Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

LEIGH, HEATHER	Throne	LP	EDITIONS MEGO	EMEGO 257LP
$22.00 PREORDER RELEASE DATE: 11/2/2018 LP version. On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. "Prelude To Goddess" sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by "Lena" -arguably Leigh's "Jolene" - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. "Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. "Days Without You" and "Scorpio & Androzani" are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on "Days Without You", a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.

Artist	Title	Format	Label	Catalog #
LEIGH, HEATHER	Throne	CD	EDITIONS MEGO	EMEGO 257CD
$17.00 PREORDER RELEASE DATE: 11/2/2018 On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal (SOMA 023LP, 2015), Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. "Prelude To Goddess" sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by "Lena" -arguably Leigh's "Jolene" - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. "Soft Seasons" is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. "Gold Teeth", the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. "Days Without You" and "Scorpio & Androzani" are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on "Days Without You", a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.

Artist	Title	Format	Label	Catalog #
HORN, MARIA	Kontrapoetik	LP	PORTALS EDITIONS	PRTLS 017LP
$19.50 PREORDER RELEASE DATE: 11/2/2018 Kontrapoetik is a personal and simultaneously historical investigation, tackling the turmoil-ridden past of composer Maria Horn's home region Ångermanland in northern Sweden, and her own counter-exorcism project thereof. Drawing from archival material, she taps into the conflict of the worker's movement's clash with the Swedish military in the 1930's that nearly triggered a revolution. Before that Ångermanland was the site of an execution of women accused of witchcraft in 1674. Norrland is sometimes referred to as "the colonies" because of the uneven distribution of the wealth generated by its natural resources, little of which is reinvested in the area. Since the 1970's, it has seen depopulation and disintegration of the welfare state. "Ångermanländska Bilder" is based on material from a collection of films that depict the environment of Ångermanland from 1930-1940: the manor houses of the rural community, steamboats transporting timber along the river, power plants, and sawmills. Concurrent with Horn's Ångermanland research, she was part of an artistic research project in the form of a satanic feminist sect. The goal of the sect was to develop a practice of ceremonies and rituals from counter-readings of the Christian genesis narratives, dismantling its misogynist traditions. In these, Lucifer is re-conceptualized as a feminist liberator, and seen as an ally in the struggle against a patriarchy supported by God and the priesthood. Several of the pieces on Kontrapoetik were composed specifically for ceremonial practices, such as "Ave", a composition built from a text by sect member Michelle Jangmyr. Field recordings sourced from the archives of The Härnösand Art Museum thread through magnetic tape, formatting stark portraits of Horn's attested narrative. Harmonically, inspiration is drawn from ancient Swedish pastoral music, minor scales and free contrapuntal progressions. Recordings from Swedish radio were uncovered from the archive and sampled and reinterpreted. The fusion of these sources with mellotron, church organ and Buchla 200 synthesizer creates an immersive music that welcomes other forms of listening, unhinged from the cerebral and guided by intuition. The territories explored by Horn on Kontrapoetik are vast, but at the heart of each piece is a strong fundament of reductionist technique; deceptively simple harmonic progressions are re-fractured through the means of inversion and repetition. Coupled with this is an almost tactile relationship to texture as well as an immaculate sense of the physicality of sound. This work, while saturated by longing and loss, never gives in, but stands steadfastly defiant.

Artist	Title	Format	Label	Catalog #
KOSUGI, TAKEHISA	Catch-Wave	LP	SUPERIOR VIADUCT	SV 158LP
$29.00 PREORDER RELEASE DATE: 10/26/2018 "Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the 1960s, he was part of Japan's first improvisational music collective, Group Ongaku, and contributed to Fluxus in New York. In 1969, he founded the influential, experimental ensemble The Taj Mahal Travellers, and in 1975 he would release his first solo album, Catch-Wave. 'Mano-Dharma '74' features improvised violin drones and voice with various oscillators, echo delays and layered tape experiments that the artist made in New York in 1967. While Kosugi's continuously changing spectrum of sound shifts gradually (almost imperceptibly), photocell synthesizers create ultra-low frequencies to disturb the crestless sound waves. The brighter the light is, the harsher the noise becomes. Catch-Wave's second sidelong piece, 'Wave Code #E-1,' is a three-part performance for solo vocalist. As Kosugi describes in the liner notes (translated into English for this edition), the concept of onomatopoeia played an essential role in the type of sounds he generates with his voice, manipulated through customized electronic circuits and at times recalling Gregorian chant, throat singing and cosmic soundscapes. This first-time vinyl reissue is recommended for fans of Tony Conrad, Eliane Radigue and Fennesz."

Artist	Title	Format	Label	Catalog #
ACEZANTEZ	Acezantez	LP	SUB ROSA	SR 450LP
$15.50 PREORDER RELEASE DATE: 10/19/2018 On the evidence on Acezantez, Acezantez, founded by the versatile Croatian composer and instrumentalist Dubravko Detoni, merit wider recognition. Acezantez is a contemporary Croatian masterpiece. Originally released in 1977, the album is comprised of rich textural pieces constructed from an unnotatable, intricate interplay of percussive squeals, scrapes and rattles, parched and pitchless woodwinds, and dislocated keyboards, with stylistic affinities with early Nurse With Wound. This Detoni (born February 22, 1937) release was the first since his LP on the Phillips Prospective series, which in the 1970s was the most credible house for innovative compositional names such as Xenakis and Pierre Henry, opening the doors for much avant-garde musical invention. Where atonality is to the fore in much avant-garde music, Detoni's sense of abrasion is met with bouts of melodic intervention. Elsewhere, heavy industrial sounds are used as percussive texture; mixed with forceful electronics and dramatic instrumental passages, they create a complex and textured series of compositions.

Artist	Title	Format	Label	Catalog #
KESZLER, ELI	Stadium	CD	SHELTER PRESS	SHELTER 099CD
$15.50 PREORDER RELEASE DATE: 10/19/2018 New York-based artist Eli Keszler is at the apex of his career. This year alone he's had a solo exhibition in the UK, performed with Laurel Halo, collaborated with author László Krasznahorkai, taught experimental composition and performance in the Pyrenees, and toured with Oneohtrix Point Never. Stadium is his new album for Shelter Press. As his ninth solo record, Stadium reflects his move from Brooklyn to Manhattan, where he produced the album. The constant motion and ever-changing landscapes of the island helped him modify and shape his sound into a new kind of film noir. 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. His performance with 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 pointillist materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing; this is what gives Stadium its depth and warmth. On Stadium, Keszler uses lived experience to realize the most wide-ranging sound he's created to date, drawing out textures from overlapping geographies and transforming these recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his music, which is pushed to new levels with string and brass arrangements. Is this 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 with notable projects such as his Manhattan Bridge installation Archway (2015) Stadium takes these long-running ideas to new depths. 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."

Artist	Title	Format	Label	Catalog #
KOCH, HANS W.	The O. Theorem	LP	EDITION TELEMARK	ET 785-07LP
$27.50 IN STOCK hans w. koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: "more thought, less material". koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne. Since the 1980s, koch has been concerning himself with the concept of "total harmony" (harmonie totale) introduced by Russian composer Nikolai Obouhow (1892-1954) where all twelve tones of the Western tonal system -- in different octave ranges -- are stacked into chord complexes, thus articulating the idea of a vertical twelve-tone music, as opposed to the horizontal twelve-tone music after Schönberg. Less than the mystical connotations expressed by Obouhow, koch is interested in the conceptual potential of this approach: a self-contained harmonic system in which every chord is an inversion of every other. koch has made several works relating to total harmony and calls this work group "the O. theorem". This LP presents two pieces within this group: "stele fuer n.o." for large orchestra (2010) was premiered at the festival MaerzMusik in Berlin in 2010 with the Konzerthausorchester Berlin. "clock of fifths [totensonntag]" (2017) is an electronic piece where a field recording of church bells is filtered through a smartphone app developed by koch: The microphone signal is divided into twelve tone pitches that are heard in accordance with a timer that moves through the circle of fifths shown on the smartphone display. Full-color sleeve; includes printed inner sleeve with liner notes by Volker Straebel and hans w. koch. Edition of 300.

Artist	Title	Format	Label	Catalog #
BLOCK, OLIVIA	132 Ranks	CD	ROOM40	RM 493CD
$19.00 PREORDER RELEASE DATE: 10/19/2018 132 Ranks for Pipe Organ was composed by Olivia Block in 2016-2017, as a commission for LAMPO and The Renaissance Society. Block composed the piece specifically for the enormous Skinner Organ at Rockefeller Memorial Chapel in Chicago. The world premiere was performed by Block on April 21, 2017. The concert, free and open to all ages attracted a large crowd. 132 Ranks was conceived as a hybrid of concert and sound installation. Six speakers were placed throughout the chapel. These speakers played white noise, sine tones, and prerecorded organ sounds, designed to interact acoustically with the live performance, and bring out the acoustics of the chapel in unconventional ways. White noise and low bass tones pulsed and sliced through the air, while sine tones and organ clusters created complex beating patterns and inner ear sound phenomena. Audience members were participants, quietly walking through the majestic, dimly lit chapel. Listeners noticed how the acoustics, materials and shape of the space altered the live and recorded organ sounds as Block performed. Some audience members relaxed on the floor of the chapel, listening, while others explored the upper balconies and hallways. 132 Ranks was designed to emphasize the architectural qualities and unique sonic and spatial capacities of the Skinner Organ. The piece included both the lowest pedal notes, felt in the body, as well as the highest bell tones, played at extreme dynamic levels. At times, sounds were isolated in discrete locations to emphasize the chapel's shape. Olivia Block is an American composer and media artist. Her body of work includes electroacoustic recordings, audio-visual installations, performance, sound design for cinema, and scores for orchestra and chamber music concerts. She has performed throughout Europe, America, and Japan in tours in festivals and performance series including The Walker Museum concert series, Incubate (Tilburg), Festival del Bosque Germinal (Mexico City), Sonic Light (Amsterdam), Kontraste (Krems), Dissonanze (Rome), Archipel (Geneva) Angelica (Bologna), Sunoni per il Popolo (Montreal), and many others. Additionally, she has presented work at the ICA (London), MCA (Chicago), La Biennale di Venezia 52nd International Festival of Contemporary Music, The Kitchen (NYC), ISSUE Project Room, Experimental Intermedia (Brooklyn) and TIFF (Toronto).

Artist	Title	Format	Label	Catalog #
RAUSCHENBERG, KAT EPPLE, AND BOB STOHL, ROBERT	Strategic Structures	LP	SONG CYCLE RECORDS	CY 981LP
$34.50 PREORDER RELEASE DATE: 10/19/2018 Song Cycle Records present a reissue of Strategic Structures by Robert Rauschenberg, Kat Epple, and Bob Stohl, originally released in 1989. Available for the first time on vinyl, this is powerful instrumental music performed by the three on electronics, and a series of musical metal sculptures called "Strategic Structures". The sounds range from other-worldly, foreboding resonant tones, to angelic, celestial timbres. These spontaneous compositions were created and performed live, with no overdubs, late one night in 1989 at Rauschenberg's beach house on Captiva Island, Florida. It was a magical night, an inspired collaboration, in an exhilarating setting. The sculptures themselves were a collaborative artwork created by Stohl and Epple, with renowned visual artists, Lawrence Voytek and Rauschenberg. Printed inner sleeve with liner notes by Kat Epple. "The structures are constructed utilizing a variety of metals, including aluminum, bell-grade brass, steel, and both elemental and Alpha/Beta weapons-grade titanium, using an 8000-degree arc welding torch with high frequency current at 440 volts and 310 amps." --Kat Epple in the original liner notes.

Artist	Title	Format	Label	Catalog #
FERMATA	Salvaged Space	Cassette	AURORA BOREALIS	ABX 071CS
$9.00 PREORDER RELEASE DATE: 10/19/2018 Aurora Borealis presents the debut album from Fermata. Titled Salvaged Space, the album is constructed entirely out of phone and handheld recordings of quiet moments, street performers, instrumental improvisations, and noise pollution. Salvaged Space is a document of the last few years that Fermata has spent experimenting with different methods of arrangement and composition. Says the artist, "I aimed to prevent myself from overthinking the musical material, instead focusing on shaping and warping sound so that it shared the same alive/imperfect nature of the recorded soundscapes each piece is inspired by." Fermata is the project of Harry Smith, and it is highly complex, accomplished and nuanced for such a young artist. Embracing the full spectrum of electronic music, field recordings and sound design, Salvaged Space is a deeply rewarding listen with a strong feel of the different geographies involved, giving a sense of linear and temporal travel.

Artist	Title	Format	Label	Catalog #
KESZLER, ELI	Stadium	2LP	SHELTER PRESS	SHELTER 099LP
$27.50 PREORDER RELEASE DATE: 10/19/2018 Double LP version, in reverse board-printed inners and double-width spine jacket. New York-based artist Eli Keszler is at the apex of his career. This year alone he's had a solo exhibition in the UK, performed with Laurel Halo, collaborated with author László Krasznahorkai, taught experimental composition and performance in the Pyrenees, and toured with Oneohtrix Point Never. Stadium is his new album for Shelter Press. As his ninth solo record, Stadium reflects his move from Brooklyn to Manhattan, where he produced the album. The constant motion and ever-changing landscapes of the island helped him modify and shape his sound into a new kind of film noir. 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. His performance with 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 pointillist materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing; this is what gives Stadium its depth and warmth. On Stadium, Keszler uses lived experience to realize the most wide-ranging sound he's created to date, drawing out textures from overlapping geographies and transforming these recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his music, which is pushed to new levels with string and brass arrangements. Is this 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 with notable projects such as his Manhattan Bridge installation Archway (2015) Stadium takes these long-running ideas to new depths. 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."

Artist	Title	Format	Label	Catalog #
PATTERSON, BEN	The Lost Tape & The Three Required Musics	LP	EDITION TELEMARK	ET 785-06LP
$27.50 LOW STOCK LEVEL "Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments." Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015. When future Fluxus artist Ben Patterson (1934-2016) traveled to Germany in 1960 in order to study with Karlheinz Stockhausen, he brought along a tape piece that he had produced in Hugh Le Caine's electronic studio in Canada and that he wanted to show to Stockhausen. They met briefly in the context of the World Music Days of the International Society for Contemporary Music (ISCM) in Cologne, but Patterson immediately sensed that their aesthetic ambitions and viewpoints differed too much, and in the end, he didn't even present him his piece. Instead, his attention was drawn to the Contre Festival at Mary Bauermeister's studio, a counter event to the ISCM festival presenting works by George Brecht, La Monte Young, John Cage, amongst others. Virtually overnight, Patterson's aesthetic thinking changed radically, and the cornerstone was laid for his coming role within the Fluxus movement. In 2013, Stefan Fricke, editor for new music at Hessischer Rundfunk, approached Patterson about a broadcast of that old tape piece. Patterson didn't know its whereabouts, so Fricke and him together with Cologne-based composer hans w. koch set out for a journey through Patterson's large collection of tapes, some labeled, some unlabeled, sometimes the labels not matching the contents. The journey was recorded with Patterson inserting and ejecting various cassettes, always commenting on what was being heard. In the end, the electronic piece couldn't be found, so it was decided to re-record it using various toys, instruments, and small devices. For the new recording, Patterson brought a score titled "The Three Required Musics" which he considered to be related to the tape piece and which required preparatory work in the form of cutting out colored pieces of paper and pasting them into a time grid. This LP contains the recording of the search on side A and the new recording of the score on side B. It is presented in a full-color sleeve showing a detail of hans w. koch's paper time grid, with liner notes by Stefan Fricke and hans w. koch, and two inserts: the first containing the original score "The Three Required Musics" with new notes by Ben Patterson, the other reproducing koch's complete paper score in A2 format. Edition of 300.

Artist	Title	Format	Label	Catalog #
VA	Incantations For Tape	LP+CD	SOUND MIRACLE RECORDINGS	SSMM 002LP
$25.00 PREORDER RELEASE DATE: 10/12/2018 Sound Miracle Recordings presents precocious noise and early electronica part one. A compilation delving into the fascinating world of primal electronica, noise, sound design, industrial, avant-garde and tape-music. This set hopes to be the gateway to a completely new revolutionary sound experience. These are relics with much to say to the contemporary listener as they sound impossibly way ahead of their and our time(s). 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. Some examples here can be considered as of some of the earliest forms of New Age too, where artists used raw techniques to make some of the first intentionally ambient and hypnotic music. The selections start in the 1920s and end in the early 1960s. The songs are sequenced to give a coherent and surprisingly easy way to enjoy and appreciate a music field that can otherwise be baffling. Presented on audiophile transparent clear vinyl with a CD included. Fully remastered tracks by Tom Dissevelt & Kid Baltan, Remi Gassmann, Max Mathews, The Blue Men, Attilio Mineo, Bülent Arel, Daphne Oram, Alwin Nikolais, György Litegi, Ussachevsky/Luening, Henk Badings, Phil Young and Gottfriend Koening.

Artist	Title	Format	Label	Catalog #
HOPKINS AND MARK HARWOOD, MP	Disfigured With Abbreviations	LP	PENULTIMATE PRESS	PP 036LP
$25.50 PREORDER RELEASE DATE: 10/5/2018 Debut recording from two troubadours of oppositional creep, MP Hopkins and Mark Harwood. Inspired by Philip K. Dick and the useless machines that haunt us all, Disfigured With Abbreviations is a roundtable exquisite corpse which crawls through a miraculous environment, at once sensual and sinister. How is it that the perpetual promise of a future lands us in a deeper quagmire? How do two gentlemen with scruffy vocabularies fall into a sonic landscape of such haunted beauty? Following their debut live performance on the rooftop of a bakery in Northcote, Victoria in January 2018, Harwood and Hopkins soon set about making a recording. Initially structured with individual recordings placed on each other regardless of content and positioning the works soon evolved into a rich labyrinth of found sound, field recordings, electronics and voice with all elements mapping out a landscape heroic in its embracing of utter failure. Artwork by Hopkins and Harwood. Printed inner disco sleeve and reverse board jacket.

Artist	Title	Format	Label	Catalog #
GULBENKOGLU, AREK	A Gift Like A Hollow Vessel	LP	PENULTIMATE PRESS	PP 037LP
$25.50 PREORDER RELEASE DATE: 10/5/2018 Melbourne-based artist Arek Gulbenkoglu presents A Gift Like A Hollow Vessel, his second full-length album for Penultimate Press. Following on from the 2017 release Three Days Afterwards (PP 029LP), A Gift Like A Hollow Vessel sees a sharper scalpel at play, resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia. Material source from voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, samples of old Folkways records, and Esperanto text-to-voice translations. A Gift Like A Hollow Vessel is striking and intimate musique concréte, a work of confounding beauty created by one of the most unique voices operating in the orbit of psychedelic music as it appears today. Artwork by Matthew Revert.

Artist	Title	Format	Label	Catalog #
TONIUTTI, MASSIMO	Il Museo Selvatico	2LP	BLACK TRUFFLE	BT 040LP
$30.50 IN STOCK Black Truffle present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico ("The Wild Museum"), originally self-released on LP in 1991. Like his better-known brother Giancarlo -- whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015 (BT 014LP) -- Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls "small and rare noises" or sonic "knick-knacks" recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance, and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognizable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds you hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. I Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrete. Comes as a double-LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at Dubplates & Mastering, Berlin.

Artist	Title	Format	Label	Catalog #
PLAGNE, FRANCIS	Moss Trumpet	LP	PENULTIMATE PRESS	PP 038LP
$25.50 PREORDER RELEASE DATE: 10/5/2018 Having released four full-length albums framed around more song-oriented spheres, Melbourne artist Francis Plagne has concurrently moved around collaborative endeavors with Andrew Chalk, Joe Talia, and Crys Cole. He was also a part of that Food Court record released on Graham Lambkin's Kye label in 2014. Which brings us to Moss Trumpet, Plagne's first solo album which exclusively orbits a more abstract domain. Taking inspiration from Costin Miereanu's Luna Cinese (1975), this gentle curiosity records the private use of flute, harmonium, keyboards, microphones, organ, paper, percussion, recorder, synthesizer, tapes, tuba, voice, whistle, and zither. Like Miereanu's master stroke, these recordings were then collated in semi-random layers creating shifting beds of subtle startling sound. Moss Trumpet is a timeless affair, warm and woozy as if it is drifting over two sides where each could be either, where the audio perpetually falls in on itself creating a bed of sound inexplicably eschewing standard movement and progression as it unfolds out and around the listener. Artwork by John Nixon.

Artist	Title	Format	Label	Catalog #
KAJKUT, SLOBODAN	Darkroom	LP	GOD RECORDS	GODREC 047LP
$23.50 IN STOCK Tiny space... dimmed lights... little steps... circling... like abstract curving lines... round and round... repeat... Composition by Slobodan Kajkut. Personnel: Dejan Trkulja - clarinet; Christian Pollheimer - vibraphone; Slobodan Kajkut - sampler, programming.

Artist	Title	Format	Label	Catalog #
APERGHIS, GEORGES	Piano Music	LP	GOD RECORDS	GODREC 046LP
$23.50 IN STOCK Excerpt from liner notes by Keith Potter: "Georges Aperghis is probably still not much associated, by the public that internationally attends performances of his works, with music for solo piano. Music-theatre -- of an uncommonly original kind, with extended vocal techniques much to the fore -- has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced -- often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry -- are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved. This instrument's 88 keys, and the two hands of its (usually firmly seated) keyboard operative, are normally engaged to less obviously 'theatrical' ends." Personnel: Lenio Liatsou - piano, voice.

Artist	Title	Format	Label	Catalog #
JECK, PHILIP	Vinyl Coda III-IV	2LP	GOD RECORDS	GODREC 048LP
$34.50 IN STOCK dieb13 on Philip Jeck: "... In his hands, a tool as simple as a hammer that blocks the arm of the record player creates a loop with a taste of eternity. Two or three such hammers can create musical galaxies far beyond the reach of traditional instruments, where no human ear has ever been before. From unidentifiable rumble and grinding to brilliant instrument-snippets and comical voice fragments, Philip Jeck glues sounds together as if they were never meant to exist on their own. Whether it be Pachelbel's Canon or some mid-90s dance music that's on Philip's vinyl, but what we hear in the Vinyl Coda is his very unique musical voice -- articulated with a perfect sense for structure, suspense and sound."

Artist	Title	Format	Label	Catalog #
RITSCH, WINFRIED	Mono Metal Space	LP	GOD RECORDS	GODREC 049LP
$23.50 IN STOCK Winfried Ritsch on Mono Metal Space: "... a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer-controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns..." Personnel: Winfried Ritsch - composition/concept.

Artist	Title	Format	Label	Catalog #
LUCIER, ALVIN	Illuminated By The Moon	4LP BOX/CD/Book	BLACK TRUFFLE	BT 043LP
$165.50 IN STOCK Black Truffle together with Bernhard Rietbrock and ZHDK present Illuminated By the Moon, a stunning box set celebrating Alvin Lucier's 85th birthday celebrations which took place in Zurich, 2013. Alvin Lucier is one of most important figures in more than a half century of avant-garde and experimental sound practice; he has no equivalent. He is among America's most important composers, a towering pillar of intellect, creativity, and beauty realized through sound. His singular body of work is focused around acoustic phenomena and auditory perception includes, among others, the groundbreaking Bird And Person Dyning, 1980's Music On a Long Thin Wire (LCD 1011CD), and 1981's I Am Sitting In a Room (LCD 1013CD), each quietly shifting the understanding of what music could be with deceptively discrete gestures, laying their mark on history and the expectations of nearly everything to come, while radically expanding the field. It is such a life, defined by such striking accomplishment, which Illuminated By the Moon, celebrates across four LPs, a CD, and book. Recorded in October of 2016 at the Alvin Lucier 85th Birthday Festival at the Zurich University of the Arts, the box gathers a remarkable range of performances of works from Lucier's life in music, from the iconic to the lesser known. It begins with wonderful stagings of "I Am Sitting In a Room" and "Music for Solo Performer" performed by the composer, before presenting the work "Charles Curtis" performed by the cellist for whom it was composed, and "Double Rainbow", a recent work, performed by the incredible Joan La Barbara. Over the course of the set's many discs, one encounters a range of works performed by Oren Ambarchi, Stephen O'Malley, Charles Curtis, and Gary Schmalzl, with further contributions by many others involved in Lucier's life and work. The collection, by offering an expanse of material otherwise unavailable in the composer's discography, opens a rare window into the breadth and range of territory which he has approached, as well as into the unique humor which has quietly bubbled through his entire career. It is a singular recording event, the likes of which are unlikely to be repeated. A worthy tribute to one of the last century's most important composers. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. 180 gram vinyl. Includes CD and 12x12", 120-page book with unseen images and various essays; Includes download code; Edition of 500.

Artist	Title	Format	Label	Catalog #
NITSCH, HERMANN	Musik Der 135. Aktion, Kuba	2CD	TROST	TROST 175CD
$18.00 IN STOCK Recorded in 2012, Musik Der 135. Aktion, Kuba captures the controversial performance from Herman Nitsch's Orgien Mysterien Theater ("Orgies Mysteries Theater") as part of the Havana Biennial art exhibition. For more than fifty years Nitsch has been an influential and striking figure of Austrian art ("Vienna Actionism"). In his Orgien Mysterien Theater Nitsch uses actors, blood, animal bodies and entrails, fruits, symbolic crucifixion, music, processions, and ritualistic gestures to enact a new form of Gesamtkunstwerk: pagan ceremonies that aim to a kind of collective catharsis. "Dionysos gegen den Gekreuzigten" ("Dionysus against Christ Crucified") was performed by 150 musicians and 30 actors, including the University's Symphony Orchestra ISA and the artist himself, celebrating Afro-Cuban rituals and ceremonies. Released In cooperation with Nitsch Foundation.

Artist	Title	Format	Label	Catalog #
ROCHE, JEAN C.	Birds Of Venezuela	LP	SUB ROSA	SR 411LP
$15.50 IN STOCK Sub Rosa present a reissue of Jean C. Roché's Birds Of Venezuela, originally released in 1973. The bird on the cover is a potoo; this metal-looking bird is one of the sonorous curiosities of this mad nature, the sound that he produces essentially is a death song that David Toop heard on his 1978 expedition, but was unable to record, amazement playing its role. Jean C. Roché on his recordings: "The bird songs which I had recorded in the West Indies in 1969 made me inclined to find out more about those of the nearby South American continent, and convinced me, moreover, that musically speaking, they possessed an unquestionable originality in comparison with those of Africa and Europe. I therefore decided to carry out a series of ornithological trips on this continent, starting in the north with Venezuela. With this in mind, I disembarked at Caracas on 27th May, 1972. The unusual musical volume of this tropical country made its impact known to me on my arrival in town, where the unbearably shrill chirping of the cicadas overwhelmed me each time I passed under a tree. At night fall, around even the meanest of ditches filled by the daily rain, myriads of toads and frogs struck up a concert, which, through its sheer intensity, muffled all other surrounding noises. When I penetrated the forest, I could hear bird species literally by the dozen and individuals by the hundred, all calling and singing together at dawn and at dusk." David Toop on Jean C. Roché: "Jean-Claude Roché (b. May 11, 1931) is a French ornithologist and wildlife field recordist. Roché recorded bird songs worldwide for over 30 years and has released over 130 records out of his recordings. Among many of his amazing records, I came across Birds of Venezuela, a beautifully produced LP of birdsong. I began to plan a trip to Amazonas, to record for myself the unearthly song of potoos and Yanomami shamanism."

Artist	Title	Format	Label	Catalog #
TELLO, TOMAS	Ekeko Mix: Sonidos Transporta Suenos	Cassette	SUCATA TAPES	SUC 017CS
$11.00 LOW STOCK LEVEL Concluding Sucata Tapes' South America batch comes this Andean mix from Tomás Tello, a Peruvian artist now residing in Tavira, Portugal. Using field recordings of the region, noise experiments and classic Latin songs, Tello creates an absorbing and enigmatic soundscape of the continent's Andean culture. The mix is named after the Ekeko, a Tiwanakan (pre Columbian civilization), a god of abundance and prosperity in the mythology and folklore of the people from the Andean Altiplano. RIYL: Sublime Frequencies, Andean music, chicha, cumbia, field recordings.

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