St. Petersburg. Landscapes of industrial zones, clanks of rusty metal sheets, rings of glass concrete, rumbles of locomotives, roar of fabric pipes and sounds of gramophone from the workshop. Only mind-blowing composition "Protaskivanie Trub" ("Pulling the Pipes") filled with worker's speech samples is worth listening. Vetrophonia doesn't forget about the technological progress too - track "Informatika" tells us about the newest electronic computers working with perforated tapes. Be up to date, listen to Vetrophonia!" [Zhelezobeton]
|
2005 |
€12.00 |
|
| VIBRACATHEDRAL ORCHESTRA |
My Gate's open, tremble by my Side |
CD |
Wiederveröffentlichung ihrer längst vergriffenen ersten LP von 1999.
"A CD reissue of VIBRACATHEDRAL ORCHESTRA's My Gate's Open, Tremble By My Side album originally released in 1999 as an LP by Roaratorio in an edition of 250 copies. Includes all the monolithic sheets of organic, repetitive drones and subtle rhythm and groove explorations of the original along with three bonus tracks recorded during the same sessions. Australian import." [label info]
|
2004 |
€18.00 |
|
| VIOLET |
Let the Sunshine in |
m-CDR |
Hinter VIOLET verbirgt sich Jeff Surak mit seinem kleinen Zeromoon-Label. Zu hören gibt es auf dieser mini CDR loopig-konkretes Material, welches untergründig in starker Bewegung erscheint.. Tip !
VIOLET is Jeff Surak who also does the Zeromoon-Label. On this small release we listen to loopy-concrete material, which seems to be in constant movement underneath.. to discover !
|
2003 |
€5.00 |
|
| |
Violet Ray Gas & The Playback Singers |
CD |
VIOLET gibt es schon seit geraumer Zeit (in der Cassetten-Szene bereits als "1348" und NEW CARROLLTON aktiv!), ist aber leider bislang im Drone-Katalog kaum in Erscheinung getreten... Dieses Album auf dem eigenen ZEROMOON-Label präsentiert rauhe, grobkörnige, experimentelle low-fi drones inkl. Einsatz von Schallplatten-Loops, Stimmzitaten & Feedbacks, zum Ende hin aber weniger noisige polyphone Sphären-Schichten, die schon fast an PHILL NIBLOCK gemahnen... ein weites Spektrum öffnet sich hier mit eigener Handschrift...
"Quite an intriguing burst of dark electronic and sample noise from Violet, whose Violet Ray Gas and The Playback Singers (ZEROMOON zero008 / SENTIENT RECOGNITION ARCHIVE SRA 10) is released in a digipack covered with Futurist-inspired monochrome images full of harsh diagonals and fuzzy dreams of the machine age. Jeff Surak arrives here from Washington DC, a hero of the 1980s cassette tape scene when he used to release music under his 1348 alias and ran his Watergate Tapes label. Consequently we can hear much stern authority and grainy power in these grim process-works. My fave so far is the opener ‘All Records Collapse’, with its implacable radio voice plucked from an indeterminate Eastern European zone, but ‘Snakehead Lapping’, ‘Plague Numbers’ and ‘Marionetki’ all communicate the requisite doses of futility. Two long tracks at the end, ‘Violet Ray Gas’ and ‘Interior Ghosts’, are somewhat more musical than atmospheric, shaped from queasy long-form drones tempered with alien sounds. Surak strives to offer ‘near-silence’ and ‘full-on tonal Brutalism’, with all shades in between." [The Sound Projector]
"... Dark and mysterious, mixing in bits of Jeck and Tim Hecker, Wolf Eyes, blending them into Violet's ominous world of sound. There's feedback all over the place, but it's far from harsh or jagged, instead it's used like color, to paint greyed out landscapes burnished reds, and melted oranges, thick tones, reverberating chimes, bits of buzz and crunch, disembodied voices, intercepted broadcasts, clouds of hiss, chugging machinery, industrial sonic detritus, warped strings, woozy synths, all wound up into dense walls of sound one second, blurred into delicate crystalline lattices the next. "Plague Numbers" is total Jeck, a skipping scratched record smeared into a gauzy washed out living portrait of sound, indistinct figures, flitting shadows, mysterious shapes, all moving as if through a thick field of static, not even four minutes, but we found ourselves wishing it would never end. Elsewhere the sound of lapping water is swallowed up by a crackling crumbling fog of burnt melodies, and slowed down riffs, a sort of sun dappled lysergic sonic swirl. The title track is a tuning up orchestra stretched out into a softly chaotic symphony of angular tones and fractured melodies, of sine waves and groaning creaking low end rumbles, augmented by curious crackles and strands of distortion arranged in patterns resembling speech, but rendered in impressionistic shards, finishing off with a gorgeous high end ur- drone, a softer Sunroof!, a field of static bagpipes, their overtones creating otherworldly patterns in the ether. Gorgeous." [Aquarius Records review]
www.zeromoon.com
|
2009 |
€12.00 |
|
| VIVENZA |
Realites Servomecaniques |
BOOK / CD |
"Deluxe CD book, 32 pages, pictures & texts in three languages: French, English, Japanese. 'Réalités servomécaniques' is an improved version faithful to the original recordings with visuals specially reworked, answering to a categorical assertion, theoricaly and practicaly on Vivenza's bruitist point of view, who presents sounds, 'noises', under their rawest and genuine aspect: sounds are machines / machines are sounds. Thus Vivenza captured the essence of factories with a strong sense of austerity, radicality, verticality, including thick smokes and intense darkness of industrial landscapes, as Réalités servomécaniques directly refers to the triumph but also decline of heavy industries in the 80s. The mechanics, cogwheels, forges and machines smash us in the face in a radically powerful way, being at the same time under our eyes and inside us, at the heart of our selves, in an ultra realistic way while listening. We are then, with Réalités servomécaniques, plunged in the midst the machines, and in the machines, with a surprising and striking strength. 'Machines are sounds / sounds are machines!' " [label info]
http://rotorelief.com
|
2015 |
€20.00 |
|
| VOGEL, MICHEL / PHILIP CORNER / PHOEBE NEVILLE |
Musiques des Ailes / Winged Music |
LP |
"RICERCA SONORA proudly presents, as its second release (RS2), a fantastic collaboration / improvisation between PHILIP CORNER, MICHEL VOGEL and PHOEBE NEVILLE. Phoebe Neville is musician, singer, and dancer. Philip Corner composer, musician, and former professor at Rutgers University in New Jersey. Michel Vogel, a musician and maker of instruments, principally percussion (gongs and bells). He has for this occasion installed a double frame for eight steel bells inspired by a Burmese model. In the context of "Archipel" the three present a performance in four parts. This limited release is titled "Musiques des Ailes / Wingèd Music", and was recorded in Paris, in June 1999 at the "Archipel" (the atelier of French artist Polska). Philip Corner and Michel Vogel plays, while Phoebe Neville dances and plays, the sound sculptures (bells & gongs) made by Michel Vogel. The original model for these bells is a flat piece of bronze or copper placed in the doorway of the Kachins or Mungs of Burma, now realized with today's metals by Michel Vogel. These recordings documents their experimentation with the resonant properties of metals. "Musiques des Ailes" is a beautiful album of improvisations: drones, silences and minimal vibrating music that going into an unheard territory.
Metallic resonances, obscure low frequencies, pure vibrating sonorities: "Wingèd Music"! Limited to 350 copies." [label info]
www.ricerasonora.com
|
2012 |
€17.00 |
|
| VOICE OF EYE |
Substantia Innominata |
10inch |
"geistermusik aus der wüste... oder der wind in den felsen... voice of eye's beitrag zur substantia innominata serie auf drone.
voice of eye haben schon ganz am anfang dieser anderen serie auf drone-records, der 7” reihe (genauer: im november 1994; dr-09), einen beitrag bringen können, der das ganz eigene drone-verständnis von diesem us-duo noch immer perfekt mitteilen kann. einer der gründe dafür mag sein, dass voice of eye (immer noch) zum teil selbstgebaute geräte nutzen, oft in form von streichinstrumenten, deren klang, zusammen mit flöten, stimmen und fieldrecordings quasi aus dem stand eine eigenartige stimmung evozieren kann. vor allem aber vermeiden sie dabei jede art von bombast oder auch nur das endlose übereinanderschichten von einzelnen spuren. die beiden haben, mit anderen worten, einfach ein sehr gutes gespühr für aufbau und spannung und eine sehr eigene vorstellung von klangästethik: einzelne töne sind in ihrem sound in einer form texturiert, die unmittelbar anspricht und voice of eye erreichen das, meiner meinung nach, neben der nutzung dieser wirklich ausgefallenen, exotischen instrumente, gerade nicht durch geheime effektgeräte, sondern vielmehr durch eine eher fast karge bearbeitung, durch ein rohlassen des klangs. daran hat sich seitdem (zum glück) nichts geändert, die “substantia innominata” 10” baut in allen drei stücken (“vira”, “dhyana”, “purusa”) auf dieses klangverständnis und webt (und das ist hier mal fast wörtlich zu nehmen) ein sehr zartes und transparentes gespinst mit einer, technisch gesehen, für eine 10” geradezu unglaublich langen spielzeit. musikalisch / atmosphärisch dann mit diesem zeit-ausschalt-faktor, den nur wirklich packender ambient schafft. daher: volle empfehlung (auch wenn die superlange spielzeit ihren vinyltribut fordert)." [N, Unruhr.de]
"This release marks the comeback of the legendary duo from New Mexico, USA, consisting of BONNIE McNAIRN and JIM WILSON! Over a decade ago (1992-1995) VOICE OF EYE released three albums with their unique style combining ethnic, ritualistic & folklore influences in an experimental and highly organic way to create a kind of "transcendental drone ambience", using only "real" instruments & self-built devices and an array of electronic effects. In November 1994 they released an EP entitled "Sprocket" on Drone Records (DR-09), which is still one of the absolute highlights in the Drone series.
After this first phase of musical creation VOICE OF EYE focused on building an incredible "Earthship" house in the deserts of New Mexico. In 2007 they returned doing shows in the States, Germany, France & Italy and releasing two limited CDRs. This 10" has 3 tracks with NEW material (entitled "VIRYA", "DHYANA" and "PURUSA") inspired by the wisdom of Buddhist / Advaitic meditation & philosophy, where the contemplation within music & sounds appears as a tool to reach a higher consciousness & awareness of reality.
This highly sublime & emotional "other-dimensional" ambience is based on lots of ethereal vocal material, flute-sounds and their typical self-built string-instruments, full of yearning and beauty - almost 39 minutes of material coming on clear vinyl with golden striae, with superb artwork by THOMAS DOHMEN.
This is the celebration of the "Unknown", seen as a state of mind where the Ego dissolves into a timeless universal consciousness." [label description]
|
2008 |
€12.00 |
|
| |
Seven directions divergent |
CD |
Endlich das erste offizielle "volle" Album nach der Wiederbelebung des Ethno-Drone Paars, die stets alle Instrumente selber einspielen. Sie erweitern hier ihren Transzendental-Ambient mit psychedelischen und Song-orientierten Einflüssen, es wird gesungen, alles versinkt in wattigen Echo-Effekten und halluzinogenen Klangpulsen. Die sieben Stücke wirken in der Tat wie sieben verschiedene Richtungen ihres neuen Musik-Kosmos. Perkussive Bass-Gerüste bilden oft die Basis für die höchst harmonischen, warmen Stücke, die einen stark indisch-orientalen Touch aufweisen. Wunderbar z.B. das fünfte Stücke OM SHANTI, ein dronig-sanft & sphärisch-melancholisches Sehnen... engelshafte Gesänge und butterweiche Instrumentalparts bilden oft einen fast ozeanisches Flair, das letzte Stück "Transformational Birth " ist ein grossartiges schamanistisches Geister-Drone-Stück (18 Minuten) mit unheimlicher Sog-Wirkung !! Zwischen Transzendental-Pop und drone-basierter Psychedelic, VOICE OF EYE's Musik bleibt faszinierend spirituell & kontemplativ !
"Seven Directions Divergent (2009) is the latest release by Taos, New Mexico based artists Voice of Eye. Taking over a year to produce, Seven Directions Divergent is the third CD to be released on Conundrum Unlimited, and the fifth full-length Voice of Eye CD.
As artists experimenting with sound we have been inspired by many different styles of music and noise. Seven Directions Divergent pays homage to some of the diverse musical sources that have influenced us over the years from traditional Sanskrit chants to Steve Hillage to cute Euro pop to shamanic transcendence. This is an ambitious project melding many different sources together with the ethereal beauty and yearning magnificence you expect from Voice of Eye. This CD transports the listener along a narrative history of our personal journeys of change and transformation as told through the medium of sound. Seven Directions Divergent was mastered by award winning engineer Jon Gold for the best sounding Voice of Eye release to date. Comes in a Digipack with beautiful full color artwork by Jim Wilson.
Voice of Eye formed in 1991 out of the ashes of experimental bands Esoterica Landscapes 7 and Cruor. Through Voice of Eye, members Bonnie McNairn and Jim Wilson explore profound aspects of consciousness as the music is shared as a tool for entering different states of consciousness. The motivation behind forming Voice of Eye was to connect to a deeper truth we first sensed within our music. This unformed presence first revealed itself to us through music and has continued to manifest taking shape throughout our life’s journey leading to profound mystery.
Voice of Eye’s modus operandi is to take sound sources that are acoustic in origin, then process them through little black boxes to warp time and widen sonic perception. Voice of Eye’s sound shifts from gentle soundscapes to primal wrenching malevolence with such ease that the listener is unaware of the transition until it is too late and they are fully immersed in the voyage.
Voice of Eye took a hiatus from music in 1997 to build an off-the-grid sustainable home and studio in Taos, New Mexico. The process would take the next ten years. The result is an enormous sculptural free flowing work of art built entirely by the hands of Jim and Bonnie. Living in the open and empty spaces of the desert had the additional effect of deeply connecting them to the truth of their being as begun through music. The desert is the fire that burns away everything. Both members are now focused on the healing arts. Their journey has transformed what was begun through music into a way of life. Please see www.voiceofeye.com and www.myspace.com/voiceofeyemusic for discography, photographs and more information" [label info]
www.voiceofeye.com
"Since some time Jim Wilson and Bonnie McNairn, together known as Voice Of Eye are back. In 1997 they stopped creating music to 'build an off-the-grid sustainable home and studio in Taos, New Mexico', which took them ten years to build. Since their return their have been a couple of releases, which saw them return to their fine of lengthy, warm ambient electronics with great emphasis on the psychedelic quality of the pieces. Maybe therefore the opening piece here on their twelfth CD 'Seven Directions Divergent' is quite a surprise: its almost popmusic, slow rhythm, e-bow on the guitar, and Bonnie McNairn on some heavenly voice trip, and sounding a bit like Cosey Fanni Tutti. Laid-back popmusic. Almost. This is continued in the following piece 'Where Are You?', which is, me think, even better. Voice Of Eye changed that radical? Hard to believe, and no, they didn't. At least not to that extent. Throughout it seems indeed that elements of popmusic have been brought in, without losing the original ambient sound. 'Transformational Birth', the piece that closes this CD is one of those typical lengthy Voice Of Eye ambient excursions. A bit without any sense of direction, sounds flowing about, like being in space. They drift in and out of the mix, without any synthesizers (according to the cover), like the real cosmic music thing. That makes this a great CD. Drifting, flowing in all pieces, bouncing back and forth towards the more 'pop' like tunes and lengthy, atmospheric excursions. A great album, I'd say, an excellent combination of both ends, making a very mature album. Great psychedelic music." [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
| VOLCANO THE BEAR |
Classic Erasmus Fusion |
do-CD |
Was soll man zu dem britischen Quartett VOLCANO THE BEAR noch sagen? Wer auf der Suche nach überraschender & neuer, (noch) nicht klassifizierbarer Musik ist, die nicht am Computer entsteht, muss hier einfach mal reinhören!! Ihre Musik mit Einflüssen aus Folk, Drone, Avant-Rock & Impro-Jazz ist nicht nur oft irgendwie “weird” und verquer, sondern weist auch streckenweise grosse harmonische & elegante Schönheit auf... wie immer ist vokales Material omni-präsent!
“.... zeigt Antifolk flippernd zwischen Didgeridoo und Handy, Daumenklavier und elektrischer Störung, als Folklore des Absurden, die es fertig bringt, in raffinierter Unschuld zerebralen Goldstaub aufzuwirbeln..” [Bad Alchemy # 51]
„...Describing Volcano the Bear's music is about as difficult as identifying the instruments. The quartet's arsenal of gear is transcendant of time and space, culled from different cultures and different eras, from classically orchestral woodwinds (albeit sometimes just blowing through the mouthpiece) to African thumb piano, helicopter sounds, thunderstorm and rain and running water, medieval squeeze boxes, squeak toys, chirping or crying bird sounds, and Asian stringed things. While improvisation has been integral to the band's development, Volcano the Bear can always be counted on very cold-calculated and composed songs appearing on their official studio albums. Their arrangement is loose but never wanky or show-offey. Perhaps it's this lack of soloing and pretention that has kept them from appropriate recognition by some of the major experimental media in favor for a whole "free folk"/"weird rock"/"new weird America" obsession.“ [Brainwashed]
"VTB have crafted a strange geometry in their musique concrete between celestial duck honks and what sounds like a flood in the living room, there are more than a few occasions of heads cocked at the speaker in mundus caninus. Of course, this bodes well for humans, too. Augmented by all the dog friendly moments is a double album of sprawling musical invention. Record one births gently into a lo-fi-adelic Comus-like saline that even might even win over the Devendra crowd, if the Devendra crowd had ingested just a little too much mushroom tea on that day and left their ironic trucker hats at the door. Song becomes fever dream and then pitches into a barren place of low estate and low chanting whose Residents might well be Eskimos. With typical minimalist pageantry, VTB mutate from piece to piece, punctuating along the way with surprise sounds that the aforementioned dogs love so well; the kinds of quirks that make Nurse With Wound and P16.D4 records such fun listens. VTB spin some very melodious tales, which are subliminally hooky, after a fashion. Spiritual and surreal are sisters. Quiet ritualism queues with dadaistic and with progressive harmonies, together on the same fractured, out world, sing-along journey. And that's just record one. Record two crawls slowly from the echoey ooze, grows legs and then presents as a different and, in many ways, more dramatic creature. A long, shifting organ drone becomes a deeply psychedelic statement that bleats loud and strong like an acid bleached Spiral Insana or a sneaky This Heat.” [label info]
www.blrrecords.com
|
2006 |
€14.00 |
|
|
The birth of Streissand |
7inch |
Rare Single der britischen (ja man darf das jetzt wohl sagen?) Kult-Band, die die experimentelle Erweiterung des Impro-"Folks" wie wohl keine andere Gruppe betreiben... leider teuer!
"Second release from the new Newcastle-based No-Fidelity label, after the first recording from scene-legend Sir Richard Bishop (of the Sun City Girls) sold out in a whistle. Something a bit special. Having built their career upon a reputation for incendiary live appearances and a heap of self-released CD-Rs and cassettes, Leicester's Volcano The Bear have slowly been gathering steam, becoming one of this country's most exciting experimental improv outfits. This startling new 7" for No-Fi showcases the group at their most abstract, the A-side a sinister brew of creaking violin and string plucks. It sounds something like No-Neck Blues Band collaborating with Wolf Eyes on a re-take of the Saragossa Manuscript soundtrack. The B-side goes further down the path paved by Olsen and co. with some metallic clanking and utterly gnarled noise eruptions." [press release]
|
2007 |
€10.00 |
|
|
Amidst the Noise and Twigs |
CD |
"Die vier buchdeckelartigen Hochglanzseiten mit surrealen Bilderwelten des Nick Mott – Würfelkopfgestalt, gesichtslose Männchen fliegen durch die Luft, eines legt seine Stielaugen vor sich auf den Tisch – würden den Kauf von VOLCANO THE BEARs Admidst The Noise and Twigs (mt204a) fast schon alleine rechtfertigen. Umso besser, wenn dann die Musik auch noch überzeugt. Neben dem Artworker zeichnen für diese wieder Aaron Moore, Clarence Manuelo und Daniel Padden verantwortlich. Sie jagen den Hörer durch eine scheinbar zufällig chaotische Dadaund Patchwork-Welt, die bisweilen Dilettantismus höchst gekonnt suggeriert und mit allen musikalischen und technischen Tricks Illusionen aufbaut und zerstört. Hippiegeschrammel trifft auf orientalische Flöten und Gongs der Chinaoper. Dann paaren sich Flötengedudel, Geklapper und Geknarze ’Before We Came To This Religion’. Auf ’Larslovesnicks Farm’ steht ein altes verstimmtes Klavier, auf dem ein Langweiler vier Töne tonleiteraufwärts stetig wiederholt, dazu scheinen Türen zu knarzen und Wasser wird verspritzt. Ein Banjo beschränkt sich auf 2 Töne, die während des Anschlagens getunet
werden. ’Cassettes Of Berlin’ ist eine negativländlerische Collage aus Geräuschen, Stimmfetzen und Radioeinspielungen, abgehackt, weil am Frequenzeinstellrad weitergedreht wird. ’Splendid Goose’ ähnelt den langen Mothers-Stücken der zweiten Freak Out-Scheibe. Das Schlagzeug unterbreitet den treibenden Rhythmus, über dem sich monotone Frequenzteppiche ausbreiten, gestört und unterbrochen von Kracheinspielungen und begleitet von brummiger Stimmakrobatik oder Flötengequengel. ’She Vang Moon’ kreiert eine Atmosphäre tibetanischer Klöster mit Mönchsgesang, Harmonium, Gonggeschepper, verzerrt dann immer mehr durch unsaubere Frequenzen. Es geht auch gefühlvoll, wenn die Trompete zu einer Art Hymne ansetzt, aber dann wird gegrunzt, gejammert und durch den Kamm geblasen. Das letzte Stück, ’The Three Twins’, beginnt in getragenem Tempo mit 3 Tönen und der tiefgreifenden Aussage “Hi-a-o, Hijä-jah...“ (oder so ähnlich), geht über in dilettantisches Geklopfe, Kindergeschrei, Klaviergeklimper - das Schlagzeug wuselt im Hintergrund – und entwickelt sich tatsächlich noch zu einem Song, der am Ende vom Sax regelrecht ’zerquetscht’ wird." [Bad Alchemy]
"The first 1000 copies are packaged in a full color book bound case with an eight page booklet. Volcano The Bear "Amidst The Noise And Twigs" is the follow up to the critically acclaimed "Classic Erasmus Fusion" album. Who knew that amidst the noise and the twigs there was music…sweet, sweet music?! This world is Volcano the Bear’s womb. At last, the year that VTB gets a shot at Top Of The Pops, assuming the pops finally snaps out of its vapid trance and embraces the standards of Comus, 3 Hurel, early Residents and 12th century Arabo-Andalusian music. As usual, our heroes are found keeping things stripped to the bone trumpet, but dripping with a juicy, melodic marrow. The record pours slowly and resolutely like a folk-psych dream urn, loaded with full metal banjoes; crumhorns at 12 O’clock; and autoharps at defcon 5. The experimentalism is this time couched in shifting tides of self-spun acidic harvest ballads that noisily well up into proto-Kraut thrums and tribal night t rips around the pyre. A rural, squelchy, DIY delicacy which stinks of occidental embouchure so crystal crisp that every skkrrrr, pphaaapph and brrruuuummmm resonates like a small, sound-specific god, intertwined with beautifully skewed notes, voices and rhythms. "Amidst The Noise And Twigs" plays like a recently discovered field recording of some obscured Celtic clan who accidentally stumbled onto psychedelia 600 years ahead of its time. These pipers truly rock the gates of dawn." [label notes]
www.blrrecords.com
|
2007 |
€13.00 |
|
|
The Mountains among us |
CD |
Die bereits 200ste Katalognummer des Portlander Labels ist für VOLCANO THE BEAR reserviert, und diese präsentieren hier ganz besonderes Material, 2 urlange Stücke mit sehr geräuschhaften Instrumental- Drones & field recording-Quellen, sehr frei & voller überraschender Wendungen und wunderbarer dunkler Parts. Das Album weist mitunter fast schon neo-klassische Qualitäten auf, ist
überraschend atmosphärisch, dabei aber von unheimlicher Stringenz. Unser definitiver Lieblingsrelease der britischen Band! Anklänge an NOISE MAKERS FIFES, ZEITKRATZER, MORPHOGENESIS.... erschien übrigens vor einigen Jahren bereits auf Beta-Lactam als LP in einer Auflage von nur 100 Stück!
"Die wohl beste Band des CTM Festivals 2006 mit zwei über 20 Minuten langen Tracks in oberdickem und teurem Pappcover. Natürlich werden VTB in keinem Weird Folk Artikel erwähnt, dafür sind sie viel zu weit draußen, zu windig, hölzern, befremdlich und abseits von allem. Es blasen alte, nach Gauklerfest klingende Tröten, aber nur selten zum Tanz oder Marsch. Streicher werden gekappt und geschnitten, Vögel und ein anonymes Publikum schauen teilnahmslos zu, an der Harfe wird semi-improvisiert, Gesang in die Länge gezogen etc etc. Trotz aller Experimentierfreude an den Instrumenten steht deutlich VTBs famose Studioarbeit im Vordergrund. Alle Spuren sind meisterhaft abgemischt, so dass klar der Eindruck des steten Machens über dem der fertigen Arbeit steht. Unheimlich, mysteriös und spitzengut." [Ed Benndorf / DE BUG]
"First edition of 500 numbered copies in a full color book bound cd case. This year sees the eruption of the Volcano with a myriad of releases leaving the town folk covered in a fine and mysterious silt of musical entropy. The limited release of "Mountains" finds our boy’s spelunking the creepiest of dream spawned caves, excavating crystalline fragments along the way, which are then set in beautiful mental jewelry appropriate for any formal occasion. Arpeggiated blurs and disinterred voices snap, crackle and pop as an unnamed rusted hulk is slowly pushed across an ever morphing open landscape. More accurately still, it's like that weird wind harp record from the 70's with a mid period NWW and Mauve Sideshow marching up opposite sides of the hill to claim the giant harp. And that's just in the first 19 minutes!. Afterwards, there is a slo-mo interlude battle between rarified VTB brand chamber music and the sounds of...things. As promised, the denouement is a brief, dare I say, pretty little whisper of pizzicato and drone. So pretty and little, in fact, that it caught the attention of my otherwise weirdness deaf partner. A real symphony of the spheres that showcases this Volcano's ability to blow its top and rain sweet tweeky kittens on the valley below." [label info]
www.blrrecords.com
|
2008 |
€15.00 |
|
|
Golden Rhythm / Ink Musik |
LP |
"Das brandneue Studioalbum von VOLCANO THE BEAR ist eine kalkuliert-hysterische Verschmelzung von THIS HEAT, ROBERT WYATT, FAUST und THE RESIDENTS, aus Musique Concrete und Ethnofolk, gesehen durch ein Kaleidoskop aus theatralischer Improvisation. Gegründet 1995 waren es VOLCANO THE BEAR, die Steven Stapleton von NURSE WITH WOUND derart in Aufregung versetzten, dass er sein United Diaries Label wiedererweckte, nur um 2000 ihr erstes Album ,The Inhazer Decline" herauszubringen. Seitdem haben VOLCANO THE BEAR Alben auf einer ganzen Stange von Labels (und ihrem eigenen!) veröffentlicht, von denen ,Classic Erasmus Fusion" von 2006 ein definitives Highlight ist. Wenn die Band aufnimmt, dann geht es darum, krasse Absurditäten auf bizarr-schönste Weise darzustellen. "Golden Rhythm/Ink Music" ist ihr erstes "richtiges" Studioalbum seit "Amidst The Noise And Twigs" von 2007. Das neue Album konzentriert sich auf die soundtechnische Trennlinie zwischen Aaron Moore und Daniel Padden und dürfte das fokussierteste Album von VOLCANO THE BEAR überhaupt sein. Es zeigt ,Rockmusik" aus der leicht verdrehten Perspektive von VOLCANO THE BEAR und wartet mit mehr Schlagzeug/Gitarren Kombinationen auf als jemals zuvor. ,Golden Rhythm/Ink Musik" übersetzt die bizarre Energie der VOLCANO THE BEAR Liveperformance in die Umwelt des Studios.
#########################################
Rune Grammofon presents the brand-new studio album from Volcano The Bear, a calculated, hysterical melting-pot of This Heat, Robert Wyatt, Faust and The Residents, of musique concrète and ethno-folk, all seen through a prism of theatrical improvisations and unhinged set pieces. Formed in 1995, and after several self-released tapes and CD-Rs, VTB so excited Nurse With Wound's Steven Stapleton, that he brought his United Dairies label out of cold storage to release their first album proper, The Inhazer Decline, in 2000. Since then they've released music on such labels as Misra, Beta Lactam Ring, Textile, Digitalis, Pickled Egg, Alt Vinyl as well as their own imprints Volucan and Volfurten with the exceptional Classic Erasmus Fusion from 2006 being a possible highlight. On record, VTB offer stark and stunning absurdities in the most bizarrely beautiful way. Recycling and re-contextualizing their material is an innate habit, and the variety of recording options they might choose (be it a highly-equipped professional studio or a second-hand dictaphone) allows their craft to be formed in a myriad of different ways. VTB have toured extensively throughout Europe and North America and in concert they are the duo of Daniel Padden and Aaron Moore. Absurd humor and eclectic ways of producing sounds are characteristic of their live performances and their extensive knowledge of the traditions of experimental and folk music makes the band difficult to categorize. The band record everything they play and will often use these recordings as raw material for their albums. VTB have released a number of records since the start, often mixing studio, live and home recordings. Golden Rhythm/Ink Music is their first more or less "proper" studio album since Amidst The Noise And Twigs back in 2007. Largely based on the sonic fault-line between Aaron Moore and Daniel Padden, it's also the most focused and driven of VTB's prolific output so far, showcasing the duo's unique musicality and interplay, while retaining their trademark eccentricity and humor throughout. It presents "rock music" as seen through VTB's skewed eye, featuring more of Padden and Moore's drum/guitar combination than on previous albums. Taking the bizarre energy of their live duo performances into a studio environment, and combining it with VTB's eclectic instrumentation and Clarence Manuelo's singular audio-work, GR/IM shows VTB making their most vital work to date. Includes mp3 download code." [label info]
www.runegrammofon.com |
2012 |
€20.00 |
|
| |
Yak Folks Y'Are |
CD |
Nefryt - N 029
Format: CD
Country: Poland
Released: 26 May 2018
Genre: Electronic, Rock
Style: Avantgarde, Experimental
Tracklist
1 Where Are The Bounds?
2 Banket Ball
3 Nobody's Falling
4 Egg Knowledge
5 Oslo Top
6 Hello Graham
7 My Favourite Lungs
8 Massive Furniture Invasion
Notes:
Yak Folks Y'are originally issued by Pickled Egg in 1999 as a mini LP. My Favourite Lungs & Massive Furniture Invasion originally issued by Alt.Vinyl in 2006 as a lathe cut 8".
Thank You Alan Jenkins, Stew Brackley, Steven Freeman, Steve Hill, Alan Freeman, Kev Reverb.
Copyright Volcano The Bear 1998
4 panel gatefold sleeve.
Limited to 444 copies.
"Out on Pickled-Egg from the UK, Volcano's first LP consists of 6 new songs by these growing and mind-expanding UK surrealists. On a whole, the release is filled with a bizarre emotion that leaves a sinking feeling in your stomach.
Side A ("Yak Folk") starts with the low-fi, reverb-drenched track, "Where Are the Bounds?," which is reminiscent in feel of the first track ("Planetary Bethlehem") from The Inhazer Decline. The second track is a short snippet of eerie noise, leading into "Nobody's Falling," which utilizes their eccentric—but extremely compelling—vocal work. With a very psychedelic-rock sound, they play horns, organs, and consistent high hats, which blend to conjure up a surrealist lounge. Side B ("Y'Are") has some beautiful, brilliant work—the best VtB I've yet heard. "Egg Knowledge" makes me feel as if I am in the presence of ghosts. The vocals are haunting and extremely bizarre (comparable only to a dying elderly), and combine with the tension-building noises and tribal-esque drums to leave a queasy, almost painful mindset. Next is "Oslo Top," made of twinkly noises with demonic vocals. And finally, "Hello Graham," the long ending track, tops the album with its usage of slurred vocals and beautifully simple acoustic guitar overlayed and interchanging, putting emotions out for grabs that are both frightening and captivating. The feeling for most of the LP is, in fact, a strange, ambiguous line between comforting and terrifying; but it is executed in such a manner that is purely hypnotic." [Brainwashed review on the original LP edition from 2000]
nefryt.bandcamp.com/album/volcano-the-bear-yak-folks-yare
|
2018 |
€13.00 |
|
| VOLCANO THE BEAR / LA STPO |
The Shy Volcanic Society at the Beat and Bird Parade |
CD |
"A split CD containing five tracks from Volcano the Bear and four by STPO. The French group STPO is a long existing and very underestimated group with limited releases over the years. Their history of dadaist and experimental music started in 1984. Beta-lactam Ring released and re-released some of their older material. For this release they choose four tracks that were recorded in 2003 and were not included on earlier releases. These tracks again illustrate their very odd musical universe. I admire them for staying close to their unique musical vision and language. For Volcano the Bear things are opposite in at least one aspect. Namely, they released already a bulk of records in the past. Less bizarre then STPO Volcano the Bear refer in their experimental music to folkmusic. Their compositions stay somewhere in the middle between song-structure and soundcollage. Also they are one dimensional compared to the compositions of STPO that are structured along the inimitable logic of their musical fantasies. The same for their carefully worked out arrangements. The over the top and very expressive vocal work by Pascal Godjikian is the heart of most of the tracks on this CD. Can't get enough from them." [DM, Vital Weekly]
"CD issued early May 2009 as an edition of 500 copies in a full color gatefold sleeve. A split album with Volcano the Bear and La STPO. VTB tracks 1-5 and STPO tracks 6-9. Bears and Birds, oh my! One side keeps the hot hot. And the other keeps the weird weird. VTB’s typically atypical entomological set scratches like a hive that has evolved just to the point of thumping out tribal fealties to its giant insect God-Thing. Environmentally ritualized sub-rhythms mix musique-concrete with actual concrete, forming freakishly minimal foundations for the hive of whatevers to swarm within. Noise, once again, for heroes. All this, of course, juxtaposed against France’s hidden reverse: La STPO, who absolutely let it blurt. Their pounding system of post-post-punk-neo-Zeuhl cracks the mantle, with bass lines thicker than Sequoias. And louder than screaming Sequoias. La STPO vacillates between two extreme extremes: something approximating a kind of industrial strength nouveaux bâtiments s'effondrants (German buildings are not the only ones susceptible to collapse), and crushing riffs ala SunnO))). Pascal Godjikian’s fierce grunts and barks keep the hive on the other side believing he is their God-thing. He is someone’s God-thing, that’s for sure." [label info]
www.blrrecords.com
"Diese Split-CD vereint Stücke zweier experimenteller Bands, Volcano the Bear aus England und La Société des Timides à la Parade des Oiseaux aus Frankreich. Beide bieten, so viel vorweg, alles andere als leichte Kost.
Volcano the Bear zeigen sich bereits reichlich unkonventionell. Die bis auf einige textlose Lautäußerungen instrumentale Musik wälzt sich wie ein zeitlupenartiger Klangstrom aus den Boxen, ohne dabei eine rechte Form anzunehmen. Streich- und Blasinstrumente mäandern entlang, allerlei Schlagwerk rumpelt vor sich hin, dazu knurrt oder brummt ab und zu jemand, was letztlich wie ein weiteres Instrument klingt. Einige undefinierbare Geräusche vervollkommnen das Ganze. Da hört man gelegentlich schrilles Kreischen wie von einer Kreissäge, oder wurde da ein Instrument malträtiert? Wer weiß. Ein andermal spielt eine einsame Flöte (oder ähnliches) eine seltsam schiefe Melodie, nur von sporadischen Beckenschlägen begleitet, oder Blechbläser stimmen eine Art ländliche Weise an. Äußerst kurios.
So strukturlos diese Klänge sich über weite Strecken zunächst präsentieren, herrscht doch nicht völlige Planlosigkeit, es scheint doch irgendein System dahinterzustecken. Auf jeden Fall entwickelt diese Musik nach anfänglicher Skepsis eine starke Faszination.
LaSTPO agieren hier noch ein ganzes Stück avantgardistischer als auf ihren mir bisher bekannten Alben. Vor allem die Stimme von Sänger Pascal Godjikian schlägt hier noch wildere Kapriolen, es ist kaum möglich, dieses permanente Knurren, Bellen, Heulen, Brüllen, Würgen mit Worten adäquat zu beschreiben. Da glaubt man, der selige Demetrios Stratos von Area sei wieder auferstanden! Dazu liefern seine Mitstreiter Klänge, die mit dem üblichen Verständnis von Rockmusik, auch von progressiver, kaum noch etwas gemein haben. Das ist zu großen Teilen schon radikale Anti-Musik! Da knarzen Streicher in Zeitlupe, als würde ein alter Holzschrank quälend langsam über einen Dielenboden gezerrt, Bläser schnarren, Schlagwerk rasselt, bis unvermittelt eine gigantische Lärmeruption einsetzt, in der die einzelnen Instrumente nur noch durcheinander purzeln. Les Oreilles Internationales treibt es in dieser Hinsicht auf die Spitze, es wirkt wie ein einziges Konglomerat unterschiedlichster Arten von Lärm. Und immer wieder die brutalen Lautäußerungen, als deren Urheber man kein menschliches Wesen annehmen möchte.
Diese Lärmorgien sind wirklich so ziemlich das krasseste, das ich je gehört habe. In Worten lässt sich kaum beschreiben, was hier auf den Hörer einprasselt. Grandios! Mehr davon! Warum gibt es nur so wenige CDs von LaSTPO? Tipp für alle abenteuerlustige Hörer! Und wer die Gelegenheit hat, die Band live zu sehen: Hingehen! Es lohnt sich!" [Jochen Rindfrey / Babyblaue Seiten]
|
2009 |
€14.00 |
|
| VOLGA |
Pomol |
CD |
Trancig-tribale, durchaus ungewöhnliche hypnotische und z.T. sehr wuchtige Beats, ost-europäisch anmutender weiblicher Gesang, harmonische Flächen & Instrumenteneinsatz, manchmal hat das sogar einen Orient-touch, manchmal klingt es mehr nach Electro-Wave der 80er.. . Atmosphärischer, einnehmender Avant-Pop aus Russland!
"VOLGA stammen aus Moskau, kamen 1997 zusammen und arbeiten seitdem extrem hart: auf Touren haben sie einiges der Welt gesehen und zehn Jahre nach ihrer Gründung steht mit "Pomol" ihr insgesamt siebtes (und fünftes Studio-) Album in den Startlöchern. Mit Alexei Borisov, der als bekannter Solokünstler elektronische Soundkunst erschafft, weben VOLGA einen dichten Electronica-Klangteppich, der mit bunten Mustern aus elektroakustischen Elementen, mantrischen Tanzrhythmen und traditionellen, schamanischen Folktexten glänzt. Die Texte von Sängerin Angela Manukjan stammen aus der russischen Folklore des 19. Jahrhunderts und lässt die Volksgesänge umso einzigartiger wirken. ,Pomol' ist auf der einen Seite eingängig und heimelig, auf der anderen Seite düster und akustisch kontrovers; aus den beiden Polen entsteht Musik, die das lose Konzept des Pop gründlich auf links zieht." [Cargo]
"The latest album by this Moscow-based group, scheduled to go into production anytime shortly, alongside the above release. Thirteen wonderful tracks that, helmed by the powerful, dynamic, expressive and unique voice of Angela Manukjan, sway between electronica's moody yet accessible outer reaches, folk and other traditional music, plus the same kind of sensibilities ensnared so well by
contemporary pop's more wayward souls such as Bjork and Sigur Ros." [label info]
www.lumbertontrading.com |
2007 |
€14.00 |
|
| VOLLMER, CARSTEN |
Arbeit Nr. 23 - Ich arbeite mit Frequenzen Teil 1 - 3 (ansteigend / abfallend / 2600 Hertz / Phreaking) |
3 x CDR set |
The last part of the trilogy Ich arbeite mit Frequenzen forms a trilogy in itself: it is made up of three tracks while its two predecessors only contain one long track each. And while parts 1 and 2 work through a frequency grid of apparently mathematical rigour, this one focuses on the particularly distortion-rich frequency band around 2600 hertz. The two 2600 Hertz tracks are live recordings of a performance by Carsten Vollmer. Here, and on the opening track Phreaking, the first non-electronic sounds of the whole trilogy can be heard: the performer's screams put into relief the expressive quality of noise that was consciously underexposed on the 'antihumanist' parts 1 and 2.
The fact that all of Carsten Vollmer's releases come as numbered Arbeiten (works), but in particular the verb arbeiten (to work) in the title of this release, emphasise the (physical) labour of building up his walls of sound. Thus, part 3 of Ich arbeite mit Frequenzen once more enacts the drama of 'man vs machine' or 'body vs bodily harmful frequencies and volumes' through which the noise genre time and again confronts existential and social alienation with an ecstatic, but 'parole-less protest' against it (to borrow a phrase from Carsten Vollmer's fellow noisician Anton Kaun aka Rumpeln).
The first track of the album, Phreaking, also features a list, but not one of frequencies, but a list of textual references to Ron Rosenbaum's classic 1971 feature story The Secrets of the Little Blue Box about the hardware-hacking network of the Phone Phreaks, who built a counter-network within the official telephone network of the U.S.A. From the vantage point of the officially sanctioned telephone signals, these subversive actions were undoubtedly noise, and it is plain to see that Carsten Vollmer's Phreaking is a sympathetic homage. In a 'communication guerilla' practice such as this, Michel Foucault's basic tenet 'Where there's power, there's also resistance' meets the axiom of information theory: 'Where there's a signal, there's also noise'. The fact that this third and final album comes not as one monolithic track, but as an object fragmented within itself, is programmatic for ways in which noise can stand for the freeing of spaces in political contexts: instead of the monologue of an author(itarian) voice – 'I, and only I, work with frequencies' –, this album signals within itself the clamourous debate of different, dissenting voices, which in the political field is always preferable to the undisputed monologue of an absolute power. At the end of the live recordings, one eventually hears the voices of the audience; the author is no longer alone within his work, and someone says: 'It continues here, in the next room.' Thus the album ends with an invitation to claim new spaces of possibility.
File under: Noise
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-1-ansteigend
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-2-abfallend
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-3-2600-hertz-phreaking
***
Der letzte Teil der Trilogie “Ich arbeite mit Frequenzen” bildet selbst eine Trilogie in sich – anders als die beiden Vorgänger, die jeweils nur aus einem langen Track bestehen, umfasst er drei Stücke. Statt ein mathematisch-kalkuliert wirkendes Frequenzschema durchzuarbeiten wie Teil 1 und Teil 2, wird hier auf 2600 Hertz in einem in Sachen Verzerrung besonders effektiven Frequenzbereich gearbeitet. Die beiden “2600 Hertz”-Tracks sind Livemitschnitte von einer Performance von Carsten Vollmer. Hier, aber auch auf dem Opener “Phreaking”, sind erstmals auch nicht-elektronische Klänge zu hören: Schreie des Performers rücken jene expressive Qualität von Noise in den Fokus, die auf den beiden “antihumanistischen” Teilen 1 und 2 betont ausgespart blieb.
Nicht nur die Titulierung von allen Veröffentlichungen Carsten Vollmers als durchnummerierte “Arbeiten”, sondern speziell das Verb im Titel dieser Veröffentlichung betont die (physische) Anstrengung, die in die Errichtung seiner Klangwände einfließt. So führt auch Teil 3 von “Ich arbeite mit Frequenzen” das Drama “Mensch vs. Maschine” bzw. “Körper vs. körperfeindliche Frequenzen und Lautstärken” auf, mit dem das Genre Noise immer wieder existenzielle und gesellschaftliche Entfremdung sowie den ekstatischen, aber “parolenlosen Protest” dagegen (eine Formulierung von Carsten Vollmers Noise-Kollegen Anton Kaun aka Rumpeln) inszeniert.
Das erste Stück des Albums, “Phreaking”, führt ebenfalls eine Liste auf, allerdings keine mit Frequenzen, sondern eine mit textlichen Anspielungen auf Ron Rosenbaums klassische Reportage “The Secrets of the Little Blue Box” von 1971 über das Hardware-Hacker-Netzwerk der “Phone Phreaks”, die im offiziellen Telefonnetzwerk der USA ein Gegen-Netzwerk aufbauten. Aus Sicht der offiziell im Telefonnetz vorgesehenen Signale waren diese subversiven Aktionen zweifellos “Noise”, und es ist unschwer zu erkennen, dass Carsten Vollmers “Phreaking” eine von Sympathie geprägte Hommage ist. In einer “Kommunikationsguerilla”-Praxis wie dieser trifft sich Michel Foucaults Grundsatz “Wo Macht ist, ist immer auch Widerstand” mit dem Axiom der Informationstheorie: “Wo Signale sind, da ist immer auch Rauschen”. Dass dieses dritte und letzte Album nicht als ein monolithischer Track, sondern in sich fragmentiert daherkommt, kann dabei programmatisch dafür gelesen werden, wie Noise auch im politischen Raum für das Schaffen von Freiräumen stehen kann: Statt des Monologs der Autor(itäts)stimme – “Ich, und nur ich arbeite mit Frequenzen” – wird hier innerhalb des Albums der lautstarke Widerstreit von verschiedenen Stimmen angedeutet, der im politischen Feld allemal wünschenswerter ist als der unumstrittene Monolog einer absoluten Herrschaft. Auf den Liveaufnahmen hört man dann am Ende auch die Stimmen des Publikums, der Autor ist nicht mehr allein in seiner Arbeit, und jemand sagt: “Hier im nächsten Raum geht es weiter.” So endet das Album ausdrücklich mit der Eröffnung von Möglichkeitsräumen, die es zu nutzen gilt.
File under: Noise
-----
VITAL WEEKLY
Origami derives from ori, meaning "folding", and kami meaning "paper". The mathematics of the fold is relevant, is analogical to 'the fold'. This can be understood as the new mathematics of the curve, of changing quantities which is often difficult for non-mathematicians, of which I am one. Put simply in simple geometry of a flat surface, say a chessboard, a piece, pawn, knight etc. can be located by two coordinates. These are static set properties, which Deleuze via Leibniz relates to Descartes. Complex curves, changing velocities, cannot be precisely modelled using such a method. This was accomplished by using mathematics to model dynamically changing events, the Calculus. If modernism in its linear development fixes and finalizes itself in a Cartesian / Euclidean fixed point, a null event, the Baroque does not. The metaphor of calculus is useful, for around it are mathematical objects such as the limit. In simple non-mathematical terms, a series of calculations can approach a limit but never reach it, and in getting closer, to a potential infinity of numbers. For non-mathematicians, this is best seen in the obvious Baroque of The Mandelbrot Set. Folding can produce an infinite variation. Associated with 'folding' in Deleuze derives the aesthetic, especially the visual aesthetic in the Baroque, one of the dynamic curves and dramatic events. “Leibniz is endlessly drawing up linear and numerical tables. With them he denotes the inner walls of the monad. Folds replace holes...” (The Fold). Elsewhere (in The Logic of Sense) Tenth series of the ideal game -”of which we speak cannot be played by either man or God. It can only be thought as nonsense. But precisely for this reason, it is the reality of thought itself and the unconscious of pure thought. This game is reserved then for thought and art.” Baroque music of the 'classical period' - (late 17thC- 18thC) used accomplished improvisation, complex polyphony, multiple independent melody lines, the fugue and ricercar (which explore the permutations of a given motif). The 'metaphysics' that the Baroque produced was significant in music. Bach, Vivaldi, Handel, Monteverdi, Scarlatti, Purcell, Telemann... such that with Bach there is the deployment of a pure abstract formalism which could be regarded as a metaphysics of the free play of the potentialities of the abstract (windowless) structures of music. And in thinking the Baroque we also arrive at Leibniz and German Idealism, but also the more recent 'idealism' of Deleuze and the Speculative Realists and Object Oriented Ontologists. To judge these metaphysics in 'scientific', empirical terms, would then be to miss the point. They are not in all cases Monads, as they are not closed off to ourselves. They are like Monads in that they seem closed in on themselves. The point is that 'Baroque Folding' is an internal programme. Thus it typically appears when genres become exhausted or fully mature. A very early classical example is the development of Corinthian Architecture from that of the Doric & Ionic, or the much more recent, post-modernism, especially noticeable in Architecture. A certain playfulness which can and does in Po-Mo reduce, at times, to mere sensation and irony. Within contemporary music, 'noise music' and 'harsh noise' was to lead to a reductionist, 'analytics' of the extreme minimalism of Harsh Noise Wall's monolithic unchanging noise. This cul-de-sac has an obvious problem, and various methodologies have evolved in order to circumvent its effective closure of the noise genre, from abandoning noise altogether (Wolf Eyes), to alternatives, such as shit folk and ultra shit folk (Romain Perrot). The process of 'folding' is synthetic, not analytic (reductionist, minimalist walls). Both processes are to be found in Metaphysics and Art. In The Critique of Pure Reason, Kant sets out to establish an a priori basis for his transcendental metaphysics and makes two distinctions, that of the analytic a priori and the synthetic a priori. The philosophy of this needn't concern us. What is useful is concerning the idea of The Fold. The epistemological, philosophical implications disputed by some also need not bother us here. For us, what is significant in Kant is that Kant maintains that the Synthetic can produce (a priori) new objects without recourse to finding them in the outside world. In Analysis, something is broken down or examined to find its fundamental form or origin (The Wall of Noise). This is normally regarded as a task that will arrive at something fundamental. In early philosophy – the Atom – in Jungian analysis the archetype. It may well be that such a final analysis is not possible, that analysis is potentially infinite, or results in a void. Synthesis is the reverse. Given some fundamental objects, we can create new objects and structures – out of what is already given. A triangle can be analyzed into its basic three sides of straight lines, but we can synthesize new objects given a triangle. We can make a quadrilateral with two triangles and continue – pentagons, hexagons, and no limit – and no recourse to anything external to our basic element. And whereas Analysis is contained by the analysis of 'what is there' synthesis creates new objects that are not 'already there'. The Baroque is this distinction between the Analytic A Priori and Kant's idea of a Synthetic A Priori. An example in the arts is that of Analytic Cubism and Synthetic Cubism. Whereas Analytical Cubism broke up the picture plane into its elements, Synthetic Cubism used these basic 'elements' to synthesize new compositions. The tendency in modernism was analytical. “What is painting?” “What is music?” “What is Art?”, the analytical desire of what is “essential”. In Cubism, the 'Analytical' phase was relatively short-lived, the Synthetic move allowing Picasso and others an alternative continuous productive methodology. The (Baroque) fold is a synthetic methodology. At the most pedantic Origami – (from ori "folding", and kami "paper"). An origami Swan is a synthesis of a flat sheet of paper. All creations of Origami are in the last analysis, flat sheets of paper. The methodology of Origami, of 'folding', is Synthetic and offers an infinity of productions. Which is occasioned in Noise – here! which is not the abandonment of noise or a retrograde movement back into music. The baroque fold, abstractly using the tropes, forms etc., of noise music not as an external expression but as internal work exploring the permutations and improvisational possibilities of a given motif. The tropes of Harsh Noise, the motifs of feedback, oscillator sweeps, distortion, white noise etc. Abstract sounds, found in Harsh Noise before its collapse into a minimal wall. What is removed is the idea of a linear 'progress' (modernism) replaced by that of infinite synthesis. Ansteigend, Abfallend and 2600 Hertz_Phreaking are 3 parts of Arbeit Nummer 23 - Ich Arbeite Mit Frequenzen.
www.vitalweekly.net/1316.html
"Steht 'Frequenzarbeiter' schon im Duden? CARSTEN VOLLMER arbeitet jedenfalls daran, mit seiner Arbeit Nr. 23: Ich arbeite mit Frequenzen (3xCDr, jeweils in DVD-Schuber). Dieser nächste Arbeitsschritt nach der bad alchemystischen „Arbeit Nr. 22“ (BA 103) ist ein in strenger Schwarzweiß-Optik vereinter Triptychon, den drei Labels stemmen: Teil 1 – Ansteigend (ACU 1027), Teil 2 – Abfallend (Cat Killer), Teil 3 – 2600 Hertz / Phreaking (Krater Recordings, KR05-010). Das oft genug unangebracht verwendete 'experimentell' ist dabei halbwegs gerechtfertigt durch die demonstrativen 'Versuchs'-Reihen mit 55 – 77 - 160 – 300 – 666 – 800 – 1000 – 2000 – 4400 – 5000 – 9000 Hz rauf und runter ('Ansteigend'/ 'Abfallend') sowie drei Episoden mit 2600 Hz. Darunter, neben zwei Live-Exzerpten vom Schrei/Ende/Ohren-Festival, eine Hommage an das in den 70ern popularisierte und bis in die 90er mögliche Phone-Freaking in den USA, wo die von Hackern entdeckte, von den Yippies popularisierte Freischaltung auf eben der 2600 Hz-Frequenz als Akt des zivilen Widerstands aufgefasst wurde. Aber diese Frequenz-Folklore erscheint wie ein narratives Surplus in Vollmers bildlos purer Darbietung eines Blizzard-Kontinuums, in dem McLuhans 'kalte' und 'heiße' Medialität verwischt. Indem ein schrillendes, zerrendes Zuviel mit myriodophonem Rausch überwältigt und lähmt, doch in seinem informatorischen Überschuss zugleich nach Kryptologen schreit. Für einen auch merkwürdig flötenden Code. Aber vor allem für ein Unsagbares, das sich als kataklysmische Schallmauer zeigt wie bei Wittgenstein das Mystische. Dass in allem, was der Fall ist, atomare Niagarafälle toben, die jedes menschliche Maß übersteigen. Der infernalische 'Gesang' der Neuronen, das heulende Elend der Elektronen, das universale Alpha, Vollmer hat es zwischen Infra und Ultra brachial orchestriert als kakophon schillernde Metapher für das Mega-, Giga-, Tera-Chaos im elektromagnetischen Radio- und Mikrowellendschungel. Als Sturz der Erkenntnis über die Marmorklippen durch die Stahlgewitter ins Spektrum der Strahlungen, als total mo-bilgemachter Black Metal vor einem Schwarzlicht-Horizont. Das von Ernst Jünger immer wieder gebrauchte Tat Tvam Asi [Das bist du] zeigt dazu seinen technologisch fitten 'Ar-beiter', der als 'organische Konstruktion' mit der technoiden Mobilmachung heißläuft. Und einige wenige, die, obwohl gleichermaßen involviert, in kühler Desinvoltura dazu Distanz halten. Vollmers akribische Abbildungen, 48 + 48 + 50 Minuten intensive Immersion, können als stoischer Härtetest erscheinen. Als stockholm-syndromatische Affirmation eines Factum brutum. Oder sogar als akzelerationistisches Vorwärts (Nick Land), das die transhumane Umgestaltung des Menschen (durch die aggressiven Metastasen des Kapitalismus) ins Auge fasst. Mit der Utopie einer KI-generierten 'technologischen Singularität' würde Jüngers 'organische Konstruktion' zum Pionier der transhumanen Erlösung. Jede durchgestandene Noisattacke wäre, gerade indem sie das hinfällige Fleisch von den Knochen schabt, ein Evolutionsschritt dorthin. Der Geist, schon bei Hegel ein harter Knochen, steckt seinen Kopf, wie sein Renaissance-Vorgänger durch die Käseglocke seiner Scheibenwelt, unter die Bremsscheiben eines endlosen Güterzuges, in einen brausenden Bienenstock, der Züge von StanisławLems Partikelschwarm auf Regis III trägt. Steht Hz auch für neuen Horizont, für abenteuerliches Herz? Vollmer gibt sich, wenn er 'ich arbeite...' sagt, beeindruckend cool und souverän. Oder verdolmetscht er so bloß die Mutter der Teilchen und Wellen? Alan Moores Parent of suns and substance, she! Womb of all possibility! Als menschliche Spur im Dauertrommelfeuer der Klangpartikelstrahlung bleiben dann nur die Schreie, die Vollmer zuletzt, von 2600 Hz-Stacheln an die Wand gespießt, ausstößt. Kein 'Banzai!', aber doch wie mit geballter Faust und mehr als nur Schmerz und Angst. Noise als Waffe der Kritik an Betonköpfen, verkrusteten Strukturen, Kalk, Rost, marmornen Popanzen. Als, o Killer-Kaninchen von Caerbannog, o schwarze Bestie von Aaa, als Speer, der die Wunde heilt, die von ihm herrührt?" [Bad Alchemy]
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2021 |
€20.00 |
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| VON BIEL, MICHAEL |
Streichquartett No. 1, etc |
CD |
Unglaubliche Klänge auf dieser beeindruckenden Zusammenstellung mit Kompositionen von MICHAEL VON BIEL, aufgenommen 1962 – 1966 (!), z.T. auf klassische Instrumenten eingespielt, z.T. aber auch elektronische Quellen einsetzend....
"Quartet No. 1" (1962) and even more, "Quartet No. 2" (1963) are noise compositions whose expressiveness rests essentially on the discovery of new sonic possibilities and performance techniques. On "Fassung" (1964) Michael von Biel using only noise, sinus and impulse generators, he created sound particles and formed them into sensually comprehensible structures. The compositions "Quartet with Accompaniment for string quartet and cello" (1965) and "Jagdstück (Hunting Piece) for 2 trumpets, 2 trombones, 2 horns, 2 tenor tubas, contrabass, tape, e-guitars and electronically amplified barbecue grills" (1966) are based on the contrast of divergent sound worlds.
1. Streichquartett Nr. 1 (1962; WDR 2003)
[Pellegrini-Quartett: Antonio Pellegrini, 1. Violine; Thomas Hofer, 2. Violine; Fabio Maarano, Viola; Helmut Menzler, Violoncello]
2. Streichquartett Nr. 2 (Urfassung, 1963; WDR 2003)
[Pellegrini-Quartett]
3. Quartett mit Begleitung (Quartett Nr. 3, 1965; WDR 1967)
12:05 [Egon Mayer, Violine; Dagmar Apel, Violine; Johannes Fritsch, Viola; Magdalene Bröckel, Violoncello; Michael von Biel, Violoncello]
4. Jagdstück für Bläserinstrumentalisten und Live-Elektronik (1966; WDR 1968)
28:05 [Franz-Willy Neugebauer, Trompete; Kurt Schmidt, Trompete; Gerhard Burdack, Horn und Tenortuba; Konrad Alfing, Horn und Tenortuba; Willy Walther, Posaune; Josef Feck, Posaune; Emil Morneweg, Kontrabaß; Wilhelm Bruck und Michael von Biel, Begleitung; Ltg. Bernhard Kontarsky]
5. Fassung (elektronische Tonbandmusik, 1964; WDR 1964)
13:34 [Studio für elektronische Musik des WDR]“ [label info]
www.edition-rz.de
|
2004 |
€15.50 |
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| VON EULER-DONNERSPERG, DITTERICH |
Blauholz |
BOOK |
"Ditterich von Euler-Donnersperg: Blauholz
Knarrende Strahlen stehen unbewegt über dem Sand. Nichts Harmloses birgt sich unter den Latschen und Kiefergliedern, denen man eigenartige Hilfslosigkeit ansieht. Schwach singt das Holz, trägt sein Lied über die Streu, die sich staubend über den müden Grund ergießt. Rindenbrot bettet sich gelassen auf die Matten, die sich längs unter die Büschel dahinstrecken.
Spitzhafer, Wegerich, allesamt dörrend, recken Flügelchen hoch, winken schwach gegen den Wind und versuchen, zu lächeln. Das Zahnweiß erstirbt unter dem Glast des Wollplunders aus Samenwolle und Brennnesselweben, deren Leuchtlunte ganze Buschzeilen deckt.
Starrer Ramsch aus Grassoden, Krüppelbüschen und Moder, der noch das tapferste Hölzlein erfaßt, um es den wuchernden Brachen einzuverleiben, steht schlafend neben den Wegen, wo sich das Streuland gegen die Ungemütlichkeit der Drögnis verteidigt. Kohlenmeiler ducken sich hasig hinter die von der Geschichte dahingespuckten Verwerfungen. Lehm kleistert die Gänge, sofern sie noch zu begehen. Der feuchte Dreck klebt krötig an den vom Morgenlicht verlassenen Hängen. Das Wechselgeschrei der Saatkrähen knarzt blechern röhrend über das wüste Hochamt aus Bodenrotz und Totenwald. Die Blödnis des Staubs, dem Niemand – nicht die Kalksenke, nicht die Sandkornbüchse, nicht der Sonnenbrand auf den Resten des Grases – Mut zum Erwachen zusprechen mag, packt und würgt voller Sanftnis und Großvaterliebe die Weiler, wo es nach Naßfäulnis wie in hundert Jahre alten Grabgruften stinkt.
MOLOKO PRINT 017 | 2015
Gestaltung: Robert Schalinski
Darstellungen aus Leichte Artellerie Fibel (1936) und Unterrichtsbuch für Soldaten (1938)
Paperback, 242 Seiten
ISBN 978-3-943603-18-7" [publishing house info]
www.molokoplusrecords.de
|
2015 |
€16.00 |
|
| |
Klein:Rot |
LP |
NEUERSCHEINUNG
im Vertrieb der Walter Ulbricht Schallfolien, Hamburg & V I S
DITTERICH VON EULER-DONNERSPERG
LP KLEIN:ROT (V I S 007)
Eine Sammlung strenger eletronischer und elektroakustischer Übungen Erscheint im April 2021 auf rotem Vinyl in einer handnummerierten Auflage von 300 Abzügen.
NEW RELEASE
dist. by Walter Ulbricht Schallfolien, Hamburg & V I S
DITTERICH VON EULER-DONNERSPERG
LP KLEIN:ROT (V I S 007)
A bouquet of rigid electronic and electro-acoustic mouvements Printed as red vinyl in an edition of 300 numbered copies. Published April 2021
NO Digital Files at the moment
https://v-i-s.bandcamp.com/album/klein-rot-test-pressing
|
2021 |
€26.00 |
|
| VON EULER-DONNERSPERG, DITTERICH / FELIX KUBIN |
NNOI#01 |
LP |
NNOI#...
In this series, the recordings and documents of the actors of the NNOI Festival gather and reveal the primitive anatomy of the NNOI that sinks onto the frosted glass of nature, like the printing ink unconscious in the letters of the newspaper.
The design of the entire series is based on drawings by Frank Diersch - made for this project.
forthcoming: NNOI#2: Rashad Becker & Robert Schalinski, NNOI#3: Asmus Tietchens & Frieder Butzmann, NNOI#4: Air Cushion Finish
D.v. Euler-Donnersperg - side: unreleased tracks from his wild beehive.
Felix Kubin - side: Felix Kubin accompanies René Clair‘s silent film »Entr’acte« from 1924 live with a new electro-acoustic soundtrack, which refers to the surreal choreography, the contrasts in content and the fast editing sequences of the film in rhythmic cut-ups.
Rene Clair‘s film „Entr‘acte“ from 1924 is a real jewel of surrealism and is largely unknown to this day. The director radically experiments with cinematographic effects, provokes absurd exaggerations, which sometimes take on blasphemous proportions, and is not afraid to commit violence. The staff of actors is made up of famous artists such as Erik Satie, Francis Picabia and Marcel Duchamp, who, quite self-ironically, bounce through the image rather than stride. Men and women roles are reversed, a death procession turns into a roller coaster ride. The bizarre humor of the film also testifies, among other things, to the artistic daring of its time.
Ditterich von Euler-Donnersperg
»I hate long announcements now. Everyone writes something and brags about all kinds of information (especially celebrity names). Something has become completely uniform over time. I hate that. Simply state briefly: „The old gray gurnard from the Waterkant creaks and growls its funny and less funny ways ..“ GLÜCKAUF!
Felix Kubin„I am a child living in the body of Juri Gagarin. He is empty like a corpse. His eyes move slowly like radars. First comes the idea then the technology. Children are angels, sometimes they fall into nothingness. I am Juri‘s ventriloquist.“
Felix Kubin, messenger of exploding lungs, lives and works against gravitation. At the age of 12 he started composing electronic 4-track music. His activities comprise futurist pop, electroacoustic and chamber orchestra music, radio plays, lectures, workshops and his label Gagarin Records. He has been involved with the noise project Klangkrieg, the communist singing group Liedertafel Margot Honecker and the tetchy teenage bands Die Egozentrischen 2 and x2.
Frank Diersch - a German draftsman and painter.
NNOI - festival for 12,756 tone music, obscure teaching & organ of the world-ventriloquist-lodge.
https://www.facebook.com/donnersperg/
www.frank-diersch.de/
www.felixkubin.com
www.nnoi.de
https://www.youtube.com/watch?v=4YxuYqL52is
https://www.facebook.com/nnoi.festival/
NNOI - festival for 12,756 tone music, obscure teaching & organ of the world-ventriloquist-lodge
"In der NNOI Festival-Reihe werden Aufnahmen von Künstlerinnen und Künstlern veröffentlicht, die auf dem gleichnamigen Festival , “für 12,756 Tonmusik, obskure Lehren & Organ der Weltbauchrednerloge”, gespielt haben (u.a. werden noch Asmus Tietchens und Frieder Butzmann folgen). Den Auftakt macht eine Split-Veröffentlichung: Ditterich von Euler-Donnersperg, Sachwalter des Werkbunds, selbst so titulierter „Knurrhahn“ hat mit den zwischen 1996 und 2014 erschienenen “Pelzwurstliedern”, sogenannten „Reimdichtungen im Geiste Klopstocks mit elektronischem Zuspielband“, originellste, kaum kategorisierbare und von beißendem Humor durchzogene Lyrik herausgebracht. Felix Kubin hat neben zahllosen musikalischen Veröffentlichngen, auf denen auch immer ein absurder Humor deutlich wurde (im Presseinfo heißt es: „„I am a child living in the body of Juri Gagarin.“), eine ganze Reihe von Hörspielen produziert.
Auf der ersten Seite befinden sich acht bisher unveröffentliche Stücke von Euler-Donnersperg, bei denen sich das Ausgangsmaterial, was bearbeitet wurde, nur erahnen lässt: „Krebs im Schlafrock“ beginnt mit einem ratterndem Loop, man hört zerhäckselte Stimmen. Einem Teil der Stücke haftet etwas Fragementiertes an. So auch bei „Kleiner Irrtum“ mit den hektischen Wassersounds, flirrenden Tönen und dann so etwas, das sich wie ein Echolot anhört. Auf „Mit geknickten Dichterschwingen“ hört man einen Loop, der an Jahrmarktsmusik erinnert, auf „Ein letzter großer Seher“ muss man zwischenzeitlich an Vogelkreischen denken. Die drei dann folgenden Stücke nehmen das Hektisch-Fragentierte zurück: „Verlangen, den Regenbogen zu fangen“ ist von ruhigen, kristallinen, flächigen Sounds durchzogen, die teilweise an ein Theremin denken lassen. Auf „Verknausertes Korn“ dröhnt und knistert es. Bei „Angenehm müde“ meint man das Ticken eines Metronoms zu hören, am Ende scheint eine bearbeitete Stimme aufzutauchen.
Kubins Beitrag ist ein langes Stück, das als neuer Soundtrack für den 1924 entstandenen Stummfilm “Entr’acte” von René Clair konzipiert ist. Bei dem Film wirkten damals Erik Satie, Francis Picabia und Marcel Duchamp mit und gerade durch Clairs Einsatz von Effekten wie Zeitlupe und Überblendungen (ein Gesicht starrt einen aus dem Wasser an, ein Papierboot durchpflügt die Dächer von Paris) erzeugt Clair eine durchaus kurios-absurde Atmosphäre (Puppen verlieren ihre Köpfe, der Rock einer Tänzerin scheint eine Blume zu sein, ein Zauberer entsteigt einem Sarg). Der Track beginnt mit kuriosen Knarzen, Brummen, Loops, Fiepen, am Ende meint man ein Sample aus Coils “Things Happen” zu hören – in Passagen ist das durchaus nicht so weit entfernt von manchen Arbeiten Steven Stapletons und von der Stimmung und Herangehensweise ist das ein mehr als passender Soundtrack zu “Entr’acte”." [MG / African Paper]
|
2020 |
€20.00 |
|
| VON HAUSSWOLFF, C.M. & CHANDRA SHUKLA |
Travelogue [Bali] |
CD |
Travelogue [Bali] is the second in an ongoing series of collected international audio diaries (Travelogue [Nepal] was released by Touch in 2020). The premise is quite simple: the two meet at a mutually agreed upon destination along with the facilitation of something to record audio of these experiences on. The intent is to capture and augment these sonic documentaries of their travels which then are sculpted into soundtracks. This is done by sourcing the culture, environment, persons or events that make their voices available.
In February 2020, CM von Hausswolff and Chandra Shukla met in Bali, Indonesia, over the course of 9 days. Recordings were made at Pandawa Beach, Green Bowl Beach, Melasti Beach Ungasan, Uluwatu Temple, Pasar Senggol Gianyar, Pengosekan Kaja Ubud, Badung Market, Kintamani and Mt. Batur, Puri Saren Agung Ubud, Mandala Suci Wenara Wana (Sacred Monkey Forest Sanctuary) Ubud, Pura Tirta Empul Tampaksiring, Pandan Beach and Kelingking Beach Nusa Penida.
Special thanks to Dewa Alit and Salukat Gamelan, Dewa Sakura, Elisa Faires, Ivan Seng, Shannon Batten, Kecak Uluwatu, Made Surya and Dewa Aji Mangku. Also thanks to Ulrich Hillebrand and Gregor Krause.
https://cmvonhausswolffreleases.bandcamp.com/album/travelogue-bali
|
2023 |
€17.50 |
|
| VON HAUSSWOLFF, C.M. (CARL MICHAEL) |
The wonderful World of male Intuition |
CD |
Wieder ein herrlich absonderliches Werk des schwedischen Parapsycho-Soundwerkers: Sinuston-drones & -tunes in verschiedenen Ausprägungen und verdeckte & verzerrte Zitate diverser berühmter Leute, die wie aus einer Geisterwelt zu uns sprechen, sind die Ingredienzen dieses Albums... VON HAUSSWOLFF ist wieder so weit vom Alltäglichen das es eine wahre Freude ist !
'The wonderful world of male intuition is an astounding masterpiece dedicated to male intuition : all a program. It will be followed by a second opus later this year dealing with the Horrible sides of male intuition...' [label info]
"Probably the name Carl Micheal von Hauswolff doesn't need much introduction. His conceptually edged releases on labels as Sub Rosa, Touch and Raster Noton deal with such subjects as architecture and voices from beyond. Here 'The Wonderful World Of Male Intuition' is the subject. To shed some light on it, he uses sine wave oscillators, field recordings (sea, land, outer space) but also the voices of persons important as 'positive energies in a world that obviously is feasting on itself without knowing how to go to the toilet', being the Dalai Lama, Willem de Ridder, Gregory Bateson, Alvin Lucier, John C. Lilly, Albert Hofmann, Friedrich Jürgenon and Brion Gysin. Many of these voices are processed through the use of the sine waves, in some way or another, which makes the voices hard to understand, but of course that is not the intent anyway. Throughout the forty some minutes, I learned nothing much about the male intuition (if that exists at all), but purely as a work of sine waves and field recordings I must say that this is a particular strong work by Hausswolff. Not too overtly minimal, leaning on his sine waves, but it's the combination of all three components works quite well, the sine waves, field recordings and voices. It might perhaps even the best Hausswolff I ever heard (despite not having heard all, he admitted straight away)." (FdW / Vital Weekly]
Address: http://www.oral.qc.ca
|
2006 |
€15.00 |
|
|
Perhaps I Arrive - music for Atatürk Airport, Istanbul |
do-CD |
"This double disc set includes some of the most unusual sounds you will have heard from Carl Michael von Hausswolff. The story goes like this. Von Hausswolff was chosen by the 1997 Istanbul Biennal to create a sound installation for Atatürk Airport. His classic sound combining low frequency rumblings, very monotonous oscillations and hissy non-narrative sequences was deemed too confusing for the commutors. It was feared, von Hausswolff’s sound installation might be mistaken for an alarm and would be capable of causing serious panic at the airport. Hence the original soundtrack for “Perhaps I Arrive” was neglected. This music can now be heard for the first time on disc 1. Carl Michael von Hausswolff’s response to the artistic restrictions was to produce the four tracks you hear on the second disc. These only make use of the very basic pre-set industry sounds included in the Yamaha QY22 and show a new side to the von Hausswolff sound. Very simple, post-nuclear lounge music. These four tracks you guessed it! ¬were happily used in the context of the Biennal exhibition. Art is a three-letter word (William S Burroughs)" [label info]
"Nothing is for a musician more annoying than a response like: whatever you are doing, it sounds like a test tone, alarm signal, hiss or worse: I think your equipment is broken. So when Carl Micheal von Hauswolff was asked by the Istanbul Biennale to make a site specific work at their airport, he was probably very annoyed when they turned down his piece of low rumbling, because it could have caused alarm. So instead he created something else, on a Yamaha QY22, using preset sounds only - probably to annoy the organizers. Now both versions are released as part of this double CD - the rejected piece on one CD, and the accepted on the other. The rejected piece is indeed a piece of low rumbling, a bit of hiss sounds (long waves picked up from the ether I think) which may not have worked at the airport - depends of course on how things are presented - but for home listening I must say this is quite nice. Perfect Hauswolff styled hiss music. And what a difference indeed with the accepted version. Four pieces there of lounge like music, but with a more forceful rhythm underneath, so it wouldn't entirely work in lounge bar. But you can imagine people at an airport, hastily walking along Hauswolff march like beats and bittersweet keyboards with a vague trace of arab-like sounds. This is a side that we haven't heard from him before, and it's not something he should do a lot (or in fact never did again, as far as I can recall), but it's surely a curious album. " [FdW / Vital Weekly]
www.aufabwegen.com
|
2008 |
€18.00 |
|
| |
800000 Seconds in Harar |
CD |
" CD digipak. CM von Hausswolff says: 'I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called 'Jag r en annan' (I is another) stemming form the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud's life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud's life and as he had connections in Ethiopia and in the small city of Harar he said: why don't you go to Harar for 10 days and see what you can find ? So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material. There are 2 tracks. On the first track, which consists of three 'parts' I have used material from Harar. The long dronic sounds are taken form an instrument that I, after searching for days, bought in Harar - it's called a 'krar' and is a string instruments (it's quite clear that I have used a string instrument- also if you study Ethiopian music you came across the name of Saint Yared and he was the first to construct a notation system for music... much earlier than the Europeans). As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds - just the wind, insects, some kids and that (I wanted this recording to be more or less timeless or at least 19th century and forward...). The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to records this. On the second there are only oscillators used... several of them... And using one low pitch oscillator I ran a sound filtered through. This sound is the low 'rhythm' you can hear, and it's a low pitched morse code signal... and the text is the famous poem Rimbaud wrote in his youth called Le Dormeur Du Val (The Sleeper in the Valley). This poem is a beautiful text starting off in the nature, where a person is sleeping in the grass. Slowly Rimbaud zooms in and we read that it's a soldier and at the very end we are told he has two red wounds on his chest - the guy is dead!'
Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891. This is Carl Michael von Hausswolff's first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography.' [label info]
www.touchmusic.org.uk
"Dem Minimalismus wird definitiv in der heutigen Zeit viel Raum gewährt. Vergleichbar dem graphischen Design einer Designer Republic wird Weniger zum Mehr, ist die Leerstelle längst
Ausdrucksmittel für den mondänen Zeitgeist. Hausswolff fährt diese Schiene seit Jahren
erfolgreich, verlässt sie aber nur für kurze konkrete Zwischenhalte (siehe das Triptych für das Laton-Label) um dann wieder drei Alben mit konsequent kurzgeschnittener Konzeption und
Kuration zu veröffentlichen, deren Sinn sich in stehenden Tönen auf Viertelstundenbasis und
kraftvollen Feldaufnahmen äußert. Die Vergangenheit die Hausswolff hier besingt, schleicht sich auch in Künstlerreichweite, denn die Kuration aus alter skandinavischer Galeristenarbeit wirkt auch Jahrzehnte später bei Hausswolff nach. Sicherlich ist »800 000 Seconds in Harar« ein im heutigen Sinne weitaus ausgewogeneres Werk, auch wenn die spärlichen
Akkordwechsel der Drones eher lange auf sich warten lassen. Geduld muss vorhanden sein,
das Goutieren der Musik wird schlagartig zum Spiel mit Zeit und Raum. Erst im dritten Stück
entfalten sich orgelartige Strukturen, auf die John Cage angesichts seines Jahrtausendwerkes
ORGAN2 stolz sein dürfte. Ähnlich verlangsamt, aber mit präsenten Bassschwingungen hallen
die organischen Zutaten eines Besuchs in Harar umso mehr am Hörknochen noch. Nichtsdestotrotz ist Hausswolff auf dünnem Eis. Das sorgfältige Konstrukt aus Schwebungssummern und genau präzisierter Hertzzahl gerät angesichts der emotionalen Verortung in der Musik bisweilen ins Wanken. Dann muss man Geduld aufbringen, um dieses Werk in seiner vollen Länge zu würdigen.
4/5 " [Thorsten Soltau / AEMAG]
"Selbst wenn man die Hintergrundinfos zu dieser CD nicht kennt, ist es immer wieder ein Vergnügen dem "Meister des Drones" zu lauschen. - Nun, auf CD ist das bei CM von Hausswolff immer so eine Sache, da seine meisten Tracks sehr lang und auch abhängig sind von der Qualität der Stereoanlage, denn der Herr hier bevorzugt extrem tieftönendes Klänge. Live und direkt ein unglaubliches Erlebnis, wenn er die Filter zum glühen bringt, man in den Sitz gepresst wird und die Kleidung wie Folie sich um den ganzen Körper spannt und das nur durch einen herrvoragend aufeinander abgestimmten Drone. Für diese Veröffentlichung, die gleichzeitig Musik für eine Theaterstück über die letzten Lebensjahre von Arthur Rimbaud in Harhar ist, wurde CM kurzer Hand in ein Flugzeug verfrachtet und zehn Tage nach Äthopien geschickt und das nur, weil er sagte, er bräuchte Basicmaterial für seine Kompositionen. Also hört man hier die bearbeiteten Klänge der Originalschauplätze, Reiseeindrücke und Aufnahmen auf der Grundlage traditionellen äthiopischen Musikinstrumenten. Wunderbare und meditative fließende Drones umschmeicheln den Hörer und nehmen ihn mit auf diese (Traum)Reise!" [Carsten Vollmer / OX]
|
2011 |
€14.00 |
|
| VON MAGNET |
Ni Predateur Ni Proie |
CD |
"Das schon mit dem Begriff "Flamenco-Industrial" charakterisierte spanische Kult-Projekt mit einem Album auf ANT ZEN. Sehr wuchtig, tribal & expressiv, vermählen sich hier ethnische Rhythmen & Gesänge mit Elektronik und neoklassischen filmischen Elementen zu einem recht einmaligen Ganzen. PHIL VON bringt diverse Musiker zusammen, die orientale Instrumente wie NEY oder OUD beisteuern, Filmzitate geben ein poetisches Flair, elektronische Beats & Sounds sorgen für "industriellen" Druck, das ganze ist hochpolitisch & poetisch ausgerichtet gegen die heutigen Polarisierungen auf der Welt, experimentelle "One World"-Musik ohne Kitsch. Herausragend und keinem der üblichen Genres klar einzuordnen." [DRone Rec info]
"VON MAGNET dreams of the existence of other possible paths; thin and minute. Those tightrope walking paths almost invisible. Bouncing in between two perils, two poles, above empires, across frames, which can slip through the breaches of any walls. That is the story of this album. When rage is accompanied by tears. This album is our reaction facing the brutal reality of our world today. A world under pressure where all is put into opposition, where everything would like to divide us and where we are being arbitrarily dictated the absolute necessity of a choice. But with 'Ni Prédateur Ni Proie' (neither predator nor prey) we will not choose our side. There between partial / impartial, north / south, subjective / objective, orient / occident, coward / hero, poor / rich, indifferent / partisan . We will remain bare handed, like astonished and turbulent children dancing on a mine field. We will just stare at you, we will fall into rage and boil into tears. Within this emotional turmoil, flore magnet and the turkish actress esra bezen bilgin replace women where they are never welcome. Women of multiplicity, violence, engagement and resistance. Phil Von gives way to the voices of the Rom kids of Mostar and the Jewish and Palestinian actors from Amos Gitai and Hany Abu-Assad movies. At their side, Def sharpens his analogue bass lines and darkens atmospherical ambiances which often feel like 'war'. Scattered explosions, shots, crackles, complaints or laments. Only our guest, Kurdish Sufi musician Mübin Dunen softens the crawling tension. His ney bringing our clamour down to a silent light thread. Now Von Magnet signs a harsh, raw, urgent and poetical piece, mixed and produced flawlessly by Master Norscq. Another dary fusion which binds classical music flavours with oriental rhythms, tribal percussions within neo-industrial electronic soundscapes. Here orient is not any more sensual and phantasmagoric, it is rigid and almost cold. Here occident is no more sparkling and victorious, it is sad and decadent. Nevertheless 'neither predator nor prey' is the length of rope which suddenly ties them up, confronting our hearts to dive close to the abyss. Digipak packaging." [label info]
www.ant-zen.com
|
2008 |
€14.00 |
|
| VORTEX |
Phanopoeia |
CD |
"... Phanopoeia erschafft so einen dunklen, atmosphärischen Spannungsbogen, der einen immer wieder in die Finsternis führen kann, ohne dass man dort verharren müsste. Alles in allem keine Musik die sich anbiedert, und ganz gewiss kein Album, das es einem sehr leicht macht, es zu erschliessen, aber eines, dessen Erschliessung sich lohnt." [KMF, BLACK Magazin]
"The German ritual drone project Vortex is dedicated to the British art movement of Vorticism of the early Twentieth Century (1913-1920). Founded as an own vision of Futurism by Wyndham Lewis and expressed in the legendary magazine Blast (1914) Vorticism defined the artist as someone gaining creative power and inspiration out of the chaotic vortex of creative energy. The name was introduced by the Vorticist protagonist Ezra Pound who also coined the phrase 'phanopoeia': the idea of creating poetry for all senses. The music of Vortex pays audiovisual homage to the great Vorticist art. Psychedelic drones, ritual drums, processed sounds, glimpses of acoustic harmony, and original sound documents are blended to grant a holistic sensory experience. Vortex, the solo-project of a :Golgatha: -member, transcends the limits of dark ambient soundtracks on a quest for the unknown. Vortex is pure psychoactive energy. (TESCO) Tesco 074 http://www.myspace.com/vortexphanopoeia"
[label info]
|
2009 |
€15.00 |
|
| VOUDOURIS, DIMITRI |
NPFAI.1/PALMOS/NPFAI.3/PRAXIS |
CD |
Vier interessante Arbeiten eines südafrikanischen Komponisten (geboren 1961 in Athen); so werden bei NPFAI.1 Originalklänge von afrikanischen Zeremonial-Instrumenten (Kundi & M'Bira / bzw. Kalimba) computergestützt in mysteriöse Granularwellen & -welten verwandelt, die die ursprüngliche Klang-Atmosphäre der Objekte beibehält.
Ähnlich werden bei den anderen Stücken Klangdetails einzelner Instrumente analysiert und elektro-akustisch bearbeitet, so daß bestimmte musikalische Parameter wie durch ein Mikroskop näher betrachtbar werden. Besonders gut gefällt das letzte Stück PRAXIS, wo ein griechisch-orthodoxer Chor herhalten muss für VOUDOURIS unheimliche Transformationen, die sich bis ins Unkenntliche auflösen, um dann wieder zurückzukehren zum Ausgangsmaterial. Genial! Wieder erstaunlich, zu welchen Neuentdeckungen das POGUS-Label animiert !
"South African composer Dimitri Voudouris (b.1961 Athens, Greece) began composing in the 90¹s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical and theoretical compositional approach in research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes. His socio-cultural interests have led him to research the survival of music in the 21st century and the impact that media and technology have on the composer.
NPFAI. 1 (New Possibilities for African Instrument) is an electro-acoustic composition for kundi and m'bira with computer assisted processing. Kalimba or m'bira is a finger piano made of wood and metal strips used in ceremonial music. In Western Africa this instrument is known as m'bira and in Eastern Africa it is called a kalimba. The kundi a bowed harp is a ceremonial instrument originating from the Mangbetu tribe of the Congo. In NPFAI.1, working with each individual layer gave Voudouris better control in the change of sound characteristics as some sound phenomena changed, disappeared and new sound phenomena surfaced creating new possibilities. In Palmos, Voudouris chose three Western instruments - the Hammond organ, oboe, and the bandoneon - whose overtone and harmonic capabilities allowed for interlocking moments to take place, a phenomenon that is ever present in African traditional music. Spectrographic analysis of sounds produced by each individual instrument was carefully monitored which allowed for a deeper understanding of timbre [harmonic content], attack, decay and vibrato. Subtractive synthesis further allowed for the isolation of certain inaudible frequencies to be enhanced to an audible level and the elimination of others. These compositional elements allow the listener to perceive the sound as stable individual tone and noise spectra, frequently of surprising purity.
NPFAI. 3, third in a series of electro-acoustic studies, is for African marimba and computer assisted processing. The African marimba used in this work is a tenor marimba, used traditionally as a rhythm instrument. The marimba is tuned in Xhosa tuning with just intonation in Eb (with added A's). The instrument was played with traditional mallets; the recording was processed and constructed on computer. Granular, algorithmic and subtractive sound syntheses were used in the construction of NPFAI.3. These procedures were not to defamiliarize the sound of the instrument but rather to explore the deeper analogies of organic identity in the construction of micro sound environments, focusing on capturing the physical properties of the instrument and its organic sound textures. PRAXIS is a four-channel tape piece using a recording of Christian Orthodox Greek male choir and computer assisted processing. 566 sound compartments were created that ranged from 10 to 40 seconds in time duration. Each sound compartment was constructed and manipulated individually, allowing for better control in maintaining individuality in the sound structures. The computer further allowed for the individual micro-rearrangement of pitches in each sound compartment, leading to the notion of continuous macro-timbre. The methods used allowed for greater control in spacial differentiation of each sound. The distorted nature of the sound source was not eliminated but was build into the composition." [label info]
www.pogus.com
|
2007 |
€13.00 |
|
| VOX POPULI! |
Soft Entrance to Nature's Camino de Luz |
mCD-R |
Wohl die ersten neuen veröffentlichten Aufnahmen nach der Wiederaktivierung, auffällig die vielen Tiersounds (z.B. Frösche), field recordings (aus Japan, Frankreich & Burkina Faso) & Glocken & Glöckchensounds die zum Einsatz kommen... insgesamt eine sehr ruhige, softe, meditative Atmo, absolute day dreaming music..
"finally some new music from this legendary experimental french band!!! mostly a solo work by axel kyrou in in a more experimental/surrealistic/environmental vein.please note that those three releases are also available as downloadable
FLAC files." [label info]
www.taalem.com
|
2008 |
€5.00 |
|
| |
Psyko Tropix |
LP |
Touch Sensitive is honoured to dig into the vaults of legendary cult French group Vox Populi! with a collection primarily pulling from their creative highpoint of 1986-1990. The vast majority of the works are unreleased and all make their first appearance on vinyl. The recordings have been licensed from the group's extensive archive, mastered by Rupert Clervaux and cut by Andreas Kauffelt at Schnitstelle. The release is completed by liner notes focusing on Vox Populi!'s creative process and prolific output. Springing from the rip it up restart of post-punk in 1980 and primarily active throughout that decade, Vox Populi!'s discography is a perfect showcase of an almost unclassifiable group. The often-used 'ethno-industrial' tag - even if not approved by the group - goes some way to describing a melting pot of primarily self-taught techniques and vast cultural influences. Founding member Axel Kyrou's parents were avant-garde musicians and filmmakers resulting in a heavy cultural immersion from a young age. His partner and bandmate Mitra moved from Iran to Paris in 1978 - followed a few years later by her virtuoso brother Arash who joined the group at the age of 14. Based in their 14th arronidissement studio - previously Axel and his brother's family playroom - Vox Populi! quickly became a lynchpin in the Parisian experimental scene and beyond through the burgeoning mail-art scene. The group contributed work to a huge number of independent labels. Their music and approach quickly progressed from rudimentary experiments to harness transcendental spiritual qualities and moments of intense beauty. In this collection, we can feel the vibrations of Don Cherry's Organic Music Society, Faust's communal explorations and King Tubby's forward-thinking studio experimentation. "We recorded everything - every idea. We would always have a cassette or a reel running. We made such different styles - freaky, alternative, experimental, industrial etc. We had no rules and no plans - our main motives were play and pleasure. I think that many people can feel that in the music." Three tracks recorded in 2017 by a reconfigured Vox Populi! sit perfectly with music from 30 years previous - "We were never defined by fashion or the zeitgeist. So we remained ourselves. Our sound is still natural. We had to be turned on by our own music and we wanted the music to have an impact on consciousness. We were the subjects of our own experiments and there was also a kind of mystery - even for us." The Psyko Tropix collection is another magical and mysterious addition to the open-hearted and open-eared world of Vox Populi! "The music of Vox Populi! found me several years ago and it was one of my record digging highlights. Their stark contrast of dark and light paints a beautiful picture of the physical and mental world we all live in. This new album doesn't miss a step in exploring further in both directions" Cut Chemist
https://touchsensitiverecords.bandcamp.com/album/psyko-tropix
|
2022 |
€29.50 |
|
| VROMB |
Rayons |
LP |
Konzeptuell und musikalisch wieder überzeugend – das neue VROMB-Album beschäftigt sich mit der akustischen Umsetzung von STRAHLEN...
“ vromb's intention on 'rayons' is to translate several kinds of rays into music - ranging from sunbeams to optical rays. so, 'rayons' can also be seen as an aural sight-seeing tour. the 'speed' factor is that of a person moving (whether by foot or in different vehicles). this movement was transformed into rhythmic patterns. imagine the aural equivalent of taking a walk during a thunderstorm ('éclairs') or feeling the sun peaking through a clouded sky while window shopping ('boulevard'). all sounds were generated with analog and digital synthesizers. the listener might believe that they are hearing modulated samples but this is not true. it is once again, an example of girard's virtuosity in creating 'naturalistic' soundscapes with pure electronic equipment. for the images on the album cover, girard gave the photographer, alain gauvin the basic audio tracks for inspiration. the final musical structure on 'rayons' is based on inspirations from gauvin's pictures which were taken in the montreal area. so close your eyes, let yourself go and feel the rays coming out of your speakers.” [label info]
|
2003 |
€8.00 |
|
| |
Rayons |
CD |
"Konzeptuell und musikalisch wieder überzeugend – das neue VROMB-Album beschäftigt sich mit der akustischen Umsetzung von STRAHLEN..." [old Drone info]
“ vromb's intention on 'rayons' is to translate several kinds of rays into music - ranging from sunbeams to optical rays. so, 'rayons' can also be seen as an aural sight-seeing tour. the 'speed' factor is that of a person moving (whether by foot or in different vehicles). this movement was transformed into rhythmic patterns. imagine the aural equivalent of taking a walk during a thunderstorm ('éclairs') or feeling the sun peaking through a clouded sky while window shopping ('boulevard'). all sounds were generated with analog and digital synthesizers. the listener might believe that they are hearing
modulated samples but this is not true. it is once again, an example of girard's virtuosity in creating 'naturalistic' soundscapes with pure
electronic equipment. for the images on the album cover, girard gave the photographer, alain gauvin the basic audio tracks for inspiration. the final musical structure on 'rayons' is based on inspirations from gauvin's pictures which were taken in the montreal area. so close your eyes, let yourself go and feel the rays coming out of your speakers.” [press release]
|
2003 |
€13.50 |
|
| WADA, YOSHI |
Earth Horns with Electronic Drone |
CD |
Bisher unveröffentlichte Aufnahmen eines Konzertes von 1974 (New York City)! Handgespielte Ritual & Transzendental-Drones at its best !!
"A world premiere from Yoshi Wada and EM Records-Omega Point: the first-ever release of Earth Horns with Electronic Drone, recorded live in 1974. Combining four of Wada's self-made pipehorns (made from plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early minimalism, placing Wada rightfully in the pantheon with La Monte Young, Phill Niblock, Maryanne Amacher and Alvin Lucier. Recorded live in Syracuse, New York, this recording captures the room-filling complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. This is a music of ritual hypnotic power, its heavy low end mass and sense of change within constancy engendering a meditative transcendency. 'Earth Horns with Electronic Drone' is the fourth and ultimate release in our Yoshi Wada series, a must for all fans of minimalism, heavy drones, ritual, mystery and world-shaking transcendence. From an original performance of almost three hours, the CD features a 77 minute excerpt; we are especially honored to also offer the full performance as a triple LP set (sold out !). From Earth Horns to beyond the firmament: prepare to be elevated ! Composition by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York on February 24, 1974. Pipehorns constructed by Yoshi Wada. Electronic equipment designed by Liz Phillips and Yoshi Wada. Electronics: Liz Phillips. Pipehorn Players: Jim Burton, Garrett List, Barbara Stewart and Yoshi Wada. Recorded by Yoshi Wada."
[label info] |
2009 |
€16.50 |
|
| WAKHEVITCH, IGOR |
Hathor |
LP |
"Subtitled "LITURGIE Du SOUFFLE POUR LA RESURRECTION DES MORTS", this is probably Wakhevitch's most esoteric and occult-influenced work. Some sort of dark ritual for synthesizer and orchestra inspired by Kabbalistic writings where Igor's trademark bottom heavy electronics pulse, wizz and sweep to a backdrop of heavy tribal drumming. Elsewhere, menacing and majestic spoken word passages open us the doors to the netherworld, leading you into an esoteric sound ritual that sounds spooky, virulent, powerful, droning, entrancing and mystical at the same time. Again Wakhevitch brings together disparate elements, bridging apparently unrelated musical forms and integrate them in order to deliver another unique work that sounds strangely prescient and recalling at the same time works from Mort Garson (Black Mass), Ruth White (Flowers Of Evil), Terry Riley (Surgery Persian Dervishes), Stockhausen (Stimmung), Tangerine Dream (Zeit) or early Klaus Schulze (Irrlicht)." [label info]
www.wah-wahsupersonic.com
|
2013 |
€23.00 |
|
| WALDRON, M.S./ STEVEN STAPLETON / S.B. SIGMARSSON / JIM HAYNES / R.K.FAULHABER |
The Sleeping Moustache |
CD |
Akustischer Surrealismus in Reinform auf dieser aufwendige Ketten-Collaboration, Drones und Collagiertes zu gleichen Teilen, Sprachexperimente, Geräuschaftes, Weirdes, abenteuerlich und schön!
Anhören und staunen !
„... Im fünfmaligen Wechsel von gut 10-minütigen mit 2- bis 3-minütigen Tracks jonglieren die Fünf mit den elektronischen Schatten von Nähmaschinen und Regenschirmen, wuchten nackte Eselskadaver auf Konzertflügel, klingen nach der Nachtschwester und lassen sich das Schamhaar neu friesieren [...].. Auch wenn sie das Pissoir nicht neu erfindet, ist sie doch Frucht einer langen Erfahrung aquis submersus.“ [Bad Alchemy #51]
“....Each with a peculiar understanding of the audio arts, these five artists came to the proverbial table and thought it a good idea to collaborate. Given the predilection for the surreal and the sidereal that each of these five employ in their many audio and visual projects, those agendas oozed from the recordings that became known as The Sleeping Moustache.
An epiphany of controlled disorder, a convulsion of beauty, a cascade of thought from delirious minds, The Sleeping Moustache is an exquisite manifestation of sound poetry scattered into a tortuous collage mired in an oblique melancholy. Magnetic tones extracted from the ether, mechanical sounds smeared into a lugubrious growls, horns trumpeting straight out of John's Book of Revelation, ululations sliced into information overload that Schwitters himself would be proud of. The Sleeping Moustache presents a psychically instable landscape, where dreams and nightmares wreak havoc upon the drudgery of daily life. The closest audible territory for The Sleeping Moustache might be the psychoactive constructions of Nurse With Wound's Homotopy To Marie, although the characters in this drama happened upon an entirely different map of that terrain.
The artwork for the first edition of The Sleeping Moustache features five letterpress prints from each of the artists with an edition of 1700.” [from the label description]
"You know it's gotta be an amazing record when we start a review by stating "we don't know where to begin with this record" and then we blather on and on for another 500 words pretty much demonstrating that while we may not where to begin, we certainly have a lot to say. And that totally applies to The Sleeping Moustache, the latest release from the enigmatic Helen Scarsdale Agency. The most well known of these five audio contortionists is Steven Stapleton who is the brains behind Nurse With Wound, who convolutedly reconstitute Surrealism, avant-garde aesthetics, and krautrock expressivity, resulting in some of the most profoundly brilliant and disturbing records we've ever heard. Sigtryggur Berg Sigmarsson is one of the drunken pilots of Stilluppsteypa, an Icelandic project of electro-absurdity capable of magnificent minimalism. M.S. Waldron is responsible for irr. app. (ext.), (an unwieldy moniker for sure) which has produced an amazing body of post-Surrealist expressivity in recent years. When he's not manning the fron counter here at Aquarius, Jim Haynes has developed a peculiar knack for rust-inflected dronescaping, and finally R.K. Faulhaber, who is the mystery man amongst the bunch, although we've been told his unpublished works offer a byzantine array of mutilated sonic collages. The album that these five produced is a weighty proposition to say the least, with detours a plenty within this mangled concoction of delirious dronescaping punctuated with glossalaic vocalizations. Delicate plinks and plonks sprinkled across sublime, gaping tones which transition to a convulsive beauty with mechanical spasms and nightmarish creakings. Throughout The Sleeping Moustache, ghostly reminders of each of the contributors' refined aesthetics emerge as a Gordon knot of convoluted logic, unsettling shifts between horror and comedy, psychological instability, and disquieting soundscapes. If you're even remotely a fan of Nurse With Wound or irr. app. (ext.) or Stilluppsteypa, this album is not just recommended... it's absolutely required." [Aquarius Records] |
2006 |
€14.00 |
|
| WALKER, SCOTT & SUNN O))) |
Soused |
CD |
"Freigeister unter sich: Der US-Chansonier trifft auf die Drone-Doom-Band: Als Sunn O))) im Jahre 2009 erstmals bei Scott Walker anfragten, ob er einen Beitrag zu ihrem Album "Monoliths & Dimensions" beisteuern wolle, ahnte niemand, dass es einmal eine echte Zusammenarbeit geben würde. Vier Jahre später meldete sich Scott Walker schließlich bei der US-amerikanischen Drone-Doom-Band: Er habe neue Musik geschrieben und dabei stets eine Kollaboration mit Sunn O))) im Sinn gehabt. "Soused" ist das beeindruckend wuchtige Ergebnis einer Kooperation zweier Freigeister. Scott Walker feierte in den 60ern weltweite Erfolge mit den Walker Brothers, veröffentlichte in Folge viel beachtete Soloplatten und etablierte sich als Chansonier mit teils bitterböser Lyrik. In den 80ern erfolgte ein radikaler Stilwechsel und zudem eine Änderung seiner Arbeitsweise. Alben wie "Climate Of Hunter" (1984), "Tilt" (1996) und "The Drift" (2006) zeigten einen wandlungsfreudigen Künstler, der 2013 mit dem komplexen Meisterwerk "Bish Bosh" seinen Weg fortsetzte. Mit "Soused" folgt die logische Konsequenz Walkers künstlerischen Schaffens. Das Vinyl erscheint mit Downloadcode.
///
When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, little did they know what it would actually lead to. Four years on, Scott was back with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind.
Recorded in London in early 2014 and produced by Scott Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track 50-minute body of work that cements both acts’ wide-reaching and otherworldly renown." [label info]
www.4ad.com
www.4ad.com
|
2014 |
€12.50 |
|
| |
Soused |
do-LP |
"Freigeister unter sich: Der US-Chansonier trifft auf die Drone-Doom-Band: Als Sunn O))) im Jahre 2009 erstmals bei Scott Walker anfragten, ob er einen Beitrag zu ihrem Album "Monoliths & Dimensions" beisteuern wolle, ahnte niemand, dass es einmal eine echte Zusammenarbeit geben würde. Vier Jahre später meldete sich Scott Walker schließlich bei der US-amerikanischen Drone-Doom-Band: Er habe neue Musik geschrieben und dabei stets eine Kollaboration mit Sunn O))) im Sinn gehabt. "Soused" ist das beeindruckend wuchtige Ergebnis einer Kooperation zweier Freigeister. Scott Walker feierte in den 60ern weltweite Erfolge mit den Walker Brothers, veröffentlichte in Folge viel beachtete Soloplatten und etablierte sich als Chansonier mit teils bitterböser Lyrik. In den 80ern erfolgte ein radikaler Stilwechsel und zudem eine Änderung seiner Arbeitsweise. Alben wie "Climate Of Hunter" (1984), "Tilt" (1996) und "The Drift" (2006) zeigten einen wandlungsfreudigen Künstler, der 2013 mit dem komplexen Meisterwerk "Bish Bosh" seinen Weg fortsetzte. Mit "Soused" folgt die logische Konsequenz Walkers künstlerischen Schaffens. Das Vinyl erscheint mit Downloadcode.
///
When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, little did they know what it would actually lead to. Four years on, Scott was back with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind.
Recorded in London in early 2014 and produced by Scott Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track 50-minute body of work that cements both acts’ wide-reaching and otherworldly renown." [label info]
www.4ad.com
"When we first heard about the collaboration, it sounded like a joke, like some internet meme. It did seem crazy, and on the surface, pretty hilarious, but eventually it was proven to be an actual thing. Then when we first heard a little snippet online, we weren’t entirely sold, Walker sounded even more over the top than usual, and the title Soused seems to indicate that maybe Walker was in fact completely wasted when he recorded his vocals, cuz it definitely sounded like it. But when we finally got to hear the whole thing, it suddenly all made sense, Walker’s vocals, while still insanely dramatic and over the top, were somehow perfect, and SUNNO))), instead of just doing the guitars-against-the-amps drone thing, really seem to be working way outside their comfort zone, and in fact, lots of this record sounds extremely, sonically uncomfortable. Fantastically so. We were so smitten by opener “Brando”, we had trouble digging any deeper into the record. Right from the get go, opening with Walker crooning over a whirring organ, shimmery and sun dappled, and what sounds suspiciously like the Guns ’N Roses “Sweet Child O’ Mine” guitar lick, but then the thick, viscous drones creep in, accompanied by strange ticks and pulsations, as well as what sounds like a bull whip, as well as the occasional burst of distorto guitar, the combination of that low end creep, and Walker’s vocals, as well as a cool feedback/high end that seems to echo the vocal melody, it’s pretty powerful, and stunning, weird, but also weirdly beautiful. “Herod 2014” was our next obsession, with it’s weird squelchy electronic rhythm, buried in thick rumbling thrum, it’s Walker who carries the song, some sort of demented, and yeah, likely seriously soused, torch song, flecked with static, and driven by a slo-mo Sabbath riff stretched out into near static sprawl, Walker’s vocals wreathed in lots of mysterious noise, the whole track peppered with what sounds like some strange banshee wail, or pterodactyl cry, but it’s somehow so perfect, that it becomes as integral to the song as any other element.
“Bull” is downright balladic after the previous heaving monoliths, but not for long, the song exploding into some serious Swans like pummel, with Walker kicking it up a notch, some loose chaotic drum damage, some junkyard percussion, and a ‘hook’ that manages to be the catchiest bit on the whole record, the song slipping into slo-mo somnambulant creeps, before launching right back into that ‘chorus’. We have to be honest, the first three songs are so perfect, it’s not until maybe the 20th listen that we even made it to the last two, but they’re similarly broody and bombastic, “Fetish” featuring some seriously buzzed out bass (assuming that’s a bass), and like “Bull” before it, another killer ‘chorus’, that sounds like Swans gone haywire, dosed on some serious narcotics, a wild cacophony of elephant like electronic bleats, churning metallic riffing, monstrous drumming, before settling into what sounds like some sick, mutant strain of kraut-doom. And don’t even get us started on Walker’s INSANE lyrics, in this case, a refrain of “Choo Choo, Choo Choo mama”, which sounds ridiculous, but in the context of the song, it sounds mad, maniacal, and like some sort of twisted genius, which we’re assuming it is. Finally, there’s “Lullaby”, which is one, at least for a moment, until another blurt of atonal, moaning, keening, doom cabaret explodes from the murk, only to settle right back down, most of the track spent in hushed lowercase mode, finishing off super dramatically, a field of barely there guitar rumble, distant sonar like pings, ominous swells, mysterious insectoid clicking, and one final, haunting stanza from Walker. Most definitely a twisted outsider masterpiece, and considering how skeptical we were, it’s even more surprising that this might just end up being a record of the year contender for some of us!" [Aquarius Records]
|
2014 |
€29.50 |
|
| WANDER |
same |
CD |
Ähnlich wie bei FRANS DE WAARDS (leider nicht mehr aktiven) Projekt SHIFTS geht es bei WANDER um ruhigen Minimalismus und Drones, allerdings hier nicht mit Gitarren erzeugt sondern mit reinen elektronisch-analogen Frequenzen, gar nicht so unähnlich von z.B. den letzten ELEH-Sachen, aber mit mehr Entwicklung im Drone...
"Ok, so Wander promised to release only once in each possible format, but Divine Frequency insisted on doing another full length CD, and who are Wander to refuse such a request? Wander is Beequeen in drone disguise. This piece (in two parts), was recorded in the summer of 2008, with subsequent mixing afterwards. All analogue synthesizers humming away. Just in to catch the next synth revival? If only. Wander never cared about hypes, but this is a great piece." [label info]
www.divinefrequency.com
"... As ever the release itself is simply titled Wander and organ drones lay again at the foundation of this album. The CD is divided into two tracks and that does not live up to what it might suggest. It starts off with airy hiss and rumble, while a steady organ drone slowly rises up along the way; getting stronger in force and eventually slowly fading away into a more silent passage. After that a new movement in the piece shows it face: a fieldrecording of crickets guided by low end pulses that secretly take us into that second track and it's not before a louder organ sequence starts to play when you actually realize that you've reached yet another movement. And that will happen again... and again. So it's more like one long track instead of the earlier supposed two. With lots of dynamics to keep it exciting and a very pleasant listen at the same time. Oh yes, yet another fine example in that ever growing line of Wander releases." [SDT/Vital Weekly]
|
2009 |
€12.00 |
|
| WAPPENHALTER, EDGAR |
On the Beach |
LP |
"About Edgar Wappenhalter: Wellknown facts: Edgar Wappenhalter is Steve Marreyt, co-founder of belgian psych-rockers Sylvester Anfang, and the Funeral Folk label, and is currently working for the Kraak-label. After leaving Sylvester Anfang II last year, Steve focussed on a string of tape-releases as Edgar Wappenhalter, his psychedelic fuzzed out dronefolk act, released on labels as divers as Goaty Tapes, Cabin Floor Esoterica and Young Girls Records. On The Beach is Wappenhalter's vinyl debut. Lesser known facts: Steve debuted ten years ago on Morc, with a comp-track of his band Elo vs Saturn, and did a few EPs as John Merrick Band on Morc as well. Although Wappenhalter creates a psychedelic sound world, he uses a very straight-ahead approach. About On The Beach: Whereas Edgar Wappenhalter's earlier tapereleases focussed on either his reverb-drenched folksongs, or his ecstatic tapeloop-experiments, On The Beach brings a perfect symbiosis of these two sides of mr Marreyt.. So you can expect plenty of songs that blend shoegaze and psychfolk, or that sound like a beachparty heard from so far away that you can't tell what the DJ is playing, only that it sounds familiar and that you like it. The LP is pressed in an edition of approx. 180 copies. The jackets were silkscreened by Levi Seeldraeyers of Smeraldina-Rima. Press quotes: Music for the missing link (Digitalis Industries). A blast of righteous lo-fi psychedelic-folk, beautifully crisp around the edges and soft n squishy in the centre (Kid Shirt). Recommended if you like drone, folk, experimental singer-songwriting, ecstatic psychpop, Ariel Pink, Drekka, Fabulous Diamonds, Urdog, The Doozer." [label info]
www.morctapes.com
|
2010 |
€17.00 |
|
| WARMDESK |
InvalidObject Series (function) |
mCD |
Das irische FÄLLT-Label hat auf einen Schlag ein Kompendium zur neuen digitalen laptop / click / glitch / IDM – Musik herausgebracht ! Das sind 24 mCDs mit allerlei bekannten und unbekannte Vertretern dieses jungen Genres. Wir haben die meisten da, hier eine Übersicht ! Limitiert jeweils auf schamlose 250 Stck ! Preis pro mcD : € 9.50
Better priced now, last copies of this absolute compendium of IDM. € 9.50
“ The invalidObject Series was established in 2000 as a sublabel of Fällt to release a finite series of twenty four 3"CD/.mp3 works.
Offering a unique perspective on a diverse range of musical output at the turn of the millennium, the Series features work by some of the most respected artists operating within the field of '.microsound' and has been described as "a remarkable document of a vibrant artistic community and a critical moment in the evolution of digital music" (Philip Sherburne), "a showcase for the extraordinary range of practical approaches within contemporary electronic music" (Matt Ffytche, The Wire) and, simply, "impressive" (Rob Young, Editor, The Wire). “ [label press release}
|
2000 |
€9.50 |
|
| WATERMANN, JOHN |
Calcutta Gas Chamber |
pic-LP |
Wiederveröffentlichung dieses Klassikers, jetzt als picture Vinyl!
"....ein dunkles, dichtes Werk mit elektro-akustischen Qualitäten, viele konkrete Geräusche & Sounds & Cut-ups, meist undefinierbar, aber voll von unheimlich beseeltem maschinellen Leben... absolut packend!" [Drone Records]
"Re-release of the long out-of-print album by the late John Watermann. The idea for this project came about after a visit to Calcutta in 1990, and through the nightmarish experiences during that short visit. The concept of aurally conveying the horror of a gas chamber was realised through field recordings in an abandoned electrical power station in Brisbane in 1992. The sounds are grating and harsh, a mixture of field recordings and electronic manipulations. One can rarely pinpoint a location or action but the images the sounds conjure up are of all sorts of nefarious activites related to death by machinery. The sleeve notes take you into the horror that is the Calcutta Gas Chamber. John Watermann started the re-design for this re-issue (originally released in 1993 on US label ND), but tragically passed away in 2002 before its realisation. A beautifully composed and produced album, completely remastered and feat. new artwork. This special picture LP is limited to 444 numbered copies. A CD version of 'Calcutta Gas Chamber' was released by Cold Spring in late 2006." [label info]
|
2007 |
€18.00 |
|
| |
1935-2002 |
CD |
Unglaubliche Sounds auf dieser "rare tracks" - Zusammenstellung,man wird regelrecht hin- und her geworfen in Strudeln aus Dynamik & Klang; 13 Stücke von z.T. längst vergessen Compilations wurden hier zusammengestellt, die Cover-Artwork ist wie immer bei WAYSTYX speziell.
www.waystyx.com
|
2008 |
€13.00 |
|
| WATKISS, THOMAS |
Ancestor Phase I : Silence |
CD |
Dark Ambient & Experimental Drone Newcomer aus Pennsylvania (USA), sein Debut-Album ist Sitting Bull gewidmet und taucht thematisch ein in die Mythen von Abstammung & Geschichte der Menschheit. Illustriert wird das von zum Teil archaischen, recht rauhen & gurgelnden Drones, aber auch sanftere Elektronik-Wallungen kommen vor und geheimnisvolles Oberton-Geflüster... das alles wurde effektvoll in Szene gesetzte mit Gitarre, Bass & Synth / Computer.
"This ambitious, hour-long dark-ambient soundscape composition is certainly one of the finest we've heard in years. The basic concept seems to be rooted in the depths of human history and experience on Earth, and this is expressed primarily through gentle washes of electronics, computer generated sounds, and very heavily processed electric guitar and bass, occasionally building to dramatic intensity. This is divided into 12 parts, each of which stands alone with its individual theme, but also works naturally with the others to form the entire composition. Comes in triple-fold digipak." [label info]
www.thomaswatkiss.net
|
2008 |
€12.50 |
|
| WEHOWSKY, RALF / JOHANNES FRISCH |
Tränende Würger |
CD |
RLW COLLAB(or)IERT wieder ! Diesmal mit dem uns unbekannten JOHANNES FRISCH, der aus der Impro-Szene stammt.... Vier Stücke voller Überraschungen !
“ 1) Johannes Frisch: works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Le Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin. Compositions for theatre, film and dance theater actual projects: Kammerflimmer Kollektief; Home of the beast, with Peter Hollinger und Helmut Bieler-Wendt; Ensemble Sondarc, music for six double basses; rat'n'X; trio with Paul Wirkus & Mikolaj Trzaska; concerts & festivals all over europe.
2) Ralf Wehowsky: founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. for their live appearances they were equally at home at punk and no wave festivals as at the holy grails of academic avantgarde like the Ferientage Neuer Musik, Darmstadt. since the early 90s Wehowsky worked under his own name (rlw). the quiet, highly complex style of composition, based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O´Rourke, Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). the new decennium started with a surprise for many as first releases showed a new approach of integrating improvised music and composition (as can be found on the CDs VIEWS and SIGHTS, the latter w/ long-time collaborator Bruce Russell).
3) Tränende Würger: is based on free improvisations by the Frisch/Wehowsky duo, reworked with electro-acoustic means. the compositional process did not intend to mask the nonlinear nature of the improvisations. quite on the contrary their organic character has been emphasized by crystal-clear sharpening of details. you´ll find complex structures and dark atmospheres, not unlike those on some P16.D4-, This Heat- or Mnemonists- releases, though absolutely rooted in the 21st century. beauty and posoning are not far from each other.
'Tränende Würger' comes in a plastic bag, 15x15cm with the artwork on six seperate sheets, dealing with poisenious plants. Design by Meeuw.” [label description]
|
2005 |
€13.00 |
|
| |
Which Head are you dancing in? |
CD |
"An album 'Which head you're dancing in?' is full of weird rhythms and glitches but the most amazing thing here is the main inspiration. All of the pieces from this release wouldn't have been created without Ornette Coleman. Both Frisch and Wehowsky found many inspiring moments in music played by the father of free jazz. Their own work is full of glitches and noisy ornaments. In some parts one can find rhythmical structures reminiscing discotheque for spoilt laptops, other compositions show beautiness of contrasts between silence and prolonged, dark and wiry bass phrases.
Johannes Frisch works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Lê Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin compositions for theatre, film and dance theater actual projects include Kammerflimmer Kollektief; and collaborations with Helmut Bieler-Wendt.
Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. For their live appearances they were equally at home, at punk and no wave festivals and at the holy grails of academic avantgarde like the Ferientage Neuer Musik or Darmstadt. Since the early 90s Wehowsky works under his own name (rlw). The quiet, highly complex style of composition based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. Some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O«Rourke Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). The new millennium showed a new approach of integrating improvised music and composition (as can be found on the CDs 'VIEWS' and 'SIGHTS', the latter w/long-time collaborators Bruce Russell and Johannes Frisch)."
|
2014 |
€12.00 |
|
| WESTERKAMP, HILDEGARD |
Transformations |
CD |
Fünf faszinierende Arbeiten (1977-1992) der kanadisch-deutschen Akustik-Designerin, die für ihre fliessenden, poetischen Kompositionen allerlei field- & Umgebungsaufnahmen (z.B. Stadtgeräusche, Grillen, Raben, Nebelhörner und Fabriksirenen, etc etc) benutzt, die später im Studio nachbearbeitet werden... wie immer bei EMPREINTES DIGITALES kommt das ganze in einem aufwendigen Cardboard-Klappcover und mit dickem Booklet!
„ Westerkamp creates new possibilities for listening. One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change. Her compositions invite interaction – a chance to awaken to one’s own creativity. One can transform through listening as she has. In the music and soundscapes of Westerkamp we feel memory and imagination as we hear trough the future.” [PAULINE OLIVEROS].
“ Vancouver based German with a strong interest in sound ecology and the use of everyday sound environments. ranges from walks through soundscapes to environmental compositions. a wonderful disc.” [Anomalous Records ]
www.empreintesdigitales.com |
1996 |
€15.00 |
|
| WHALESONG |
Leaving A Dream |
do-CD |
"Leaving A Dream" is the third studio album in WHALESONG's discography released by Zoharum in coopertion with Old Temple. Two CDs contain over 120 minutes of music combining various genres into one coherent whole. A sonic feast composed of blinding light, hopes, dreams. A kind of endless stream of consciousness, sonic cinema for everyone who loves to lose themselves while listening. Many distinguished guests took part in the recordings, including Attila Csihar (SUNN O))), MAYHEM), Steve Blanco (IMPERIAL TRIUMPHANT), Wukir Suryadi (SENYAWA) and many other excellent musicians, such as vibraphonist Tomasz Herisz, saxophonist Aleksader Papierz or pianist Miro Snejrd from HERR LOUNGE CORPS.
Whalesong is an experimental collective from Tarnowskie Góry and for years the main band of Michał Kiełbasa (Grave of Love, Lugola, Harmony of Struggle, NHC). Although the group's work defies all possible definitions and unambiguous pigeonholing, in their work one can find references to such genres as industrial, noise rock, no wave, drone, jazz and post rock. In their compositions, often lasting several minutes, they attack with weight, dynamics and hypnotic phrases, crushing with the powerful, sometimes even overwhelming sound of guitars, which is constantly accompanied by a tribal, mechanically hammered rhythm. For this purpose, the musicians use both classic "rock" and more unconventional instruments, from various types of percussion, such as: gong, cymbals, tubular bells, mellotron, and even everyday objects, elements from scrap metal, some pieces of sheet metal or circular saws . So far, the group has had the opportunity to collaborate with, among others: with such artists as Thor Harris (Swans, Wrekmeister Harmonies), Wacław Kiełtyka (Decapitated, Machine Head) or Aleksander Papierz (Sigihl).
The 2CD edition and the digital version will be released on July 14 and will be combined with a special premiere concert during the Castle Party festival. Shipping of orders collected from our store and other platforms will start on July 18, after our return from the festival.
https://zoharum.bandcamp.com/album/leaving-a-dream |
2023 |
€16.00 |
|
| WHEN |
Black, White and Grey |
CD |
Imposantes apokalyptisches Werk des norwegischen Projekts, wo es um die „Zerstörung der Erde“ geht. Eine schwer zu beschreibene Mixtur aus Filmsoundtrack, Hörspiel & Musique Concrete mit orchestralen und elektronisch-industriellen Einflüssen. Hinter WHEN steckt LARS PEDERSEN (u.a. HOLY TOY), unterstützt wird er hier mit Texten von CHRIS CUTLER. Als Bonus gibt es auf dieser CD die zweite LP von WHEN, „DEATH IN A BLUE LAKE” (WIT002, 1989), basierend auf dem gleichnamigen Roman von A.BJERKE.... dramatische Düsterkeit abseits gängiger Klischees, Bad Alchemy schrieb „Fröschequaken – Vogelgezwitscher aus dem sumpfigschlüpfrigen Uferdickicht des Blue Lake – Hundegebell – Äste knacken – Schwermut – Geheule – ‚hypnotized’ – die Geräusche schwellen an – den Kopf / die Nerven verlieren – alles dreht sich – die Ohren zuhalten – kein Ausweg....“ [MBeck in Bad Alchemy # 13, 1989]
“A complete new work plus 'Death In The Blue Lake'. Combines playing and through-composition with manipulated and environmental sound in dramatic, narrative, psychological constructions. Quite unique. 'Death' based on a novel; texts in new works by Chris Cutler. Book of artwork.“ [ReR]
|
1990 |
€14.00 |
|
| WHITE, FRANCES |
In the Library of Dreams |
CD |
"I was going to write about how this is an absolutely beautiful and disturbing record, but I think quoting from the liner notes of James Pritchett really does sum it up. 'Frances White invites us to take a walk through her Resonant Landscape. Where are we going? We are walking through the woods, marshes, and streams of New Jersey. She points out the birds and frogs that make their home there, the water that flows through it and the wind that shakes the trees. But then we turn and there is that other sound world, the one in which these woodland sounds are transformed, or in which we find sounds altogether new: spectral birds singing to us through a sparkly haze; distant colored winds, like the breath of giants; the air around us, alive, charged with long, low drones and sudden electric crashes. There is something magical about this other world, and (like most magic) there is something disturbing here as well. We move between the two worlds almost at random, bumping into one sound after another. We find ourselves rising off the path and floating, then falling abruptly into silence, reappearing in a marsh full of geese and blackbirds. This is more than a sonic postcard from Princeton: it is a journey into the inner world of Frances White. We could call it an electroacoustic dream drawn from her memories of hikes in the woods. As in a dream, real experience is placed in a surreal context, a play of inner and outer. We fill in the gaps, supplying connections among the random fragments of reality, memory, and imagination. This gets to the heart of White's music. She has made a body of work in which she takes the real, brings it into her being, transforms it there, and then brings it out again in her compositions. Technically, she works by using the computer to manipulate recorded sounds and to synthesize wholly new ones. She mixes her timbres by hand as a painter would mix colors, and she applies them lovingly and painstakingly to her canvas of silence. But the power of her work comes from her ability to take listeners on journeys through her inner sense of sound, finding something luminous, exalted, dramatic, and at times frightening there. Her music is like the work of dreams, both the pleasant ones and the nightmares. It is not by accident that Gus Van Sant set the calmly-executed bloodbath of his film Elephant to one of White's Walks through 'Resonant Landscape'. White's unsettling juxtapositions of real and imagined sound work well with Van Sant's matter-of-fact treatment of almost unwatchable violence. Frances White studied composition at the University of Maryland, Brooklyn College, and Princeton University. She has received awards, grants, commissions, and fellowships from organizations such as the Guggenheim Foundation, Meet the Composer, the Alice M. Ditson Fund, the Mary Flagler Cary Charitable Trust, Prix Ars Electronica, the International Computer Music Association, ASCAP, the Bang On A Can Festival, and the Other Minds Festival. Ms. White's music can be heard on CD on the Wergo, Centaur, Nonsequitur, Harmonia Mundi, and Bridge Records labels. A CD devoted to her chamber works, Centre Bridge, was released in August of 2007 on the Mode label. Ms. White's music was featured as part of the soundtrack of three of Gus Van Sant movies." [label info]
www.pogus.com
"This new Pogus release is a work of a composer who is completely new to me. White studied composition at the University of Maryland, Brooklyn College, and Princeton University. Some of her work has been released by labels like Mode, Bridge, Harmonia Mundi, etc. This new release gathers six compositions for very different line ups. The first one, ‘Chosi’ is for solo shakuhachi, beautifully played by Ralph Samuelson. White studied Shakuhachi herself and feels inspired by traditional music that has shakuhachi in a main role. Also she feels inspired by nature. No wonder that she often uses natural field recordings in her electronic work. Just like Jonas Braasch, White has a comparable fascination for space and environment in her musical output, like titles as ‘Walk through Resonant Landscape 5.1’and ‘Walk through Resonant Landscape 5.2’ indicate. Both titles provide a picture or metaphor that describes how one can experience these pieces: it feels like a travel through different parts of a jungle. Here birdcalls dominate, there sounds from insects. The works are built up as a series of waves of manipulated environmental sounds. The works have a fine balance of acoustical natural sounds and electronics. White builds successful imaginary landscapes and surroundings. Also I would say she is searching for some spiritual quality in sound. The title piece ‘In the Library of Dreams’ is written for viola d’amore played here by David Cerutti, against a background of electronic sounds. Only one piece is for an ensemble, ‘The Ocean Inside’ played by Eight Blackbird, an ensemble of six musicians. It is a romantic piece of work of slowly moving patterns that disappear in a background of fragile sounds. The closing piece ‘The Book of Roses and Memory’ has very sensible playing by Liuh Wen Ting on viola and Thomas Buckner as narrator. The electroacoustic music of White takes you into dreamy atmospheres, with compositions that are not extremely complicated. In fact her work is very accessible. It is also very solid work and far from some easy romantic pastiche." [DM/Vital Weekly]
|
2012 |
€13.00 |
|
| WHITELODGE |
same |
CD |
Nach der noch etwas spröden “Stream of Dreams” 10” hier das erste Album des US-Trios, mit tief-melancholischen, folk- & wave- & elektronik-beeinflussten Stücken, der Stil lässt sich schwer kategorisieren, aber von der WIRKUNG her erinnert das an die magischen Momente bei den LEGENDARY PINK DOTS....
“Like a palpable ghostly presence that phases in and out vision; at once translucent and illusory; simultaneously rattling silverware, sending chills through the flesh. That strange unseen grip in the hand; that vaporous and unexplained cloud of breath in the middle of the hallway. A great billowy poltergeist, Whitelodge is a musical revelation. The Lodge skirt borderlands between the mysticism of seething "post rock" and the dark textures of latter day "apocalyptic folk," managing in the end to sovereign a musical nation of their own. Somber musical expressions exude surprisingly powerful punch and often carve modest stones into towering columns of sound, which, while not actually loud, seem to IMPLY loud. Constructed somewhat like a This Mortal Coil record, the quietly crafted combination of acoustic guitars, electric piano, bass and electronics effuse scents of Sol Invictus ("Against The Modern World"), Gastr Del Sol, Sea And Cake, Insides, late late period Swans, Roseclouds era Death In June with a little "Another Green World" style Eno plastering the cracks...but none of these really captures the true essence of the Lodge what is White. Where apocalyptic folk often drowns in its own cheesiness, Whitelodge rise above and avoid trying to force any sort of posturing or false celticisms into their music. Whispered vocals reincarnate a host of spirits from Red House Painters to Coil, driving the compositions home by inference rather than the obvious. This music is unbelievably tangible in its etherealness. A deep beauty resides within and repeated listens open endless blossoms. This album is also guilty of having at least a couple downright infectious tracks that are so brilliantly cooked as to be virtual tonal crack. The Grand Poobah beckons: become one with the Whitelodge!“ [press release]
|
2005 |
€13.00 |
|
| |
Stream of Dreams |
10inch |
Da ist sie, die letzte 10” in der LACTAMASE-Serie, und wieder präsentiert das Portlander Label einen ungewöhnlichen Newcomer. WHITELODGE zeigen sich als songorientierte, melancholisch sanfte Psychedelic-Experimentalisten, mit großem Potential.
Und jetzt kommts: wer sich artig alle 12 LACTAMASE 10“es besorgt und die entsprechenden Coupons darin nicht verloren hat, bekommt dafür UMSONST eine bonus-10“ mit exklusiven Stücken ALLER Beteiligten! Diese Bonus-10“ ist NICHT VERKÄUFLICH!
“A fragment of celestial shrapnel: Whitelodge does indeed "lodge" itself deep into the mind, restoring with it the body, and being of general benefit to one's overall constitution. Or, perhaps, it's just the little lobotomy you have always dreamed of. This 10" EP reveals a band capable of great magick and prodigious evolution. Whitelodge has become adept at marrying atmosphere to song structure without surrendering to a belabored posture, and this even beyond the debut magnum opus. There has been found a solid footing where each sound, each note, is perfectly placed and paced. Beginnings are given to pregnant, breathing intros, allowing the music to develop and resonate before the fully formed imagoes emerge, which ARE songs, but also tone poems. While not sounding at all like them, Whitelodge's methodology is something akin to My Bloody Valentine on "Loveless," where pieces are sewn together, each ending making a subtle statement tow ards the birth of the next; textures taking equal place next to structure. The EP showcases Whitelodge's exploration of quiet cosmics, both evoking psych-folk of old and more modern elements, like the gentler psychedelic moments found in Cindytalk (when growling through the hush, buzzing in the rushes) or Karl Blake seduced Sol Invictus (tiptoe, through the bassline). Because of timing and tone Red House Painters is a close cousin in many respects except that Whitelodge frames its songs with a greater emphasis towards experimentalism and certainly occupies a more ghostly plane. Repeated listenings virtually leave traces of ectoplasm on the speakers. Dustin Gilbert's voice is a patient and subdued instrument, confident and softly percussive and, by and by, very compelling. A beautiful and mysterious riddle of a release, which, if unraveled, may well, be a key to Heaven.” [label description]
www.blrrecords.com |
2003 |
€12.50 |
|
| WHITMAN, KEITH FULLERTON |
Lisbon |
CD |
„KEITH FULLERTON WHITMAN ist nicht nur irgend ein umtriebiger Musiker der seiner Zeit voraus scheint, er ist einer der Wenigen, die denjenigen, die da noch kommen mögen, neue Straßen pflastern. "Lisbon" ist bereits seine fünfte Veröffentlichung in den letzten drei Jahren und entstand auf seiner letzten Europatour im Galeria Ze Dos Bois in, genau, Lissabon. In den 41 Minuten Spielzeit vermittelt "Lisbon" einen sehr guten Einblick in die Whitmansche Herangehensweise der Live-Umsetzung seiner Idee von Musik. Aus diese Zusammenführung synthetischer als auch organischer Elemente lässt WHITMAN mit "Lisbon" einen atonalen, düster, dynamischen Monolithen erwachsen. WHITMAN war nach langer Tour ausgebrannt und mit Tinitusproblemen in Lissabon angekommen und wand sich frisch inspiriert vom Zauber der portugiesischen Hauptstadt neueren Klangforschungen zu, bei denen er neue Aufnahmetechniken entwickelte und erprobte. Eine Zeit, in der sich auch seine Herangehensweise, weg vom ausgefeilten, perfektionistischen hin zum Fehler und Natürlichkeit zulassenden wandelte.//
Those of you who have been lucky enough to get a copy of the recent "22 Minutes for Electric Guitar" tour-only mini-cd on Entschuldigen may have an idea of just where my head's been at over the past year or so regarding the evolution of the "Playthroughs" system of live/real-time guitar/computer synthesis; the piece I often play in concert has gradually been getting much darker, more dynamic, and in general; monolithic. I've started to embrace traditional "loud guitar" concepts (via a collection of bizarre, home-made/boutique guitar pedals) along with the sine-tone throb and "slow aerosol dispersion" of the classic "Playthroughs" material. More recently, I've augmented the pure-guitar sound(s) with a collection of small, battery-powered sound-devices and several tapes of "automatic synthesizer compositions" (recorded this past summer on the same Serge Modular Protoype and Buchla Music Box 100 systems used on Multiples) and field recordings from all over god's green earth. Finally, on top of all that I've re-kindled my love of Alvin Lucier-lineage process music by placing microphones and small speakers / fm receivers / speakers around the space, capturing the sounds as they occur at various points in the room, feeding them back through the central artery that is the max-msp-based playthroughs patch, then out again to any number of locations... This recording, captured to hard disk on stage at Galeria Ze Dos Bois on October 4th 2005, is in my mind the perfect encapsulation of all of these elements into a single lilting piece of static sine-tone harmonics, squared-off electric guitar haze, clangorous roomtone eruptions, and high-end synth freakouts...” [Cargo / press release]
www.brainwashed.com/kranky
|
2006 |
€13.00 |
|
| |
live |
7 |
Atmosphärische, experimentelle Gitarren-Pickings für Freunde von TORAL, MAZZACANE-CONNERS, KRANKY Records..
“ this is the second release by keith fullerton whitman as keith fullerton whitman - and it's a beautiful diversion to his mighty drill'n'bass productions as hrvatski (on his own label reckankreuzungsklankewerkzeuge) or dj hekla (recently on planet mu). you could witness that already last year on his first release on apartement b, a stunning guitar-cum-laptop cd. although "live (at the tremont theater)" also consists of these elements the result differs from that cd for it's more a coalition between the fragile
sound of the acoustic guitar and the punctual sparkling electronic
interruptions by the computer processing. the sublime beauty of the two long pieces – the 7" contains almost 14 minutes of music - of, say, loren-mazzacane connors or some of o'rourkes early pieces which results in a strumming drone-fest. this live recording was the opening slot for a peter kowald-daniel carter-lawrence cook-jonathan lamaster quartet show at the tremont theatre in boston's thriving theatre district and shows once more whitman's ability to combine different aspects of experimental and electronic music. imagine godspeed you black emperor! stripped down to a solo project - watch out for his longplayer on kranky soon.” [press-release]
www.tonschacht.com |
2002 |
€6.00 |
|
| WIESE, KLAUS |
Maraccaba |
LP |
Look no further for some classic contemporary ambient music! Originally released on tape in 1982, Maraccaba is the second solo album from Deutsch electronic wizard Klaus Wiese, a Popol Vuh member during the recordings of iconic masterpiece as "Hosianna Mantra" and "Seligpreisung." Klaus Wiese was a veteran musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists alongside Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti. In the 1990s he founded the Nono Orchestra to play the giant sheet metal instruments of Robert Rutman. Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Edition of 500.
|
2023 |
€23.50 |
|
| WILTZIE, ADAM BRYANBAUM |
Salero (Original Motion Picture Soundtrack) |
LP |
"Schauplatz Salzwüste: Mystischer Soundtrack zu einer untergehenden Welt.
Adam Bryanbaum Wiltzie ist die kreative Kraft hinter A Winged Victory For The Sullen und Stars Of The Lid. Auf sein Konto gehen diverse Soundtracks für Spielfilme, zum Beispiel Jail Lesperts "Iris" und "The Yellow Birds" von Alexandre Moors. Mit dem Score für "Salero" liefert Wiltzie nun jedoch die Filmmusik für einen Dokumentarfilm ab. Der Film von Mike Plunkett spielt in der bolivianischen Salar de Uyuni, der größten Salzwüste der Welt. Mit seiner Kamera folgt er den regionalen Saleros, die seit Generationen Salz abbauen und sich dadurch trotz der kargen Landschaft ihren Lebensunterhalt verdienen können. Noch, denn unter der verdunsteten Erdoberfläche wurden große Lithiumreserven entdeckt, die in immer größerem Stil abgebaut werden. Die Ausbeutung der Umwelt bleibt naturgemäß nicht ohne Folge auf die Einheimischen und deren Traditionen. Wiltzies Soundtrack begleitet die ausgedehnten und kompromisslosen Bilder des Regisseurs meisterhaft. "Es war mir eine Freude, Filmmusik zu diesem fesselnden Ort des endlosen, schimmernden Salzes kurz vor seinem drohenden Untergang zu schreiben", so der Musiker. Während Gitarre, Perkussion und Streicherensemble in dessen belgischen Studio eingespielt wurden, nahm er die Orchestereinspielungen im ungarischen Magyar Studio #22 mit dem Budapest Art Orchestra auf."
www.erasedtapes.com |
2016 |
€25.00 |
|
| WINDY & CARL |
The Dream House |
do-CD |
„ 'The eternal Struggle', der Titel des ersten Tracks auf dieser zwei CDs umfassenden und achtzig Minuten dauernden Huldigung der Langsamkeit, beschreibt die Musik von Windy Weber und Carl Hultgren treffender und prägnanter, als dies Horden von Kritikern in Dutzenden Reviews zustande bringen könnten. Langsam und zäh entfaltet sich ein nahezu dreißig Minuten langes Stück, das trotz seiner Dauer und Viskosität genau das vollbringt, was guter Ambientmusik heutzutage oft fehlt, nämlich die Fähigkeit, den Hörer stundenlang in den bequemen Ohrensessel drücken zu können. 'I have been waiting to hear your voice' knüpft hingegen eher an älteres Windy and Carl-Material an, wie es beispielsweise auf „Antarctica“ bereits zu hören gewesen war. Hier liegt der Fokus auf lang anhaltenden Drones, die jedoch nie nach Laptop klingen, sondern so organisch wirken, als hätte man sie in einer großen Konzerthalle oder Kathedrale aufgenommen. Die zwei auf der zweiten CD „Dedications to Flea“ enthaltenen Stücke sind dem gleichnamigen, verstorbenen Hund gewidmet und bewegen sich musikalisch auf dem gleichen Niveau, das Windy and Carl mit „The Dream House“ als Maßstab ausgegeben hatten. Um den Bezug zu dem Verblichenen herzustellen, wurden jedoch einige Field Recordings integriert und die Stimmung gegen Ende der zwei Tracks etwas gedämpft. Auch mit ihrem ersten Lebenszeichen seit fünf Jahren gelingt Windy and Carl der eindrucksvolle Beleg, dass sie auf dem Gebiet der sich langsam entfaltenden Musik ein einzigartiges Gespür für den richtigen Ton zur richtigen Zeit besitzen und damit zu den Besten des Genres gehören.“ [Echoes-online.de]
"The Dream House is the first album of new material from Windy & Carl in five years. Recorded at their home studio in Dearborn, MI it consists of two tracks. The Dream House is in many ways the duo's simplest and most straight-forward release, concentrated as it is on two evolving pieces. It is also Windy & Carl's most ambitious recording, with the duo deliberating on longer forms. Windy & Carl are capable of sustaining melodic ideas and patiently apply attention to singular musical gestures. Windy Weber describes the album as being about 'death and dreams and beliefs and leaving and moving on.” [label info]
|
2005 |
€16.00 |
|
| WINER, LESLIE |
When I hit you, you'll feel it |
do-LP |
Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.
Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, and design by designer Christopher Shannon.
"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.
https://lesliewiner.bandcamp.com/album/when-i-hit-you-youll-feel-it |
2021 |
€39.50 |
|
| WIRE, THE |
issue # 292 (June 2008) |
mag |
"On the cover: Evangelista (Since covering Willie Nelson's 'Red Headed Stranger,' Carla Bozulich has been shunting alt country deeper into hardcore improv territory with her new group). Features: Machinefabriek (Rutger Zuydervelt tells Chris Sharp why 3" CD-Rs are the perfect medium for his electronic streams of consciousness); Dylan van der Schyff (Vancouver's busiest drummer talks about his work with John Butcher, pianist Peggy Lee and more); Cross Platform: Anat Ben-David (Chicks On Speed's Israeli recruit interrogates pop and politics in her performance art piece, Popaganda); Invisible Jukebox: The RZA; Yoshi Wada (Inspired by La Monte Young and Pandit Pran Nath, the Japanese Fluxus artist explores the 'sympathetic resonances' of his homemade bagpipes and horns); People Like Us (Adopting the motto 'all things avant retard,' Vicki Bennett creates witty audio cut-ups and collages that slyly subvert heavily mediated images of Britain); Nihilist Spasm Band (The likes of Joe McPhee, Voice Crack and Jojo Hiroshige have all made the pilgrimage to London, Ontario to attend the Canadian noise veterans' No Music nights)." [Verlagsinfo]
www.thewire.co.uk
|
2008 |
€8.75 |
|
| WISHART, TREVOR |
Journey into Space |
CD |
Wiederveröffentlichung einer obskuren do-LP von 1973, die in unbekannter Höhe erschien. Vor allen Dingen werden hier field-recordings und found sounds (Alltagsgegenstände, konkrete Materialien) verarbeitet, um eine sound-allegorische Reise des Menschen hin zur Selbst-Bewußtwerdung zu symbolisieren: Der Mensch wacht auf wie aus einem Traum und begibt sich auf eine Reise, an deren Ende eine weitere Geburt steht...(deshalb auch die drei Teile BIRTH DREAM, JOURNEY und ARRIVAL)..
aufgenommen im „Electronic Music Studio“ der
Universität von York zwischen Jan. 1970 un Dez. 1972. Sehr außergewöhnlich, detailreich und schön !!!
Re-release of an obscure do-LP from 1973, in which WISHART wants to symbolize the journey of man from a dream-like state into a higher sphere of self-realization (at the end there’s a new birth).
“ York University's music department houses one of the UK's first ever electronic music studios, and during the early seventies it was a hotbed of creative activity. Much of the released output from the studio at this time revolved around the work of the dynamic composer Trevor Wishart. Journey Into Space was his first release, composed between 1970 and 72, and was privately pressed (shortly before the formation of YES records), as two
separate LP's in 1973. (The CD cover amalgamates the 2 original designs). Along with other early private releases of experimental music in the UK (ie the LP of sound poems by Cobbing/Jandl, or the LP of musique concrète by Desmond Leslie), this record is also a total anomaly in the canon of British experimental music and has little to do with the current, or even subsequent work by Wishart.
The vast length of this piece has many different styles. There are acoustic sections, mostly of junk and toys (bike bells, squeeze horns, bottles, metal tubes, combs etc.) as well as flute and brass sections that are used as raw material. There are also sections of everyday field recordings, scraps of NASA Apollo transmissions, as well as plenty of multitracking, editing, vocal acrobatics and musique concrète.” [from the label press release]
|
2002 |
€15.00 |
|
| WOLF EYES |
Human Animal |
CD |
Material von 2006, das erste Album ohne AARON DILLOWAY, der sich jetzt seiner Solo-"Karriere" widmet. HUMAN ANIMAL ist ein mitunter ziemlich aggressives Noise-Brett mit sehr spannenden "Hinführungen", wie immer schwelend und bis zum zerbersten gespannt...
Wir meinen: WOLF EYES sind einer der wenigen Noise / Rock / Industrial - Bands zur Zeit, die es verstehen, "intelligent", d.h. mit Spannungsbögen & interessanten Sounds, zu agieren.. und wenn sogar das HELLDRIVER-Magazin schreibt: "....manchmal klingts auch ein bisschen nach Geisterbahn. Kurz und gut: Das ist gequirlte Scheisse, reiner Krach und versprengte, teilweise angejazzte Tonsprengsel ohne jede Struktur oder gar Wiedererkennungswert! Im Endeffekt nur anstrengend, könnte ich mir prima in den Top 10 der internationalen Foltercharts vorstellen – ich würde wohl nach ein paar „Songs“ alles Mögliche und unmögliche gestehen – wo soll ich unterschreiben Mr. Bush?" ... dann ist das für den geneigten Noise-Hörer doch eher als Auszeichnung zu verstehen ;)
"After a year of non-stop touring in support of 2004's Burned Mind, Wolf Eyes were ready; seasoned to travel through horrible new areas of sound. During one four-week period at the dawn of '06, they laid down ideas in their studio, the Terror Tank. Those ideas would shape what would be the new album, Human Animal. This new slab is the first with Mike Connelly (of Hair Police and the Gods of Tundra label) replacing Aaron Dilloway. Though he no longer tours with the band, Dilloway remains involved and helped to mix the new record with BMG (who also did the deed on Burned Mind). These songs are rotten with metal, reeds, consciousness-erasing islands of black doom. Bass-heavy rippers, late-night free-terror jams, afflicted dog-hearts, underwater crabs: pure mayhem. The new double bass attack is showcased on "Human Animal"/"Rusted Mange" with scraping strings and a full terror-shriek workout re-organized by Dilloway. New directions are countered by "Rationed Rot," which revisits the eerie Throbbing Gristle-esque vocal deployment that dates from Wolf Eyes' Dread LP. The album also features the band's first ever cover song: a dead-on rendering of No Fucker's rotten hXc anthem, "Noise Not Music," which closed out a lot of shows on Wolf Eyes' recent European tour. As ever, Wolf Eyes will be living on the road, with Australian and American tours in the works, and an invitation from Thurston Moore to play at All Tomorrow's Parties in December 2006 alongside Sonic Youth and The Stooges." [press release]
|
2006 |
€14.50 |
|
| WOLFF, CHRISTIAN |
Kompositionen 1950-1972 |
do-CD |
" 'Schließlich wurde mir klar, dass die Art des Klangs, der in unbestimmten Situationen erzeugt wird, etwas einschließt, das auf keine andere Weise entstehen kann, etwa der Klang eines Spielers, der eine Entscheidung trifft oder sie ändern muss. Tatsächlich ist die unbestimmte Notierung, die ich verwende, meines Wissens die einzig mögliche für die Art des Klangs, den ich gern hätte. Und vergiss nicht, wir lassen uns auch gern überraschen. ...und der Rhythmus, der so entsteht, gleicht keinem anderen.'
Die meisten der in diesem Portrait versammelten Werke geben Zeugnis von Christian Wolffs früher Schaffensphase. Sie wurden zumeist zur Zeit ihrer Entstehung aufgenommen. So liefert jede der Aufnahmen den ihrer Zeit eigenen, besonderen Klang der Stücke Wolffs.
############################################
»Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I’ve used is, as far as I know, the only possible one for the kind of sound I should like. And don’t forget, we also like to be surprised. ...and the rhythm produced by that situation is like no other rhythm.«
Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording
exemplifies the sound gestures from their time." [label info]
www.edition-rz.de
|
2011 |
€22.50 |
|
| WOLLSCHEID, ACHIM |
60xX |
CD |
Soundmäßig wohl das zugänglichste Material, das der Frankfurter Konzeptkünstler bisher produziert hat. Digital verwobene found sound-Wellen, v.a. Streicher, vermischen sich mit Störgeräuschen in endlosen, ratternden Kaskaden.. immer in Bewegung und Veränderung. Sehr vital und geräuschhaft schön ! Als Soundquelle dienten seine eigenen Radiosendungen..
„ While the common modes of broadcasting, distributing and listening to sound seem to be changing rapidly it may make sense to tune into that process and give way to a flexible organisation of sonic structures - 60 x X bases on my monthly broadcast on Radio X, Frankfurt a.M. (www.radioX.de) I use all available players at the radiostation to play different records, CDs and cassettes from my archive at the same time. The resulting layered stream of sound is re-structured and re-composed by a real-time computer-program. Composition thus becomes a method to select, transform and develop sonic presence on the brink or randomness. This ritornell CD is a re-structured version of recordings from such
broadcasts. The first 60 min of 60 x X was broadcast on resonance fm, London in 2002. (www.resonancefm.com). This ritornell CD (post-produced at FTF Studio, Frankfurt a.M.) is the
second edited version - evenly underlaid by a grid of indexes that separates the sonic stream into 60 pieces. - (both shuffle mode and sequential play are recommended). Artwork by Charly Steiger.” [press release]
|
2003 |
€13.50 |
|
| WOLVES IN THE THRONE ROOM |
Celestite |
CD |
"Seit der Bandgründung 2002 haben WOLVES IN THE THRONE ROOM über 4 Studioalben und hunderte von Konzerten hinweg die transzendenten und mythischen Aspekte des Black Metal durch ihr ganz eigenes Prisma gebrochen und Musik erschaffen, die in direkter Beziehung zu den wilden Landschaften des pazifischen Nordwestens steht.
"Celestite" bricht auf zu einer Reise, die tiefer in den kristallinen, Synthie-getriebenen Herrschaftsbereich vordringt, der WOLVES IN THE THRONE ROOM schon seit langem fasziniert.
Mit Unterstützung des Produzenten Randall Dunn (EARTH, SUNN0))), MASTER MUSICIANS OF BUKKAKE) hebt die Band eine versteckte Soundlandschaft aus, die sich nur lose an den gewohnte Sound bindet und doch jederzeit als WOLVES IN THE THRONE ROOM zu erkennen ist.
Während sich das Album entfaltet, entwickelt sich eine meerestiefe psychedelische Soundlandschaft; Portale öffnen sich und geben den Blick auf eine Zauberwelt frei, die nur in Träumen, Visionen und Musik zu betreten ist.
"Celestite" wurde in den Avast Studios in Seattle und in der bandeigenen Owl Lodge in Olympia realisiert, wo die Band ein ganzes Arsenal an Vintage Synthies und Effekten aufreihte; dazu gesellten sich ein Ensemble aus Bläsern und die klassischen API und Neve Konsolen.
Kommentar der Band: "Um 'Celestite' zu machen, tauchten wir tief in die unterirdischen Sounds, die im Mix von ,Celestial Lineage verborgen lagen.
Wir isolierten sie, entwickelten sie weiter und wählten die so gewonnene Soundlandschaft als Startpunkt.
Auf diesem Fundament errichteten wir das ganze neue Album. Manche Melodien von "Celestial Lineage" sind wiedererkennbar, doch diese vertrauten Sounds erscheinen als Geister, die nur lose mit den Originalkompositionen verbunden sind." "Celestite" ist der erste Release auf dem bandeigenen Artemisia Records Label." [label info]
https://artemisiarecords.bandcamp.com
|
2014 |
€15.00 |
|
|
Celestite |
do-LP |
"Seit der Bandgründung 2002 haben WOLVES IN THE THRONE ROOM über 4 Studioalben und hunderte von Konzerten hinweg die transzendenten und mythischen Aspekte des Black Metal durch ihr ganz eigenes Prisma gebrochen und Musik erschaffen, die in direkter Beziehung zu den wilden Landschaften des pazifischen Nordwestens steht. "Celestite" bricht auf zu einer Reise, die tiefer in den kristallinen, Synthie-getriebenen Herrschaftsbereich vordringt, der WOLVES IN THE THRONE ROOM schon seit langem fasziniert. Mit Unterstützung des Produzenten Randall Dunn (EARTH, SUNN0))), MASTER MUSICIANS OF BUKKAKE) hebt die Band eine versteckte Soundlandschaft aus, die sich nur lose an den gewohnte Sound bindet und doch jederzeit als WOLVES IN THE THRONE ROOM zu erkennen ist. Während sich das Album entfaltet, entwickelt sich eine meerestiefe psychedelische Soundlandschaft; Portale öffnen sich und geben den Blick auf eine Zauberwelt frei, die nur in Träumen, Visionen und Musik zu betreten ist. "Celestite" wurde in den Avast Studios in Seattle und in der bandeigenen Owl Lodge in Olympia realisiert, wo die Band ein ganzes Arsenal an Vintage Synthies und Effekten aufreihte; dazu gesellten sich ein Ensemble aus Bläsern und die klassischen API und Neve Konsolen. Kommentar der Band: "Um 'Celestite' zu machen, tauchten wir tief in die unterirdischen Sounds, die im Mix von ,Celestial Lineage verborgen lagen. Wir isolierten sie, entwickelten sie weiter und wählten die so gewonnene Soundlandschaft als Startpunkt.
Auf diesem Fundament errichteten wir das ganze neue Album. Manche Melodien von "Celestial Lineage" sind wiedererkennbar, doch diese vertrauten Sounds erscheinen als Geister, die nur lose mit den Originalkompositionen verbunden sind." "Celestite" ist der erste Release auf dem bandeigenen Artemisia Records Label." [label info]
https://artemisiarecords.bandcamp.com
"We're super into this, but avant black metallers Wolves In The Throne Room have gotten a lot of flack for this new record of theirs, which seems to be more based on them as a band, than the record itself; like Deafheaven or Liturgy, the fact that they're 'hip' and 'cool' and lots of non metalheads dig them makes them ripe for criticism from the 'troo cvlt' black metal crowd. Also that they're doing something a bit different. A LOT different, here. And we applaud it! 'Cause taken objectively, as in, if you didn't even know this was WITTR, you might find yourself pretty into it.
The deal is, there's really no black metal here, just pure spaced-out synth shimmer, completely cosmic and kinda New Agey, even. It's total Tangerine Dream worship, but with plenty of dense bombast and thick layered drones. More like Emeralds than Emperor. The sort of thing some black metal bands dabble in as "intro music", taken to the full-length extreme. And it's pretty good - the first track sounds like it could be an alternate soundtrack to Bladerunner. Haunting and ominous, lush drones and buried melodies... Elsewhere, the swaths of thick synth-iness sound almost like Salem, some beatless almost witch-housiness... There's even some Carpenter-y electro beats on "Sleeping Gold Storm". The moaning horns and other elements, in the more cacophonous crescendos, builds up the drama and edginess, but it never gets metal, nope. It's the intro to itself, instead.
Thumbs up from us! And, black metal and/or WITTR fans who aren't open-minded enough to approve of this, don't fret, it's just meant as an electronic "companion" to their last album, 2011's Celestial Lineage, not a follow-up. You still gotta keep waiting for that, but in the meantime, you could try to relax and enjoy these surprisingly spaced-out sounds. Plus, it's not like there's not precedence for stuff like this in the realms of black metal, from Neptune Towers to Alturaz... And for other folks, more into synths and drones than metal, this could easily be the first (only?) WITTR you'll ever need." [Aquarius Records]
|
2014 |
€30.00 |
|
| |
Thrice Woven |
CD |
Now, a portal into the dreamworld of Wolves in the Throne Room opens again with THRICE WOVEN. It is a glorious return to the blazing and furious Black Metal that they alone can create!
The album begins with Born From the Serpent’s Eye a true thrashing black metal epic that is bisected with a haunting northern lament sung by Swedish star Anna von Hausswolff. The band worked with metal documentarians Peter Beste and Nico Poalillo to create a video for this track which captures a bonfire-lit performance in the forest near their Olympia compound.
The Old Ones Are With Us opens with the crackling of a fire and the voice of Steve Von Till (Neurosis) invoking the springtime thaw. It then storms into a dirge inspired by 90’s Finnish doom with lyrics that celebrate Imbolc, the holy day which marks the end of winter and the first stirrings of spring.
Figures from Norse mythology intertwine with personal heartbreak and rebirth in the bleak Angrboda. The song is named after a frost giantess who birthed Fenris Wolf, a beast who was destined to destroy the world and murder the gods. Fenris Wolf also appears on the cover of THRICE WOVEN in a painting by Russian occult artist Denis Forkas. Forkas’ obscure medieval painting techniques perfectly compliment the music of Wolves in the Throne Room.
A raven’s wings stir the air in the interlude Mother Owl, Father Ocean. Anna von Hausswolff returns in a duet with Turkish harpist Zeynep Oyku. Forlorn industrial atmospheres haunt the mix. Hausswolff’s lyrics, sung in Swedish, echo over a barren grey seascape.
Fires Roar in the Palace of the Moon is the classic Cascadian Black Metal epic. The third eye opens to see holy rivers being born from the ice on the tallest peaks. The lyrics offer blessings to the waters of the earth as they flow from the high places to the source of darkness, the ocean.
https://wolvesinthethroneroom.bandcamp.com/album/thrice-woven
|
2017 |
€14.50 |
|
| WOODEN VEIL |
same |
CD |
"Wow! - Ist das nun Großstadtschamanismus, Neo-Hippietum oder die neue Kraft durch globale Spiritualität? Auf jeden Fall ist das sehr kompakt, emotional und wunderbar verschroben. Inwieweit das esoterische Trendkost ist oder künstlerisches Großeinsatzkommando wird sich sicher noch herausstellen, auf jeden Fall sind WOODEN VEIL aus Berlin mit ihrer Mischung aus Tribelsounds, kosmischer Elektronik und wirren Folk/Freak-Out/Kraut-Rockversatzstücken das berührenste was ich aus dieser Richtung in letzter Zeit gehört habe. Friedlich, atonal und kraftvoll mischen sie ihren eigenen Zaubertrank und verwischen damit entgültig jegliche Genre- oder Mediumgrenze, denn auch performancetechnisch und bildnerischkünstlerisch ist dieses Gruppe in sich geschlossen und projeziert ihr Heiligstes und Innerste auf die Umwelt. CURRENT 93, SILVESTER ANFANG und PINK FLOYD bilden ein magisches Dreieck. Abgefahren und bitte nie, nie, nie ankommen..." [Carsten Vollmer, Die Elektrische Zone]
"Wooden Veil is a Berlin-based art group formed in 2007. Inspired by the shared hauntedness of their respective homelands, they combine elements from forgotten and misremembered traditions to create a microcosmic world which only Wooden Veil inhabits, complete with its own symbols, clothing, food and shelters. Performances, installations and videos are characterized by an expansive wardrobe of ritual dress, and the creation of shrines, relics and talismans used to create music.
The group consists of artists Marcel Türkowsky (also a composer, founder of Snake Figures Arkestra, Cones, Uuhuu, collaborations with Datashock and Christoph Heemann), Hanayo (known for her solo work as a photographer and singer, collaborating with the likes of Christoph Schlingensief, Merzbow, Red Crayola, and Kai Althoff), Christopher Kline (Valkenburg Hermitage, †, Night Music, and Soft Peace), Dominik Noé (member of krautrock legends Lustfaust), and Jan Pfeiffer (Songs For Rocks, Soft Peace, Purple).
To understand:
Hold right hand, cupped near right ear; turn hand back and forth slightly with wrist. Bring left hand to opposite eye with the second finger pointing in the direction one is looking. With index and thumb of right hand, form an incomplete circle, space of one inch between tips; hold hand towards the earth, then move it in a curve across the heavens and back toward the horizon." [label info]
www.dekorder.com
|
2009 |
€13.00 |
|
| |
same |
LP |
"Wow! - Ist das nun Großstadtschamanismus, Neo-Hippietum oder die neue Kraft durch globale Spiritualität? Auf jeden Fall ist das sehr kompakt, emotional und wunderbar verschroben. Inwieweit das esoterische Trendkost ist oder künstlerisches Großeinsatzkommando wird sich sicher noch herausstellen, auf jeden Fall sind WOODEN VEIL aus Berlin mit ihrer Mischung aus Tribelsounds, kosmischer Elektronik und wirren Folk/Freak-Out/Kraut-Rockversatzstücken das berührenste was ich aus dieser Richtung in letzter Zeit gehört habe. Friedlich, atonal und kraftvoll mischen sie ihren eigenen Zaubertrank und verwischen damit entgültig jegliche Genre- oder Mediumgrenze, denn auch performancetechnisch und bildnerischkünstlerisch ist dieses Gruppe in sich geschlossen und projeziert ihr Heiligstes und Innerste auf die Umwelt. CURRENT 93, SILVESTER ANFANG und PINK FLOYD bilden ein magisches Dreieck. Abgefahren und bitte nie, nie, nie ankommen..." [Carsten Vollmer, Die Elektrische Zone]
www.dekorder.com
|
2009 |
€13.00 |
|
| WOOLEY, NATE |
The Almond |
CD |
"The Almond started as a short study for trumpet for the British website Compost and Height. Wooley, a rising young composer known mostly for his radical recontextualization of the trumpet in improvisation and jazz music, was, at the time, feeling constricted by the sound based language he had been using up to that point in both his live solo playing and his earlier solo records. His goal was to make a true solo trumpet record, using only the trumpet as it was intended to be played with no extended techniques. This challenge spawned a 20-minute piece that, at the surface level, was a quick, arcing narrative made up glacially shifting textures of pure pitched sound. The process behind the piece was much more complex, however, as each pitch heard in the piece was made up of anywhere from three to ten different recordings of the trumpet recorded in different mutes, tunings, with different microphones, and in different rooms. The result was each note of the piece, now expanded to 70 minutes in its final version, takes on a synthesized aspect, sometimes sounding like a voice, others like an organ, but always maintaining some timbral tie to the trumpet. With the exception of one very low pedal tone, all the pitches are played on a regular embouchure, again a far cry from Wooley's usual work." [label info]
www.pogus.com
|
2011 |
€13.50 |
|
| WRIGHT, PETER |
Desolation beauty violence |
CD |
Langsam scheint sich herumzusprechen, welche aussergewöhnliche Drone-Klänge der Neuseeländer PETER WRIGHT zu erschaffen in der Lage ist. Wir feiern das in kürze auf Drone Records mit einer komplett orangen (denn so ist seine Musik) 7“ EP! DESOLATION BEAUTY VIOLENCE, das dritte „richtige“ Album nach diversen CDRs, basiert alleine auf 12-saitiger Gitarre, Effekten und field recordings. Seine sich sehr weit öffnenden Drone-Harmonics & auch die Titelgebung der 8 Stücke verweisen auf Natur- und Reiseerlebnisse - wenn der fremde Ort mit magischer Atmosphäre aufgeladen zu sein scheint...
“Recorded in London, spring 2003 along with Yellow Horizon, Desolation Beauty Violence is a very personal take on environment and landscape. Peter Wright uses a 12 string guitar and a handful of effects to illustrate an instrumental journey through the human detritus of city living juxtaposed with a wistful remembrance of pastural isolation, it's author torn between a desire to be part of a larger community and a need for space and solitude. Far from being just another drone record, Desolation Beauty Violence is a dichotomy of musical visions that are at once both blissfully dreamlike and expressively manic." [label info]
www.ikuisuus.net
|
2005 |
€13.00 |
|
|
Unvarnished, untreated, unzipped |
CD-R |
Zweimal live-Extrakte vom neuseeländischen Pendant zu AIDAN BAKER, Gitarrenozeane und field recordings in unnachahmlicher Manier, mit unglaublich druckvollem Ende auf dem zweiten Stück…. Limitierte maxi-CDR.
“ 2 incredible live trks recorded during Peter Wrights 2005 UK tour. Perhaps nothing more needs to be said? Well, ok then... The 1st trk was recorded in London and is built up from field recs and guitar loops in an ocean of reverb and is reminiscent of his work on Yellow Horizon and Desolation Beauty Violence. The 2nd trk was recorded in Aberdeen and features feed back loops and delayed strumming patterns that get more and more intense until they reach a truely spinetingling crescendo. Essential!“ [label info]
|
2006 |
€9.00 |
|
|
Yellow Horizon |
CD |
Der grossartige Neuseeländer PETER WRIGHT (auch aktiv als POLIO) liefert seit Jahren Gitarren-drone durchtränkte Traumlandschaften ab, die sich dunkel aber unpathetisch in den Äther schwingen. Seine tänzelnden Gitarren-Ozeane sind von besonderer untergründiger emotionaler Spannung und Melancholie beseelt, und wirken doch auch entspannend....keine Oberflächenmusik, sondern der „wahre“ Kern des Selbst scheint hier aufzuflackern..... Demnächst auch eine 7“ auf Drone Records !! NZ-Import.
“New Zealand guitarist and sound-artist Peter Wrights back catalogue stretches to something like 30 releases over the last dozen years. 'Yellow Horizons' is the most recent of these and follows on from 2004's 'Distant Bombs' (Last Visible Dog), and 'Desolation Beauty Violence' (Digitalis). This CD finds him relocated to dirty old London town from where he has written a series of love-drones to the wild South Island of his homeland. Described by David Keenan (of The Wire, Volcanic Tongue) as a "consistently impressive thinker", Wrights guitar craft opens vistas that are as contemplative as they are emotionally engaging. Periods of preperatory silence awaken into long slow shifting drones; layered 'folk' patterns build to an almost psychotropic intensity before being subsumed once more within the drone... These scenes are as varied as the South Island itself. There are glaciers as well as sunburnt plains. Writing about the recording of Yellow Horizons, Peter had this to say: "The nature of my reduced travelling bag of equipment has meant a more concise distillation of sounds than before with the 12 string guitar now dominating. To make things even more cohesive I tuned the guitar to an open C chord and every track on this disc uses this tuning, creating an almost seamless continuity, and an overall foundation". [press release]
“Another fucking stunner from this re-located New Zealander, Desolation Beauty Violence is mostly based around various manipulations of Danelectro 12-string guitar using minimal effects and field recordings but for the most part the source feels supremely dislocated. This is easily some of the most evocative proto-drone work to reach these ears in a while, with beautiful almost folk melodies that flutter on the edge of audibility cut up with a thick soup of early-evening smog and long forgotten geographies. Somewhere between early Flying Saucer Attack, Mirror and William Basinski. Highly recommended.“ [David Keenan/ Volcanic Tongue]
www.pseudoarcana.com
|
2005 |
€14.00 |
|
|
Magpie Attack on the .. |
7 |
"New 2-song single by New Zealand-born, London-based Peter Wright. Aquarius Records says Peter is one of the most compelling sound makers we have ever heardä and has released records on Celebrate Psi Phenomenon, Drone, Last Visible Dog, Digitalis, aRCHIVE, and PseudoArcana. Peter uses a 12-string guitar, effects, amplified mini tambura, bells, chimes, and other gizmos to create powerful, organic noise. For fans of Smith and Youngs, Matthew Bower, and Birchville Cat Motel. Mastered by John Golden for maximum volume and pressed on thick vinyl." [label info] |
2007 |
€7.00 |
|
| |
An Angel fell where the Kestrels hover |
CD |
"An Angel Fell Where The Kestrels Hover started life as the second part of a two album reflection on my emotive responses to seasonal changes, both in a personal sense and also a more social and geographical sense. My double CD Snow Blind, recorded at the same time and released earlier this year on Install, captures the foreboding darkness and gloom of winter, whilst An Angel Fell... focusses on the spring and summer months, and as a result has a generally sunnier disposition.
Obviously there's a direct literal interpretation at work here, the music is brighter and more melodic, perhaps even sensual, without as much harsh discordance that is predominant on Snow Blind. On 'Lavender Buzz' the seasonal inspiration is most literal, where the foundation of the piece is from a strategically placed microphone in the middle of a clump of lavender plants recording bees collecting nectar from the flowers. But also, as the music was actually recorded during the summer I only had to look out the window or take a walk in the nearby Streatham Common to get a sense of the type of almost lazy sounds I wanted to create. Ironically, this was also one of the wettest July's on record in the UK and the frequency of the often violent thunderstorms also tainted my creative thoughts, neatly juxtaposing light and dark textures.
Aside from the weather, location was also an important factor. I made these recordings in London, England, where my wife and myself were living at the time. This is an album heavily influenced by living in that sprawling, chaotic urban jungle, as most of my last few releases have been. Reflections on physical and mental space are frequently wrapped up in the sounds I make, even at their most abstract. London was my home for nearly 6 years and this was the last recording I made consciously referencing and musing on the city before we moved back to New Zealand in 2008. In many ways it represents the closing of a circle that started with my first UK-based recordings that appeared on Yellow Horizon (PseudoArcana, 2004).
The titles I come up with for my music can be fairly oblique, often abstract and meaningless, but they can reflect my mood at the time I make the sounds themselves. Sometimes they are socially or politically motivated, sometimes very personal and inward-looking. At their most poetic they can be a substitute for lyrics, but the titles are not necessarily designed to lead the listener into a particular train of thought when listening to the sounds. The album title, An Angel Fell Where The Kestrels Hover, was one of the first I came up with when previewing my early mixes on headphones sitting in a South London meadow watching a kestrel circling high above looking for field mice in the long grass. I could immediately see a connection to the birds movements and the way my music drifts and floats. The kestrel's hovering flight, almost like a hummingbird, beating it's wings and making minute adjustments in the wind, allowing it's head to remain absolutely still to enable it's sharp eyes to spot movement in the ground metres below is amazing to watch. And I liked the idea that maybe it could see something in the grass that us mere mortals can not, like a fallen angel." [Peter Wright]
www.spekk.net
|
2009 |
€15.50 |
|
| WYRM |
Divination Bones (2nd extended ed.) |
7 |
Excellent abstract drone-experimentalism by this mysterious project by the long active ALLAN ZANE, feat. LIZ LANG (AURACENE); this is second, revised & complete version of both tracks previously released as a picture-7", due to a pressing mistake an uncompleted version has been pressed before - which means everyone who bought already the pic-7" can get this second edition FOR FREE (excl. postage)!
"Während auf der Picture-7“ die Demoversionen zu finden sind, schob Drone Records nach
Betriebsschluss seiner 7-Zoll-Serie eine zweite Edition mit dem Original nach- und bildet
damit den Kreislauf zweier Kompositionen nach. Tradiert feldrekorderhaft und mit der
Betonung auf Troum’sche Harmonielehren setzen sich in zwei spitzenintendierten Stücken
geradezu vexierte Spiralen an Klang und schleichender Verdichtung in Gang, die in ihrer
schleifigen Ruppigkeit dem Trägermaterial Vinyl eine Menge abgewinnen- während die Demo
deutlich spurenarmer ausfällt, nimmt sich die Komposition im ausformulierten Zustand mehr
Zeit während die sonore Klangmechanik weitaus differenter ausgearbeitet ist. Der Gestus
beider Stücke fällt in den Zuständigkeitsbereich von irr. app. (ext.) und bietet neben dissonanten Saitenexperimenten Versatzstücke der Hauntologie in quälender Zeitlupe. Als letztes Signal von Drone Records eine wahrlich lohnende Investition: Käufer der Picture-Disc bekommen die Platte beim Bestellvorgang sogar umsonst dazu. 5/5" [Thorsten Soltau / AEMAG]
|
2011 |
€6.00 |
|
| WÄLDCHENGARTEN |
Distractions |
CD |
Trotz diverser hervorragender Releases sind die Dänen WÄLDCHENGARTEN weiterhin ein Geheimtip für Drone-Freunde. Elektronische, rauhe & majestätische Drones voller amorpher Elemente sind ihre Spezialität, Soundquellen sind kaum auszumachen, im Klang liegende Wellenbewegungen bestimmen das Bild. "Distractions" ist ihr drittes "full-length" Album.
"The senses are hit by a typhoon of charged electricity, which sends your mind into a cabinet of mirrors where darkness folds and unfolds. The sound image presents itself as an inseparable unity in which myriads of parallel sequences are constantly undergoing transformations. Transcend through ethereal radiation!" [label info]
"Since seven years Wäldchengarten exists as a lone but strong voice in the world of Danish experimental music. They have had a couple of releases (see for instance Vital Weekly 510, 465, 380, 338 or 265) which all can be noted for the strong love of noise and drones. Everything they do deals with electronics, from the samples they use to the sound effects and the analog electronics. Noise is never the end result: rather Waldchengarten use noise to create an effect that is trance inducing. Also Waldchengarten has no theme, it seems. No track titles, no obscured nazi images or any such things known to the world of noise, all they (the two brothers Hansen) care about is playing mind altering ambient industrial music, and they do a great job. They can easily be compared with the likes of Troum. Forcefully present, but twistin' the senses. With 'Distractions' they created an even finer balance in the music, moving slowly forward with their sound. Every new release is an improvement from the previous, slightly refining the music. Waldchengarten doesn't take big steps, nor are they in for a radical change, but with releases at this rather slow speed, it's quite alright. So far their best release." [FdW / Vital Weekly]
www.phisteria.com
|
2006 |
€14.00 |
|
| XEDH & CARLOS SUAREZ |
Cuculacanto |
CD |
"About: This album shows a series of improvisations that I realized with the Galician composer Carlos Suárez. His work, heir of a certain electroacustic tradition but subverted to a more visceral and private plane, is interesting for the reality that it reflects: his music is a result of an intense personal vision about the world, a music that it's real in essence.
For our live collaboration I didn't try to adjust me to the particularities of his sound, it has gradually growing in unconscious forms of working that I abandoned long ago, but without falling in the imitation or the falsifications, using techniques and perspectives that I currently use. Our meeting, I want to believe, was so real as Carlos´s music. This CD serves as a small tribute to its work into the filed of electoacoustic, ethnomusicology and fieldrecording that he captured and developed away from the moder civilisation for many years. (M.A.G. / Xedh)
German translation: Dieses Album zeigt eine Reihe von Improvisationen, dass ich mit der galizischen Komponist Carlos Suárez erstellt hatte. Seine Arbeit, die Erben eines bestimmten Elektroakustik Tradition, sondern unterwandert zu einer viszeralen und privater Ebene, ist interessant für die Realität, dass es reflektiert: Seine Musik ist ein Ergebnis einer intensiven persönlichen Vision von der Welt, eine Musik, dass es 'wirklich' im Kern ist.
Für unsere Live-Zusammenarbeit habe ich nicht versuchen, mich auf die Besonderheiten seines Sounds einzustellen, wurde es allmählich in unbewussten Formen des Arbeitens, die ich vor langer Zeit aufgegeben, aber ohne zu fallen oder in der Nachahmung der Fälschungen, mit Hilfe von Techniken und Perspektiven, die ich derzeit verwenden. Unser Treffen, Ich möchte glauben, war so real, als Carlos Musik. Diese CD dient als kleine Hommage an seine Arbeit in den von Electoacoustic, Ethnomusicology und Fieldrecording, dass er genommen und entwickelt hat seit vielen Jahren aber entfernt vom 'Moderne Zivilisation.' "(M.A.G. / Xedh)
"This is a sonorous eclectic offering. Collaboration album, abstract dark ambient, highly inspiring sound art work from two dedicated electro-acoustic and ethnomusicologists.
Tracks:
01. Regresión afín
02. Varios errores
03. Sacrá nemesis
04. Juntos hacia la gran reverberación de los tiempos
05. Una última bienvenida
Total run: ~ 42 min.
Recorded live at Larraskito, Bilbao-Basque country. Edition by Miguel A. García." [label info]
www.essentiamundi.com
"Miguel A. Garcia sometimes works under his own name and sometimes as Xedh, and I am never sure when one comes into play and when the other. Maybe there is no separation? Here he works with one Carlos Suarez, of whom I think I never heard. He is from Galicia in Spain and works inside the field of electro-acoustic music. If I am well informed the pieces here were recorded through live improvisation in the studio which was then edited by Garcia. Garcia is at his best, at least for me, when he too works with electro-acoustic music, and stays away from overtly noise based excursions which he sometimes also does. Here he does stay away and together with Suarez he created five excellent pieces of electro-acoustic music which suggest lots of space between the cracks, sometimes artificially enhanced by the use of reverb. There is computer processing, analogue knob turning, field recordings of water and metallic rumble, looped and toyed around with. The overall mood of the pieces is more ambient and atmospheric than is perhaps usually the case with this kind of electro-acoustic sounds. More ambient than microsound I would say. Garcia has reconstructed the live recordings accordingly and without losing the aspect of a live recording, these five pieces are very good, well done and reshaped into the form of compositions, with heads and tails and fine structure. This is the Garcia I like and this CD is a fine addition to his rapidly expanding discography." [FdW/Vital Weekly]
|
2012 |
€12.00 |
|
| XELA |
The Illuminated |
LP |
"... Die Klangbilder sind dafür dann erstaunlich subtil, mit buddhistischem Glöckchengeklingel und ganz inoffensivem Gedröhn, dessen ominöse Unbestimmtheit gut als Projektionsfläche taugt. Schon die ‚schwarze‘ Seite, von einer gurgelnden Stimme kurz dämonisiert, betet letztlich mit einer frommen Celloelegie das Gebet derer, die im Zeichen des Saturn das Haupt senken. Die ‚Rosen‘-Seite dröhnt und schimmert in den Farben eines Regenbogens im Reich der Schatten, in dem unsichtbare Gestalten mit ihren Ketten scharren, huldigt aber dann wiederum mit aufgetürmtem Feedback und verzerrtem Schreigesang den Gitarrengöttern, deren gemurmelte Resonanz aber dunkel bleibt." [Bad Alchemy]
"The music of Xela is not easily described. The alias of Type Records main-man John Twells, he has over the last decade moved through a dense fog of musical styles from abstract electronics to rusty soundscapes. In recent years his output has allied itself with darker realms, taking a liberal dose of influence from Norway's darker exponents, but retaining a deep and measured experimental focus. 'The Illuminated' was originally released on cassette, a format very fitting to the gloomy, waterlogged sounds; but having sold out in a matter of days it now recieves the much needed deluxe re-issue treatment. Taking cues from the cracked black metal of Burzum and Striborg and fusing this with heavy, synthesized noise 'The Illuminated' is possibly Xela's darkest, most spine-chilling work to date. We are taken through chiming Nurse With Wound-inspired soundscapes into Middle Eastern marketplaces and through caverns of thick, buzzing synthesized noise on the album's first piece. Entitled 'Black Scripture' this takes the dank religious themes of 'In Bocca Al Lupo' and goes even deeper into the Church dungeons, digging up lost artifacts and the angry spirits that accompany them. The flipside extends this heresy with a throaty vocal and distorted electric guitar, leaving blackened corpses and the traces of a sleepy village in its wake. Devastating and dark material, listen if you dare..." [label info]
"... Many layers of guitar sounds, bells tinkling and slightly distorted sound that 'Gilted Rose' is the standout track of the two. Dark and mysterious. A very fine and delicate piece." [FdW / Vital Weekly]
www.dekorder.de
|
2009 |
€12.50 |
|
| |
Divine |
LP |
" "The Divine" marks the second phase in the trilogy proposed by John Twells aka Xela. Crawling out of a castle dungeon in pursuit of its predecessor, "The Illuminated", this LP finds itself trapped in an abandoned church somewhere in a damp Southern wilderness. Church bells chime and rattle through the record's first piece, echoing and distorting through a fog of chattering voices and prayers. Tape loops stumble over tape loops and the solemn, ecclesiastical drone slowly decomposes into thick, crackling noise. Through the mists choirs sing, heralding the introduction of the second side of "The Divine" which takes the human voice into cavernous and smudged, yet strangely alluring territories. There is almost a Basinski-like charm to this work as the choirs effortlessly degrade into an unrecognisable mud of harmony and abrasiveness. This is music informed by a religious world; Xela has edged from the scriptures of cults and secret societies to the spires of organisation and power. God is in the detail.
Limited edition of 500 copies!" [label info]
www.dekorder.com
|
2010 |
€12.50 |
|
| Y CREATE |
Madadayo |
CD |
Y CREATE ist ein neuer Name auf EE TAPES, das Projekt aus NL ist aber schon seit vielen Jahren aktiv. Auf MADADAYO sind 8 lange Stücke mit perkussivem, melancholischem ambient Industrial enthalten - getragene Stimmung verbreitend mit Synths & schwermütige Samples, die nach Trennung und Trauer klingen..
“After years of silence, Hessel Veldman, main person behind the legendary 70-80ies label Exart from Holland returns with astonishing new solo work! So you probably ask: Y Create? I didn't ask this question, as I knew Y Create was the solo project by one Hessel Veldman, from IJmuiden, The Netherlands. In the days when I was a little boy, he was the main man for experimental and electronic in The Netherlands and he ran Exart Tapes, worked with Willem de Ridder in FNTC (with a release on Staalplaat) and contributed a track to the very first cassette I released (also as Y Create, but with Gert-Jan Prins on percussion. With Prins he also was in a band called Gorgonzola Legs. Somewhere in the earlyb nineties I lost contact with him and he went on to do other things. But he's back, with Y Create and his old passion for radio plays. The recordings on 'Madadayo' were recorded between 1979 and 2002 and remixed in 2002-2003 for this release. Y Create uses the full eighty minutes a CD can offer to play his music, but with only eight tracks, you can imagine they are lenghty affairs. Y Create's pieces usually start out with a piece of drones, with lots of small variations in the EQ-ing, and percussion comes in. The percussive bits move around constantly in the background, being fed through an enormous amount of delay and reverb lines and in some case even develop into a banging rhythm with hints of techno. All of these eight pieces have a great ambient feel to them, but Y Create is pushing the boundaries a little bit more and things are just a bit more adventurous here. Great come-back album.“ [Frans de Waard / Vital Weekly]
|
2004 |
€13.00 |
|
| Y.ANN |
Valytheme |
CD-R |
Wiederveröffentlichung des raren und einzigen Solo-Tapes vom ULTRA MILKMAIDS-Zwillingsbruder YANN JAFFIOL - fast 50 Minuten feinste & hauchzarte Gitarren-Echo-Drones & Verwebungen, in die sich kleine Soundeffekte mischen....
"reissue of the tape self-released in 1997 by y.ann on the u mohol label, "valytheme" is the first & only tape of one ultra milkmaids twin.
close to the early milkies sound, maybe in a more ambient approach, it contains some tracks that were in fact demos for the ultra milkmaids. everything was carefully remastered for this this reissue." [label info]
|
2006 |
€9.00 |
|
| YANAGISAWA, EISUKE |
Into the Cave |
CD-R |
"On the same label more field recordings by Eisuke Yanagisawa, who, this time, recorded sounds in a lime stone cave. Water sounds resonate all over the place. The six pieces document these resonant, echoing drops of water from various points and rooms in these caves. Sometimes close by, sometimes a bit further way. Thirty-seven minutes of dripping sounds make you look, rather nervously for the bathroom, but the recordings themselves are actually quite nice. As said, this is very much a document of said place, and no interference took place to 'do' something with the recordings. Things are presented as they are, and that's it. Only the last piece sound 'different': much darker due to the fact hydrophonic microphones were used. A nice work for sure." [FdW/Vital Weekly]
www.licht-ung.de
|
2012 |
€9.00 |
|
| YELLOW SWANS |
Psychic Secession |
CD |
"I woke up to the end of electricity. I woke up outside of time. I woke up with my dreams in my life.'" [I Woke up] Ziemlich genialer Ambient-Noise im Stile von WOLF EYES, pulsierend, einnehmend, gefährlich, spannend - schwelend noisig aber nicht kakophonisch, genial perkussiv mitreissend das dritte stück "I woke up". "Das neue Album der YELLOW SWANS "Psychic Secession" schaut aus dem Himmel wohlwollend auf uns herab, um uns vor uns selbst zu retten. Nach "Bringing The Neon War Home" beehren uns die gelben Schwäne mit einem Werk voller kompromissloser Visionen, in denen sich alle losen Fäden, die das Duo jemals geknüpft hat, an ihrem Bestimmungsort in kunstvolle Knoten legen. Momente von leisem Summen lehnen sich an lautsprecherberstende Ausbrüche, die "Psychic Secession" zu einem Muss machen. In den letzten Jahren sind die YELLOW SWANS mit ihren fast schon legendären Liveaktionen einmal um die ganze Welt gezogen, um das neue Material auf den Opfertisch hungriger Augen und Ohren im Publikum zu legen. "Psychic Secession" wurde ursprünglich in Australien veröffentlich und kommt in seiner jetzigen Inkarnation als remasterte Version. Hier hört man jedes Flüstern, jede polyrhythmische Atacke und jedes noch so kleine Quietschen // Beaming down from the sky like a ray of white-hot light intent on saving us from ourselves, the Yellow Swans come up with their second studio record. Psychic Secession is a work of uncompromising vision, weaving together all sides of this duo's 20-sided die. Moments of quiet hum but up against crunchy speaker burners to make this record essential listening. The last few years have seen the Yellow Swans coat the planet with live dates in the U.S., Australia, New Zealand, and Europe. Songs on this record were road tested in front of this planet's hungry eyes... you might have heard 'True Union,' which has been a staple of many of these live sets. This record was originally released in Australia by the Numerical Thief label, and comes to you on Load in a remastered format." [press release] |
2006 |
€14.50 |
|
| |
Drowner |
do-LP |
Finally! The first broadly available edition of Drowner Yellow Swans lands after a slew of hiccups. So this was originally a tape cobbled together in that space between At All Ends and Going Places. Can't remember if we had decided to wrap up the band at this point, but it was about that time where we were fried from touring, Gabe was thinking about moving to Canada, things were IN MOTION. We had this whole string of shows lined up with Sissy Spacek in the PNW, Wiese had a stack of blank takes and a new imprint. HEY, sounds like it's time for a new tape. Because of the historically ridiculous lag between making an album and it being available to the public, the timeline is a bit weird, but this was essentially following up our last tour tape, Deterioration, which was also just sort of an assembly of basement recordings. We had ditched the idea of compositions at this point and were just JAMMING. and jamming often. Basically, we had a dedicated practice studio and were rehearsing and recording several days a week. Just banging it out and dedicating it all to tape. Both Deterioration and Drowner have this sort of snapshot character of our process, sifting through a state of the band when we were thinking more about one thing than another. If Deterioration is our most kosmiche, I would say that Drowner is our most gonzo psych rock record. still as noisy and fried as ever, but pulling from Loveless, Rallizes, Main.. but also just like... our own insular process of playing and listening and touring and repeating that for years. Drowner was basically recorded months before Going Places and Being There but projects a different focus on dynamics, drama and NOISE. This could be because we were gearing up to play shows with Spacek and knew we'd be playing with The Rita and Iron Lung on this jaunt. Gotta be up to crust you know? - Pete
https://yellowswans.bandcamp.com/album/drowner-yellow-swans
|
2021 |
€32.50 |
|
| YEN POX |
Between the Horizon and the Abyss |
CD |
"Arriving on the scene in 1993 with their self-titled demo, Yen Pox immediately made their presence known with an ability to create monumental, light devouring soundscapes that transcended all that had come before it. Proceeding releases, including their debut CD, Blood Music, 2000’s New Dark Age, and the collaborative CD with Troum only solidified their standing and reputation. With Between the Horizon and the Abyss just being their first full length recording in over 15 years, Yen Pox will never be accused of being prolific. After all, with the two members spread out between Indiana and Washington State, creating new material doesn't exactly lend itself to convenience. But on the rare occasion that recordings do arise, it’s nothing short of masterful, reminding listeners why they’ve achieved such notoriety with such a limited discography, and why their recordings are consistently recognized as benchmarks within the dark ambient genre.
Time between releases has been well spent, with the new material taking the early template and expounding upon it greatly, adding layers of industrial churn and structure to the infernal kosmische sprawl they’re so adept at creating. And yet throughout its entirety, Between the Horizon and the Abyss is remarkably polished and fluid. Within its realm, no seconds feel wasted, and every sound feels purposefully placed, even as it moves and flows in perpetual motion; strains of a distant angelic choirs fall beneath a complex array of arcing tones, liquidous, molten textures, & harrowing orchestral shimmer, with fervent masses of malevolent atmospherics billowing forth in glorious detail.
While this technically falls under the banner of dark ambient, what Yen Pox has managed to create goes far beyond genre specifications and boundaries, crafting a new benchmark and adding a high water mark to an already stellar discography." [label info]
www.malignantrecords.com
"The year is 1995 and an extremely young label from Maryland has just begun to open its eyes to the world. Prior to this moment, its entire three-year existence had been dedicated to a ‘zine/compilation combination known as Audio Drudge, with a more official birth coming with a compilation of a different kind in 1994 that featured noise/industrial artists that ran the gamut from celebrated veterans in Illusion of Safety, Maeror Tri, and Contrastate, to what was at the time excruciatingly obscure in Söldnergeist, Vromb, and Kirchenkampf. It was an artist from the latter side of this list that was destined to give rise to one of the most important labels that post-industrial music has seen to this day—a label that, in the absence of Cold Meat Industry, has rightly taken its place at the helm as the leading name releasing the new generation of old-school industrial and dark ambient music today. That label is of course Malignant Records. And the artist? Yen Pox, the duo of Steven Hall and Michael J.V. Hensley, who tomorrow (May 5th) will be making their return after a full decade and a half of silence, save for a notable collaboration with another seminal dark ambient duo in Troum, Mnemonic Induction, and a little-known two-track 10″ on Drone Records, Universal Emptiness. This also requires one to overlook their respective solo projects in Veil of Secrecy and Blood Box, both of which have also been agonizingly slow to realize new music over the years.
Yes, this is the project that began the maelstrom of high-quality releases that would make Malignant the monolith of the genre that it has become today, and that in itself should leave expectations at an absurdly high level for any curious ear. For the uninitiated, the project’s name should be enough of a hint to bring about hallucinatory visions of slow-rolling drones and desperate metallic chatter. “Yen Pox” was famously written by William S. Burroughs in Naked Lunch as being “the ash of smoked opium,” which should immediately lead one towards assumptions of the surreal brilliance held therein. Indeed, “The Awakening” arrives with a bass-end rumble that moves with enough sluggish grandeur, complex drones, and vastly cinematic space that it warrants comparisons to some of the finest names in the genre including deep audio extraordinaire Bad Sector and the aforementioned Troum. It is with this impressive track that Between the Horizon and the Abyss opens with the full force of a black hole, slowing down time and stretching it infinitely over an unimaginably monstrous mass, ripping metallic atoms apart with the pulsing black heart of the cosmos. Even “Tomorrow in Ruins” somehow leaves a similar astral impression as that of Ben Frost‘s incredible recent work with A U R O R A.
There is a ritual edge present on some tracks as well, from the percussive clamoring and distant feedback howling of “Cold Summer Sun,” to the distant whispers and unnerving climaxing noise of “Grief Ritual.” However, this is only a minimal part of Yen Pox’s identity, as everything about Between the Horizon and the Abyss feels about as purely nihilistic as anything I’ve heard in recent years. The apocalyptic atmosphere present on the album is almost overwhelming at times, imparting an unforgiving amount of dread upon the listener as they float not through dreamy ethereal dimensions, but rather through the smokey black veils of what lies at the end of our journey. The intense album artwork and concise yet visionary track titles certainly don’t help one get an opposite impression though the radiant golds are an interesting and effective choice for such an atmosphere, but the music stands on its own as one of the most defining albums for dark ambient music of the past decade. Truly, at least to some degree, it sets a bar that leaves other modern releases from the genre sounding dry at best.
Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised. It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn’t another 15 years of near-dormancy before another full-length surfaces." [S.L.Weatherford / Heathen Harvest]
"A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. There was an excellent collaborative project the American industrial-ambient technicians did with the German pioneers Troum; and M.V. Hensley from Yen Pox has released a handful of albums under his moniker Blood Box. But, the last proper Yen Pox album, New Dark Age, arrived in the cold months of 2000. Not quite as slow in production as Giancarlo Toniutti, who took well over 20 years to issue a new solo album. But like Toniutti's immaculately conceived electro-acoustic wastelands, the records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the likeminded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records]
|
2015 |
€13.00 |
|
| YOMILLAK |
The Selection of Korean Classical Music. Performed by The Orchestra of The National Center for Korean Traditional Performing Arts |
do-CD |
Faszinierende Sound-Reise nach KOREA mit dem “Orchestra of The National Center for Korean Traditional Performing Arts”. Das lange Titelstück YÖMILLAK aus dem 15. Jahrhundert füllt eine ganze CD, eine kraftvolle Melange gespielt Blas- und Perkussionsinstrumenten mit fremdartiger Harmonik.
„....Die Musik geht auf die kulturelle Blütezeit Koreas zurück, die Zeit unter König Sejong, der selbst Musikwissenschaftler und Komponist war. Bei Yomillak handelt es sich entsprechend auch nicht um Volksmusik im herkömmlichen Sinne (auch wenn das westlichen Ohren so erscheinen mag), sondern um eine der weltweit ältesten Formen klassischer, also notierter Musik, entstanden zu der Zeit, als das koreanische Alphabet eingeführt wurde. Die höfische Musik, zusammengesetzt aus zahlreichen Saiten-, Blas- und Perkussioninstrumenten wurde ursprünglich während Banketten aufgeführt. Strukturell ist sie einfach gehalten, wird möglichst emotions- und dynamiklos wiedergegeben. Genau dies verleiht den Aufnahmen jedoch ihre herkömmliches Zeitempfinden aufhebende Kraft, die mit Errungenschaften der westlichen Avantgarde, etwa den späten Kompositionen eines Morton Feldman, korrespondiert.
[mb, testcard]
Fascinating Korean traditional music from 15th century played with original wind- and percussions-instruments, one of the oldest noted music of the world!
|
2003 |
€21.50 |
|
| YULCHIEVA, MUNADJAT & ENSEMBLE SHAVKAT MIRZAEV |
same |
CD |
Traditionelle Musik aus USBEKISTAN, die der SUFI-Musik nahesteht, gesungen von MUNADJAT YULCHIEVA. Melancholische & sehnsuchtsvolle Liebeslieder, Stücke die die schöne Natur besingen, Religiöses, .. v.a. auf Klängen der Langhalslaute "Rubab", der "Gidjak" (Spießgeige), der "Doira" (Rahmentrommel), und der "Nay" (Querflöte) basierend. Besonders beeindruckend aber die Stimme von YULCHIEVA, die wie ein eigenständiges Instrument für sich steht !
"This CD submerges the listener in the musical culture of Uzbekistan. The main attraction is the voice of the country’s most distinguished traditional singer, Munadjat Yulchieva, whose dark vibrant tones already exerted their particular fascination on "Sufi Soul". Meantime, the unique quality of Munadjat’s voice, her power of expression, and her natural charisma have charmed audiences in the most eminent international concert halls, where sometimes people are so touched as to shed tears, as was recently the case in London. These recordings were made by Network in spring 1997 at the radio and television studio in Tashkent, the capital of the Central Asian state of Uzbekistan. The famous rubab player and professor at the Tashkent conservatoire Shavkat Mirzaev complemented his ensemble with additional outstanding local soloist so as to be able to present all his country’s countless instruments and styles. The lutes, string instruments and zithers played on this recording demand great concentration and skill in order to achieve the incredible glissando and vibrato effects. They are joined by flutes and percussion. The slow hypnotic build-up in the pieces ends in a dramatic climax during which the tremendous mastery of the singer and the ensemble highlight whole new facets of the melody." [label description]
www.networkmedien.de
|
1997 |
€15.00 |
|
| Z'EV |
live 03.01.86 |
10inch/object |
Z’EV is back! Z’EV is more than back ! Nicht nur war der legendäre Klangkabbalist in 2004 wieder auf Tour in Deutschland, es sind auch diverse neue Sachen erschienen. Von der Coverartwork am eindruckstvollsten ist sicher diese live-10“ mit einer Aufnahme aus Chicago 1986, denn sie kommt in einem schweren Metall-Cover in 333er Auflage, wobei die Nummer der Edition in jede der Metallplatten einzeln eingraviert wurde! Z’EVs unkonventionelles 1-Mann Metall & Gong-drumming, das sich auf den KLANG und die DYNAMIK konzentriert und nicht aufs Metrum, ist wohl einmalig zu nennen... und genauso sollte man sich auf seine Sounds wohl auch einlassen und sie betrachten: nicht als Komposition, welche es zu analysieren gilt, sondern als Klangalchemie, welche das Selbst in Schwingung versetzt...
„Three excerpts from a 1986 performance at N.A.M.E. Gallery, Chicago. Given the special packaging with this release, it was essential to have the audio component be as special. After listening to a handful of unreleased material Z'EV had given me and comparing it to his released work, I found this performance contained elements I'd not heard developed in previous releases. For one, the components of the pieces shifted quicker; he'd add new instruments and rhythms at more frequent intervals, say 3 to 4 minutes, giving a continuous piece (still between 9 and 12 minutes) a much different dynamic than other recordings. This is presented on side one, and the piece features one of the few instances I've heard where there is a secondary, or "triggered," percussive element. In this case, something akin to ball bearings were placed on a gong, adding a second layer of rhythm as Z'EV worked the gong. This is similar to his well-known car spring on bass drum pieces. Side two opens with one of the few live recordings of Z'EV's rubbing pieces (scraping a metal tube/pole or rubbing a rubber ball on a sheet of metal to make dronish, almost whale-like sounds) which segues into a subtle tonal wash of gong sounds. The final piece on side two is a rapid fire downpour of furious percussion. A unique addition to Z'EV's output, this release comes in an edition of 333 copies in steel plates. Each plate is sequentially hand-stamped, and each copy has an insert signed by Z'EV.”[label info] "Also by Z'ev, but from a historical perspective is a really beautiful 10": packed inside two metal plates which are stamped with 'Z'ev' and the copy number (of a total edition of 333 copies). It resembles that other metal packaging, by Chop Shop from so long ago. Crippled Intellect has released a 3" with historical live recordings before and this 10" features recordings made at the N.A.M.E. Gallery in Chicago in 1986. On the first side there is a rhythmic piece, which doesn't sound like it is kept in the same rhythm, but rather like an exploration of the sounds metal on metal can produce. Side B starts with slow rumbling of metal sheets being rubbed with balls which built in a peaceful way. The second piece is a fast drumming on metal piece‹maybe better known as Z'ev trademark playing. A fine addition to the already vast catalogue of material by Z'ev of which much is no longer available. It could also serve as a fine introduction to his work, in case you missed him out in the eighties." [Frans de Waard, Vital Weekly #411]
|
2003 |
€22.00 |
|
|
Outwaard |
CD |
Einen ganz anderen Charakter als "Inwaard" nimmt der zweite Teil der Zusammenarbeit von Z'EV & FRANS DE WAARD an. OUTWAARD wird dominiert von schwer ächzenden & tiefbassigen organischen Klängen, Tiergeräusche sind vernehmbar aber so sehr verfemdet dass man sich wie in einem fremden Dschungel mit 10facher Gravitationskraft vorkommt.. (in der Tat beruhen alle Sounds auf field recordings von Frans die er in einem Kleintier-Zoo machte). Z'EV hat sich stilistisch mehrfach gewandelt, und OUTWAARD ist wieder ein beeindruckendes Zeugnis von seiner Transformationsfähigkeit.
Beängstigend gut !!
"For close to forty years z'ev has been at the absolute fore front of new musics. Playing his unique brand of percussive music he gained a lot of attention, but in more recent years he returned to working with electro-acoustic manipulations. Since 2003 he has also begun a wide ranging series of collaborations, working with Francisco Lopez, Stephen O'Malley, David Jackman/Organum and Oren Ambarchi among others. One such ongoing collaboration is with Frans de Waard, with whom he released 'Forwaard' in April 2007 and 'Outwaard' is the next installment. Whereas the sound sources used on 'Forwaard' where of a varying nature, on 'Outwaard' they were all made at a petting zoo in Kleve, Germany. These recordings which are 'recoded' by z'ev into a forty minute, densely layered pattern of musique concrete. Many of the animal call like sounds disappear in the 'recoded' version and makes a particular strong work, but occasionally one returns and leaves a no less than haunting listening experience. The cover contains field photography Frans de Waard and was designed by Meeuw Muzak. It comes in the 15x15 cm cover that Korm Plastics has used before." [label info]
www.kormplastics.nl
|
2007 |
€13.00 |
|
| |
Heart Beat Ear Drum |
DVD |
“Heart Beat Ear Drum” is a feature length documentary about the late artist and musician Z’EV (1951-2017), known for his punk era scrap metal music – an extraordinary range of acoustic phenomena resulting in trance-inducing sounds.
This documentary shows how his music changed and grew and how his personal journey led him to the margins of art and the depths of heart. From 2007-2015, director Ellen Zweig followed Z’EV, shooting concerts and interviews, and collecting archival footage. In addition to interviews with Z’EV, there are interviews with a community of artists who have known him since the 1970’s, curators who have encountered him in the 1990’s, and younger people who have only heard his recorded music or read his philosophical texts (Bob Bellerue, Bow Gamelan Ensemble, HATI, Barbara Stevini, Simone Forti, Zach Layton, Carl Stone, Ned Sublette, Johanna Went and more).
Z’EV began with a “wild style”, crashing and throwing pieces of metal to make sound. He collected the materials for his art at scrap yards. 30 years later, almost all the scrap yards are closed. Z’EV now uses mallet percussion to explore acoustic phenomena. Z’EV was a crusader: for art, for trance meditation, and for living a thoughtful life. His found object aesthetic made us see art in all of the objects around us. His art activities included drumming, sculpture, gardening, even cooking.
This film is divided in chapters and organised with both a narrative and a digressive structure. The structure is topic based, not strictly chronological. The first half of the film uses archival concert footage and interviews to establish Z’EV’s place in the world of art and music. The second half uses contemporary concert footage and interviews to explore the changes that led Z’EV to a more contemplative style. The film ends with an extended concert.
There is music throughout the film, but at the end, you are immersed in the music and in Z’EV’s exploration of resonance.
Director: Ellen Zweig
Co-Editor: Lili Chin
Sound Design: Ron MacLeod
DVD case with inserts. PAL, Region 0.
https://coldspring.co.uk/2019/12/zev-heart-beat-ear-drum-dvd/
|
2020 |
€17.50 |
|
| Z'EV / FRANCISCO LOPEZ |
Buzzin' fly / Dormant spores |
CD |
Zwei lange Stücke auf dieser beeindruckenden CD, die auf gemeinsam erstellten Klangquellen beruht. Das 32 minütige "buzzin fly" von Z'EV ist ein atemberaubendes Dronescape voller aufblitzender und schneidender Sounds, bei LOPEZ wird daraus eine 40minütige Versenkungsübung, wenn mächtige Eisberg-Drones auftauchen und wieder verschwinden gerinnt die Zeit, hier tun sich furiose Welten auf ..... genius stuff !!!!
"A sensational collaborative album between Z’EV, one of the forefathers of industrial music, and renowned Spanish artist Francisco Lopez, known for his releases performances and installations worldwide. Z’EV’s ‘buzzin’ fly (in loving memory of Tim Buckley)’ is a full spectrum 32 minute piece full of dynamic shifts, sonic worlds and can be described as oceanic in feel. Lopez’s ‘dormant spores’ takes 40 minutes to run it’s course, and is perhaps a more meditative piece than Z’EV’s, but no less challenging. Lopez skilfully crafts minimalist hypnotics that can be as destructive to delicate eardrums as they are captivating. Both
works complement each other and form a powerful album that Lapilli and Black Rose Recordings are happy to release." [label info]
"...Lopez more than Z'EV, but both are avid collectors of sound material from the world that surrounds us. Lopez is the man with the microphone, while Z'EV does that too, but he also is on the look out for material to play his percussive music on. Throughout Z'EV's career percussion music has played an important role, but the studio has had a likewise big role in his work. Using the studio (no doubt a harddisc these days) to its extreme, using as many tracks as possible to make subtle shifts and changing patterns throughout the piece. Perhaps the opposite of how Francisco Lopez: using sometimes just one or two sound sources and exploring them through radical equalization. Before he did this using a very low audible range for his music, but lately he has shifted towards audible material, but in cut-up/collage way. Here it is no different. The sound sources of both are presented in a strong collage form, in which loud/soft material, sometimes with smaller blocks of silence in between them. A very intense piece of music.
In the five pieces by Z'EV things stay throughout on a more equal level, in which sounds seem to shift and phase along side each other. The whole thing, rather one piece in five blocks than five separate pieces makes a highly psychedelic pattern of sounds moving in and out of phase. Two sides of the coin called field recordings and both sides, even when so different, are equally great. Powerful, intense and illusionary. Great stuff." [Fdw / Vital Weekly]
"Sadly, this is music that some would describe as “ambient”, simply because that seems to be the going term for music that doesn’t have drums or traditional style guitars. The problem with that definition is that it is considered synonymous with “nothing really happens” and there is a world of chthonic wonder to be found in the depths of the sounds herein. It’s virtually impossible that any fan of experimental or concrete music will not have happened upon the works of either Z’ev or Lopez in their travels. Each is prolific, respected and established within the community. The album is a split, rather than a collaboration (hence the divided title) with the first half, comprised of five shorter linked tracks, belongs to Z’ev, the second, a long single piece, to Lopez. The two halves are a nice match, with the almost blissful organic drift of the former leading nicely into the intense rise and fall of the latter. This release is all about the texture and progression of sound, so if you are looking for something that truly is ambient- something inoffensive that meekly fades to the background- you might want to look elsewhere. If you’d prefer to throw on headphones for something that will reveal itself more with each subsequent listen, you could do a lot worse." [KM, Adverse Effects]
|
2006 |
€13.00 |
|
| ZAMMUTO |
Solutiore of Stareau: Disc One |
CD |
Ungewöhnlicher minimal/digital-Ambient auf einem neuen Label der RIOUXS-Betreiber! Dies ist die Wiederveröffentlichung einer CD eines ursprünglich als 3 xCDR erschienenen Werkes, mit warmen Klangfarben & -flächen, die aber stark fragmentiert werden durch klicks & cuts, immer wieder gibt es kleine Veränderungen im Sound, trotzdem „fliesst es“ sehr eindringlich, und Harmonien tauchen aus dem Untergrund auf.. entspannend und beruhigend und doch nicht gewöhnlich oder langweilig..
“This disc one is a quiet atmospheric minimal soundscape. Distant radio waves floating in the night, warm drones rising and falling, punctured by a faint yet insistant pulsing rhythm. Deep listening in which surface variation is so subtle - getting lost in the recording for hours is almost inevitable IF YOU give it the time. Time well spent.” [press-release].
|
2001 |
€10.00 |
|
|
Zammuto |
LP |
"ZAMMUTO entspringt den gleichen Hirnwindungen wie THE BOOKS - als eine der anerkanntesten und kreativsten Band des letzten Jahrzehnts - und kennzeichnet einen weiteren Schritt des gleichen detallierten, genre-missachtenden Geistes, der Album wie ,The Lemon Of Pink" und ,The Way Out" möglich machte.
Ausgehend vom Erfolg von THE BOOKS als experimentelles Popcollagen-Projekt wäre es für Gründer und Namensgeber Nick Zammuto ein Leichtes gewesen, den Faden einfach weiterzuspinnen.
Stattdessen setzt er und mit ,Zammuto" eine Platte vor, die progressiv nach vorn geht, intensivst und unter Volldanpf mit ganz unterschiedlichen Rhythmen und Melodien beeindruckt.
Der geflüsterte, folkige Gesang, der zum Charaktermerkmal der BOOKS wurde, wird abgelöst von einem untypischen, zum Himmel strebenden Selbstbewusstsein, das oft von einer breiten Palette von Gesangseffekten angereichert wird.
Das Resultat ist eine delikate Balance zwischen Mensch und Maschine, die schließlich die emotionale Eindrücklichkeit der Songs unterstreicht.
Mit dichten und wunderschönen Streicherarrangements von Gene Back (THE BOOKS) und einer das Hirn verknotenden Schlagzeugperformance von Sean Dixon springt der Sound von ,Zammuto" mit unbedingter Direktheit aus den Boxen.
Musik zu machen, die gänzlich unbekannt klingt, ist nichts Neues für ZAMMUTO, doch Musik zu machen, die nicht einmal wie seine eigene Vergangenheit klingt, ist eine sehr beeindruckende Leistung." [label info]
temporaryresidence.com
|
2012 |
€16.00 |
|
| |
Zammuto |
CD |
"ZAMMUTO entspringt den gleichen Hirnwindungen wie THE BOOKS - als eine der anerkanntesten und kreativsten Band des letzten Jahrzehnts - und kennzeichnet einen weiteren Schritt des gleichen detallierten, genre-missachtenden Geistes, der Album wie ,The Lemon Of Pink" und ,The Way Out" möglich machte.
Ausgehend vom Erfolg von THE BOOKS als experimentelles Popcollagen-Projekt wäre es für Gründer und Namensgeber Nick Zammuto ein Leichtes gewesen, den Faden einfach weiterzuspinnen.
Stattdessen setzt er und mit ,Zammuto" eine Platte vor, die progressiv nach vorn geht, intensivst und unter Volldanpf mit ganz unterschiedlichen Rhythmen und Melodien beeindruckt.
Der geflüsterte, folkige Gesang, der zum Charaktermerkmal der BOOKS wurde, wird abgelöst von einem untypischen, zum Himmel strebenden Selbstbewusstsein, das oft von einer breiten Palette von Gesangseffekten angereichert wird.
Das Resultat ist eine delikate Balance zwischen Mensch und Maschine, die schließlich die emotionale Eindrücklichkeit der Songs unterstreicht.
Mit dichten und wunderschönen Streicherarrangements von Gene Back (THE BOOKS) und einer das Hirn verknotenden Schlagzeugperformance von Sean Dixon springt der Sound von ,Zammuto" mit unbedingter Direktheit aus den Boxen.
Musik zu machen, die gänzlich unbekannt klingt, ist nichts Neues für ZAMMUTO, doch Musik zu machen, die nicht einmal wie seine eigene Vergangenheit klingt, ist eine sehr beeindruckende Leistung." [label info]
temporaryresidence.com
|
2012 |
€13.00 |
|
| ZARDO, GINO & JANEK SCHAEFER |
Walking East |
maxi-CD |
GINO ZARDO ist ein Fotograf, der für dieses Projekt beeindruckende Fotos und Feldaufnahmen von seinen Reisen nach Indien, Nepal und Papua-Neu-Guinea mitbrachte. JANEK SCHAEFER hat das akustische Material zu einem 21.40 minütigen psychogeographischen Eindruck verwebt, der Musik & Gesänge, Alltags-Geräusche, Natur und Sprache zu gleichen Teilen im Wechselspiel aufscheinen lässt.
GINO ZARDO ist kein Tourist auf voyeuristischen Pfaden, sondern hat dort monatelang in Familien gelebt und mitgearbeitet – so ist ein einmaliges & authentisches Dokument aus Klang & Bild entstanden, welches uns das „andere Leben“ der Menschen dort wirklich näher zu bringen vermag! Digipack incl. 24 p. Booklet.
“Gino Zardo is a photographer and field recordist born to Italian parents in Australia in 1968. He lives New York and has worked along side with some of the most prominent photographers in the world for 15 years. Walking East is his debut release. ‘Walking East is a photographic sound portrait of my travels through the North Western provinces of India, the Himalayas of Nepal and the Island of Papua New Guinea. I set out to explore, through the people I met, the way in which my photographs and sound recordings could magnify the sense of time and place. I began the project in January 1999. Covering 50,000 miles over the next 12 months. I found myself trekking for days through the vast contrasting of landscapes, a western desert, a tropical monsoon, and a dense jungle before I would reach a remote village. Camping along the way and living amongst the families and tribes, I was able to experience their daily lives and acquire an understanding of their histories and cultures. Documenting a variety of people as they performed in music festivals, worked in steel mills, sold their wares in markets, and celebrated their tribal rituals together, I found many similarities. The presence of community; joy, hardship and survival are universal. My thanks to everyone I met throughout my journey who shared their homes and lives with me.’ “ [from the liner notes]
|
2005 |
€12.00 |
|
| ZAVOLOKA |
Suspenzia |
CD |
Hinter "ZAVOLOKA" steckt eine Frau namens KATERYNA ZAVOLOKA aus der Ukraine, die hier sehr spröde und gewagte Elektronik produziert hat, real experimental stuff for explorers, Stimmenexperimente, mad rhythms, Sinuston-Attacken, mal verspielt rhythmisch , mal die-hard digital, schwierig mit irgendwas anderem zu vergleichen.....
Dies ist die Re-edition des Debut-Albums CD (vorher auf ZEROMOON erschienen).
“ Kateryna Zavoloka is a musician from Kyiv city, Ukraine. This is an extended version of her first release Suspenzia. The sound of Zavoloka is very impuslive mixture of rich and dense however sometimes abstract analogue and digital noises, melodies and idm-like drums. Often unexpected music design and courses create an impression of body motion of a fighter in kung-fu drunken style. This release however called SUSPENZIA (in regards of Natalia Zhizchenko essay) that is "suspension" or "slip" in russian or ukrainian.” [label info]
|
2005 |
€10.00 |
|
| ZEALLEY, ANDREW |
Themes & Variations |
LP |
"ANDREW ZEALLEY: THEMES & VARIATIONS is the third installment in Zealley's "How To Explain Silence To A Dead Hare" series of vinyl project editions. The album showcases selected film, video, installation and performance music by Zealley, commissioned by visual artists - including Luis Jacob, Joey Medaglia, Benny Nemerofsky Ramsay, and Scott Treleaven. Produced by PSBEUYS, THEMES & VARIATIONS is released on Tourette Records (USA). This vinyl-only edition of 300 numbered LP's launches at Art Metropole on Saturday April 25, 1-3 PM.
On THEMES & VARIATIONS, Zealley intersects various aspects of his sound practise: field recordings, audio art, existential house, tonal mantra, and musical form/composition. At the center of THEMES & VARIATIONS are the scores for Scott Treleaven's trilogy of short films: GOLD, SILVER and LUSTRE. Composed and produced in 2005-2006, this group of instrumental compositions is punctuated, for the album, by four thematically-related works: APOTHEOSIS II, HABITAT THEME 2, SIGNAL, and ARENA.
TRACK NOTES:
The score to Treleaven's film on pandrogyny (starring Genesis P'Orridge and the late Lady Jaye Breyer), GOLD's cycling vortex of digital and acoustic sounds is followed by two variations on the same melodic and tonal themes: APOTHEOSIS II (an early audio sketch for GOLD), and HABITAT THEME 2 (developed for Luis Jacob's HABITAT installation at AGO). The plaintive love-pop electronics of SIGNAL, originally produced for Benny Nemerofsky Ramsay's CONSTELLATION performance piece, is newly remixed by PSBEUYS for the album. The swirling dream-scape of SILVER, the score to Treleaven's homage to John Dee (starring AA Bronson), is a seemingly endless sustain of electronics, violin and bell tones. ARENA, featuring the "beatbox" vocals of Luis Jacob, is the audio score to Joey Medaglia's video RE: FORM (BECOMING VISIBLE). An alternate version of ARENA's motifs can be heard on Zealley's exhibition soundtrack, AA Bronson School For Young Shamans. THEMES & VARIATIONS concludes with the 3-part score for LUSTRE, Treleaven's super8 tryptich starring Massimo & Pierce (Black Sun Productions). Here Zealley turns to a more classical interpretation of "themes and variations," literally voicing the score's tender melodic main theme (written for a local violin busker), through a series of pastoral string and oscillating electronic deconstructions.
ANDREW ZEALLEY: THEMES & VARIATIONS is mastered for vinyl at The E Room, by Peter J. Moore, and features performances by Luis Jacob, Benny Nemerofsky Ramsay, violinist Adm Shedden, and the PSBEUYS-directed Prospect Cottage Strings.
THEMES & VARIATIONS is released on Tourette Records (USA), catalogue number TOURETTE009, and is available online at www.artmetropole.com and directly from the artist's site.
more info : www.andrewzealley.com"
[website info]
www.touretterecords.com
|
2009 |
€25.00 |
|
| ZEH, JASON |
Heraclitus |
CD |
JASON ZEH bearbeitet Magnettonbänder auf höchst physische / jede erdenkliche Weise, mit Feuer, Wasser, Demagnetisierungsspulen, etc... nach diversen Cassetten-veröffentlichungen ist dies die erste CD von ihm, auf dem Label von "VERTONEN"-Macher Blake Edwards ! "Experimentalmusik" im wahrsten Sinne des Wortes !
"For folks who have not had the pleasure of either seeing Jason perform live or hearing his work, he manipulates multiple spools of cassette tape (and their shells, reels, guide rollers, and pressure pads) with fire, water, hand held demagnetizers, and manual tweaking-and that's just the starting point. Each cassette component may be disassembled, reassembled (with parts added or expelled), stretched, shrunk, or otherwise permutated into a condition it was likely never intended to be put into. The result is rewarding listening for dedicated ears." [label notes]
www.cipsite.net
|
2008 |
€13.00 |
|
| ZEITKRATZER |
(Old School) James Tenney |
CD |
"“Critical Band” (1988), “Harmonium #2” (1976), “Koan: Having Never Written A Note For Percussion” (1971). Zeitkratzer directed by Reinhold Friedl: Frank Gratkowski (clarinet), Hayden Chisholm (alto saxophone), Matt Davis (trumpet), Hilary Jeffery (trombone), Reinhold Friedl (piano), Maurice de Martin (percussion), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (doublebass), Ralf Meinz (sound ). Recorded live at Philharmonie Luxembourg, Luxembourg, October 3, 2009. Recorded and mixed by Ralf Meinz and Reinhold Friedl, produced by Burkhard Schlothauer, executive producer: Reinhold Friedl.
“The internationally acclaimed “hilarious releases” [vital weekly] of Zeitkratzer records will continue with the new series [old school]. The first two CDs, dedicated to the music of John Cage [zkr0009] and James Tenney [zkr0010] are now released together. The collaboration of Zeitkratzer with William Bennett /Whitehouse [zkr0007], recorded live in 2009 in Marseille/France and Den Haag/Netherlands, will follow this summer. Later in 2010, the [old school] series will continue with two more releases, dedicated to the music of Alvin Lucier [zkr0011] and Morton Feldman [zkr0012] respectively. James Tenney’s music has been part of Zeitkratzer’s repertoire for almost a decade. This CD presents a new recording of Critical Band – Tenney’s late classic – with maximum clarity. Also included is the first recording of Harmonium #2. Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved by composing with pure tunings. Koan: Having Never Written A Note For Percussion for tam-tam completes this CD with an orgiastic listening experience in the form of a huge crescendo on this wonderfully simple instrument - from whispering to singing, culminating in shrill roaring and blustering – and it’s dark decay. Tenney’s music as a sensual sound adventure !" [label info / credits]
www.zeitkratzer.de
"...I'm less familiar with the ideas and music of James Tenney, so its a bit hard to say anything about it that is connected to historical knowledge. I learned from the booklet that Tenney created 'swell pieces': music for long sustaining sounds, played on traditional instruments (same list as above), which have an almost electronic feel to it. It works in the region of overtones. Its great music. Sounds swell, rise from below and beyond and make a dome like sound. Think Alvin Lucier or Phill Niblock and you get my drift. But whereas they seem to be operating from a more studio based environment this is all live, which makes it even more remarkable, since it sounds like many voices at once, more than what the list of instruments suggest. In 'Koan: Having Never Written A Note For Percussion' the tam-tam is played, making a low rumble, that swells up like a giant roar. Indeed a swell piece. Whereas the Cage CD is a fine release but perhaps something we already heard before, this Tenney release is mind blowing." [FdW / Vital Weekly]
"Das hochkarätig besetze Ensemble zeitkratzer streckt sich je nach Aufgabenstellung zum Himmel, wenn es sein muss. Bekannt geworden ist die Gruppe um Reinhold Friedl durch ihre pop-avantgardistischen Diskurs-Pogos im Grauland zwischen Neuer Musik und Improvisation, zwischen Noise und strenger Reduktion. Nach einem eher durchwachsenen Gastspiel auf der MusikTriennale Köln in diesem Frühjahr kehrt das Ensemble mit seinen beiden old school/Klassiker-Einspielungen zu konzentrierter Strärke zurück. Besonders die CD mit den Tenney Stücken, darunter der Klassiker Critical Band, zeigt, wie reizvoll es doch sein kann, jegliche Tonalität zu zerstören nach einem akkuraten Schlachtplan. In Koan: Never Written A Note For Percussion (1971) kommt dieser Ansatz zu einem grandios blitzflackernden, elektrisierten Finale. Die Cage Aufnahmen, mit den Stücken Four6, Five und Hymnkus weiß auch durch präzise Durchführung zu gefallen, hier sind es die Stücke selbst, die altersmilde aber auch weise anmuten." [Zipo / Auf Abwegen]
|
2010 |
€14.00 |
|
|
[old School] Alvin Lucier |
CD |
"1| Alvin Lucier Fideliotrio [1987] 12:10
for viola, cello and piano
2| Alvin Lucier Music For Piano With Magnetic Strings [1995] 13:21
for grand piano and as many as five e-bows
3| Alvin Lucier Silver Streetcar For The Orchestra [1988] 10:03 for amplified triangle
4| Alvin Lucier Violynn [2001] 09:38
for violin and tape
5| Alvin Lucier Opera With Objects [1997] 10:59 for performers with resonant objects
zeitkratzer
directed by Reinhold Friedl
|| Burkhard Schlothauer < violin, viola, objects || Anton Lukoszevieze < violoncello, objects || Uli Phillipp < objects || Reinhold Friedl < piano, objects || Maurice de Martin < triangle, objects || Frank Gratkowski < objects || Hayden Chisholm < objects|| Matt Davis < objects || Hilary Jeffery < objects || Ralf Meinz < sound ||
[1-5] recorded live at Philharmonie Luxembourg, Luxembourg, October 3, 2009
[4] recorded at GreenHouseStudios Schwielowsee, Germany, June 4, 2010
recorded and mixed by Ralf Meinz and Reinhold Friedl, produced by Reinhold Friedl
Beautyfull Lucier compositions, recorded at the Philharmonie Luxembourg. Including: Silver Streetcar, Fideliotrio, Music for Piano with Metal Strings, Violynn, Opera with Objects.
And the thirs release in the series [old school] now !
“zeitkratzer are creating a New Music, worthy of the name!”
[Rob Young, The Wire Magazine]
The internationally acclaimed “hilarious releases” [vital weekly] of zeitkratzer records go on. This is the third release in the new series [old school]. The first two CDs, dedicated to the music of John Cage [zkr0009] and James Tenney [zkr0010] have been highly acclaimed. London’s Wire Magazine wrote: “The rigour and discipline they collectively bring to this compositions make both discs utterly enthralling, from start to finish.” The new release is dedicated to the music of Alvin Lucier.
In 2011, the [old school] series will continue with two more releases, dedicated to the music of Morton Feldman [zkr0012] and Karlheinz Stockhausen [zkr0014] respectively.
Alvin Lucier is one of the most outstanding American minimalists. He could be called a sound physician and his compositions regarded as acoustic research settings. Often his pieces turn inside-out the inner properties of the room they are played in and the instrument that they are played on. zeitkratzer had the chance to work with the composer in Dijon, France in 2008, and continued to work on and to program his music in different places. The Philharmonie in Luxembourg turned out to be the ideal space for recording.
On this CD you can hear how Lucier enables zeitkratzer to create sounds, most people have never heard before. Ringing overtones, a singing piano, a thrilling concert triangle, pencils on little objects, and how irritating a violoncello, a viola and a piano can sound together creating sonic interferences. This music is not only a physical phenomenology, but becomes inherently a sensual listening experience." [full press release info]
www.zeitkratzer.de
"In der Reihe [old school] arbeitete ZEITKRATZER dieses mal mit dem amerikanischen Minimalkomponisten Alvin Lucier im Auftrag der luxenburgischen Philharmonie zusammen. Herausgekommen sind 5 Stücke die sich alle mit Obertönen und dem akustischen Phänomenen der gegenseitigen Klang-/Tonaufhebung, bzw. Beeinflußung befassen. Das Prinzip kennt jeder: Ein durchgehender Ton trifft auf einen schwingenden Ton und man meint, dass auf einmal beide Töne schwingen würden, was aber nachweislich nicht der Fall ist und eben ein solches akustisches Phänomen ist. Treibt man die Sache nun bewußt voran und lotet diese Grenzen klangtechnisch und kompositorisch aus, kann man wirklich sehr interressante Effekte im Raum und für eine Aufnahme erzeugen.Klänge verschmelzen und erzeugen dabei neue Musik! Großartig und spannend zugleich und gar nicht kopflastig, sondern wirklich sehr seltsam, wunderbar und auch noch schön anzuhören!" [Carsten Vollmer / Ox-Fanzine]
"Old School is a series of works performed by Zeitkratzer Records dealing with one composer, although they are not always 'old' (as in 'still alive'). Following James Tenney and John Cage (see Vital Weekly 724), the ten piece ensemble performs here works by Alvin Lucier, another particular hero of mine. Lucier doesn't just compose pieces of music, he explores sound, and the way they move around in space. Zeitkratzer keeps to the scores, most of the times, such as in 'Silver Streetcar For The Orchestra', in which the triangle plays an important role or in 'Opera With Objects', where the orchestra plays with small objects indeed. These are the compositions by Lucier which are 'free' in a way: a set of instructions to be performed and Zeitkratzer is, as we know, good at that. The more fixed pieces here, 'Violynn' and 'Fideliotrio' (which I must admit have never heard performed anywhere else) seem to be following the score more careful, i.e. playing the right notes at the right time. Zeitkratzer does an absolute great job at that. Lucier's originals are expanded here into small ensemble pieces and each instrument gets his own place in the composition. Five excellent executions thereof. Old master pieces." [FdW/Vital Weekly]
|
2010 |
€15.00 |
|
| |
(Old School) KARLHEINZ STOCKHAUSEN |
CD |
"The internationally acclaimed 'hilarious releases' [vital weekly] of zeitkratzer records go on. This is the fourth release in the series [old school]. The first three CDs, dedicated to the music of John Cage [zkr0009], James Tenney [zkr0010] and Alvin Lucier [zkr0011] have been highly acclaimed. London's Wire Magazine wrote: 'The rigour and discipline they collectively bring to this compositions make both discs utterly enthralling, from start to finish.' The new release is dedicated to the music of Karlheinz Stockhausen.' 'I do not want a spiritualistic session. I want music.' Karlheinz Stockhausen is one of the most outstanding composers of the 20th century. After his early super organised compositions as Gesang der Jünglinge, Kontakte or Studien 1 and 2, he realised 'Aus den Sieben Tagen' ('From the Seven Days') as a precisely organised text composition. Not one single note is written, but it is exactly defined, what kind of material the musicians should choose, - and how they shall play it. Length, tempi, etc are not given. zeitkratzer had the chance to work on this pieces in Ljubljana in spring 2011, and tried to develop the approach to interpret the texts as precisely as possible, what means in a traditional way of score-reading. As Stockhausen pointed out: 'musical meditation is not sentimentality, but ultra alertness and - in the lightest moments - creative ecstasy.' Set Sail for the sun!' Zeitkratzer under the direction of Reinhold Friedl with Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Ulrich Phillipp (doublebass), Reinhold Friedl (piano), Marc Weiser (electric guitar), Christian Lillinger (percussion), Frank Gratkowski (clarinet), Hild Sofie Tafjord (French horn), Hilary Jeffery (trombone) and Martin Wurmnest (sound). 5 pieces taken from Stockhausen's intuitive music cycle 'Aus den Sieben Tagen' (1968) : 'Unbegrentz', 'Verbindung', 'Nachtmusik', 'Intensitt', 'Setz die Segel zur Sonne'." [label info]
www.zeitkratzer.com
"Apart from some of his fifties electronic works, I have never been a great fan of the music of Karlheinz Stockhausen. Perhaps I didn't hear enough or perhaps I simply don't understand a lot of it. In the sixties he composed a piece 'From The Seven Days', which consisted of open ended instructions for the players, such as 'play a vibration in the rhythm of the universe/play a vibration in the rhythm of dreaming//play a vibration in the rhythm of dreaming/and slowly transform it/into the rhythm of the universe/repeat this as often as you can'. A very fluxus way of composing music, but his ensemble would in return ask for partial authorship of the piece for this composition and quickly Stockhausen returned to notating his pieces accurately. For 'From The Seven Days' stands as a bit of an odd-ball in his oeuvre, but its not difficult to see why its so attractive for the musicians of Zeitkratzer to perform this piece. They love performing such open ended pieces on their extended instruments (violin, violoncello, double bass, piano, electric guitar, percussion, clarinets, french horn, trombone), since many of the players have a background in improvised music, and this sort of score leaves enough space for them to play with the notes. Its highly irrelevant to say whether these five pieces, are 'accurately' played, its 'just' an interpretation of whatever is possible and I think Zeitkratzer deliver and outstanding job, especially in 'Setz Die Segele Zur Sonne', a long, dense piece of glissandi played with a sinister undercurrent. The other pieces are shorter, and offer a variety of insights: moody, loud, fierce, introspective. An excellent performance all around." [FdW/Vital Weekly]
|
2011 |
€14.00 |
|
| ZELIENOPLE |
Give it up |
CD |
"Der weite Weg zum Popsong: das Chicagoer Trio zwischen Doom und Ambient:
Das Trio Zelienople gehört zu den festen Größen der Underground-Szene Chicagos. Der Perkussionist Mike Weis spielt regelmäßig mit der Alternative-Folk-Legende Scott Tuma, zusammen mit dem Zelienople-Gitarristen und -Sänger Matt Christensen bilden sie die Band Good Stuff House. Doch trotz aller Nebenprojekte liegt das Hauptaugenmerk auf Zelienople, die mit dem Multiinstrumentalisten Brian Harding komplettiert werden. Mit "Give It Up" entstand das bis dato ausgereifteste Werk des Trios. Die Band bewegt sich weg von früheren Vergleichen mit Talk Talk, Slowdive und Bark Psychosis und entwickelt einen
wagemutigen, frischen Sound. "Give It Up" ist zudem "poppiger" als der Vorgänger "His/Hers", ist eine Sammlung sich langsam wälzender Songs. Von dem an Bohren und der Club Of Gore erinnernden Opener "Aging" über den Americana-Doom von "All I Want Is Calm" bis zum diesigen Ambient von "Water Saw" reicht
die Klangpalette. Und das perkussive und traumhafte "I Can Put All My Faith In Her" kommt dem Popgedanken des Trios am nächsten. Musik für den Abend am Kamin." [label info]
"Another fantastic disc of gauzy, shimmery otherworldly dronemusic, from the seemingly infallible Type label. Long time aQ faves, Chicago's Zelienople moved to Type, after a handful of releases on PseudoArcana, Digitalis and Root Strata, and it was a pretty perfect match. Rameses III, Alps, Goldmund, Grouper, Xela, North Sea, Helios, Svarte Greiner, Black To Comm, it's not difficult to see that maybe this was where Zelienople belonged all along.
On Give It Up, the group deftly mix light and dark, weaving softly smoldering dreamscapes, all muted and hushed, with sun dappled dronefolk, all chiming soft focus guitars, and minimal percussion, hazy and gauzy and slightly blurred, vocals surfacing here and there throughout. A sort of ethereal slowcore, pop songs pulled apart and set in amber, this record a shadow produced by the muted sunlight
shining through.
Some tracks are brooding and doomy, laced with ominous creaks and deep moaning low end tones, wheezing organs, and layered ambience, others are folky and reverbed, strummed guitars wreathed in a patina of muted thrum, spread out over some almost Neil Young sounding vox, but buried way down in the mix, still others are skeletal and barely there, voices drifting in the ether, over spare tendrils of melody, only to slowly shift, and get lost in a cloud of prismatic chordal hum. Absolutely gorgeous, the perfect blend of minimal doom folk, hushed slowcore and abstract dronemusic.
The lp version comes with a bonus cd (NOT a cd-r, an actual pressed cd), featuring Zelienople's soundtrack for a film called Gone, stunningly beautiful, even more minimal than the record proper, the first half of the disc all gauzy drones, the second half, bleary eyed
slow motion chamber music. Be careful removing the cd from the lp, it's attached by a little dollop of glue or something, but a quick
pull will take some of the lp sleeve with it..." [Aquarius Records]
|
2009 |
€15.00 |
|
| |
His/Hers |
CD |
"Zelienople (named after a borough in Pennsylvania) is the moniker of Chicago based musicians Matt Christensen (guitar/vocals), Mike Weis (percussion) and Brian Harding (guitar/clarinet) and between them, in a desolate suburban basement, they have come up with a record of pure psych-rock sludge. Now on their fifth album, the band have struck upon their finest moment yet, honing their skills to create something singular and utterly unique. There is certainly no shortage of acts willing to throw down waves of experimental guitar noise and clattering percussion, but with the benefit of focus and experience, Zelienople sound like something totally out of time and almost impossible to place.
Residing in a hazy drunken world in-between slow-core pioneers Low, psych-folk outsiders Charalambides, Japanese overlords Boris and Dead Man era Neil Young 'His/Hers' is a faded photograph of rock music past, yet still manages to keep a firm footing in the present.
Guitars echo like disappearing ghosts and vocals moan and wail mercilessly while percussion bubbles up in glorious waterlogged waves.
'His/Hers' isn't a concept album, but it might as well be with five bravely sculpted tracks acting like chapters, taking you through a whole gamut of emotions, from pensive and lonely through to aggressive and impulsive and beyond. Fusing the warring factions of blues, noise, metal, folk and jazz the trio have made as breathtaking a psychedelic album as you're likely to find, and unlike so many others in the scene it never threatens to overwhelm you with meaningless academia or pretension. This is an album made for listening, for enjoying and sinking in to, an album that is made as an illicit treat for the discerning music fans among us. Grab hold and step aboard, Zelienople are just about ready to take you on a universal journey into the subconscious, and it's gonna be quite some ride." [label info]
www.typerecords.com
|
2007 |
€15.00 |
|
| ZGA |
Zgamoniums |
CD |
“.... Musik, die in ihrer Originalität schwer zu beschreiben ist: Industrial-Noise-Rock-Improvisationen zwischen AMM, EINSTÜRZENDE NEUBAUTEN, DDAA (nur um eine vage Klangwelt anzudeuten). Harsche Rhythmen, knirschendes, schrillendes Metall, monotoner Sprechgesang, gequälte Trash-Elektronik – invalide Cyberpunks wühlen als Schamanen der Zukunft im postatomaren Schrott – Lähmung, Statik, gegen die ein archaischer Beat ostinat antrommelt...“ [Rigobert Dittmann in Bad Alchemy Nr. 14 zur ersten ZGA-LP (1990)]
“New works from the extraordinary Rigan Quartet; sound bites from 'real' and electrified scrapyard instruments; an indescribable and incomparable group who have succeeded both in defying genre and creating radically new sounds.” [ReR]
„ZGA pflegen die Perkussion auf eisernen Objekten, wie es so manche Band in den 80er Jahren tat. Aber anders als diese entfachen sie kein Industrialdonnerwetter, sondern loten mit kratzender oder streichender Behandlung die eher leisen Gefilde bzw. atmosphärischen Möglichkeiten des Materials aus. Die senkrecht aufgehängten Spiralen, Eisenplättchen und -¬stangen bilden zudem das Herzstück für Stücke, die einen entfernten Rockkontext lediglich in dekonstruierter Form erahnen lassen. Plötzliche Brüche im Aufbau geben den Stücke einen rohen und fragmentarischen Charakter. Wenn mit einem plötzlichen Schwenk die Geräuschkulisse kippt und eine verquerte Klarinette Volksweisen anstimmt, wirkt das nicht als beliebige Geste. In die Aufnahmesession, die die Band erstmals in ein professionelles Studio führte, haben ZGA ihr Erfahrung im Umgang mit nicht vorhandenem Equipment, will sagen die Bastlermentalität des Improvisateurs im Gegenständlichen nochmals mit herüber genommen. Immerhin fuhrwerkeln ZGA seit 1984, noch hinter dem eisernen Vorhang und unter erschwerten Bedingungen, an ihrer Musik herum und da steckt nun mal auch immer der geniale Schuss Punk drin, der die Dinge so erscheinen läßt wie wir sie mitunter gar nicht gern sehen: ständig reparaturbedürftig. _ZGA are working on iron objects like some of the industrial bands from the 80ties. But in spite of them, they are more in the quietly fields sounding out the materials possibilities with scratching and stringing. Coil springs and/ or iron plates played with iron bars are the heart for pieces far away from any rock context. Sudden breaks are disturbing the structures giving them a rough and fragmentary character. When in a sudden move the sound scenes are changing and a strange clarinette starts playing in terms readily comprehensible to the layman, it is not only any gesture they like. Since 1984 they have been existing as a band working behind the iron curtain. Maybe for that reason they developed an improvising talent in dealing with heavy circumstances especially for musicians like them. Now for this session ZGA have worked the first time in a professional studio and they used their brilliant punk spirit which makes that the things seem to be in a way we do not always like to see them: currently under construction.” [Mr. Schlewinski for Drone Records]
|
1991 |
€14.00 |
|
| ZINC ROOM |
In Wooden Room |
CD |
"Fifth album of the Siberian project Zinc Room shows further development from the realm of deadening distorted industrial noise to the depths of dark ambient and death industrial, continuing the line started on its previous work "Shifting Soil". The author utilizes wider pallette of acoustic elements: voice, mouth harp and sounds of soil, branches, stones and glass, which brings more ritual atmosphere to the album, still sometimes he plunges everything into the electrolysis bath with already known trademark dense cocktail of metal percussion and roaring bass guitar. The album features several special guests: Vitaly Maklakov (Kromeshna, Obozdur, Light Collapse, etc.), Kein (Carved Image Of Emptiness, Scratching Soil, Prognostic Zero) and Isawald (Transistorwald, Tmavy Kruh, Esche)." [label info] |
2012 |
€12.00 |
|
| ZNR |
Traite de Mechanique |
CD |
Originally released in 1978. "The second and last release by this most exquisite and eccentric of groups, who hardly touched the world of working bands, and whose existence was tenuous, flickering, mythological -- and yet who managed, to find its way to legendary status -- rather like Duchamp's fountain, by leaving an indelible trace in recorded form of their verifiable existence. If Captain Beefheart had been Erik Satie..."
"Bereits Jahre bevor HECTOR ZAZOU mit seinem Album „Noir Et Blanc“ internationales Aufsehen erregte und fortan als Komponist und Produzent für und mit Künstlern wie BJÖRK, SUZANNE VEGA, JOHN CALE oder SIOUXSIE SIOUX arbeitete, betrat er mit JOSEPH RACAILLE und PATRICK PORTELLA das Studio um als Experimental / Avantgarde-Formation ZNR das Debüt „Barricade 3“ aufzunehmen. Der abstrakte, schlichte und avantgardistische Kammerrock der aus Marseille stammenden Band wusste zu überzeugen, und doch trennten sich nach Beendigung der Aufnahmen die Wege der Musiker. Als die Rufe nach einem Nachfolgewerk immer lauter wurden, taten sich ZAZOU, RACAILLE und PORTELLA wieder zusammen, nahmen 1979 „Traite De Mechanique Populaire“ auf, trennten sich allerdings auch hier wieder kurz nachdem die Aufnahmen abgeschlossen waren. Diese kurze und intensive musikalische on-off-Beziehung hinterließ zwei außergewöhnliche Alben, die Avantgarde mit Klassik, Minimal / Art-Rock, Jazz und Elektronik verbinden und einen unverwechselbaren Sound entwickelten. Nachdem „Traite De Mechanique Populaire“ lange ausverkauft war, veröffentlicht RECOMMENDED nun die neu gemasterte CD mit neuem Artwork."
|
2017 |
€13.00 |
|
| ZWEITRÄUME |
Flicker / Flutter |
CD-R |
„Alles fließt. Die Klänge schwimmen ineinander und umeinander, Entwicklungen ergeben sich im Kleinen, über lange Strecken. Das spielt dem Zeitempfinden Streiche: Der Fluss der Sekunden löst sich auf in Rotation. Hier tönen: Computer-Innereien, Schreibtischutensilien, Schellack-Platten, Klaviere, Heimorgeln, Feuer, Wasser, Flöten. Willkommen zum Tanz.” [label info]
Dark slowly feedbackin’ drone-ambience, smouldering foggy low-fi noises, delays and strange synth-lines, many little concrete details appearing.... the second CD-R of ZWEITRÄUME, again something to explore.....
|
2006 |
€10.00 |
|
| [-HYPH-] |
Alter.Tenacio |
CD |
Vier höchst spannende und eigenwillige elektro-akustische Geräuschkompositionen vom inzwischen in Berlin ansässigen Projekt [HYPH], hoch-dynamisch & klaustrophobisch werden hier zermürbende & zersetzende Klangcluster in Szene gesetzt, die wenig mit den "klassischen" elektro-akustischen Sounds gemein haben, aber es gibt auch mikrosound-artige Gebilde die klanglich an A. TIETCHENS gemahnen... sehr sorgfältig und mit viel Liebe fürs Detail zusammengesetzt...
"...Wiese präsentiert ‚pulverize dreams‘ for city soundscape and acoustic instruments, ‚reset barriers‘ for demonstration soundscape and human voices, ‚upgrade sirens‘ für sirens, feedbacks and acoustic instruments, das auf 24 Min. ausgedehnte ‚suspend values‘ for processed e flat bass clarinet sowie eine halbe Gedenkminute. Die Klänge von Xylophon, Kontrabass, Altosax und Bassklarinette sind dabei bis zur Unkenntlichkeit verwischt, die Stadtlandschaften erweiterte Kampfzonen des Stresses, der Aggression und der abstrakten Anästhesie. Halbwegs der Pulverisierung entkommen, obwohl verhackstückt, die Stimmen, jedoch nur als Stottern und Rabarbern. Die ‚suspendierten Werte‘ sind ein Exerzitium in Seufzen, Zwitschern und Blubbern (Klappengeräusche) und in seiner reduzierten Subtilität fast schon wieder schön." [Bad Alchemy]
|
2008 |
€13.50 |
|
| [AD]VANCE[D] |
poem#red128dot |
CD-R |
"Der erste Schritt Mars F. Wellinks nach der Auflösung des Vance Orchesters ist diese vermutlich limitierte CDR-Produktion im übergroßen Cardboard-Cover in Plastik aus Griechenland. Ein gegen 40 Minuten tendierendes langes Stück im entspannten Spannungsfeld zwischen Musique Concrete, experimenteller Elektronik mit ambienten Charakter inkl. wohl eingesetzten Fieldrecordings. Hier findet sich alles wieder, was das Vance Orchestra so unverwechselbar gemacht hat, eine organische Entwicklung, die den Hörer nie ganz losläßt, aber auch nicht knebelt und fesselt. Hervorragendes ambient noir, das aus meiner Sicht gar nicht hoch genug geschätzt werden kann. Gewidmet dem Andenken Geert Feytons (Noisemaker's Five, Negative Entropy und NMT Productions), der im Juli 2006 gestorben ist." [ [cs] / Bad Alchemy]
VANCE ORCHESTRA is dead, long live AD]VANCE[D]! This is the first release of the follow-up project of the split-up VANCE ORCHESTRA, Arnhem-based musician and designer MARS F WELLINK does it now alone! "Poem#red128dot" is dedicated to GEERT FEYTONS from NOISE-MAKER'S-FIFES, who died last year. A real sound-poem.
"Vance Orchestra from Arnhem are no more, but out of his ashes new paths are chosen. Robert Deters plays around with various people from the local scene, including Machinefabriek, while Mars Wellink goes on solo. As (ad)vance(d) he now presents his first solo work, I think, for the Absurd label. It has been around in their offices for a while, but it's release comes in handy. In various cities (Arnhem, Leiden, Molovos) Mars recorded some field sounds which he knits together to a thirty six minute sound poem. Voices play a role, but more over it's here to create an atmospheric piece of music. The backdrop is a sort of ambient piece of a wall of synthesizers, but it's too angular to be a dull piece of music. On top of that hotbed, Mars lets his recordings drop in and out of the mix, bird calls, insects, people walking and talking. Over the course of the piece things move away from the ambient patterns played at the beginning and moving into the world of strict soundscaping and then spiral back into the ambient backing of the start. A highly atmospheric work that is more like a sound picture, be it of different places, of sound moving in and from various directions than a strict music piece, more like a sound environment." [FdW / Vital Weekly]
|
2007 |
€10.00 |
|
|
Flushing the Veins |
DVD |
The second release for the "post"-VANCE ORCHESTRA project is a DVD with four films & new music, combining colourful vivid & floating shapes with field recordings and electronic sounds & drones... lovely stuff, contemplative & little bit bizarrre as always...
Comes in nicely designed handmade DVD-box, with colour-booklet, lim. 300
"Hier auf dem Moskauer Kleinlabel für Sammlereditionen, das auch schon Merzbow, PBK, Troum, Maeror Tri und Telepherique veröffentlicht hat, folgt im reizenden Leinendesign mit farbigem Booklet dann die Kombination aus den beiden Interessen-schwerpunkten von Mars F. Wellink mit Support durch den audiovisuellen Produzenten Moreezz. Visuell erinnert mich das Ganze weitgehend an Derek Jarmans TG-Film "In The Shadow Of The Sun" - verfremdete, monochrome & fluktuierende Gebilde. Selbiges läßt sich fast ebenso vom musikalischen Teil sagen. Im Gegensatz zur Erstveröffentlichung von (Ad)Vance(d) geht es hier aber mit mehr Kontrast und Tiefenschärfe zur Sache. Verschiedene Geräusche des Alltags (Fieldrecordings in Deutsch) werden bewußt extrahiert, präsentiert und betont bis hin zur Aufdringlichkeit. Hier wird zielstrebig und kultiviert nach innen gebohrt in Bereiche, derer man sich vorher gar nicht bewußt war oder werden wollte, unterteilt in 4 Kapitel. [cs]
"...Wellink was one half of the Vance Orchestra, 'which lost after 10 years most of his magic', as we read in the booklet. We also read that Wellink was treated for cancer and that this new DVD 'symbolizes my feelings' and hence the title. The images and sounds were created by Wellink and processed by one Mooreezz. Like Telepherique (Ad)Vance(d) likes to use loops, but whereas they are simple in the 'Stahl Und Steine' release of Telepherique, with (Ad)Vance(d) they are produced on a wider scale and he takes the listener on a more coherent journey. Tinkling bells, animal sounds, voices, street sounds, they all rotate with a constant tempo. The images have a similar process: colored fields rotate about, return, change shape and color, and keep on rotating. Music and images have a hallucinatory effect if you watch and listen this closely on a TV screen and with the sound quite loud. Or it works as a nice ambient environment to which glance every now and then, while having the music. Many possibilities there." [FdW / Vital Weekly]
label-website: www.waystyx.com
|
2007 |
€15.00 |
|
| |
Two Events |
LP |
Waystyx goes vinyl! Fabulöses neues Werk vom niederländischen Projekt um MARS WELLINK, allerbeste atmosphärische Collagen-Musik und archaische Drone-Fliessmuster, loopig-pulsierende Strukturen in typisch VANCEiger Machart. Bisher seine überzeugendste Veröffentlichung! Limitiert auf 200 im Poster-Cover mit Postkarte!
"Not much info on this otherwise beautifully packed LP. The story should be known: following the split of Vance Orchestra, Mars Wellink started (ad)vance(d), together with Jan Dekker. The music of (ad)vance(d) is a continuation of lines set out by Vance Orchestra: that of the cross road of ambient music, bit of rhythm (mainly through samples) and a hint of industrial music. Two side long pieces, an event per side me thinks. The music slowly evolves and develops - the archetypical form of drone music, which is in these four hands in great form. Deep rumbles from below the earth's surface, which grow in intensity and take a big shape, almost without the listener realizing this. Voices (?) seem to mumble, the rattling of a bike, all against a nice, thick brick wall of sound. It reminded me of some of the best work of zoviet*france. The rotating swirls fit the medium, or the medium fits the swirls of sound. Two particular great pieces that one keeps rotating on end. Fabolous headspace
music." [FdW / Vital Weekly]
www.waystyx.com
|
2009 |
€16.00 |
|
| [LAW-RAH] COLLECTIVE, THE |
Vesuvius |
12 |
Neues US-Label mit neuer 12“-Serie, wo um es die akustische Darstellung von Naturkatastrophen geht. Den Anfang macht das
[LAW RAH]-COLLECTIVE aus den Niederlanden mit einer bedrohlich-dark ambienten Umsetzung des Vesuvausbruchs! Goldenes Vinyl.
“...'vesuvius' is the second vinyl release on force of nature and the first in a series, where each release will be describing a different natural disaster. both tracks are around fifteen minutes in length and created with analog sound sources only. while the first side of the 12" describes the expulsion of volcanic gasses - solfataras - poisoning the air, the second side sketches a picture of Pompeii, herculaneum, oplonti and stabiae, each hidden under 10 to 75 feet of tephra (ashes). two days of volcanic activity killed over 3300 people. the design and packaging of 'Vesuvius' is explosive itself; slightly transparent golden vinyl resembling the power of the magma hidden deep inside the earth. An ash and smoke colored cover insert designed by dominick fernow of hospital productions not only gives a brief history of the volcano; it also acts as a guardian protecting the gold of an once so prosperous city which is no more.” [label info]
|
2003 |
€12.00 |
|
| |
Solitaire |
CD |
"Like on the 2008 Ant-Zen album 'Inspiration', the duo Martijn Pieck and Bauke van der Wal upped the ante with the collective's 7th full release. Sound wise they return to the collective's origins: a combination of ambient structures and deep drones with sudden breaks in the sound spectrum. 'Solitaire's threatening and oppressive mood will leave you in a state and in a place where you haven't been before. A new reality which is more then the sum of its parts." [label info]
"Wer das Niederländische [Law-Rah] Collective auf seinem Konzert in Berlin (24.10.2009) gesehen hat und den experimentalektronisch Sound mit ätherischem Frauengesang und Spoken word-Einlagen goutierte, wird vermutlich über das aktuelle Album 'Solitaire' überrascht sein: In dem stimmungsvoll gestalteten Cover wartet ein erstklassiges Instrumentalalbum.
'Solitaire' hört man seine sorgfältig konstruierten Klangwelten deutlich an: Mit Fieldrecordings, langen Drones, gelegentlichen dumpfen Beats und filigranen Keyboard- und Piano-Melodien entadfltet sich ein geisterhafter Soundtrack, der sich großartig mit der im Artwork angelegten Bildwelt ergänzt. Melancholisch und unheimliche Passagen gehen über in wohlige Erinnerungsfetzen - 'Solitaire' ist ein großartiger Soundtrack zum Schwelgen im Persönlichsten.
Mit ihrem aktuellen Album ist dem [Law-Rah] Collective eine wunderbare impressionsitsische Komposition gelungen, die auf überdeutliche Samples und esoterische Gimmicks leicht verzichten kann. Glaklarer Ambient für das Innere Kino." [Marcus Stiglegger, Ikonen] |
2009 |
€6.00 |
|
| [SIC] |
Gorilla Masking Tape |
CD-R |
Hinter [SIC] verbirgt sich die junge Nachwuchs-Elektronikern Jen Morris aus Montreal, die hier auf sechs Stücken analog-elektronischen dark ambient entwirft, der aber sehr UN-minimal ist, d.h. sich ständig verändert & neue Sounds & Färbungen aufnimmt.
Sehr subliminal & z.T. mechanisch-maschinell, sehr zu empfehlen !
“Having listened to and zoned out on this release at least half a dozen times, it should be obvious what it is that is so compelling about [sic]'s compositions of dusty long drones, deep ambient spaces and bump-in-the-night tension, but it's not. On the one hand, this is difficult listening: all uneasy sounds and dischordant timbres rubbing up against one another to create an ambiguous feeling of dread. On the other hand, for those familiar with the work of like-minded artists like those featured on the quasi-legendary "Isolationism" compilation, [sic] fits perfectly into a already-defined niche of dark, brooding ambient characterized more by its claustrophobia than by its use reflection of space as an expanse. I could tell you that Gorilla Masking Tape is a beautiful, haunting record, or that it's alpha-wave inducing at the right volume, or that it's a perfectly quiet record for people who lead unquiet lives, but none of that really captures the force that these tracks embody. Perhaps the record's most defining characteristic is that it is indeed so malleable that it can be both loud and quiet, both serene and disturbed, both beautiful and terrifying and that it does all of this effortlessly. I often wonder what more can be said about music like this that is both barely there and a force of nature all at once, depending on your volume knob. I always think that it will be impossible for someone to release yet another essential dark ambient disc in a world where artists who do this sort of thing tend to have voluminous discographies of equally affecting work already. I think that, and then I hear a record like Gorilla Masking Tape and it suddenly all sounds fresh and important and essential again and I'm left wanting more. It doesn't get much better than that.”
[Matthew Jeanes - Brainwashed Brain]
|
2004 |
€11.50 |
|
|
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