Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

SKULLFLOWER	Ophidian Vibrations	LP	NASHAZPHONE	NP 036LP
$26.00 PREORDER RELEASE DATE: 5/20/2022 "Sound coiled and uncoiling, the (well) spring and trap set and first trilogy concluded with three wordless hymns to the Apep serpent, and the serpent power in general. Skullflower slithers and glides through their third LP for Nashazphone, always revolving like geologic time sufis, conjuring wrinkles and portals in the multiverses stiff unyielding fabric. As Brian Wilson still might sing 'she's givin' me serpent vibrations'." --Matthew Bower and Samantha Davies West Yorks, UK August 2021. Skullflower: Matthew Bower- Aire Delta Slide, Travis Bean Koa, Coiled Crimson Serpens; Samantha Davies: violin, Ibanez Destroyer, Descending Gold Serpens. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 333.

Artist	Title	Format	Label	Catalog #
LETTERA 22	Exposition of Clove	LP	NASHAZPHONE	NP 038LP
$26.00 PREORDER RELEASE DATE: 5/20/2022 Exposition of Clove is the new fast electro-acoustic album by the duo of Matteo Castro and Riccardo Mazza. Hailing from the farthest North-East glacial tip of Italy, Lettera 22 utilize elements of musique concrete sound sources, delicately sampled, looped and edited; resulting in five very subtle and rich compositions of textured noise and field recordings via analogue tapes and feedback. Recorded and mastered in 2020 by Ricardo Mazza and Matteo Castro. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.

Artist	Title	Format	Label	Catalog #
SOCIETE ETRANGE	Chance	CD	LES DISQUES BONGO JOE	BJR 075CD
$12.50 PREORDER RELEASE DATE: 3/25/2022 Chance, is the second album of Société Étrange, composed of six love songs without words, with equivocal rhythms, glaucous turquoise bass, and melodies affectionately tinged with melancholy. The album was recorded in July 2020 in Vaulx-en-Vel from a collection of materials and collective drift. Composed in studio, it is by the live that is shaped their pieces, several years to test them together so that these three musicians let us glimpse a possible civilization. Not fantasies that cannot be apprehended, but a future that we can hope to desire. Their hypnotic compositions, drunk with dub, iron harmonics, and polymetric measures, play a music that is a bit shady, one of those that provoke the space for the dance to happen, without anesthesia. Société Étrange was formed in 2012 by Antoine Bellini (electronics) and Romain Hervault (bass), joined in 2015 by Jonathan Grandcollot (percussion) after the release of their first album Au Revoir.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	To Look Inside Music	2CD	THE HENNING CHRISTIANSEN ARCHIVE	HC 007CD
$30.50 PREORDER RELEASE DATE: 3/25/2022 The Henning Christiansen Archive present a collection of previously unreleased "classical works" by Henning Christiansen, a large part of his oeuvre which has remained out of sight, until now. This 2CD compilation encompasses a variety of stylistic approaches written in the years from 1963 to 1988. "This collection gathers music by Christiansen targeted on (in one sense or another) the concert hall. All the recordings presented here are previously unreleased. The majority of publicly available Christiansen recordings have focused on music related to dramatic works, soundtrack works, music made for and within artist performance and tape music. This time, Christiansen as composer is truly at the forefront. His voice is always recognizable even as his expressive range is surprisingly broad; his approach ranges from the conventional to the radical. Any niggling concert-hall questions about craft are settled, yet at the same time he continues to question the role of form and genre in music." --from the liner notes written by Ben Harper.

Artist	Title	Format	Label	Catalog #
SO SNER	Reime	LP	TAL	TAL 025LP
$25.00 PREORDER RELEASE DATE: 3/25/2022 LP version. Includes printed inner sleeve and download code; edition of 300. "How can one explain the lasting popularity of the bass clarinet in musical circles from Vienna to Brussels? Perhaps because its frequency range articulates an alternative to conventions of popular music, where 'bass' is reserved primarily for rhythmic impulses and the very foundation of the music. Viennese bass clarinetist Susanna Gartmayer's playing can by no means be reduced to just this, rather, it scrutinizes the entire sound universe: she can do rhythm and drone, not to mention melody and noise, often all at once. Who would be a more fitting collaborator than Stefan Schneider, with his minimalist rhythms and subtle cosmic exploration? Together, Schneider and Gartmayer form the project So Sner, which owes its existence to a concert in 2015 at the Approximation Festival in Düsseldorf. Gartmayer's bass clarinet polyphonies so impressed Schneider that he quickly suggested a collaboration. That same year, they began recording the album Reime in Kraftwerk's former Kling Klang studio, which in 2015 became workspace and concert venue simply called Elektro Müller. The second part was recorded in the summer of 2020 in Düsseldorf-Kaiserswerth at Stammhaus church, whose interior wood paneling facilitated organic acoustics. Susanna Gartmayer has been active as a musician and composer in various realms between experimental rock music, improvisation and multimedia sound performance since the early 2000s, releasing the album Smaller Sad with Christof Kurzmann and Black Burst Sound Generator with Brigitta Bödenauer in 2020. In addition to his solo project Mapstation, Düsseldorf-based musician and producer Stefan Schneider has been pursuing new avenues of experimental music in the here and now for over 20 years, in numerous collaborations with Sofia Jernberg, krautrock pioneer Hans-Joachim Roedelius, or visual artist Katharina Grosse among others. So Sner's sound is equally oriented towards experiment and tradition, whose roots can be traced back to the UK of the early '80s: an era in which soul and synth, jazz and industrial, avant-garde, and polyrhythm were blended with the help of intellectualism and punk attitude in such a way that manifold sketches of possible music emerged which are only being colorized today. Like So Sner -- from the very first stomp to the very last drop." --Olaf Karnik, Cologne, October 2021.

Artist	Title	Format	Label	Catalog #
SOFT TISSUE	hi leaves	LP	STUDENTS OF DECAY	SOD 126LP
$22.50 PREORDER RELEASE DATE: 3/25/2022 hi leaves is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like "plant pot" and "kettle" appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating sound world somewhere in between the patient abstractions of composerly EAI music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the '90s a-musik/Cologne scene. 45rpm; includes download code; edition of 300.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	Op. 1984 (160C) Goodday, Mr Orwell, Green Ear-Year	CD	THE HENNING CHRISTIANSEN ARCHIVE	HC 006CD
$16.00 PREORDER RELEASE DATE: 3/25/2022 Previously unreleased Henning Christiansen work from 1984. A dedication to George Orwell. Someone he was very fond of. In 1977 Henning visited the USSR only to become a staunch anti-Stalinist. A pro Trotskyite who, when visiting the USA, also saw Big Brother watching the US in the same way in the USSR through media and the journalists that worked for each side to manipulate the masses. Henning painted his ear green that year because he wanted to listen to nature and not the media and politicians. Performed at the Møn Musikfestival in the green ear year, 1984 with his first son, Esben, a local celebrity for his work in rock music. Encountering this performance people were very upset that Esben was not playing the rock music he was known for resulting in them setting fires and yelling at our trusty duo throughout the performance. Henning and Esben continued until the end. This was the last performance Esben did, he never played rock music or performed again after this. The radio piece here was recorded on the Christiansen family farm on Møn and the also the local surroundings on Møn. Version 1. Esben and Henning Christiansen action tape First performed 11-12:00 duration: 44 min. Version 2. Esben and Henning Christiansen radio version duration: 43 min. 45 sec. finished the 11th of October 1984 culture and society department Danish Radio Broadcast in Danish Radio Program 1. 25.12.1984.

Artist	Title	Format	Label	Catalog #
SO SNER	Reime	CD	TAL	TAL 025CD
$15.50 PREORDER RELEASE DATE: 3/25/2022 "How can one explain the lasting popularity of the bass clarinet in musical circles from Vienna to Brussels? Perhaps because its frequency range articulates an alternative to conventions of popular music, where 'bass' is reserved primarily for rhythmic impulses and the very foundation of the music. Viennese bass clarinetist Susanna Gartmayer's playing can by no means be reduced to just this, rather, it scrutinizes the entire sound universe: she can do rhythm and drone, not to mention melody and noise, often all at once. Who would be a more fitting collaborator than Stefan Schneider, with his minimalist rhythms and subtle cosmic exploration? Together, Schneider and Gartmayer form the project So Sner, which owes its existence to a concert in 2015 at the Approximation Festival in Düsseldorf. Gartmayer's bass clarinet polyphonies so impressed Schneider that he quickly suggested a collaboration. That same year, they began recording the album Reime in Kraftwerk's former Kling Klang studio, which in 2015 became workspace and concert venue simply called Elektro Müller. The second part was recorded in the summer of 2020 in Düsseldorf-Kaiserswerth at Stammhaus church, whose interior wood paneling facilitated organic acoustics. Susanna Gartmayer has been active as a musician and composer in various realms between experimental rock music, improvisation and multimedia sound performance since the early 2000s, releasing the album Smaller Sad with Christof Kurzmann and Black Burst Sound Generator with Brigitta Bödenauer in 2020. In addition to his solo project Mapstation, Düsseldorf-based musician and producer Stefan Schneider has been pursuing new avenues of experimental music in the here and now for over 20 years, in numerous collaborations with Sofia Jernberg, krautrock pioneer Hans-Joachim Roedelius, or visual artist Katharina Grosse among others. So Sner's sound is equally oriented towards experiment and tradition, whose roots can be traced back to the UK of the early '80s: an era in which soul and synth, jazz and industrial, avant-garde, and polyrhythm were blended with the help of intellectualism and punk attitude in such a way that manifold sketches of possible music emerged which are only being colorized today. Like So Sner -- from the very first stomp to the very last drop." --Olaf Karnik, Cologne, October 2021.

Artist	Title	Format	Label	Catalog #
SOCIETE ETRANGE	Chance	LP	LES DISQUES BONGO JOE	BJR 075LP
$26.00 PREORDER RELEASE DATE: 3/25/2022 LP version. Chance, is the second album of Société Étrange, composed of six love songs without words, with equivocal rhythms, glaucous turquoise bass, and melodies affectionately tinged with melancholy. The album was recorded in July 2020 in Vaulx-en-Vel from a collection of materials and collective drift. Composed in studio, it is by the live that is shaped their pieces, several years to test them together so that these three musicians let us glimpse a possible civilization. Not fantasies that cannot be apprehended, but a future that we can hope to desire. Their hypnotic compositions, drunk with dub, iron harmonics, and polymetric measures, play a music that is a bit shady, one of those that provoke the space for the dance to happen, without anesthesia. Société Étrange was formed in 2012 by Antoine Bellini (electronics) and Romain Hervault (bass), joined in 2015 by Jonathan Grandcollot (percussion) after the release of their first album Au Revoir.

Artist	Title	Format	Label	Catalog #
COLE, CRYS	A Piece Of Work	LP	SECOND EDITIONS	SE 010LP
$28.00 PREORDER RELEASE DATE: 3/25/2022 Sound can be a labyrinth, a twilight drift. Sound can truly unfold when it escapes logic or categorization. For it is never really one thing or another, especially abstract, collaged or found sound, as it is always connected to a time and a place, or sometimes to an intention, or a notion, or -- even more vague -- to something as dubious as a feeling. So, all this is inevitably inherent in a sound too. Sound is a fact but also an in between. In A Piece Of Work, concrete composer crys cole takes you on a journey through those in between places. Fragments collected over time in Oslo, Berlin, Vienna, Winnipeg, Melbourne, and Lisbon were later arranged and assembled into an invented space, a story arc, a freeform poem. cole's work is one of dynamics and proximity, of complexity and sensitivity. One that embraces both montage and movement. Originally commissioned by Radiophrenia (Glasgow, Scotland), where it premiered in 2019, A Piece Of Work has been developed through live performances and studio sessions, naturally progressing over time and eventually leading to this final version presented here on vinyl. Composed, performed and recorded by crys cole, 2019-21. With additional percussion by Oren Ambarchi and electronics by Seiji Morimoto. Mixed with Joe Talia at Good Mixture in Berlin, 2021. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2021. A Piece Of Work was commissioned by Radiophrenia in Glasgow, Scotland, and originally premiered in 2019.

Artist	Title	Format	Label	Catalog #
HET ZWEET	Het Zweet	2LP	STAALPLAAT	STLP 014LP
$38.50 PREORDER RELEASE DATE: 3/18/2022 Remastered reissue of Het Zweet (1987), including bonus LP consisting of previously unreleased material. Marien Van Oers work under the name Het Zweet ("The Sweat" in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that's both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as "industrial", and tracks here like the steady, clanging churn of "From The Lowland" or "On Earth" show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he's heard into some sort of ur-pulse, an overtone so powerful as to compel the "Massive Trance" the title of the last song on the record evokes. While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it's fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers' percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement-minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

Artist	Title	Format	Label	Catalog #
MUSLIMGAUZE	Muhammadunize	2LP	STAALPLAAT	ARCHIVE 045LP
$40.00 PREORDER RELEASE DATE: 3/18/2022 Listeners who know much of anything about Bryn Jones' work as Muslimgauze know that he was prolific in both his work and Muhammadunize, has what could be called a classic feel to it, with a very familiar blend of drones, string instruments, and synths, and varying percussion/break-beat patterns, in turn mixed with a number of hard-to-catch vocal samples. It's a formula used many times in the past by Jones, yet somehow he still manages to keep things just fresh enough, investing songs like the first and second "Khalifate" and especially both slamming versions of "Imad Akel" with enough unexpected touches. He incorporates the basic power of his work in the tracks as well, with both beauty and a nervy, hard-to-define tension as the songs progress. The sound palette of Muhammadunize is very similar to his ambient-techno albums such as Mullah Said and Gun Aramaic, down to the rhythms and the trademark tanpura drones and keys in C minor. The difference is that it's a bit more aggressive and faster-paced than the aforementioned albums, thus utilizing a similar dark atmosphere to a more immediate and in-your-face effect, especially as noted by the drum-kit urban-sounding pulse of "Imad Akel", one of the high points on this album. However, a favorite track here is the closer "Fatah Guerrilla" (also title track of the whole triple album), featuring a rapid echoed rhythm along with a barrage of percussion popping up and echoing every so often, sounding like they're flying through the room at a quick pace; the piece also features a beautiful flute melody which combines with the busy rhythm section in an interesting way.

Artist	Title	Format	Label	Catalog #
NULA.CC	Bells & Cicadas	7"	STAALPLAAT	SP ETA
$14.50 PREORDER RELEASE DATE: 3/18/2022 "Bells": In this unmanipulated recording, a performance of the bells of the Transfiguration Cathedral Spaso-Efimeyev Monastery in Suzdal takes place. Suzdal is one of the towns on the best-known tourist route in Russia, called the "Golden Ring". "Cicadas": An annual brood of cicadas creates a dense sonic atmosphere from their treetop feeding zone, here recorded on a hot July afternoon in a forest near Lake Lisi, on a plateau overlooking the Saburtalo district of Tbilisi. The project (nula.cc) is the brainchild of intermedia artist Lloyd Dunn, a founding member of the Tape-Beatles, and editor and publisher of the zines "PhotoStatic" and "Retrofuturism". It comprises hours of sound works, hundreds of photographs, travelogue essays, and similar digital artifacts, which often reflect the artist's frequent travels and esthetic thinking.

Artist	Title	Format	Label	Catalog #
KUPPER, LEO	Complete Electronic & Voices Works 1961-1987	3CD	SUB ROSA	SR 491CD
$20.00 PREORDER RELEASE DATE: 3/11/2022 The complete works of one of the pioneers of Belgian early electronics. This three-CD set highlights Leo Kupper's earliest unique compositions produced during the '60s to '90s when he was ardently seeking out structures distinctly applicable to purely electronic sounds. His GAME machine -- Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) was constructed during such period and spirit of renewal and technical explorations. Released in Sub Rosa's Early Electronic series. Includes 20-page booklet. Leo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on April 16th, 1935. He studied musicology at the Liège Conservatory, then became the assistant of Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (Studio Of Audio Electronic Research And Structuring). That is where he would compose, to this day, over forty works, most of them on instruments of his own design. In the '70s and '80s, he built a series of Sound Domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phoneme uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space and time: something said could be morphed into another sound hours, days, perhaps years later. Leo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur. His first pieces were released by Deutsche Grammophon and, later, Igloo. His latest works have been released by the New York-based label Pogus. The GAME machine: In 1961, having terminated his musicology studies, Leo Kupper left Liège for Brussels. By that time, centers for music research such as those in Cologne, Paris, and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, "musique concrete", and electro-vocal music. The GAME machine was constructed during such period and spirit of renewal and technical exploration. The GAME consisted of a collection of variable "sonic cells" sensitive to modulations of positive and negative voltages and programmable manually through the aid of color-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers.

Artist	Title	Format	Label	Catalog #
IHVH	The Agnostic	CD	ASH INTERNATIONAL	ASH 14-2CD
$12.50 PREORDER RELEASE DATE: 3/4/2022 IHVH are a duo composed of Touch artists Mark Van Hoen of Locust fame, and violinist Zachary Paul. This album is an electro-acoustic excursion of sorts into the often-obscure worlds of mystical religions of our times. The Kabbalah, the Indian mystics, the Christian church -- the moods of these belief systems and more, and their sounds as well, are sampled and referenced throughout these ten tracks. With a mix of real instrumentation, including the violin playing of Zachary Paul and the cello, bass, and viola played by guest musicians on some of the tracks, and the many electronic treatments created by Mark Van Hoen including the sounds of insects, African drumming, liturgical droning, and classical and operatic samples -- this portentous and mysterious, at times dark, but overall spiritually absorbing album is an imaginary voyage into the realms of Agnosticism, and it's insinuations into the other major religions of the world. Zachary's violin is multi layered and processed, often rendered unrecognizable -- with minimal ghostly and decayed electronics added by Mark. Most of the tracks were recorded in an improvisation session at Mark's studio in Los Angeles. Two of the pieces "Black Angels" and "Sister Ferdinande (Kolkata)" were recorded at film sound maestro Charlie Campagne's studio -- and feature him on double bass as well as Katt Newlon of LA's Sonic Open Orchestra on cello.

Artist	Title	Format	Label	Catalog #
ACAVERNUS & YANTRA	Gnose	LP	BUH RECORDS	BR 142LP
$30.50 PREORDER RELEASE DATE: 2/25/2022 Buh Records presents Gnose, the joint full-length by the solo acts of Paula Rebellato (Rakta) and Douglas Leal (Deafkids), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. Produced between 2019 and 2020 in São Paulo, Brazil, some of the compositions were first conceived for a live performance in late 2019 and then expanded into a full-length album, part recorded in studio and part at home during the first months of the pandemic. Inspired by the ritualistic potentials of music, Gnose offers a vertical and circular narrative throughout its seven themes, exploring atmospheres that may contribute to experiences of displacement and inner silence. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Paula Rebellato is an artist based in São Paulo, Brazil. Her journey with music and sound started at young age and became a more consistent path when she co-founded the genre-bending group Rakta. Paula's solo project Acavernus, active since 2013, incorporates sound, visual and written language. Inspired by sounds and atmospheres that evokes strangeness and beauty, she dives into memories and encounters that leads to her own center of intuitive and instinctive expressions, always trying to work and explore different tools and materials for composing. Her work with the voice, processed by different effect pedals, takes the listener to both comfortable and uncomfortable places. Yantra is the solo project by Douglas Leal, multi-instrumentalist, visual artist and founding member of the Brazilian psychedelic punk trio Deafkids. Douglas's solo project emerged in 2015 as a psychedelic and meditative audio-visual outlet for experimental/home-recordings but has since evolved into self-released tapes and collaborative recordings, live soundtrack for yoga and meditation sessions and improvisation sets with many different artists from São Paulo. Inspired by the modal music from different cultures around the world and using the electric guitar as the main instrument for his excursions into drones, ragas, and maqams, over time Douglas began to explore the use of acoustic sounds such as native wind instruments, the Greek bouzouki, the Turkish ney, mouth harps etc., expanding the project's color palette into unknown musical paths. Artwork by Douglas Leal. Edition of 300.

Artist	Title	Format	Label	Catalog #
ROSENFELD, MARINA	Teenage Lontano	LP	ROOM40	RM 4121LP
$23.00 PREORDER RELEASE DATE: 2/25/2022 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 realized by local south Londoners, the recording highlighting their style and genre affiliations. Both works have remained unpublished until now.

Artist	Title	Format	Label	Catalog #
SAMARTZIS & EUGENE UGHETTI, PHILIP	Array	LP	ROOM40	RM 4152LP
$23.00 PREORDER RELEASE DATE: 2/25/2022 Array expresses the experience of a remote Antarctic research station through the convergence of sound, site and performance. The result is an immersive and affective experience of the spaces, protocols and conditions comprising the bracing polar environment. Array is a companion piece to Polar Force, a performance-installation work by Philip Samartzis and Eugene Ughetti, presented by Speak Percussion. Array features recordings of radar and scientific instrumentation used for upper atmospheric research and terrestrial communication. These sounds reveal the sophisticated technology and architecture used and heard within the Australian Antarctic Territory. Many of the recordings focus on the way the built environment is transformed through stress and fatigue caused by extreme climate and weather events including freezing temperatures and high velocity winds. Together with the field recordings are layers of live performance using custom built instrumentation to produce a unique series of textures, rhythmic cycles, resonances, and timbral phenomena. The application of tension and pressure upon the assorted instruments recalls the distressed state of highly specialized infrastructure found within the perimeters of a research station. A polar research station comprises many types and volumes of prefabricated space. In dialogue with this are the unique spaces used to record the instrumental performance. By merging different spaces, Array brings into focus various industrial resonances, spatial characteristics, timbres of metal and concrete, and sonic artifacts produced by hard and permeable materials and surfaces. In three parts, Array presents Antarctica as a liminal space oscillating between representation and abstraction to challenge often repeated tropes. The intent is to blur the relationship between the recorded and performed to produce a hyper-realistic encounter of the powerful forces that operate at the margins of our planet. One hears the precariousness of a remote research station contorted by unrelenting stress, compressed air forced through waterborne fipples and the volatility of weather events. Life on remote research stations is progressively resembling the broader contemporary experience, in which strict protocols are used to govern and preserve life. The resilient communities who live and work in these places have learnt how to coexist with an increasingly hostile environment, along with its unknowns and necessity for hyper-vigilance. Rather than consider it as a place on the edge of elsewhere, Antarctica and its assemblage of durable, super modern colonies provides an archetype for an uncertain future in anticipation of the volatility that awaits.

Artist	Title	Format	Label	Catalog #
JORN & JEAN DUBUFFET, ASGER	Musique Phenomenale	2CD	TOCHNIT ALEPH	TA 140CD
$24.00 PREORDER RELEASE DATE: 2/25/2022 Musique Phénomenale was recorded by Asger Jorn and Jean Dubuffet between December 1960 and March 1961 in Paris, and published in 1961 as a box containing four 10" records in an edition of 50 copies by Galleria del Cavallino, Venice. 61 years after its original release, this is the first ever reissue. Produced by Daniel Löwenbrück/Edition Hans Pumpestok, København, in cooperation with Fondation Dubuffet, Paris. Double-CD in six-panel digipak in slipcase; includes 12-page booklet in French and English; edition of 600. "... It's a curious feeling to implement and test a spontaneous form of orchestration with an artist who has such an extremely independent background. It really felt like we were experiencing an event of singular importance and significance. I can't say if this importance was greater than our own personal joy. But I do know that this music illuminated many ideas for me that had previously remained obscure. For me it remains a kind of phenomenal music, in the sense that in our productions the music became its own specific phenomenon, and yet one that was still connected to all the other sensorial phenomena... "--Asger Jorn (from the liner notes) Asger Jorn (1914-1973), was a Danish painter, sculptor, ceramic artist, author, and one of Scandinavia's most influential and internationally recognized artists. He was a founding member of the avantgarde movement COBRA and the Situationist International. Jean Dubuffet (1901-1985) was a French painter, sculptor, lithographer and writer. He was one of the main protagonists of Art Brut (a term he invented in 1945).

Artist	Title	Format	Label	Catalog #
LADIK, KATALIN	Water Angels	LP	ALGA MARGHEN	NMN 162LP
$25.00 PREORDER RELEASE DATE: 2/25/2022 Alga Marghen presents Water Angels, an LP with previously unreleased tracks by Katalin Ladik, following the monumental Phonopoetics from 2019 (VOCSON 157LP). Issued in collaboration with acb Gallery, Budapest. "Water Angel", the title track, is a side-long work from 1989. It began its life containing a splice of "O Fortuna" from Carl Orff's "Carmina Burana": and was first staged in an artificial fog on a lake at the 1989 Spoleto Festival in Italy. The texts include fragments of her own lyrics mixed with parts from James Joyce and Lewis Carroll in a kind of sonic-textual collage of processed sounds superimposed to environmental field recordings. One can also hear the composer Erno Király, her first husband, playing his self-built instrument called "zitherphone", a 58-stringed huge engine of sounds assembling five zithers in a single body, with pick-ups placed on some of the strings. The first part of "Water Angel" was used as a starting point for "Three Orphans", another composition juxtaposing electronically modified voice with recordings of folk songs, this time Hungarian. It's a kind of "adaptation of a Hungarian folk ballad", utilizing recordings done in Transylvania in 1940, registered with a wax cylinder phonograph and gathered by Radio Novi Sad. Thanks to the collaboration with Boris Kovač, the sound engineer for this project, the quality of Katalin Ladik's screams, whispers, chants, laughter, giggles is now significantly improved, and in some ways the subtle nuances of her virtuoso interpretation find here their most powerful rendition. Also presented on this record are three and never before issued works created by Katalin Ladik in collaboration with the composer Svetlana Marasch at the Electronic Studio of Radio Belgrade in 2019: "Electric Bird", "White Bird" and "Ice Bird". Combining extended vocal techniques, processing and modular synthesis, these tracks confirm the artist's radical temperaments that helped to define her work during the '60s and '70s, while pushing it further into new territories thus revealing an artist with almost no peer in the experimental landscape today. Edition of 300.

Artist	Title	Format	Label	Catalog #
CATALINA MATORRAL	Catalina Matorral	LP	VIA PARIGI	VIA 004LP
$26.00 PREORDER RELEASE DATE: 2/18/2022 LP version. Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk-singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

Artist	Title	Format	Label	Catalog #
WINTER, MICHAEL	Counterfeiting in Colonial Connecticut / a lot of tiles (trivial scan)	2CD	XI RECORDS	XI 148CD
$14.00 PREORDER RELEASE DATE: 2/18/2022 XI Records announce the release of a double-CD set of Michael Winter's music organized by guitarist Elliot Simpson. Each CD features a single composition, demonstrating different sides of Winter's work. The first, "Counterfeiting in Colonial Connecticut", is a socially-engaged piece written for Simpson and in honor of George Floyd. The second, a lot of tiles (trivial scan), derives music from a set of mathematical tilings (often referred to as tessellations). The album art features reprints of altered and counterfeit colonial Connecticut bills as well as custom-made, hand-stamped prints of the tilings. "Counterfeiting in Colonial Connecticut" interleaves guitar passages with readings of excerpts from the book of the same title written by Kenneth Scott and published by the American Numismatic Society in 1957. Readings from the Scott Compendium are complemented with readings of texts written by Winter reflecting events that occurred during the composition of the piece; particularly the protests sparked by the death of George Floyd, a black man brutally murdered by police while being arrested for allegedly using a counterfeit $20 bill. Simpson is accompanied by Gemma Tripiana Muñoz on piccolo and the texts are read by Simpson, Winter, and animator Mandy Toderian. "a lot of tiles (trivial scan)" is based on a set of rectangle substitution tilings explored by Chaim Goodman-Strauss in his seminal paper "Lots of aperiodic sets of tiles". A rectangle substitution tiling is generated by dissecting a rectangle into four smaller rectangles, which are then dissected into eight even smaller rectangles, and so on. The parenthetical in the title, "trivial scan", refers to the method of sonification. Sonic parameters of the music are determined by scanning and reading the tilings. The piece is quite open. As Simpson explains about Winter's music in the notes: "Although his music covers a wide range of forms, formats, and concerns, there seems to always be a careful consideration of the adaptability of his works... They can expand and contract to accommodate diverse instrumentations, durations, spaces, and situations... There is an understanding that the myriad of possibilities defined by the scores will never be exhausted; new constellations of materials, performers, and contexts will always exist." In the recording of "a lot of tiles (trivial scan)", this variability is explored through different combinations of electronic, synthesized, and acoustic sounds featuring Simpson and saxophonist Omar López, the dedicatee of the work.

Artist	Title	Format	Label	Catalog #
CATALINA MATORRAL	Catalina Matorral	CD	VIA PARIGI	VIA 004CD
$16.00 PREORDER RELEASE DATE: 2/18/2022 Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk-singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

Artist	Title	Format	Label	Catalog #
RZEWSKI, FREDERIC	Speaking Rzewski: Performed by Stephane Ginsburgh	CD	SUB ROSA	SR 523CD
$15.50 PREORDER RELEASE DATE: 2/18/2022 Released in Sub Rosa's Unclassical series. "This album is the result of years of work and friendship with the composer. It started with 'De Profundis', a piece which has had a deep impact on me as a musician and a person, and ended with it. Frederic attended many of my performances of the piece, the last one during our last public concert together in early 2020 in Brussels. In the meantime, he wrote 'Dear Diary' (2014) and 'America: A Poem' (2020) for me which were both premiered at Ars Musica festival. I am very happy to present these pieces to you on this new and special album coming out on Sub Rosa." --Stephane Ginsburgh Frederic Rzewski (1938-2021): Frederic Rzewski was born in Westfield, Massachusetts in 1938. He initially studied piano with Charles Mackey in Springfield and went on to study composition with Walter Piston (orchestration) and Randall Thompson at Harvard University and with Roger Sessions and Milton Babbitt at Princeton University, where he also took courses in philosophy and Greek. A Fulbright-Scholarship enabled him to study with Luigi Dallapiccola in Florence in 1960-61. His musical collaboration with Dallapiccola marked the beginning of his career as a pianist for contemporary piano music. His friendship with Christian Wolff and David Behrman and his acquaintance with John Cage and David Tudor influenced his development, both as a composer and as a pianist. During the 1960s, Rzewski taught and took part in the first performances of Karlheinz Stockhausen's "Klavierstück X" (1962) and "Plus Minus" (1964). From 1977 to 2003, he was a professor for composition at the Conservatoire Royal in Liège, Belgium. He also taught at various other universities, among them Yale University, the California Institute of the Arts and the Berlin University of the Arts. Rzewski founded the live electronics ensemble Musica Elettronica Viva with Alvin Curran and Richard Teitelbaum in Rome in 1966. After his return to New York in the early 1970s, his politically outspoken compositions probably made it difficult for him to obtain a long-term teaching position in the US. Frederic Rzewski lived and worked in Brussels. He left us on June 24, 2021 in his Italian home in Montiano. Stephane Ginsburgh (1969): A tireless surveyor of the repertoire but also explorer of new combinations including voice, percussion, performance or electronics, Stephane Ginsburgh performs as a soloist in many international festivals such as Ars Musica (Brussels), Quincena Musical (San Sebastian), ZKM Imatronic (Karksruhe), Agora (Paris), Bach Academie Brugge, Ultima Oslo, Darmstadt Internationale Ferienkurse, Gaida (Vilnius), Warsaw Autumn, Klara Festival (Brussels), Festival Forum (Moscow), and Musica Strasbourg. He has collaborated with many contemporary composers such as Frederic Rzewski, James Tenney, Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins or Matthew Shlomowitz as well as with choreographers such as Anne Teresa de Keersmaeker (Rosas) and visual artists such as Peter Downsbrough and Kurt Ralske.

Artist	Title	Format	Label	Catalog #
FERNANDEZ/JEROME NOETINGER, LIONEL	Outer Blanc	LP	SONORIS	SONORIS 004LP
$24.00 PREORDER RELEASE DATE: 2/18/2022 LP version. 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 and 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 machete 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, analog synthesizers, 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 organization 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 coordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.

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