Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

JARDIN	Maqui De Hierro	LP	BUH RECORDS	BR 108LP
$25.50 PREORDER RELEASE DATE: 7/19/2019 Jardín was made up of Orlando Ramírez and Raúl Gómez, and has been a true cult band of Lima's experimental underground since they made themselves known at the end of the 1990s, when they started playing at electronic music venues as well as in the context of art performances and contemporary dance events. Maqui De Hierro, their fourth published work, defined the sonic universe of the duo, in which electronic cosmic experimentation converges with hypnotic rhythmic patterns inspired by ritual percussion music from the Amazon, using console feedback processed by pedals, drum machines, and ocarinas. Jardín's work can be related to that of other great luminaries of rhythmic repetition such as Silver Apples, Suicide, Esplendor Geométrico, or Pansonic, a sound that finds in Maqui De Hierro a singular incarnation: metallic drum machines that lead the trance between echoes and layers of reverberant sounds, in a kind of rhythmic drone dub trip. Appeared in cassette format in 2005, Maqui De Hierro collects recordings of 2002 and 2003, made during intense and unforgettable concerts, as well as recorded sessions at the duo's private haven known as Cuarto Azul, located in an industrial zone of Lima. Recorded entirely live and direct to open reel tape, Maqui De Hierro is now published for the first time in vinyl format, as part of the Essential Sounds collection, with which Buh Records discloses a series of fundamental albums of Peruvian sound experimentation.

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 #
VA	Ethnoelectronics	2LP	BLACK SWEAT RECORDS	BS 056LP
$36.50 PREORDER RELEASE DATE: 7/5/2019 Double LP version. Black Sweat Records presents a reissue of Ethnoelectronics, originally released on tape by Sound Reporters in 1986. Ethnoelectronics is a further episode of pioneering fusion between ethnic and electronic music, involving dauntless explorers such as Walter Maioli, Nirodh Fortini, Fred Gales, Raffaele Serra, John Zandijk, and the visionary sculptor Edward Luyken. As the soundtrack of an obscure science-fiction saga, the six parts of these recordings retain something profoundly osmotic and sidereal. In these hybridizations, it's the heart of personal spiritual cosmos and stratospheric portals pulsing, but always retaining their devotion to wild nature and ethnographic differences. In this way, the sinusoidal movements of electronic synthesizers and radiophonic frequencies interact with the pounding sounds of the jungle, with frogs, sea waves, buzz insects, leaves, and rain. From flutes, rattles, steel sound sculptures, or rustling idiophones, mysterious samples appear like weird interferences, with rhythms and ritual voices from Tibet, West Papua, Burundi, Tahiti or the shamanic Japan of the Ainu.

Artist	Title	Format	Label	Catalog #
DERBYSHIRE, DELIA	The Dreams	LP	FANTOME PHONOGRAPHIQUE	OME 1022LP
$23.00 PREORDER RELEASE DATE: 7/5/2019 Delia Derbyshire is one of the most innovative electronic musicians of the 20th century. She is best known for her pioneering work for the BBC Radiophonic Workshop, and for composing the classic theme song for the original Doctor Who, believed to be the earliest "electronic" theme song in television history. A brilliant composer and one of the few women operating in the early era of electronic music. In the early '60s, she collaborated with the British artist and playwright Barry Bermange for the BBC's Third Programme to produce four "Inventions for Radio", a collage of people describing their dreams, set to a background of electronic sound. This is the first, simply titled The Dreams, an attempt to represent, in sound, the sensation of dreaming. Derbyshire's electronic and musique concrete sound bed is the perfect underscore to the narration, simultaneously jarring, dissonant, and terrifying. An amazing piece of work from one of the legendary pioneers of electronic music.

Artist	Title	Format	Label	Catalog #
ATKINSON, FELICIA	The Flower And The Vessel	2LP	SHELTER PRESS	SHELTER 110LP
$29.00 PREORDER RELEASE DATE: 7/5/2019 Double LP version. Printed artwork on inner and outer reverse-board jackets. French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms -- how even the quietest creative act ripples outward, a whisper with no fixed meaning. The Flower And The Vessel pursues this notion in a more literal fashion, as it was crafted while pregnant on tour. She describes it as "a record not about being pregnant but a record made with pregnancy." Each day and night, finding herself far from home, she asked herself "What am I doing here? How can I connect myself to the world?" The answer gradually revealed itself: "With small gestures: recording my voice, recording birds, a simple melody." In truth there is nothing simple about The Flower And The Vessel. The album's 11 songs span whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences: Ravel's L'enfant Et Les Sortilèges, Debussy's La Mer, and Satie's Gymnopédies. There's certainly a shade of classicism woven within these tracks; melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia. Much of Atkinson's discography is shaped by speech and the lyricism of language, but The Flower And The Vessel ventures further into silence. Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, and marimba, softly processed into an elegant emptiness, alternately eerie and serene. Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson's synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O'Malley, "Des Pierres," is one of the album's few pieces tracked in a proper studio, but it broods and burns with the same subliminal majesty as the rest of The Flower And The Vessel: an ember in amber, seeds planted in shifting sands. Original artwork by Julien Carreyn, mastered by Rashad Becker at Dubplates and Mastering.

Artist	Title	Format	Label	Catalog #
DAVACHI & ARIEL KALMA, SARAH	Intemporel	LP	BLACK SWEAT RECORDS	BS 052LP
$25.00 PREORDER RELEASE DATE: 7/5/2019 On Intemporel, Sarah Davachi and Ariel Kalma blend their strong individual personalities in a single trip on the edge of time. Their kosmiche music is pure, magnificent, and elegant, an intergalactic hypnosis that seems to tell of distant times, a millenary vortex of a lost era. In the first phase of departure, the mysterious song of the sax winds in archaic echoes, supported by the electronic inlays of the Arp Odyssey synth. Flowing between space rumbles and astral progressions, one sights high celestial bodies. When the infinite drones of the tampura start, one takes part in the night ceremonial, surrounded by deep harmonium and the Tibetan bell chimes. This music releases a sort of mythological warmth, secret codes of a lost purity, which lets one dwell in the labyrinths of a pyramid or in the sacred space of a cosmic pagoda.

Artist	Title	Format	Label	Catalog #
VA	Ethnoelectronics	CD	BLACK SWEAT RECORDS	BS 056CD
$19.50 PREORDER RELEASE DATE: 7/5/2019 Black Sweat Records presents a reissue of Ethnoelectronics, originally released on tape by Sound Reporters in 1986. Ethnoelectronics is a further episode of pioneering fusion between ethnic and electronic music, involving dauntless explorers such as Walter Maioli, Nirodh Fortini, Fred Gales, Raffaele Serra, John Zandijk, and the visionary sculptor Edward Luyken. As the soundtrack of an obscure science-fiction saga, the six parts of these recordings retain something profoundly osmotic and sidereal. In these hybridizations, it's the heart of personal spiritual cosmos and stratospheric portals pulsing, but always retaining their devotion to wild nature and ethnographic differences. In this way, the sinusoidal movements of electronic synthesizers and radiophonic frequencies interact with the pounding sounds of the jungle, with frogs, sea waves, buzz insects, leaves, and rain. From flutes, rattles, steel sound sculptures, or rustling idiophones, mysterious samples appear like weird interferences, with rhythms and ritual voices from Tibet, West Papua, Burundi, Tahiti or the shamanic Japan of the Ainu.

Artist	Title	Format	Label	Catalog #
PESTANG & PIERRE HENRY, LUC	Saint-Exupery	LP	FANTOME PHONOGRAPHIQUE	OME 1020LP
$23.00 PREORDER RELEASE DATE: 7/5/2019 Fantôme Phonographique present a reissue of Luc Pestang and Pierre Henry's Saint-Exupéry, originally released as a 10" in 1959. During his long and illustrious career, the French composer and musique concrète pioneer Pierre Henry created a large amount of incidental music to accompany literary texts, both on record and for the stage, from Jules Verne to Victor Hugo, from Lautréamont to Antonin Artaud. This incredibly rare LP from 1959 is a radio play about the life of French pilot and writer Antoine de Saint-Exupéry, based on the 1956 book by Luc Estang on the subject. The interpreters are a small theater troupe including French actor Paul Meurisse (1912-1979), famous for popular films and as a member of national theater company, La Comédie Française. Underlying key scenes, Pierre Henry's contribution to the play consists of electronic and musique concrète sounds, adding a contemporary dimension to the text. A beautiful piece from one of the mid-20th century's truly brilliant sonic explorers.

Artist	Title	Format	Label	Catalog #
VA	Spectra Ex Machina: A Sound Anthology of Occult Phenomena, 1920-2017 Vol. 1	LP	SUB ROSA	SR 461LP
$15.50 PREORDER RELEASE DATE: 7/5/2019 "Have a gramophone in every grave..." --James Joyce, Ulysses (1922) The anthology Spectra Ex Machina brings together rare documents pertaining to so-called occult phenomena, most of them taken from little-known archives. In the course of three volumes, this series traces an audio history of parapsychology through the exploration of spiritualism and haunted houses (Vol. 1); musician mediums (vol. 2); experiences of extrasensory perceptions (clairvoyance, psychokinesis, etc.) and electronic voice phenomena (vol. 3). The documents gathered here are, by their extravagance and far-fetched aspects, more than the mere objects of belief one would be tempted to reduce them to. They are vestiges of aberrant phenomena, fossils of an unknown civilization buried in the depths of the unconscious that are revived, in a way, when we listen to them. They can be understood as "works", in the full artistic sense of the word, and constitute a kind of "cabinet of sound curiosities" that is worthy of aesthetic interest. Sometimes imbued with a disconcerting dramatic intensity, these documents bear the features of an authentic time machine, placing the listener in the position of a witness of the time immersed in the dim darkness of the experimental hall. And it is at that precise moment that the aesthetic power of these archives takes precedence over their probative value. Their somewhat old-fashioned charm, maintained by the surface noise of magnetic tapes and old wax disks, gets stronger with each listen. Contains a 20-page large booklet, 30x30 cm.

Artist	Title	Format	Label	Catalog #
GALES, FRED	Het Jakoba Prieel	CD	BLACK SWEAT RECORDS	BS 055CD
$19.50 PREORDER RELEASE DATE: 7/5/2019 Black Sweat Records presents a reissue of Fred Gales's Het Jakoba Prieel, originally released on tape by Sound Reporters in 1986. Het Jacoba Prieel is a very weird compendium of imaginary soundscapes, in which every coordinate seems lost and totally deviated. Gales, in collaboration with Walter Maioli and Pit Piccinelli, presents his idea of a concrete organic music, a diary of signals and sound impressions inspired by the great tradition of primitive music, an extreme investigation of love on the primordial beauty of sound expression. Travelling into the properties of all matter of the sonic environment, the members of the legendary Sound Reporters generate, transform, mix, filter, and modulate natural and electronic sounds in the magical analog studio of the Utrecht Institute of Sonology. From a single movement of sound fragments are opened catalyst flows and circuits, flickering sequencers and oscillations of luminous channels; futuristic tribalism, hypnotic fossil percussion, alien sounds, dreamlike trips in the jungle, echoes of rustling and rumbles otherworldly, rain waterfalls and shells in the pond, calls of animals and insects, heart beats, and radar waves. Everything is just pure sound and surrounds the listener.

Artist	Title	Format	Label	Catalog #
GEESIN, RON	ExpoZoom	LP	DARK COMPANION	DCLP 010LP
$27.50 PREORDER RELEASE DATE: 7/5/2019 LP version. Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.

Artist	Title	Format	Label	Catalog #
GALES, FRED	Het Jakoba Prieel	2LP	BLACK SWEAT RECORDS	BS 055LP
$36.50 PREORDER RELEASE DATE: 7/5/2019 Double LP version. Black Sweat Records presents a reissue of Fred Gales's Het Jakoba Prieel, originally released on tape by Sound Reporters in 1986. Het Jacoba Prieel is a very weird compendium of imaginary soundscapes, in which every coordinate seems lost and totally deviated. Gales, in collaboration with Walter Maioli and Pit Piccinelli, presents his idea of a concrete organic music, a diary of signals and sound impressions inspired by the great tradition of primitive music, an extreme investigation of love on the primordial beauty of sound expression. Travelling into the properties of all matter of the sonic environment, the members of the legendary Sound Reporters generate, transform, mix, filter, and modulate natural and electronic sounds in the magical analog studio of the Utrecht Institute of Sonology. From a single movement of sound fragments are opened catalyst flows and circuits, flickering sequencers and oscillations of luminous channels; futuristic tribalism, hypnotic fossil percussion, alien sounds, dreamlike trips in the jungle, echoes of rustling and rumbles otherworldly, rain waterfalls and shells in the pond, calls of animals and insects, heart beats, and radar waves. Everything is just pure sound and surrounds the listener.

Artist	Title	Format	Label	Catalog #
HAINO & SUMAC, KEIJI	Even for just the briefest moment Keep charging this "expiation" Plug in to making it slightly better	CD	TROST	TROST 183CD
$17.00 PREORDER RELEASE DATE: 7/5/2019 Post-metal power force Sumac based around Aaron Turner (Isis, Old Man Gloom) follow up their collaboration with Keiji Haino on Thrill Jockey, American Dollar Bill -- Keep Facing Sideways, You are too Hideous to Look at Face on (2018), with another monolith -- heavy and experimental at the same time. Personnel: Keiji Haino - guitar, voice, flute, taepyeongso; Aaron Turner - guitar; Nick Yacyshyn - drums; Brian Cook - bass.

Artist	Title	Format	Label	Catalog #
ATKINSON, FELICIA	The Flower And The Vessel	CD	SHELTER PRESS	SHELTER 110CD
$15.50 PREORDER RELEASE DATE: 7/5/2019 French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms -- how even the quietest creative act ripples outward, a whisper with no fixed meaning. The Flower And The Vessel pursues this notion in a more literal fashion, as it was crafted while pregnant on tour. She describes it as "a record not about being pregnant but a record made with pregnancy." Each day and night, finding herself far from home, she asked herself "What am I doing here? How can I connect myself to the world?" The answer gradually revealed itself: "With small gestures: recording my voice, recording birds, a simple melody." In truth there is nothing simple about The Flower And The Vessel. The album's 11 songs span whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences: Ravel's L'enfant Et Les Sortilèges, Debussy's La Mer, and Satie's Gymnopédies. There's certainly a shade of classicism woven within these tracks; melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia. Much of Atkinson's discography is shaped by speech and the lyricism of language, but The Flower And The Vessel ventures further into silence. Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, and marimba, softly processed into an elegant emptiness, alternately eerie and serene. Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson's synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O'Malley, "Des Pierres," is one of the album's few pieces tracked in a proper studio, but it broods and burns with the same subliminal majesty as the rest of The Flower And The Vessel: an ember in amber, seeds planted in shifting sands. Original artwork by Julien Carreyn, mastered by Rashad Becker at Dubplates and Mastering.

Artist	Title	Format	Label	Catalog #
GEESIN, RON	ExpoZoom	CD	DARK COMPANION	DCLP 010CD
$18.00 PREORDER RELEASE DATE: 7/5/2019 Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.

Artist	Title	Format	Label	Catalog #
KIRKEGAARD, JACOB	Black Metal Square	LP	IMPORTANT RECORDS	IMPREC 475LP
$34.50 PREORDER RELEASE DATE: 6/21/2019 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 #
ARKBRO, ELLEN	Chords	CD	SUBTEXT	SUB 015CD
$12.00 PREORDER RELEASE DATE: 6/21/2019 With Chords, the Stockholm-based musician and composer Ellen Arkbro returns to Subtext, following her acclaimed debut album For Organ And Brass (SUB 011CD/021LP, 2017). This new long-player sees Arkbro adopt a more minimalist approach, focusing on the immediate qualities of sound and elegantly expanding the tonal capacities of acoustic instruments using precise, subtle synthesis. Composed of a carefully selected combination of tones, Chords stretches, extends and obscures the timbral character of the instruments it is performed on. Across both tracks, Arkbro examines the sonic materiality and harmonic quality of chords. She considers how the compositions occupy space rather than time -- transposing theoretical possibilities into the phenomenal realm. As a part of Arkbro's systematic investigation of harmonic sound, Chords proffers a divergence from conventional ways of listening. "Chords For Organ" was first envisaged in Stockholm's brutalist Västerort Church. With an interest in tuned intervals and chords, Arkbro sought out particular harmonicities before synthetically supplying additional harmonic content and texture. To pure fifths and octaves, she adds synthesized natural sevenths and thirds, creating a heightened sense of harmonic stability. While this incarnation of "Chords For Organ" was recorded in Malmö's St. John's Church, this work is site-specific, requiring Arkbro to seek out appropriate chordal orchestrations in registers and tunings on each respective instrument, when performing live. "Chords For Organ" has been adapted and performed in Martin Luther Kirche in Dresden, Civico Tempio Di San Sebastiano in Milan, First Unitarian Church in Brooklyn, Lutherse Kerk in Den Haag and Sint-Jan de Doperkerk in Leuven. In the corresponding "Chords For Guitar" Arkbro applies her process to a more widely accessible instrument. Employing a fine-tuned Karplus-Strong synthesis, she supplements additional tones to create a harmonically controlled blend of the acoustic and the synthetic. "Chords For Guitar" places the listener at the center of a cyclically repeating complex of harmonic strings in wave-like motion. Attention is synchronously fixed with the sound as this chordal harmony rises, vibrates, and purrs away, before rising again. As she transposes these ideas across organ and guitar, Arkbro teases out their affinities and dissimilarities, and, in doing so, effectively highlights the harmonic character of the work as a whole.

Artist	Title	Format	Label	Catalog #
WAKHEVITCH, IGOR	Kshatrya (The Eye Of The Bird)	LP	TRANSVERSALES DISQUES	TRANSVERS 010LP
$29.00 PREORDER RELEASE DATE: 6/21/2019 LP version. Transversales Disques presents Kshatrya (The Eye Of The Bird), a never released before recording by French avant-garde electronic composer Igor Wakhevitch. Wakhevitch composed a bunch of major experimental albums in the '70s, such as Logos (1970), Docteur Faust (1971), Hathor (1972), Les Fous D'or (1975), Nagual (1977), and Let's Start (1979). During this 10-year period, Wakhevitch was close to Jean-Michel Jarre, Pink Floyd, Soft Machine, and legendary choreographer Maurice Bejart having with him many conversations around dance and music, human body and soul, spiritual path, collective life, new society, and human evolution. As a composer, Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley, to name a few. He's considered as one of the first French composer using synthesizers like Synthi AKS, ARP2600, or Moog modular systems. After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work recorded in 1999 on his "Mysterious Island 88" system. Esoteric, sacred, and cosmic, Kshatrya (The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of electronic music. A must!

Artist	Title	Format	Label	Catalog #
BERTOIA, HARRY	Experimental I/Mechanical I	LP	SONAMBIENT	FW 1035LP
$25.50 PREORDER RELEASE DATE: 6/21/2019 LP version. When Harry Bertoia's Sonambient label was resurrected, Important Records' intention was to tell the story of Bertoia's groundbreaking Sonambient work as revealed through his extensive collection of notes and recordings. When the first new LP was released in 2016, Important were only in possession of 1/20th of the archive. Now, in 2019, the label is excited to release the first LP of new material from the full archive and they present it to increase understanding of what Bertoia was doing in his sound-barn deep in the Pennsylvania woods. The recordings contained on this LP were selected because of their relationship to Bertoia's body of recorded work. The titles are from Bertoia's notes which Bertoia placed in each tape box, indicating date and describing briefly. Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: "experimental", "mechanical", and "long sounds". Cut from the original master tapes maintaining a straight analog signal path. CD version includes bonus track "Long Sounds". "Experimental I": Very few of Bertoia's early experimental sessions survive on tape: he did not record many and often erased those he taped. Most were not recorded and those that were recorded, were often erased. Those that remain, however, offer fascinating insights into how Bertoia likely worked in the barn when the tape machine wasn't running. Although he left behind hundreds of tapes, one can only begin to imagine the amount of unrecorded sessions that took place in Bertoia's barn. "Experimental I" shows the artist stretching out, in no hurry and avoiding any bombastic explosiveness. You can imagine Bertoia looking around the barn much as he is seen on this album's cover; searching for the next sound in his forest of metal wires. Unheard combinations of sculptures, percussion and long strummed sections make this recording unique. This piece has an effortless, natural flow. "Mechanical I": There appear to be at least ten tapes from 1969-1975 that Bertoia noted were "Mechanical". Bertoia thought of his sculpture as a collaboration with industry since the diameters of his rods were, ultimately, determined by what was available from the factory that manufactured them. In that sense, Bertoia's music could, quite literally, be considered industrial and this piece has the metallic rhythms of a factory pulsing through it.

Artist	Title	Format	Label	Catalog #
KIRKEGAARD, JACOB	Phonurgia Metallis	CD	IMPORTANT RECORDS	IMPREC 462CD
$15.00 PREORDER RELEASE DATE: 6/21/2019 The sound art of Jacob Kirkegaard explores ways to reflect on immediate complex, unnoticed or unapproachable aspects of the human condition or civilization. His works have treated themes such as radioactivity in Chernobyl and Fukushima, melting ice in the Arctic, border walls in Palestine, and tones -- otoacoustic emissions -- generated from the actual human ear. Currently, Jacob Kirkegaard works on two projects, one is on the sound of global waste and waste management. The other on sound environments related to the immediate human post mortem. With his peculiar alchemist approach and extensive research, complex phenomena and current conditions are portrayed through composition, installation, video. and photography. Rather than providing answers, his portrayals create spaces for reflection. Kirkegaard has presented his works at galleries, museums, biennales and concert spaces throughout the world. Edition of 300. "One of contemporary sound art's most subtle, intriguing figures. More artistically minded than field recordings, more naturally hewn than noise tapes, Kirkegaard amplifies hidden worlds into evocative drifts." --Rolling Stone, December 2015

Artist	Title	Format	Label	Catalog #
SADAF	History Of Heat	LP	BLUEBERRY RECORDS	BBR 002LP
$20.00 PREORDER RELEASE DATE: 6/21/2019 Sadaf H Nava is an Iranian composer, violinist, and visual artist whose multidisciplinary interventions include sound, video, performance, and text. History Of Heat is an eroto-intellectual retelling of a love story. It is the scholarship of heat, and the sources of its production in the body: desire, exaltation, anticipation, fear, rage, and mourning. It is a fable circulating through the nerves, pumped and distributed by its own mythologies. Through different chapters, you follow the heroine from the initial desire to love, the sensual pull which oscillates between the grotesque and sacred longing of the flesh ("L'Enfer en pleine lumière", or, "Hell In Plain Sight"), to the sudden ghostlike appearance of the "Other" (with "Apparition") as a projection of the dream. "Animal" speaks of instinct, the smell of the beloved, already the deconstruction of the divine back into the realm of the physical. The title track sings the hesitation of love, the precipice of openness, and the invitation of the contract. In "Perfection", the pressure, which keeps the relationship on the pedestal of the absolute, stunts and paralyses love. "Tiny Engine" speaks of mechanical attachment, attachment to the lover as habit, as a second nature, and the call to the other person as a magnet. In "Ditectrice", the madness and the folly of separation spawns war and confusion. "Feed Him" follows with resignation and exhaustion. "War Text" brings forth the devastation, the peace treaty and finally the metaphysical divorce. In "Guttermoon", the vita contemplativa begins, the blood starts to cool, the scene is a ghost town. "Wrong God" similarly winds down as an ode to remorse and mourning. Finally, "Cinema Verité" closes out the album with a mistrust of "reality". History Of Heat is an experimental narrative and cinematic pastiche of all original and self-recorded material. A chaotic mix of sounds, both analog and digitally produced, recalling a warlike interpersonal breakdown. The mood established by the lyrical content of the piece is meant to be demanding, enclosing the listener within a unique and compelling cocoon of otherworldly sound. The album is framed within a discursive love story which reflects larger relational problems and interpersonal traumas. Looped vocals act as incantations woven in and out of lyrical singing and spoken word. The instrumentals embrace chaos and intensity. Improvised violin and broken-down beats complement and balance the melancholic overtones which flutter above off the grid rhythms in this charged ficto-personal account.

Artist	Title	Format	Label	Catalog #
RAVIV, AMNON	Mirror	LP	PARADIGM DISCS	PD 034LP
$23.50 PREORDER RELEASE DATE: 6/21/2019 Paradigm Discs present a reissue of Amnon Raviv's Mirror, originally released in Israel in 1983 and only available in a handmade edition of just 50 copies. As such, this edition is the first widely available issue of this LP, giving it a chance to reach an audience beyond the 50 hardened collectors who got to hear this strange experimental record back in the '80s. There's nothing else quite like it from that era, let alone from Israel, although it does have some parallels with earlier avant-garde/outsider music from the US and Europe. It may well be the strangest, as well as one of the most obscure records to come out of Israel. The instruments used are flamenco and acoustic guitar, flute, violin and sax. Some of the playing is free form and some is complex notation, but all the tracks contain collages of effects and noisy field recordings which often dominate the picture -- bubbling water, a chicken farm, feedback, transistor radio, metal percussion, vacuum cleaner, etc. There are some comparisons to be made with Anal Magic and Rev Dwight Frizzell's Beyond The Black Crack from 1976, also reissued on Paradigm (PD 006CD/LP). Mirror has a similar wild and fried atmosphere sitting amidst the open sonic spaces, coupled with some skilled instrumental playing. A notable difference with the Frizzell album is that Frizell's pieces are always titled -- the six pieces here are all untitled. Amnon Raviv is still active as a musician, but he also holds a PhD in medical clowning and his main work these days is as a medical clown, incorporating smiles and laughter as a therapy to help recovering patients on Tel Aviv's cancer wards. This edition comes with new artwork showing Raviv working as a performance artist on the streets of Amsterdam in 1984. Includes 12x12" insert which replicates the original artwork from one of the 50 unique sleeves and contains liner notes by the artist that give insights into the concept behind this album; edition of 500 (numbered).

Artist	Title	Format	Label	Catalog #
WOLFF, CHRISTIAN	Preludes, Variations, Studies and Incidental Music	2CD	SUB ROSA	SR 480CD
$18.00 PREORDER RELEASE DATE: 6/21/2019 These two discs reveal Christian Wolff as a composer fully exploring, in different ways, the continuum between music which is highly fragmented, embracing extended silences (composed or indeterminate), to that which is more progressive and seemingly driven, albeit taking in disarming and unconventional routes. As a body of repertoire, these works are remarkable for their freshness of musical thought and energy (John Cage considered Wolff to be the most "musical" of the experimental composers). Performer Philip Thomas (b.1972, North Devon) specializes in performing experimental notated and improvised music as a soloist and with leading experimental music group Apartment House. He is currently Professor of performance at the University of Huddersfield, co-director of Cerenem, and co-editor of Changing the System: the music of Christian Wolff (2010). Digipack; includes 16-page booklet. Philip Thomas on the release: "In all my performances of Wolff's music, I aim for interpretations that both interest and surprise me, allowing the notations to lead me to new ways of playing and thinking about music, whilst at the same time trying to lead the notations toward the unexpected."

Artist	Title	Format	Label	Catalog #
TARDOS, ANNE	Gatherings	CD	RECITAL	R 062CD
$15.00 PREORDER RELEASE DATE: 6/21/2019 "Anne Tardos is an American poet, visual and vocal artist; she has developed a unique performance style that allows her to move fluidly within -- and between -- media. This is evident in Gatherings, which was originally published on cassette by New Wilderness Audiographics, and holds recordings from 1974-1981. It stands as one of Tardos's seminal audio documents; two forms of sound are examined here; the first is observational and static recordings of the artist's loft: percussive sounds from heat pipes expanding and contracting and the irregular pulse of her refrigerator defrosting. The reflection of chaos found in nature is encapsulated and tagged here in its simplest form. Tardos rolled those moments of found sounds onto tape, reexamining the meaning (and the ultimate absence) of stillness. The other form of this album is multichannel solo voice works; they are intimate, close-miked, and playful, morphing from harmonic swirls to whisperings. They capture a dynamic exploration of her extended vocal range -- the contrast between pieces is dramatic. The final piece, "Real Sleeper, Real Dreamer," integrates both forms. It is a self-portrait of the artist sleeping, bending inside breath and air, a study of the physical surface above dreams, the durational search within the expanse of the self, and the phenomenal depth of the shallows is splashed in our ears" --Sean McCann, April 2019. Edition of 200, includes eight-page booklet with notes by Tardos and Charlie Morrow.

Artist	Title	Format	Label	Catalog #
ARKBRO, ELLEN	Chords	LP	SUBTEXT	SUB 029LP
$18.00 PREORDER RELEASE DATE: 6/21/2019 LP version. With Chords, the Stockholm-based musician and composer Ellen Arkbro returns to Subtext, following her acclaimed debut album For Organ And Brass (SUB 011CD/021LP, 2017). This new long-player sees Arkbro adopt a more minimalist approach, focusing on the immediate qualities of sound and elegantly expanding the tonal capacities of acoustic instruments using precise, subtle synthesis. Composed of a carefully selected combination of tones, Chords stretches, extends and obscures the timbral character of the instruments it is performed on. Across both tracks, Arkbro examines the sonic materiality and harmonic quality of chords. She considers how the compositions occupy space rather than time -- transposing theoretical possibilities into the phenomenal realm. As a part of Arkbro's systematic investigation of harmonic sound, Chords proffers a divergence from conventional ways of listening. "Chords For Organ" was first envisaged in Stockholm's brutalist Västerort Church. With an interest in tuned intervals and chords, Arkbro sought out particular harmonicities before synthetically supplying additional harmonic content and texture. To pure fifths and octaves, she adds synthesized natural sevenths and thirds, creating a heightened sense of harmonic stability. While this incarnation of "Chords For Organ" was recorded in Malmö's St. John's Church, this work is site-specific, requiring Arkbro to seek out appropriate chordal orchestrations in registers and tunings on each respective instrument, when performing live. "Chords For Organ" has been adapted and performed in Martin Luther Kirche in Dresden, Civico Tempio Di San Sebastiano in Milan, First Unitarian Church in Brooklyn, Lutherse Kerk in Den Haag and Sint-Jan de Doperkerk in Leuven. In the corresponding "Chords For Guitar" Arkbro applies her process to a more widely accessible instrument. Employing a fine-tuned Karplus-Strong synthesis, she supplements additional tones to create a harmonically controlled blend of the acoustic and the synthetic. "Chords For Guitar" places the listener at the center of a cyclically repeating complex of harmonic strings in wave-like motion. Attention is synchronously fixed with the sound as this chordal harmony rises, vibrates, and purrs away, before rising again. As she transposes these ideas across organ and guitar, Arkbro teases out their affinities and dissimilarities, and, in doing so, effectively highlights the harmonic character of the work as a whole.

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