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Search Result for Genre EXPERIMENTAL
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LP
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NP 045LP
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$28.00
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RELEASE DATE: 4/21/2023
A compilation of contemporary Italian tape electroacoustic and musique concrete artists featuring Valerio Tricoli, Mercury Hall, Ezio Piermattei, SEC_, Giovanni Lami, Giulio Nocera, kNN. Edition of 200.
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BLUME 018LP
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$26.00
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RELEASE DATE: 4/14/2023
Valentina Magaletti's Rotta is released roughly two years since Blume Edition's last LP in 2020. The album encounters the Italian born, London based percussionist and composer embarking into the territory of the solo performer, sculpting a remarkable sense of emotive ambience and space from complex polyrhythms and electronic interventions. Rotta is an absolutely stunning, exploratory gesture of solo percussion and electronics by Valentina Magaletti shines like a beacon of hope into strange and uncertain times. Born in Southern Italy and conservatory trained, Valentina Magaletti first emerged on the London scene during the early 2000s. Over the last two decades, her work as a drummer and percussionist of rare and unparalleled talent has cut wild path across numerous idioms of music, collaborating with Nicolas Jaar, Jandek, Charles Hayward, Graham Lewis, Thurston Moore, and numerous others, in addition to her work within Tomaga, Holy Tongue, Moin, and Vanishing Twin. Rotta, a work for percussion and electronics, draws upon Magaletti's enduring, exploratory pursuit of ecstatic ritualism through sound and joins her growing body of efforts, begun with 2020's A Queer Anthology of Drums, that encounters her working as a solo performer, among most challenging creative positions for an improvisor. Recorded in a single take within the nearly empty void of Cafe Oto in London, during late October of 2020 -- one of a handful of months between the UK's first and second lockdowns -- Rotta encounters Magaletti's occupying an explicitly experimental realm, weaving a remarkable tapestry of polyrhythms from behind the kit into the ambience of the room and further electronic interventions. Deeply emotive and cathartic, drawing upon its title's double meaning in Italian -- "broken" and "route" -- the piece displays intense virtuosity and direct, real-time immediacy, balanced against the unmistakable presence of vulnerability and risk; profoundly human and expressive cries sent through Magaletti's hands, amplified by skin, wood, and spun brass. Played against bristling textures of electronics, complex rhythms allude to the utterances of vocal language and speech, staggering and dancing toward deeper meanings that only the beat can express. Magaletti's Rotta is an immersive expanse of sonorous texture, ambience, and rhythm, cohesively bound at the borders of freely improvised noise. A deeply intimate sense of space, tension, and dynamics focus the lens on one of the most dynamic artists working today. Coral pink vinyl; edition of 300.
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LP
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SP THETA
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$19.00
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RELEASE DATE: 3/24/2023
"Jens Brands has created a large number of installations, musical performances, and interactive media works. He uses the concepts of parallel activities rather than ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic. On a live performance of the ratchets, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves. 'I was always interested in the idea of making acoustic music that has the quality of electronic music,' muses Dortmund based musician and visual artist Jens Brand. 'Electronic music is fantastic, but I don't like speakers very much.' Take his performance entitled 'Motors And Styrofoam'. Pieces of glistening white Styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the Styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones. Equally uncompromising is 'The Ratchets', which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space." --Rahma Khazam, The Wire Recorded and edited by Radboud Mens at Galerie Weisser Elefant, 2022. 180 gram vinyl, 300 copies.
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LP
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SR 529LP
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$24.99
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RELEASE DATE: 3/10/2023
Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, Choreological Exchanges is part of Hastings Of Malawi's continuing investigations into the medium of communication itself. Prior to telephony becoming digital, all phone calls were routed through mechanical telephone exchanges, and the majority of the sounds on side one are the sounds of these exchanges and some of the voices of the engineers who worked with them. Hastings Of Malawi make strange records and this one is no exception although it has a more linear narrative structure in opposition to what critics have described as their Dadaist approach. Their records certainly resist genre classification and do not really fall into the category of music. Hastings Of Malawi have themselves described previous records as films without light, radio plays and as poems. This one is a dance -- a dance that takes place within the chain, or pipe, that is brain -- mouth -- telephone -- telephone exchange -- telephone -- ear -- brain.
"It is a dance record but not in the way that these are usually understood. An invitation to dance appears twelve minutes in on the first side. It is a dance within the wires, movement around noise used as a sculptural material rather than unwanted signals and a joyful exploration of sonic materiality. The second side begins with the voice of a telephone engineer, who states that in the top floor switch room of the exchange is the only vestige of human control. Is this top floor switch room the human brain? The sounds on this side, float between the mechanical telephone exchange and the body where the messages are created and interpreted -- it is an exploration of the relationship between thought and the material devices in which telephone sound is propagated and transformed. Side two ends with a long list of randomly generated words created by digital voice synthesis." --Hastings of Malawi
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LP
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HG 2202LP
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$28.50
PREORDER
RELEASE DATE: 3/10/2023
Mattias Petersson debuts on the Swiss label Hallow Ground with Triangular Progressions, a suite in nine parts written entirely in the SuperCollider environment using additive synthesis. By exploring the harmonic progressions found hiding within the triangle, Triangular Progressions at once emits a sense of introspective calm that fosters deep listening and evokes a whole spectrum of emotions, mediating between the abstract and the visceral. The Stockholm-based Petersson, also known under the moniker Codespira1 and for his long-term collaboration with violinist George Kentros as There Are No More Four Seasons, has been active as a composer of computer music as well as an artist in the realms of live coding and modular synthesis for over two decades. Originally trained as a classical pianist, he also holds a diploma in electro-acoustic composition from the Royal College of Music in Stockholm, where he currently works as an associate professor. Besides his activities as a musician and teacher, Petersson is pursuing a PhD in composition at the Luleå University of Technology. Researching modular systems comprising both human and non-human modules, he is part of the GEMM))) Gesture Embodiment and Machines in Music cluster. Triangular Progressions can be considered a perfect synthesis of Petersson's academic interests and aesthetic ideas, combining a mathematical approach with artistic rigor. The magic number triangle highlights the beauty of symmetrical properties. By exploring its idiosyncrasies, the composer manages to translate them into engaging sounds. The lush melodies and harmonies of the music at times call to mind the intimate organ and drone works by label mates Kali Malone and Maria W Horn while also maintaining a unique signature sound. The addition of pure sinusoidal waves enables a deep listening exploration of the counterpoint between melodic and harmonic rhythms, chord structures and spectral harmonies that Petersson extrapolates from those magic numbers.
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2CD
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PP 053CD
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$28.50
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RELEASE DATE: 3/3/2023
Penultimate Press releases one of the most audacious and unrelenting entries in the entire minimal cannon. A collection of recordings from a true American eccentric maverick pioneer, Sam Esh. Originally available as double-cassette in tiny editions on Mike Rep Hummel's OldAge/NoAge label these are now bound together on a double-CD set which does not interrupt the unrelenting creativity of Mr. Esh. Picture Moondog taking a turn for the far worse morphing into a way further crazed Legendary Stardust Cowboy who eschews any song tradition for an unrelenting hypnotic acoustic hurricane complete with glossolalia vocals. This is raw primitive repetitive street blues, an acoustic freight train barreling through your brain.
"It was Ron House that first steered me to the music of Sam Esh circa 1990. Sammy would bring his self-made cassettes to Usedkids Records and Ron thought it would be something that would interest me, which indeed it did. I had a cassette-only label I started in 1985 called OldAge/NoAge which had just started to garner interest in the outside world thanks to a RARE cassette review in Byron Coley's Underground column for Spin Magazine . . . Sam often sang and played in drug induced states hence this unique lingual hodgepodge streams direct from his altered temporal reality. A large part of it has to do with a tragic event in Sam's life 50+ years ago. He and his wife were in San Francisco during the late '60s and imbibed in most of the indulgences that time and place was known for. They 'took a trip' to a remote area of Baja Mexico, and during an extended acid trip Sam caught dysentery, a bacterial disease that results from contaminated food or water. Being he was in a rural undeveloped area at the time, and under the influence of said drugs Sam very nearly died from lack of proper medical attention, and was severely affected cognitively by this near-death experience. The result of this trauma was a cognitive state that has ever since required medications psychotropic medications that do not mesh well with alcohol which Sam has been on and off for decades. Regardless Sam liked to drink, and when he did he developed something of a 'Jeckyl-Hyde' personality as a result. Sam was never violent or antisocial, but often quite difficult to relate to for most people . . . Through six months of amazing shows (I drummed for the band he recruited to back him up called Hard Black Thing) Sam was quite charismatic on stage. We recorded the Incendiary release 'Sam Esh & Hard Black Thing / Montezuma Baby Duck' released on Siltbreeze Records from '92..." --Mike "Rep" Hummel
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CD
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RM 4197CD
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$17.50
PREORDER
RELEASE DATE: 3/3/2023
"In the half-light stillness, the old piano rattles. Vibrations set forth into the expanse, at first empty, then expanding, set free then collapsing. This one note, appearing in a fleeting moment, an analog for the beginning of time, but really what is time? Some human construct to interpret chaos, to put some shape to what is happening around us, to associate memory and distance?"
West Australian artist Matt Rösner was amongst the first artists to be released by Room40. His Alluvial album of the mid '00s set out a methodology, guided by a deep interest in spatiality and texture, that still haunts much of his work to this day. Empty, Expanding, Collapsing his latest album, sees Rösner refine the working methods and approaches recently tested on his 2021 edition, No Lasting Form. Being led by a series of improvised melodies and movements, recorded on a borrowed upright piano, this album is simultaneously freeform and highly directed. It documents and tests the tensions that sit at the nexus of creation and composition. Mixed by Taylor Deupree. Mastered by Lawrence English at Negative Space. Cover Image by Traianos Pakioufakis.
From Matt Rösner: "Empty, Expanding, Collapsing was recorded in the months after the release of 2021's No Lasting Form. Whilst No Lasting Form documented a return to the creative process after a long period away, Empty, Expanding, Collapsing comes from a more confident and assured place. At the heart of this record is an upright piano, loaned from a dear friend for safe keeping. Built in the 1898, the piano is heavy, laden with time, a resonant lead sound board and the carefully restored hammers and strings. These pieces started as loose piano improvisations played in the early morning light to be later assembled alongside an array of guitars, electronics, synthesizers, and percussion. Whilst the basis of the tracks started as tentative improvisations, the overdubbed parts were very much painstakingly written, rewritten and aged with sounds of the surrounding dune systems seeping through the wafer thin studio walls."
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CD/BK
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BW 011CD
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$23.50
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RELEASE DATE: 2/24/2023
Backwards announce a new Fabio Orsi and Alessandra Guttagliere multimedia release: a book with an audio CD. The primary inspiration for this new four-handed work between Fabio Orsi and Alessandra Guttagliere are colors. The title (Arcoiris) in fact means "rainbow". For the realization of this work, there was a constant dialogue between Alessandra and Fabio; while Alessandra proposed a color simply by naming it, Fabio created the sound compositions, vice versa Alessandra listening to the sound compositions let herself be inspired to create the drawings. The pictorial work is a light work, using natural colors sometimes made by the artist starting from flowers or plants. It is an organic work, in progress and in movement. Fabio's tracks are maybe his most "pop-oriented" to date, but made with the usual class by our artist. Comes with an A5 format deluxe booklet with drawings by Alessandra Guttagliere, printed on sturdy cardboard. Edition of 200.
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LP
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SHELTER 144LP
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$26.00
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RELEASE DATE: 2/24/2023
Franco-Swiss composer François J. Bonnet, aka Kassel Jaeger, returns to Shelter Press with a new solo album, Shifted in Dreams. Bonnet has been working closely with Shelter Press for several years now, whether as a musician (Zauberberg, Swamps / Things), theorist (The Music To Come), or director of INA GRM (SPECTRES, Recollection GRM, Portraits GRM). Each of these directions taken, each of these actions carried out, is an exploration and an attempt to understand the deep causes of music, its own potential and its possible appearances. Shifted in Dreams is a continuation of such research, but takes a somewhat deviated path. If you use the image of music as a paradoxical mountain, as an unreachable "Mont Analogue", this album tries to opens up a way that at first seems simpler, marked out, known and recognized thanks to the distinct presence of common harmonic and temporal elements. This path, however, is simple only in appearance, for soon it becomes less clear, its contours get blurred, drowned in the mist. Silhouettes form in the distance, like uncertain shadows. You grope your way forward, in this infra-sensitive thickness of the world outside of signs. The recognized markers disappear, giving way, at best, to reminiscences, but increasingly making way to qualities, occurrences, events. You leave the known world of musical codes to join that of sound apparitions, their memorial imprints and the impressions they produce. Following a compositional approach stemming from the musique concrète tradition, without adopting a structuralist aesthetic, Shifted in Dreams explores a wide range of instruments and techniques, going seamlessly from instrumental improvisation to field recording, via micro-editing and the use of asynchronous loops. Mixing the electronic sounds of an ARP 2500 synthesizer with the acoustic drones of a positive organ, articulating guitar layers with the resonance of the Cristal Baschet, bringing together recordings of slamming windows and sound produced by complex modular synthesis patches, Bonnet offers a rich and generous palette of sounds, inviting a constantly renewed sonic investigation. Shifted in Dreams, despite its title, is not a dreamlike record. The dream here does not designate the symbolical space of interpretation and reinterpretation of reality through cultural patterns. It designates the intermediate, blurred and uncertain state where the reality of signs loses its consistency, while, paradoxically, the reality of senses and impressions becomes imperative, obvious. The reality of demons.
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CD
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BW 012CD
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$19.00
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RELEASE DATE: 2/24/2023
First collaboration between Massimo Amato (also known for his acclaimed La Centrale Elettrica (2016) album), and Fabio Orsi, born from a mutual esteem that later became a solid friendship. The collaboration was born from an exchange of material, which immediately creates a synergy and an understanding between them. The six tracks of Inerte draw inspiration from the composition of noble gases, creating the perfect synthesis between the sidereal and electronic sounds created by Fabio Orsi and the warm improvisations of Massimo Amato. Ambient textures with punctual rhythms, abstract, and melodic electronic that create dreamy atmospheres for a journey that you might wish would never end... Fabio Orsi and Massimo Amato play: synths, sequencers, effects. Artwork: Nicola Giunta. Edition of 300.
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LP
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SR 535LP
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$24.00
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RELEASE DATE: 2/24/2023
Green vinyl. It's an all-electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic, and vivid in nature. The making of this album was intentionally a very personal process, going into self-therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework. Dedicated to Peter Rehberg aka Pita.
Ata "Sote" Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute, and Morphine, among others. In 2018, he founded a new label called "Zabte Sote", which focuses on releases by Iranian experimental electronic composers from around the globe. Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.
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LP
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KRXN 032LP
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$25.00
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RELEASE DATE: 2/24/2023
After 15 years and more than 700 shows in all continents, the Spanish experimental duet ZA! present their most populated project: ZA! & la TransMegaCobla. The new ensemble is composed by: La MegaCobla: an experienced traditional Catalan cobla wind quartet, born after an improvisation workshop with ZA! two years ago. Pep Moliner, Jordi Casas, Xavi Molina, and Xavi Torrent are four of the most reputable and innovative cobla musicians, experts in hacking tradition and using their folk instruments in any modern musical genre. Tarta Relena, young acapella trans-folk duet that have shook up their scene. With their use of polyphony and voice FX, Helena Ros and Marta Torrella are digging in the deepest Mediterranean folk repertoire and placing it in the 21st century with aesthetic renewal. ZA!: Papadupau and Spazzfrica Ehd are European benchmarks of the underground DIY music community. Their uniquely intense shows, as well as their collective/collaborative work (workshops, benefit shows, do-it-together cooperation) have allowed them to tour the whole world, from Tokyo to Maputo, from Tasmania to Sao Paulo, from New York to Saint Petersburg. Under the premise that avant-garde art is not incompatible with collective horizontal creation, ZA! mix cult, underground and popular music without asking permission. These three elements come together with the purpose of portraying their own vision of Mediterranean music, filtered by distortion (so current in cognitive, social and identity terms) and psychedelia (so inevitable in an increasingly accelerated and saturated reality). A retro-futuristic journey from folk to free exploring the shores of the Mediterranean, claiming its power as a living core, never as a deadly border. The TransMegaCobla fuses traditional Mediterranean culture -- from bulería to kopanitsa, from gnaoua to sardana -- with contemporary culture to create a fictional but deeply human and festive universe. Resurrecting the Phoenician language, the octet seeks common roots to fuse and remake them with contemporary molds such as rock, punk, free jazz, and conducted improvisation. A timeless orchestra ready to invent, with real elements, a science-fiction Mediterranean in a parallel reality.
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PIC. DISC
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BW 018RE-LP
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$20.50
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RELEASE DATE: 2/24/2023
Reissue of the one-sided vinyl picture disc, originally available with the Fabio Orsi box set with book of the same name. The vinyl has an exclusive long track that is a sort of "summa" of Fabio Orsi's musical world: like his early releases, Il Ricordo Improvviso Dell'Assoluto Stupore is deep drone ambient track, with distant guitars and a nostalgic touch. Hypnotic and melodic at the same time... One-sided picture disc including a small insert; edition of 200.
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LP
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METAPHON 014LP
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$28.00
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RELEASE DATE: 2/24/2023
What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground. Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label. As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. Carefully restored and mastered by Jos Smolders. Includes text sheet; edition of 500.
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2LP
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BR 172LP
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$43.50
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RELEASE DATE: 2/24/2023
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.
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SNS 021CD
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$15.50
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RELEASE DATE: 2/17/2023
Full title: One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling. Bladder Flask's debut (in fact only) LP, originally issued by Orgel Fesper Music in 1981, is one of the most eclectic albums of the post-industrial era. It is both challenging and perplexing... So, put down your puny instruments of normality and breathe in the frenzied fungal spores of Bladder Flask. The fact that Steven Stapleton of Nurse With Wound is a big fan of this album is testament to its greatness: "I love Bladder Flask's One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling and what a great title, perhaps my favorite ever. I must have listened to the album so much in the '80s. I listened to it again recently and it was like welcoming an old friend." Personnel: Richard Rupenus, Philip Rupenus + Sean Breadin, John Mylotte, Nigel Jacklin. Recorded at Wrongrong Studio and Spectro Arts Workshop 1980-1981. Audio restoration and mastering: Colin Potter @ IC Studio.
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2LP
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KR 099LP
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$33.00
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RELEASE DATE: 2/17/2023
Electronic music legend and head of Editions Mego, Peter Rehberg, teams up with zeitkratzer mastermind Reinhold Friedl. Three side-long pieces melting electronic/contemporary avant-garde. When Peter "Pita" Rehberg and Reinhold Friedl first met each other, they did not like each other "at all," as Friedl emphasizes with a hearty laugh. The two would however eventually bond over the years thanks to a mutual respect for each other's music. In the summer of 2021, they entered the studio together for the first time. Their joint album for Berlin's Karlrecords is a faithful document "no editing, no overdubs" of their improvisations during two recording sessions shortly before Rehberg's sudden and untimely passing on July 22nd of that year. The three pieces see Rehberg working with electronics and Friedl with his inside piano, proving that they had indeed managed to find a common ground -- up to a point where it at times becomes hard to tell who plays what on this record. Friedl ran into Rehberg in Zbigniew Karkowski's tiny Tokyo apartment in 1999 while organizing the first edition of the Off-ICMC that was set to take place in the following year. "I came uninvited and slept a night at Zbigeniew's before Peter arrived and I had to move out," remembers Friedl, who ended up inviting the Mego founder to perform at the Off-ICMC even though he found it hard to relate to his music. "We had very different backgrounds: he came from industrial and I had roots in classical music and improv, a high-brow prick!" After having met several times at different concerts without ever really speaking to each other in the following years, a concert in Vienna in the late 2010s marked a turning point in their relationship (or lack thereof). Playing their sets back-to-back and loving every second of what the other was doing, the two finally clicked on musical level. The two would go on to become good friends, meeting regularly to discuss music and everything else while both were living in Vienna just a few minutes away from each other. Eventually they entered the studio twice for sessions that were completely improvised with no prior preparation. "Caciara," "Chiasso," and "Clamore" -- named retrospectively after three Italian words for "noise" -- capture the spontaneity of two artists who had always been outliers in their respective fields finding a common ground in sprawling dynamics and sonic intensity as well as enabling each other to expand their individual sound palettes. These recordings -- carefully mixed by Dirk Dresselhaus, but otherwise virtually untouched -- perfectly encapsulate the energy unleashed by two free spirits coming together over a shared love for pushing the envelope of improvised noise music. 180 gram vinyl; includes download postcard.
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SNS 021LP
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LP version. Full title: One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling. Bladder Flask's debut (in fact only) LP, originally issued by Orgel Fesper Music in 1981, is one of the most eclectic albums of the post-industrial era. It is both challenging and perplexing... So, put down your puny instruments of normality and breathe in the frenzied fungal spores of Bladder Flask. The fact that Steven Stapleton of Nurse With Wound is a big fan of this album is testament to its greatness: "I love Bladder Flask's One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling and what a great title, perhaps my favorite ever. I must have listened to the album so much in the '80s. I listened to it again recently and it was like welcoming an old friend." Personnel: Richard Rupenus, Philip Rupenus + Sean Breadin, John Mylotte, Nigel Jacklin. Recorded at Wrongrong Studio and Spectro Arts Workshop 1980-1981. Audio restoration and mastering: Colin Potter @ IC Studio.
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LP
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SNS 023LP
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LP version. Reissue, originally released in 1984. 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.
"On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began -- an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others -- work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4's own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, 'Aufmarsch, Heimlich,' consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4's best albums." --Rolf Semprebon/AllMusic
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LP
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MR 435LP
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$27.00
PREORDER
RELEASE DATE: 2/17/2023
First time reissue, originally released in 1986 on Spanish experimental label Auxilio de Cientos. Formed in 1981, Neo Zelanda was the way of expression of a woman, Ani Zinc, who since then began to experiment with vocal music, manipulated tapes or sound collages. As a child, radio had been her only contact with music. She received her first shock listening to "Remember Love", the repetitive song by Yoko Ono. She later found out about Llorenç Barber, Spanish experimental music pioneer. After recording a single ("Paso Hambre") and several cassettes ("Radio-Sabotage", "Ese Lenguaje"), which helped her to gain international recognition, and the inclusion of her work in various contemporary cultural centers (Juan March Foundation, among others), her first LP saw the light of day in 1986 on her own label, Auxilio de Cientos (also home to Diseño Corbusier, pioneer Belgian EBM/industrial band The Klinik, and the amazing compilations Pas De Deux and Terra Incognita). Mix Zelanea brings together part of her experimental work with voices and sound effects ("Si Esto Es Amor" or "Il Drama"), together with new compositions, in which she is accompanied by some friends and welcomes the use of conventional instruments such as drum machines, keyboards, etc., resulting a richer and more diverse outcome ("Alemana Mix", "Extenso Mundo Brillante", etc.)
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CD
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SNS 023CD
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$15.50
PREORDER
RELEASE DATE: 2/17/2023
Reissue, originally released in 1984. 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.
"On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began -- an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others -- work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4's own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, 'Aufmarsch, Heimlich,' consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4's best albums." --Rolf Semprebon/AllMusic
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LP
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SNS 022LP
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LP version. Reissue, originally released in 1984. 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.
"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. Kühe 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
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LP
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BT 100LP
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$29.50
PREORDER
RELEASE DATE: 2/17/2023
Celebrating its one hundredth release, Black Truffle present a major archival discovery: a stunning document of the only performance by the trio of Tony Conrad, Arnold Dreyblatt, and Jim O'Rourke. Across a two-night program organized by David Weinstein at legendary New York experimental venue Tonic in January 2001, Conrad, Dreyblatt and O'Rourke presented individual projects before performing a collaborative set each night, the first with members of Dreyblatt's ensemble and the second the trio heard here. As Dreyblatt points out in the wonderfully informative and reflective liner notes written for this release, this was a collaboration across generations, reflecting the profound impact of Conrad's pioneering minimalism on Dreyblatt and O'Rourke. Both Dreyblatt and O'Rourke came to this collaboration armed with a deep appreciation of Conrad's music and the just intonation principles at its core, Dreyblatt having first encountered the incredible power of Conrad's precisely tuned violin chords during his tenure as an archivist for La Monte Young in 1975, while O'Rourke had performed with Conrad in various settings since the mid-1990s (as well as admiring, reissuing, and performing Dreyblatt's music). The flyer for the concert promised "massive, ecstatic, pulsating overtones", and the trio certainly delivered. From the moment this keening stream of bowed strings begins, it is clear, as Dreyblatt writes, that you are in "Tony's sonic universe", as massively amplified, slowly shifting combinations of precisely chosen pitches fill the room with complex beating patterns and ghostly difference tones. For more than twenty-five minutes, the music operates at a level of intensity comparable to classic recordings such as Conrad's Four Violins, until the texture thins out slightly in the performance's final quarter, allowing for the listener's first recognition of the individual voices that make up this enormous, overwhelming harmonic edifice. The constant stream of bowed tones is broken by a beautifully rich pizzicato from Conrad on monochord, the sliding low tones and metallic shimmer of the other strings taking the set's final moments on an unexpected detour into spacious pastoral psychedelia. Though produced by three individuals known for their own distinctive bodies of the work, this is egoless music, the perfect expression of Conrad's desire "to move away from composing to listening", to "working 'on' the sound from 'inside' the sound". Historically important and overwhelming in sonic impact, this release also serves as a moving tribute to Tony Conrad from two musicians profoundly marked by the example set by his art and life. Presented with an inner sleeve with illuminating liner notes from Arnold Dreyblatt, an archival live photo and flyers from the concert series.
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CD
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SNS 022CD
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$15.50
PREORDER
RELEASE DATE: 2/17/2023
Reissue, originally released in 1984. 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.
"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. Kühe 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
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LP
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VG+ 006LP
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$24.00
PREORDER
RELEASE DATE: 2/17/2023
"The first volume of San Francisco Moog: 1968-72 introduced the world to a trove of recordings from a little-known hinge point in electronic-music history. Vol. 2 brings to light the rest of tapes -- and the rest of the story. In 1968, Bay Area native Doug McKechnie got hold of one the very first modular Moog synthesizers ever made and began finding his own way to play it. Soon, he was hauling the finicky instrument around to perform improvised concerts at colleges and psychedelic ballrooms, as well as an ill-fated appearance on the bill at Altamont. Some of the performances were recorded, and the surviving tapes -- never before released -- capture a free-flowing, transportive sound that fills in the gap between the austere mid-century academic avant-garde and the expansive cosmic suites of Tangerine Dream and the rest of the Berlin School in the '70s. Vol. 2 captures a wider range of sounds and moods, encompassing austere sonic experiments, early sequenced pulses, and melodic etudes." "These pieces represent amazingly fully formed early approaches to the very idea of musical synthesis...arresting even to modern ears." --Goldmine "Presages both Tangerine Dream's soundtracks and, in its most grimy moments, Acid Tracks." --The Wire
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