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Artist	Title	Format	Label	Catalog #

NURSE WITH WOUND	Soliloquy For Lilith	3CD	UNITED DIRTER	DPROMBX 666CD
$26.50 PREORDER RELEASE DATE: 9/13/2019 Originally recorded and released in 1988, Nurse With Wound's ambient opus was years ahead of its time, a ground-breaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months. Originally a limited-edition, three-album set housed in a handsome 12-inch gold and black foil embossed box, this new edition, a CD facsimile of the original vinyl set, contains the entire album, plus 40 minutes of superb quality, previously unreleased music from the original sessions that did not appear on the vinyl. A green foil blocked cover and new parchment insert makes this one of Dirter Promotion's most elegant and desirable releases to date.

Artist	Title	Format	Label	Catalog #
ORAM/VERA GRAY, DAPHNE	Listen Move & Dance	LP	FANTOME PHONOGRAPHIQUE	OME 1023LP
$23.00 PREORDER RELEASE DATE: 9/13/2019 Fantôme Phonographique present a reissue of Daphne Oram and Vera Gray's Listen Move & Dance, originally released in 1962. The British composer, musician, and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Oram's composition "Still Point", involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. "Oramics" was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, "Oramics" was also employed for sound installations, theater productions, and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move & Dance series of BBC programs were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich, and others, designed for "stamping, punching, kicking and jumping" movements, as well as "running lightly", "dancing on toes" and "shaking all about", which contrasted sharply with Oram's electronic abstractions, which seemed to have been beamed in from outer space. 180 gram vinyl.

Artist	Title	Format	Label	Catalog #
BONNET & STEPHEN O'MALLEY, FRANCOIS J.	Cylene	2LP	EDITIONS MEGO	EMEGO 262LP
$32.00 PREORDER RELEASE DATE: 9/13/2019 First time outing from two ardent explorers of peripheral sound tactics. Cylene is the first collaboration by François J. Bonnet (Kassel Jaeger) and Stephen O'Malley (Sunn O)))). Laid bare, you have a subtle and nuanced study of their individual practices forming a titanic whole. O'Malley's guitar inscribes a void that patiently opens up a spacious universe for Bonnet to discreetly alter with perception re-orientating studio maneuvers. Cylene is infinitely rewarding for those that succumb to its delicate detours. A vast glacial plain unfurls slowly upon the listener invoking a mood similar to the stillness found following despair. As Joseph Ghosn succinctly outlines in his liner notes, "Stephen and François deal in those moments and instants that happen after the violence, and the ugliness and the mess. Their music is about chaos being summoned and ordered. It is about the noise that nurtures your ears after a long heartbreaking pain. I have heard the sounds of wars being fought and the noises of hearts being broken, and I have never found a shelter as soothing as this music which makes me think of sunken ships and beauty found in the depths of oceans long forgotten." Art direction: Stephen O'Malley. Portrait photographer: Eléonore Huisse. Recorded at GRM Studios, Paris May 2018. Edited and mixed by François Bonnet at GRM studios, Paris August 2018. Mastering by Rashad Becker at Dubplates & Mastering, Berlin January 2019.

Artist	Title	Format	Label	Catalog #
VA	Speech After The Removal Of The Larynx	LP	FANTOME PHONOGRAPHIQUE	OME 1025LP
$23.00 PREORDER RELEASE DATE: 9/13/2019 Fantôme Phonographique present a reissue of Speech After The Removal Of The Larynx, originally released by Smithsonian Folkways in 1964. The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when you breathe and it protects the windpipe when you swallow. However, those unfortunate to experience the potentially fatal malignant tumors of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose, and Throat Dept. of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one's esophagus via swallowing, suction, or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni, and "western electric" are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release. 180 gram vinyl; includes insert; hand-numbered.

Artist	Title	Format	Label	Catalog #
CANNELL & POLLY WRIGHT, LAURA	Sing as the Crow Flies	CD	BRAWL RECORDS	BRAWL 015CD
$14.50 PREORDER RELEASE DATE: 8/16/2019 Debut vocal album by composer/performers Laura Cannell and Polly Wright. Re-voicing the voices of the lost, forgotten, and hidden people who have lived, worked and loved through the centuries, through the seasons, through the air and in the Marshlands. Sing as the Crow Flies is a set of nine vocal tracks re-voicing the rural landscape, surrounding reed beds and marshes on the Norfolk/Suffolk border. Growing up on either side of the River Yare, with a common love of the area, Laura Cannell and Polly Wright are musicians, composers, and creators with deep roots in the marshes and traditions of this rural area. Frustrated by the lack of women's voices represented in the rural landscape writings of East Anglia and further afield, the duo decided to add their own voices and experiences of living and working in rural surroundings in the 21st century to the male dominated discourse of rural life in the past. The music is created through different means -- heterophonic improvisation, Hildegard von Bingen-inspired call-and-responses, and taking words from the 18th century tome Norfolk Garland, A Collection of the Superstitious Beliefs and Practices, Proverbs, Curious Customs, Ballads and Songs, of the People of Norfolk. Together with their own writings and wordless inventions, Sing as the Crow Flies was created as a site-specific sound installation for the 2019 Waveney Valley Sculpture Trail on the Norfolk/Suffolk border, UK. The installation sits around the trunk of a 30-year-old walnut tree in a cherry orchard where five telephone handsets hang from the tree ready to be picked up by passers-by... "There are voices at the end of this line. They are inside Raveningham Church just over 1000 metres as the crow flies from where you stand. Inside the stone walls of the 11th century church two women are moving, singing, separately and together. Every harmonic conversation is improvised, they are moving between the stone and wood, in light and shadow, calling and responding in and out of focus. Footsteps, birds and air can be heard. These new voices are part of the rural landscape, they are using their surroundings as inspiration along with their personal musical traditions & folklore. They are finding a common tongue, their native tongue of the marshlands, two people living, working and creating here in the 21st century. Tapping into vein-like branches, links and marshes. Private voices are woken, then laid again to rest."

Artist	Title	Format	Label	Catalog #
SEVERAL WIVES	Goldi Fell	CD	GIZEH RECORDS	GZH 091CD
$15.50 PREORDER RELEASE DATE: 8/2/2019 Several Wives lie in the darkened corner of a room. Paintings torn, forgotten against the wall. Dead rhythms seep through the floor. Everything is tired. Everything is jaded. Göldi Fell is Several Wives' newest work, following on from the excellent Blonde, Arms Tight Black cassette release on Tombed Visions (2017). The bowed, electro-acoustic, heavy drones continue and present an almost horror-soundtrack performance of intense beauty. It's a deep, dark world of reverb, echoes, and distant pulses all struggling to be heard and understood. This is a stunning piece of experimental, almost classical work, evoking a sense of ethereal dread and mournful regret. A thick air creeps in. It's a doom-ladened record and one that will take you over if you let it. File under: avant-garde, experimental, drone, ambient. Part of Gizeh's "Dark Peak" series. CD version comes in an edition of 175; Housed in a black, gatefold, recycled card sleeve; Each copy is printed and assembled by hand at Gizeh HQ; Includes download code.

Artist	Title	Format	Label	Catalog #
NITSCH, HERMANN	Albertina Quartett - 2. Streichquartett in 6 Satzen fur 2 Violinen, Viola und Violoncello	2CD	TROST	TROST 192CD
$18.00 PREORDER RELEASE DATE: 8/2/2019 Hermann Nitsch's String Quartet No. 2 in six movements for two violins, viola, and violoncello, was performed by the Viennese Koehne Quartet. Recorded during the exhibition NITSCH. Spaces of Color at the Albertina Museum, Vienna on the May 29th, 2019. The Koehne Quartett: Joanna Lewis - 1. Violine; Anne Harvey-Nagl - 2. Violine; Lena Fankhauser - Viola; Mara Achleitner - Violoncello. Recording and Mastering by Christoph Amann.

Artist	Title	Format	Label	Catalog #
KIRKEGAARD, JACOB	Black Metal Square	LP	IMPORTANT RECORDS	IMPREC 475LP
$34.50 PREORDER RELEASE DATE: 8/2/2019 Three freely hanging black metal plates: 50x50x005cm, 75x75x005cm, and 100x100x005cm. Piezo sensor and contact speaker attached on rear side of plate, amplifying and mirroring its subtle and naturally occurring vibrations, evoking its characteristic resonant frequencies. Packaged in a black sleeve with a screen-printed sheet affixed to the cover. Edition of 100 (hand-numbered).

Artist	Title	Format	Label	Catalog #
MOBARAK, NOUR	Father Fugue	LP	RECITAL	R 066LP
$25.50 PREORDER RELEASE DATE: 8/2/2019 Recital label head Sean McCann on the record (June, 2019): "Father Fugue is Nour Mobarak's first full-length album. The Los Angeles-based artist spent years sculpting this LP, and the result is piercingly emotional. A foray into her being; a sound artist, a songstress, a sculptor. Nour's creativity orbits an ever-moving center. Thus, glimpses, reflections, and splinters of her oeuvre embody Father Fugue. The side-long titular piece on the LP is unlike anything I have ever heard. Nour describes the piece: 'the left channel of 'Father Fugue' is composed of conversations with my father, Jean Mobarak, a polyglot who has a 30-second memory and lives in the mountains of Lebanon. The right channel is composed of improvised song.' Nour and her father speak through four different languages (French, Italian, English, and Arabic), a full transcription and translation is included with the LP in a 24-page booklet. They speak of cars, of soccer, of Italy. They speak in games, in rhymes, and in song. The sonic division of voice and time across the stereo pattern is captivating. The second side of the album is comprised of eleven songs. The word 'song' must be taken widely and liberally in this instance. Elements were recorded in her car, in the shower, in the ruins of Oaxaca, Mexico: a rainbow of personal documentation. The vase holding the bouquet is of jubilation and abstract humor. A chanson written by Nour's great-great-grandmother, at the turn of the 20th century in Constantinople, is sung throughout the LP. The first side concludes with her and her father singing it in duet, as Nour's solo performance begins the second side. Bound by time, Father Fugue reveals Nour Mobarak's expression from and response to her father's place and memory. A flip of the record uncovers her expression and response to her own." 24-page libretto booklet (Arabic/French/Italian/English transcriptions and translations; credits/photo card; Edition of 250.

Artist	Title	Format	Label	Catalog #
OBJECT COLLECTION	You Are Under Our Space Control	LP	SLIP	SLP 054LP
$25.50 IN STOCK Following their acclaimed opera-in-suspension about Fugazi, NYC's Object Collection imagine a delirium of transhuman thought and progressive politics on their return to the inimitable Slip label. You Are Under Our Space Control sees the duo of Kara Feely (text) and Travis Just (music) refocus their "operatic" sensibilities into a typically confounding "space-opera" that somehow ties up references as wide reaching as John Cage's piano solo Music Of Changes (1951), with Cy Roth's sci-fi Fire Maidens From Outer Space from the same year, as well as texts inspired by Sun Ra and the Russian Cosmists' poetics and philosophies, and interviews from real (and imagined) space travelers and astronomers. Aye, it's a proper headful of ideas, and understandably chaotic with it, but OC makes a virtue of somehow maintaining a coherence though their sharply chopped arrangements, which start out tightly puckered, but gradually loosen up into sprawling, psychedelic designs as the album proceeds. What happens in its 18 parts is comparable to a sort of home-brewed sci-fi soundtrack imagined by a teenaged dream-team of Todd Dockstader, Bruce Haack, and Sonny Blount; a sound full of mercurial wormholes, with an animist capacity to rouse arcane spirits, and a magnetic pull to the most restlessly searching listeners of the weird and wonderful. Most crucially, for an album rooted in '50s sci-fi and avant-garde, the results prize that era's modernist promise without coming off as retrogressive or corny.

Artist	Title	Format	Label	Catalog #
BASSETT/MARGARIDA GARCIA/MANUEL MOTA, MARCIA	Here They Rest Immobile	LP	YEW RECORDS	YEW 009LP
$38.00 IN STOCK Marcia Bassett, Margarida Garcia, and Manuel Mota present Here They Rest Immobile on Yew Records. "It feels cliché to refer to any music as dreamy, but when you encounter music that actually feels and breathes like a dream, it's another matter altogether. Sometimes you open your mouth to speak and hear the voice of a complete stranger. Or you see a flower of a color that doesn't exist. This is that kind of record -- elusive and intoxicating. Two guitars and a bass, barely recognizable as such, coming together to conjure a startling world of shadow and reflection. The music can seem almost disembodied on the one hand, while on the other the careful listening and responsiveness of the musicians behind the sounds is evident at every turn -- human and inhuman at once. The three pieces feel both narrative and wholly abstract, a story somehow unmoored from events. It's an album of transfixing paradoxes. The first side is occupied by 'The Unfortunate Traveler'. Tones moan and echo, resonating against themselves like enormous insects. Sounds emerge and retreat into caves. Ominous howls, eerie rhythmic washes, and deep rumbles all ebb and flow outside any ability to predict what will happen next. Every path seems altered the moment you start down it. An unfortunate traveler indeed. On 'Tympanie Of Tears', the first track on the second side, Garcia's bass pulses with timpani-like resonance, pulsing as Bassett and Mota's guitars swirl like serpents, weaving and winding, forming imaginary pathways. We encounter moments of more recognizable string work, which only expands the sense of disorienting stupor. 'Durational Dust Construction' rounds out the set, with its subterranean glimmers of breath, airs rolling over one another, gliding and scraping down hills of their imaginary landscape, oars rowing slowly out to sea. Across all the terrible conditions, unexpected attempts at life, a magnetic dance around poles that will never touch. It's a record that arouses the senses through obfuscation, a dense riddle constructed from its own speculative geometry. Maybe I thought I'd seen a ghost, and in those days, I found ghosts extremely unpleasant. Not anymore. Now, on the contrary, they brighten up my afternoons." --Matt Krefting, Holyoke, MA 2019

Artist	Title	Format	Label	Catalog #
PEPPERSTEIN/ILYA DMITRIEV, PAVEL	The Future	LP	KOO EDITIONS	KOO 001LP
$25.00 PREORDER RELEASE DATE: 8/2/2019 Koo Editions comes on vinyl purposing a selected documentation from art exhibitions, interviews, intermedia collaborations. Koo Editions was born with the idea of using the vinyl medium as a moving exhibition space, referring to the relationship between certain experiences of visual art with the listening one. Why the record? Because the catalogs don't speak. The record is a place: "Where" in fact, deputy to the sound testimony of something that has already happened, can be preserved to be able to enjoy it from a distance (of time and/or space). The intent of Koo Editions is not to launch a precise style or a defined aesthetic, but to put the accent on the voice of peculiar and seminal attitudes linked to the world of visual art. The record introduces an inversion of focus, compared to what usually happens in artistic events where the eye and not the ear is the master. This is not a matter of sound art, vinyl art, net art or anything else: the medium is not the message, but conveys it. The first vinyl release on Koo Editions will feature Pavel Pepperstein's exhibition in the Russian pavilion of the Venice Biennale in 2009, which is now presented again here, ten years later. Since 2009 was the year of the centenary of the Futurist Manifesto, the thematic reference looks to the historical avant-garde: it is in fact a work of Russian retrofuturism and bold beauty. The recording is titled The Future and introduces a radical criticism for the Russian being. Its roots go back to the past experience gained by the author in the Inspection Medical Hermeneutics, a pioneering artists' collective formed in 1987 in a squat in Moscow during the years of Glasnost and Perestrojka. On the cover there is an image chosen from the paintings displayed in the exhibition. Inside there is an extended track of Ilya Dmitriev, a mixable retro electronic flow deliberately influenced by '80s disco archetype. Pepperstein's speech blows over the beat from the ultra-world and goes in an unexpected direction, far from any hedonistic exaltation, embracing a severe criticism of a future towards which he absolutely does not want to tend. The artist, of unquestionable fame and international value, takes strong positions against the western cultural narrative and art market policies which deserve to be slammed in the face of today's public. MLP (B-side etched).

Artist	Title	Format	Label	Catalog #
AMINI, SIAVASH	Serus	LP	ROOM40	RM 497LP
$23.00 IN STOCK Iranian composer Siavash Amini creates an ode to night; literal and metaphorical. Using textural electronics and post classical arrangements, he asks you to dwell in the "dark" of sound and forgo the sensory certainty of light. From Siavash: "The Idea of this album, when I first started drafting it, was to continue what struck me as very interesting yet simple idea; night. I became interested in different definitions of what night is, our perception of it and what night means physically to us as well as symbolically. I came across the idea of 'other night' described by Maurice Blanchot, during my research. It started me recognizing night as something we experience as 'the night of sleep'; it is night that we resist in sleep, by way of dreaming. Things became more interesting for me during many nights of not sleeping and intoxication, and an eventual nervous breakdown. This experience, culminating in me spending three days in ICU, gave me pause to think about Blanchot's words. Slipping in and out of consciousness my mind, which had already experienced a blurring of what one might call the 'other night' and the night itself, by being in half sleep most of the time. I felt myself far away from all my surroundings and at the same time being very attentive to some details in the objects around me. It was as if my body and mind where in an in-between state. I can only describe this as being distant or more precisely being in the dark. Objects and people showed themselves out of proportion and mostly dim. A feeling to describe this sensation, the word for which I only came across later, is Serus. There was a sense of repetition and familiarity in some feelings and emotions that I had towards some objects like sensing I knew them but not exactly from where or when. It was as if my body was resisting sleep and my sleepy mind was resisting being awake, only to dream of another type of the world that I could be awake in." Personnel: Nima Aghiani - violin; Pouya Pour-Amin - electric double-bass. Artwork and visuals by Tereza Bartůňková.

Artist	Title	Format	Label	Catalog #
BERK, ERNEST	Electronic Music For Two Ballets	LP	TRUNK	JBH 081LP
$25.50 PREORDER RELEASE DATE: 8/2/2019 Extraordinary unreleased homemade electronics from the late 1960s made by a pioneering ballet dancer and musician. There are very few Ernest Berk recordings. As a pioneering ballet dancer, instructor and electronic music artist he was surprisingly prolific. He made music for all sorts of uses -- he even made library music -- and of course this very album of his music for two of his ballets. Towards the end of his life Ernest Berk gifted his entire collection of works, tapes, documents, and all to the Historical Archive Of The City Of Cologne. Tragically, in 2009, a large part of the archive collapsed (due to the construction of an underground railway) destroying 90% of everything. Berk's tapes have tragically never been recovered. They are assumed lost forever. So these two recordings -- issued privately circa 1970 -- remain precious, to say the least. There were no masters, this new pressing was simply transferred from the original copy held by his family. Trunk have done their best to restore the sound. The original notes have also been reproduced, and from what Trunk can gather, this album may well have been pressed and given away as promotion for the Dance Theatre Commune. The original album came with a small piece of paper with a geometrical squiggle stuck on the front. Ernest Berk was born in Cologne, Germany and came to England just before the war. He started a dance company in London and wanted a sound especially suited to his experimental dance style. This he found in electronic music. Berk felt that electronic music was able to express the feelings of contemporary society in a more potent and communicative way than conventional forms of music. This is not to say he disregarded traditional forms of music, rather, he blended the best elements of both, creating a new and exciting sound. Over the years he gained an international reputation as a composer of electronic music. His works have been heard in Berlin, Cologne, Florence, Edinburgh, United States, to name a few.

Artist	Title	Format	Label	Catalog #
MAKINO & TORI KUDO, KAYO	Ein Traum Fur Dich	LP	BLACK TRUFFLE	BT 049LP
$26.50 PREORDER RELEASE DATE: 8/2/2019 Black Truffle announce the release of this genuine head-scratcher, the first collaboration between DJ/mixtape-compiler Kayo Makino and underground legend Tori Kudo. Originally created to be played between acts at the launch of Eiko Ishibashi's acclaimed The Dreams My Bones Dream (2018) and then reworked and refined for LP release, the two side-long pieces are sonic environments constructed by Makino for Kudo's piano to inhabit, or, as the LP's credits suggest, a "cinéma pour l'oreille" in which Kudo's piano plays the starring role. Beginning with a soothing field recording of crickets dramatically punctuated by smashing glass, the first side finds Kudo playing his way repeatedly through one of Satie's 1897 Pièces froides. Best known to many listeners for his role as leader of the ecstatically shambolic rock unit Maher Shalal Hash Baz, Kudo's performance of Satie's whimsical yet haunting melody is alternately halting and fluid, delighting in the hesitations of unstudied technique and the subtle variations between repeated attempts. While the combination of Kudo's piano and the background of crickets initially suggests a documentary approach to recording -- as if the you are simply hearing incidental sounds creeping through an open window -- things take an unexpected turn a few minutes in when Kudo's piano is suddenly doubled. Layering two separate attempts at the same piece of top of each other, Makino's unorthodox mixing blurs Satie's original into a fog of stumbling echoes that becomes increasingly dreamlike as the chirping crickets are overtaken by pattering rain, German dialogue and traffic sounds. The second side begins in a similarly inscrutable vein, with snatches of birds and film music providing a gentle backdrop for Kudo's improvisational variations on a chord progression that, as his performance builds over its twenty-minute duration, somehow begins to suggest the sadly swaggering grandeur of Mick Taylor-era Rolling Stones. Makino accompanies and eventually overwhelms Kudo's piano with a bizarre layer of digitally processed voice and drums, stretched out into a disorienting haze before suddenly retreating to leave Kudo's piano accompanied only by a barking dog. Seemingly unrelated to anything else being produced in the world of contemporary music, this is a striking collaboration between two unique musical personalities that bridges the mundane and the surreal, opening up a dream-space both haunted and hospitable. Cover design by Lasse Marhaug. Mastered by Jim O'Rourke at Steamroom, Japan. Vinyl cut by Rashed Becker at Dubplates & Mastering, Berlin.

Artist	Title	Format	Label	Catalog #
RATKJE, MAJA S.K.	Sult	LP	RUNE GRAMMOFON	RLP 3204LP
$26.50 PREORDER RELEASE DATE: 7/26/2019 LP version. Composed, performed, mixed, and produced by Maja S. K. Ratkje, Sult is based upon Ratkje´s music created for the ballet Sult ("Hunger") by director Jo Strømgren for the Norwegian National Ballet. This is a departure from the records and live settings normally associated with Ratkje, as we find her placed behind a modified, wiggly and out-of-tune pump organ, singing songs and improvising. Metal tubes, PVC tubes and a wind machine were built into the organ; guitar strings, a bass string, a resin thread, metal and glass percussion and a bow are also utilized. With little or no previous experience, she had to learn to play the thing live, using both hands and feet at the same time as singing. Maja played live on stage during every performance, but later modified and recorded the music especially for this record, with Frode Haltli co-producing. It´s a freestanding document, an entity of its own, but the atmosphere is very much the same as in the play: the dusty city of Kristiania in the 19th century, the street noises and the sounds.

Artist	Title	Format	Label	Catalog #
PREVOST, EDDIE	Matching Mix	LP	EARSHOTS RECORDINGS	EAR 013LP
$23.00 PREORDER RELEASE DATE: 7/19/2019 "'In October 2018 we took several recordings in and around Eddie Prévost's home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie's own take on Locke that he offered in our correspondences: 'Scholars of Locke's philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such 'mixing' is a persuasive description of a creative act. But the theory is more worthy of a social dimension.' As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its 'metamusical' relationship with the untempered sounds of the external environment. Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike 'protomusical' behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development. Ross Lambert provided a few words alongside his cover drawing entitled 'The Metamusician': "The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.' -Daniel Kordik & Edward Lucas, March 2019"

Artist	Title	Format	Label	Catalog #
ORSI, FABIO	Sterminato Piano	LP	BACKWARDS	BW 035LP
$23.00 IN STOCK "I've known Fabio Orsi for almost fifteen years now, artistically and humanly. Since the days of Osci his first album released by Small Voices, my label at that time, up to some essential records published by A Silent Place, another label that I managed, in a period that seems almost unrepeatable. Each of his work, whether in music or photography, is always a certainty for me, but lately also a surprise; in fact Fabio Orsi has learned to surprise himself and surprise us: this new creature is different from his previous releases, but is always touched by that talent and crystalline class that distinguishes him; after all these years, I can affirm it without fear of appearing too enthusiastic or even partisan. The new work Sterminato Piano settles among the best things of Fabio Orsi, but also in some ways, among the most unexpected and original. After eight years in Berlin, his return to Puglia (south of Italy) is restoring new life and new creativity and new energy. In fact, the new album is full of energy and warmth, with patterns, sequences, and dancefloor beats of our dreams." --LP Cover artwork by Italian illustrator Mastereaster. Edition of 300.

Artist	Title	Format	Label	Catalog #
MALONE, KALI	The Sacrificial Code	3CD	IDEAL RECORDINGS	IDEAL 192CD
$23.50 PREORDER RELEASE DATE: 7/19/2019 Kali Malone presents a new album featuring nearly two hours of concentrated pipe organ pieces governed by a strict acoustic and compositional code. It's a major new work with ultimately profound emotional resonance. The Sacrificial Code takes a more surgical approach to the methods first explored on Organ Dirges 2016-2017 (ASCETICKALI). Over the course of three parts performed on three different organs, Malone's minimalist procedure captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition. The recordings of The Sacrificial Code involve careful close-miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible -- essentially removing the large hall reverb so inextricably linked to the instrument. The pieces are then further compositionally stripped of gestural adornments and spontaneous expressive impulse -- an approach reminiscent of Steve Reich's words, "by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind." With its slow, purified, and seemingly austere qualities, The Sacrificial Code guides you through an almost trance-inducing process where you become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it's a uniquely satisfying exercise in transcendence through self-restraint -- a stunning realization of ideas borne out of academic and conceptual rigor which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self-exploration free of signposts and without a preordained endpoint -- the antithesis to the language of colorless musical platitudes we've become so accustomed to. Features additional organ pieces performed by Ellen Arkbro. Art and photography by A.M. Rehm. Mastered and cut by Rashad Becker. Triple-CD version includes bonus material.

Artist	Title	Format	Label	Catalog #
OLIVEROS & GUY KLUCEVSEK, PAULINE	Sounding / Way	LP	IMPORTANT RECORDS	IMPREC 471LP
$25.50 PREORDER RELEASE DATE: 7/19/2019 Pauline Oliveros and Guy Klucevsek's Sounding / Way was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. The Sounding / Way concept was simple: Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's "Tremolo No. 6" performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition "The Tuning Meditation", also performed by both Pauline and Guy. This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros. Guy Klucevsek is one of the world's most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn. Pauline Oliveros, composer, performer, and humanitarian, was an important pioneer in American Music. Acclaimed internationally, for four decades she explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros's commitment to interaction with the moment was unchanged. She could make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." --John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." --John Cage

Artist	Title	Format	Label	Catalog #
JOHANSSON & SIMON JAMES PHILLIPS, SVEN-AKE	Songs from Elsewhere	LP	EDITION TELEMARK	ET 864-08LP
$27.50 IN STOCK Duo recordings by Sven-Åke Johansson (vocals) and Simon James Phillips (piano), made in 2017 in Johansson's studio in Berlin. Sven-Åke Johansson on the release: "Simon arrived in my studio with songs by Jean Sibelius to try out. However, being bad at singing from sheet music, I wasn't quite able to perform them as intended. So we instead went for an improvisational approach, using existing texts of mine and, in parts, of his as the basis for our performances and recordings. The two voices are contrapuntal, the piano cannot really be called the accompaniment, it is almost autonomous: more melody than accompaniment." Gatefold sleeve, including printed inner sleeve with lyrics; Edition of 300. Simon James Phillips is an Australian composer and pianist working in the contexts of classical, experimental, and improvisational music. Sven-Åke Johansson is a Swedish percussionist and performer in the circles of fine arts, new music, and free improvisation. Both live and work in Berlin.

Artist	Title	Format	Label	Catalog #
DEAD GUM	Meta	LP	BACKWARDS	BW 033LP
$23.00 IN STOCK Backwards presents a full-length album from the amazing Greek artist, Dead Gum. Meta, Dead Gum's sophomore studio album, constituted a challenge for its maker. While its predecessor Gainer (2014) hollered for awareness and singularity, this one indulges into multi-layered, ambiguous narratives tracing an impossible duality. With abiding influences that distance him from conspicuous contemporary norms, Panagiotis Spoulos creates a nocturnal, desolate sound collage, invoking a meta-purpose for a/the current status quo. The public character of the endeavor is almost jostled by the private-ness of the overall statement; the invitation thus corresponds to a peek into a baffled brain and a rove around gradual levels of muffled alarm calls and grimy smells. Meta is no post-something. Meta merely stands half foot ahead of absolute nothingness, the true end of it all. Edition of 300.

Artist	Title	Format	Label	Catalog #
HENNIX/THE DEONTIC MIRACLE, CATHERINE CHRISTER	Selections from 100 Models of Hegikan Roku	2LP	BLANK FORMS/EMPTY EDITIONS	BF 007LP
$33.00 IN STOCK Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows 2018's Selected Early Keyboard Works and coincides with Blank Forms' publication of Poësy Matters and Other Matters, a two-volume collection of Hennix's writing. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. "The Pointed Time Bus"). Frustrated with the jazz musicians' inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. In 1976, The Deontic Miracle performed Hennix's original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group's first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, "Music of Auspicious Clouds" and "Waves of the Blue Sea" are expansive drone improvisations, breathing with the pulsating lull of cicadas' organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called "the most rejected band ever formed in Sweden" continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Artist	Title	Format	Label	Catalog #
VALCARCEL, EDGAR	Composiciones Electronicas Para Los Andes (1967-2006)	LP	BUH RECORDS	BR 100LP
$26.50 PREORDER RELEASE DATE: 7/19/2019 Edgar Valcárcel (Puno, 1932-Lima, 2010) was one of the most important composers in Peru. He belonged to a crucial generation centered around the 1950s, which also included César Bolaños, Leopoldo La Rosa, Celso Garrido-Lecca, Enrique Pinilla, and Francisco Pulgar Vidal. These musicians were responsible for introducing locally the new languages of the international musical avant-garde, in a meeting with the legacies of Peruvian native music, where the folkloric material was used under very free and abstract conceptions. Although Valcárcel distinguished himself as a prolific and remarkable composer of orchestral and chamber music, as well as a notable pianist, his interest in electronic composition was registered in four pieces that are a good example of his musical obsessions. "Invención" (Invention) (1967), composed in Columbia under the watchful eyes of Vladimir Ussachevsky, represented an outstanding beginning in these new languages and can retrospectively be considered as one of the masterpieces that sprung from the New York research center. There he also began the composition of "Zampoña Sónica" (Sonic Zampoña) (1968-2006), a visionary work, initially designed for magnetic tape and flute, revised after his appointment at McGill University in 1976, until its final form in 2006, which was premiered in Lima in a version for native instruments processed live with the original electronic track. "Flor De Sancayo II: Retablo" (Flower of Sancayo II: Altarpiece) (1976) for piano and magnetic tape, was composed at the Electronic Music Studio of McGill University in Montreal, Canada, led by Alcides Lanza and where Valcárcel was appointed as a guest teacher. The work takes as a reference a huayno from the region of Puno in dialogue with electronic sounds. "Canto Coral A Túpac Amaru II" (Choral Song for Túpac Amaru II) (1968), for choir, percussion, projections, lights, and magnetic tape, a work based on the poem "Canto Coral A Túpac Amaru, Que Es La Libertad" (Choral Song for Túpac Amaru, who is Freedom) by the Peruvian poet Alejandro Romualdo, is inspired by the indigenous leader of the largest anti-colonial rebellion that occurred in Latin America during the eighteenth century. These pieces are now published on vinyl, as part of the Essentials Sounds collection, with which Buh Records presents a series of fundamental works of the musical avant-garde in Peru.

Artist	Title	Format	Label	Catalog #
MALONE, KALI	The Sacrificial Code	2LP	IDEAL RECORDINGS	IDEAL 192LP
$31.00 LOW STOCK LEVEL Double LP version. Kali Malone presents a new album featuring nearly two hours of concentrated pipe organ pieces governed by a strict acoustic and compositional code. It's a major new work with ultimately profound emotional resonance. The Sacrificial Code takes a more surgical approach to the methods first explored on Organ Dirges 2016-2017 (ASCETICKALI). Over the course of three parts performed on three different organs, Malone's minimalist procedure captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition. The recordings of The Sacrificial Code involve careful close-miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible -- essentially removing the large hall reverb so inextricably linked to the instrument. The pieces are then further compositionally stripped of gestural adornments and spontaneous expressive impulse -- an approach reminiscent of Steve Reich's words, "by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind." With its slow, purified, and seemingly austere qualities, The Sacrificial Code guides you through an almost trance-inducing process where you become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it's a uniquely satisfying exercise in transcendence through self-restraint -- a stunning realization of ideas borne out of academic and conceptual rigor which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self-exploration free of signposts and without a preordained endpoint -- the antithesis to the language of colorless musical platitudes we've become so accustomed to. Features additional organ pieces performed by Ellen Arkbro. Art and photography by A.M. Rehm. Mastered and cut by Rashad Becker.

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