Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

FRIEDL, REINHOLD	KRAFFT	CD	ZEITKRATZER	ZKR 027CD
$15.50 PREORDER RELEASE DATE: 10/23/2020 KRAFFT for orchestra was composed in 2016 as a commission of the French State, and was premiered in Paris and Marseille, France. The composition has a similar kind of metric structure as String Quartet No.3: all instruments play in rhythmic unison throughout. KRAFFT is an ironic-onomatopoetic wrong spelling of the German term "Kraft", meaning "power" or "force". The listener should feel exposed to a sonic undertow. The notion of huge power and force is often connected to the existence of clandestine and unknown rules controlling the world around us; something is happening, but we do not know exactly what, when or how. KRAFFT enforces textural listening as Richard Wood described it "an unwinding strip of 'texture': just listen to that; not to its various strands as such, not to one single strand, but to it as a whole, an unwinding ribbon, varying as it goes in width, in colour, in depth, in thickness, in weight, in character, but always a unity." KRAFFT is composed with the help of the computer program TTM (Textural Transformation Machine), developed by the Friedl to sculpture multiple random processes. It has been programmed by Sukandar Kartadinata.

Artist	Title	Format	Label	Catalog #
JAEGER, KASSEL	Meith	LP	BLACK TRUFFLE	BT 069LP
$27.50 PREORDER RELEASE DATE: 10/16/2020 Black Truffle present Meith, a new composition in two parts from prolific composer/theorist François Bonnet. Usually operating under his Kassel Jaeger moniker, Bonnet is a major figure in contemporary electronics and electro-acoustic music, collaborating with artists such as Lucy Railton, Jim O'Rourke, and Stephen O'Malley, and releasing his work on labels including Editions Mego, Senufo, and Shelter Press. Always meticulously detailed yet immediately affecting, Bonnet's work situates itself at a very personal intersection between the traditions of academic electronic and electroacoustic music, and a more shadowy, underground group of approaches to experimental sound: kosmische musik, the tape murk of the 1980s underground, the haunted ambience of Christoph Heemann & Co. Meith immediately welcomes you into its densely layered sound world of electronic tones, positive organ, and unidentifiable field-recorded textures. Almost static yet constantly in flux, it deliberately opens itself up to repeated and varied listening: from a distance, its many voices cohere into a monolithic plane of sound, while closer inspection reveals myriad details and momentary events. Like a drop of ink spreading through water, harmonic material present in one voice gradually fans out into the whole arrangement, creating fleeting moments of unity amid the constantly shifting waves of tone and texture. Far from the austerity of some contemporary electro-acoustic music, Meith affects the listener as overwhelming organic; its individual layers are unstable and at times near-chaotic, imbued with life. Though it can appear almost formless, the piece undergoes major shifts throughout its duration, from the austere dissonance of the opening moments to the surging harmonies that appear midway through the second side before the piece gradually dissolves into a spectral glimmer.

Artist	Title	Format	Label	Catalog #
MOSCHOUTIS, MICHALIS	Classical Mechanics	CD	ROOM40	RM 4124CD
$17.50 IN STOCK From Michalis Moschoutis: "Observing visual and auditory patterns of slowly moving objects, induces a comforting sense. Whether random or organized, complex or simple, intentional or incidental, seen, felt or listened to, most physical movements carry a reassuring message; the receiver is alive, earth is in orbit exerting a gravitational force upon all matter and time has a constant flow which can be measured through the periodic succession of physical phenomena. It was upon these fundamental principles that visual artist Roman Signer built a large body of fascinating works which have had a great impact on me since a young age . . . In the realm of sound, I was recently introduced by orchestra director and good friend Ilan Volkov, to the work of Pierre Berthet and Tetsuya Umeda. In 2018 I invited Pierre Berthet to perform at Borderline Festival and the following year, in the context of Tectonics Athens we programmed, together with Ilan Volkov, Umeda's solo show. Onstage, both artists explored various physical phenomena whose visual and auditory effects were of equal significance. Their seemingly meaningless actions bore an indefinable emotive strength and revealed a profound attachment of artists to sounding objects. As a listener I was totally immersed in the intensity of the moment and found meaning in intended and unintended actions and events . . . Being a bad liar in actual life, I've always inclined to transparent creative processes as experienced in the work of artists like Roman Signer, Pierre Berthet and Tetsuya Umeda. In a similar manner, I see this record as nothing more than a sonic imprint of a series of actions and reactions, assembled and composed into a four-track album. I perceive all of the following sounds simply as movements that have resonated within me over the past few years; the touch of contact microphones on various surfaces, vibrating strings loosened to the extend they no longer produce audible tones, myself swimming in the sea, the underwater crackling of rocks, Thalia Ioannidou's heavy breathing, Ingi Garðar Erlendsson's solo thranophone performance in Reykjavík in 2014, oscillating springs, rotating cymbals, subtle movements of tuning pegs and knobs, scrubbing of piano strings, Sofia Labropoulou playing with the mandals of her qanun, pressing keys, patting strings, moving pedals and knee levers of a pedal steel guitar, Ilan Manouach's close-mic'ed soprano saxophone and soft mouth sounds. With Classical Mechanics I invite the listener to an intimate space I find as immersive as a large venue resonating to the throbbing frequencies of a full-range PA."

Artist	Title	Format	Label	Catalog #
YAMAMOTO, TATSUHISA	Ashioto	LP	BLACK TRUFFLE	BT 068LP
$29.00 PREORDER RELEASE DATE: 9/25/2020 Black Truffle announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O'Rourke, Eiko Ishibashi, and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups. Ashioto presents two wide-ranging pieces that combine Yamamoto's percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi. Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto's work on Eiko Ishibashi's acclaimed Drag City LP, The Dreams My Bones Dream (2018). Spacious piano and synth notes, along with Ishibashi's spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus's ECM classic Freigeweht (1981). The LP's second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara's saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney's works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto's accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics. Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato -- a different take on the same "script" released simultaneously on Japanese label Newhere -- Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto's work. Mastered by Jim O'Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

Artist	Title	Format	Label	Catalog #
PAPILLON	Banco	LP	DISCREPANT	CREP 077LP
$21.00 PREORDER RELEASE DATE: 9/18/2020 After his debut album for Discrepant, Papillon (CREP 009LP, 2013), and a couple of tapes for Dinzu Artefacts (Aqueducts, 2017) and Sucata Tapes (Cercueill Flottant, 2019 (SUC 022CS)), Papillon aka Gonçalo F. Cardoso returns to the wax treatment for one last hurrah into the depths of tropical disquiet. Taking liberties from Henri Charriere's book sequel of the same name, Banco (1972), the audio reader here dives straight up/down into a world of random dream logic. The same themes of nightmare vs. paradisiac dreams are present here yet with more nuance than the first volume. The adventure here is more subdued, less spiritual as most of it is lived outdoors, free from the state's shackles of abuse. A lighter tone then, for what will probably be the last Papillon adventure. As with the first volume the album counts with contributions from fellow label artists, Mike Cooper, Cédric Stevens, David Daan, and Yannick Dauby all feature in a way or another, raw or cooked into a boiling pot of irreverence. All tracks were composed and edited by Gonçalo F Cardoso in the island of La Gomera, Lisbon and London between 2017-2019. Mastered by Rashad Becker. Edition of 300.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	L'essere Umano Errabando La Voca Errabando	LP	THE HENNING CHRISTIANSEN ARCHIVE	HC 003LP
$29.00 PREORDER RELEASE DATE: 9/18/2020 The third release on The Henning Christiansen archive label features a previously unreleased work from 1991. "The Wandering Human Being - The Wandering Voice", as the title suggest is a piece for voice and features Carlo Quartucci, Carla Tatò, Ursula Reuter Christiansen, and Henning Christiansen. Ursula and Henning met the couple Carlo Quartucci and Carla Tatò through the curator Johannes Gachnang on a visit to Genazzano in Italy 1983 and became close friends, collaborating on a variety of projects, most notably on Carlo and Carla's epic adaptation of Heinrich von Kleist's play Penthesilea. "The Wandering Human Being - The Wandering Voice" came about from a conversation between the four of them whilst on a beach on the island of Møn in the eastern sea in Denmark, looking south. Here they all laughed at the realization that on the other side of Europe in this direction was Sicily where Carlo and Carla lived. The island Sicily, The island Møn. As Henning says: "The human-being was wandering from sea to sea." Henning saw no difference in their way over life "over there" and mused on the means of which we cross over oceans and move around facilitating awareness of the same family of human being. People from islands meet people from islands and they can all look across vast waters and laugh together. Human-basic-technology This conversation and collective realization of the simplicity of it all lead to this work which is one of the finest in Henning's vast catalog. L'essere Umano Errabando La Voce Errabando is a mantra for four voices, the sound of the ocean, a PVC tube, effects, and wind instrument. The piece moves in an organic hypnotic fashion lulling and rolling, ebbing and flowing over the two sides of the record. Rudimentary phrases in various languages interlope and weave a mystical music, as primitive as it is "contemporary". "The Wind, The Stars" are repeated over in random untrained fashion. The two couples from different countries weave voices, words and language into a common sonic fabric which eradicates identity, the idea of "national," the idea of country, the idea of difference. Unlike anything else in Henning's output, L'essere Umano Errabando La Voce Errabando is a calm and meditative work which rolls along two sides wrapping the listener in a random melancholic meditative mantra. Only Henning Christiansen could summon such haunting, beautiful, gothic music carved from political hope.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	SAVE THE NATURE -- USE FLUXUS, The Box Gallery parking lot, Los Angeles	2LP	BOX EDITIONS	BOX 004LP
$45.00 PREORDER RELEASE DATE: 9/18/2020 Co-release with The Henning Christiansen Archive. In November 17, 2019, a six-hour performance was undertaken in the car park of The Box gallery in Los Angeles as a part of the Henning Christiansen/Ursula Reuter Christiansen exhibition, THEY WON'T SURVIVE WITHOUT THE BIRD SONGS. Thørbjorn Reuter Christiansen, son of Ursula and Henning, developed a timeline for the performance which was essentially designed to encompass a contemporary community of like-minded artists that spans generations and continents. The resulting performance included archival recordings taken from the H.C. Archive, which houses a vast collection of compositions, scores and correspondence of the late Christiansen. This limited-edition double-LP collects edited highlights from the day capturing the unique and somewhat unsettling atmosphere provoked by a diverse range of performances. Thørbjorn Reuter Christiansen developed a new action where he performed a sound piece on iconic instruments of Henning's alongside recorded sounds of his father. "The New Sound of the Living Dead": Bjørn Nørgaard presented two new iterations of some of his historical actions; Homage to Henning and Joseph, Manresa, a piece he first collaborated on with Henning Christiansen and Joseph Beuys at Galerieleri Schmela in Düsseldorf in 1966, and The Cake, a live construction of a monolithic yet impermanent sculpture meant to decay over time. Along with this he did a reading of a new piece of writing, "The Origin of the Future". Mai Dengsøe Hansen performed "EURASIENSTAB fluxorum organum op. 39", a piece for organ that Henning scored and used as the soundtrack for the film Eurasienstab, with Joseph Beuys. The BOX gallery founder Mara McCarthy, along with her father, the notorious Los Angeles artist, Paul McCarthy and Chiara Giovando performed "Knock Harder", a 20-minute improvisation that loosely recalls "Knocking", a sound scape Henning used repeatedly throughout many of his own compositions. Chiara and Mara can be heard singing and playing a selection of small instruments, while Paul methodically slammed the back door of the gallery with a piece of scrap 2x4 pinewood -- a kind of dedication to the monotony of Fluxus. Mark Harwood, the founder of experimental label Penultimate Press, performed an improvised musical protest incorporating fire, rhythm, and chaos alongside field recordings of the civil unrest in Chile that he collected occurred just prior to the opening of this exhibition. Ultra-deluxe set; two LPs held together with a printed rubber band, four large full-color double-sided art cards documenting the performances, a substantial booklet/catalog about the exhibition and a large poster featuring a drawing by Paul McCarthy made during the performance; edition of 500 copies.

Artist	Title	Format	Label	Catalog #
DARGE, MONIEK	Bratschebraut	LP	HORN OF PLENTY	HOP 003LP
$29.00 PREORDER RELEASE DATE: 9/18/2020 First time vinyl issue of key works from the Belgian artist-musician Moniek Darge. Following a deep-excavation of the Logos archives London's Horn Of Plenty presents Bratschebraut -- four works utilizing prepared violin, electronics, tapes, and voice. These recordings are from the same era as Moniek's classic Sounds of Sacred Places LP (1980). Bratschebraut extends the story of Moniek's work during this period: playful, intimate, raw, and quite unique. Although they were recorded across a seven-year period and were not intended to sit together, the music on Bratschebraut, seen retrospectively, captures a pivotal era in Moniek's artistic development. A period that saw her challenge, destroy, then create anew. Bratschebraut both a significant addition to Moniek's catalog and an essential historical document. Bratschebraut comes in an on red vinyl; housed in a full-color sleeve with deluxe PVC bag; includes 28-page booklet containing artist's notes, previously unpublished photos, and details from the original graphic score for ManMo. Edition of 300.

Artist	Title	Format	Label	Catalog #
CHRISTIANSEN, HENNING	Op. 41 BADET / Kom Frem For Satan / Min Dode Hest / Op.72 Bondeforeren Knud Lavard	LP	THE HENNING CHRISTIANSEN ARCHIVE	HC 002LP
$29.00 PREORDER RELEASE DATE: 9/18/2020 The second release on The Henning Christiansen archive label is a compilation of four works from 1967-1972 including a poem set in a bath, an unknown musical work, the musical backdrop to a horse sacrifice and a soundtrack to a school play. What binds these works together alongside the period when written is their basis in "song" and some traditional "musical" elements. What separates it them from said tradition is that they were composed by Henning Christiansen. "Op. 41 BADET" is a simple work featuring three elements: Charlotte Strandgaard reading her poem "Badat" (The Bath), Henning playing melodica, and the sound of water splashing in a bath. The result is an unusual and evocative lo-fi setting to the resigned nature of the reading. Not a lot is known about "Kom Frem For Satan" (Come Forward Satan). Possibly a soundtrack of sorts? It certainly carries that mood with jazz-inflicted interludes, melodic organ moments all interlaced with the diegetic sounds of cars, footsteps, gunshots, etc. The result comes across like a gangster tinged musique concrete radio play. "Min Død Hest" was previously released as a single-sided 10" under the name "Hesteofringen", here restored under its correct name. "Min Død Hest" (My Dead Horse) was written to accompany the Bjørn Nørgaard performance "Hesteofringen" (The Horse Sacrifice) on January 30th, 1970, one of the most notorious performances in Danish art history. Featuring a poem written by Lene Adler Pedersen, this is a recording made after the performance with Lene Adler Pedersen singing, accompanied by Christiansen on piano (as opposed to the green violin he used in the performance), "Min Død Horse" is a beautiful haunting fragile song laden with metaphor, a sad lullaby is as simple and unusual as anything in Christiansen's output. "Op. 72 Bondeføreren Knud Lavard" is the soundtrack to a school play performed on at the Fanefjord School on the island of Møn, Denmark, where he lived, in 1972. Another surprising work in Christiansen's oeuvre the six pieces that make up this work shift between the sinister and sweet, often in the same track. Falling within the same period Henning made the soundtrack to The Executioner, "Bondeføreren Knud Lavard" mixes the melancholic romantic mood of that soundtrack whilst deep organ chords, military drumming and an acoustic guitar solo (played by Henning's first son Esben Christiansen) all make an appearance.

Artist	Title	Format	Label	Catalog #
HAMANN, JUDITH	Peaks	LP	BLACK TRUFFLE	BT 066LP
$23.50 PREORDER RELEASE DATE: 9/18/2020 Black Truffle present Peaks by Australian cellist Judith Hamann, her debut release of electro-acoustic music. Known mostly for her live performance work with composers including Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Tashi Wada, and La Monte Young, here she steps away from the cello, moving into an intimate dreamscape woven from recordings gathered over years of itinerant touring. Peaks is a work in two distinct parts, crossfading between different landscapes and apertures; from rooftop to church, from stasis to flares of momentary romanticism. Peaks considers summits as being both above and below, reframing the idea of apex from a more intimate perspective. Hamann considers how our domestic and personal geographies might form their own apogees, meridians, or nadirs. Assembled in 2019 while an artist in residence in Krems, Austria, Peaks begins with Hamann's more familiar cello but soon unravels into resonant electronic interiors; Southern California nightscapes heard through windows, San Francisco bathroom fans, snatches of recordings of friends, hand organs, and engines. "signal/Centinela" draws primarily on recordings from Hamann's time living in San Diego, and carries with it a certain sense of nostalgia in the sense of homesickness, longing, and displacement of distance and time. Side B is composed from recordings gathered on a different continent, Europe, weaving piano with recordings of sleep, breath, church organ, and the act of climbing. "under/over" emerges as it recedes, overlapping moments of arrival to create another kind of "spire" in the sense of spir (breath). Peaks, with its omission of any recordings from Hamann's home of Australia, hints at how the very construction of home itself, might be restless, untethered, changeable, and malleable. On Peaks, Hamann interrogates tropes of ambient concrète musics, intentionally pivoting formally around material which teeters on the edge of cliché. This exploration asks whether familiar frames of harmony, field recordings and narrative trajectories can excavate new territories, or be ruptured. Peaks untangles a very personal sense of tension between beauty and shame in experimental music: treating lushness and harmony as possessing potentially muscular musical properties that might wrestle with or construct senses of belonging and home. Design by Lasse Marhaug. Photos by Judith Hamann. Mixed and mastered by Alan F Jones.

Artist	Title	Format	Label	Catalog #
LERKENFELDT, LISA	Collagen	LP	SHELTER PRESS	SHELTER 120LP
$23.50 PREORDER RELEASE DATE: 9/18/2020 The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrète threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions, and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date. Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to "elevate the everyday," transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition. Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone. But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, "Champagne Smoke." A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house. 14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation from July 29th to October 29th, 2020. Designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve. Includes a 16-page limited edition score book. Mastered and cut by Kassian Troyer at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
HENNIX, CATHERINE CHRISTER	Unbegrenzt	LP	BLANK FORMS/EMPTY EDITIONS	BF 011LP
$27.50 PREORDER RELEASE DATE: 9/18/2020 Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works (2018) and Selections from 100 Models of Hegikan Roku, named the #1 archival release of 2019 by The Wire (BF 007LP, 2019), in addition to a two-volume collection of Hennix's writing titled Poësy Matters and Other Matters. Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, electronics) and Hans Isgren (bowed gong), Hennix's realization of Karlheinz Stockhausen's "Unbegrenzt" (German for "unlimited") from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen's conception of "intuitive music," a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young's event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer's Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen's 1969 recording, Hennix's alternative realization of the "Unbegrenzt" score's instructions to "play a sound with the certainty that you have an infinite amount of time and space" is based on her concept of "Infinitary Compositions", the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young, and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen's compositional method of "moment-forming" to heart, her version's dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen's score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind. Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Artist	Title	Format	Label	Catalog #
HARWOOD, MARK	A Perfect Punctual Paradise Under My Own Name	LP	PENULTIMATE PRESS	PP 047LP
$27.50 PREORDER RELEASE DATE: 9/18/2020 "A Perfect Punctual Paradise Under My Own Name is a two-part audio drama that charts the life of a middle-aged Australian man in the throes of an existential crisis, brought about through a series of unforeseen circumstances that collectively threaten to undermine the fundamentals of his existence. It's a work that explores the sound of a mind collapsing under pressure, where lucidity is traded for mania, and eloquence reduced to a scattershot of primal rambling and abstract self-reflection. It's man-as-animal, cowering in a cage, teeth exposed, as vulnerable as it is unpredictable. It's the sad musings of a failed musician turned stand-up comic, left alone in his squalid flat to reflect on life's undelivered promise with only the constant playback of his odd routines for distraction. It's a palimpsest of derelict ideas and unloved skits, etched onto the tattered skin of Salmon Run and worn before an audience of no one. It's a series of wrong turns and dead ends, a puzzle, a game, a confession, but above all else, A Perfect Punctual Paradise Under My Own Name is the greatest record Astor never made." --Graham Lambkin Edition of 300.

Artist	Title	Format	Label	Catalog #
NOVAGA, ALESSANDRA	I Should Have Been a Gardener	LP	DIE SCHACHTEL	ZEIT 016LP
$25.50 PREORDER RELEASE DATE: 9/11/2020 Offering a visionary approach to the solo guitar, Milanese experimentalist Alessandra Novaga, delivers an expansive meditation on the late filmmaker, Derek Jarman, with I Should Have Been a Gardener, presented by Die Schachtel. Alessandra Novaga is among the leading figures within Italy's thriving new, experimental, and improvised music scene, consistently rendering striking solo efforts, as well as equally noteworthy collaborating with Stefano Pilia, Paula Matthusen, Elliott Sharp, Sandro Mussida, Travis Just, and others. Remarkably ambitious and forward-thinking, her approach to the guitar veers from the trajectories of visceral emotiveness and textural extended techniques that have held sway over the instrument's applications within avant-garde contexts over the last half century, encountering her relentlessly deconstructing and rethinking its unique properties through applications of structure, resonance, space, and tone. I Should Have Been a Gardener -- building on from the territory explored within 2017's Fassbinder Wunderkammer (2017) -- is Novaga's second LP to draw conceptually on her love for film. Rather than focusing on a fixed point of inspiration, the album takes form as a distillation, pulling from across the unique life, death, work, political commitment, and diaries of Derek Jarman. Emerging as an ethereal aural portrait of the man, sound -- interventions of tonality with non-instrumental sources -- and silence join in a single, unified body that seeks redemption and purification at the boundaries of life; an imprint that, like Jarman's garden at Prospect Cottage, is magical -- flowers blooming between the stones -- hovering in the stark space between an endless sea and post-modern shadow of a nuclear power plant. As remarkably listenable as it is challenging and pregnant with ideas, Novaga's I Should Have Been a Gardener represents a strikingly at ease step forward in the potentialities of experimental music. Bravely taking on the ubiquitous expectations of the guitar, Novaga refused to relinquish the clarity of source and sound, forcing the ear to rethink what is accepted and known at every turn. An immersive journey from one of Italy's most important contemporary voices. 180 gram, yellow vinyl; accompanied by an extensive, exploratory booklet; Edition of 200.

Artist	Title	Format	Label	Catalog #
LUCIER, ALVIN	Vespers	LP	BLUME	BLUME 017LP
$25.50 PREORDER RELEASE DATE: 9/11/2020 "This is the fulfillment of a dream for a new kind of music. There is nothing like Vespers in the literature of music. It is a completely new way of defining what music is, and the definition is given to us in a purely realized form." --Robert Ashley Alvin Lucier is among the most important, influential, and radical of the second generation of the post-war avant-garde composers. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound (1972), Vespers is a work generated by two equal actors: the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology "the Sondol", a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation. Written as a poetic "prose score", for the realization of Vespers, each performer is equipped with a "Sondol" and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as "sound photographs" that reveal discrete details of the given area. Despite the radical leap it presented within the history of the sonic arts, Vespers was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Chambers, composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer's output, explored the theme on a brilliantly miniature scale. As a total work, Chambers contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of Vespers, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, what is seen and unseen takes on a dynamically different role. For the realization of Chambers, battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Newly designed obi-strip/insert with an introduction by Robert Ashley, liner notes by Bradford Bailey and Gaia Martino. 160 gram, dark blue vinyl; edition of 300.

Artist	Title	Format	Label	Catalog #
TOOP, DAVID	Field Recording and Fox Spirits	CD/BK	ROOM40	RM 4128CD
$25.00 NOT IN STOCK Field Recording and Fox Spirits is a collection of personal recordings -- from the field, from performance, from interviews -- that sketch out the breadth of David Toop's work over the past five decades. The recordings exist both as individual memories and as a hazy auditory daydream-like collage woven together by Lawrence English. Additionally, the edition includes a 40-page book, consisting of an extended in conversation with David Toop, which features extensive visual works and photographs from his archive. From David Toop: "What are field recordings? 'My memory is not what it used to be, David,' my grandfather, Syd Senior, said to me as we huddled round a fireplace in 1979. Thanks to a cassette tape I have the memory of his gradual loss of memory, hearing him speak of Queen Victoria's funeral and the severity of patriotism back in those old days, 1901. Syd Senior is long dead, no longer part of the field of living relations but still within the field of memories that can be revived by technology, albeit an old one that squeaks like a mouse, hisses like a cat. Where is the field? The field is populated by all the ravishing, painful, poignant, nondescript moments of remembered life. Field recordings forget, just as memories forget. My recording of Ornette Coleman forgets that he fell asleep as we were talking together. I sat quietly, waiting for him to wake; the tape machine continued its work, oblivious. During lockdown, a warm spring day, I sat working in the garden. A small fox appeared close to me, started, retreated into the shelter of plants by my pond. I took a photo with my phone but when I looked at the image no fox was visible. Earlier that day I had been reading Strange Tales from a Chinese Studio, a collection of short stories written by Pu Songling during the course of his life in the late seventeenth/early eighteenth century. In many of these tales, fox spirits inhabit the physical spaces of living humans in a variety of guises. Some are malicious; some benign. Their presence in the material world is wrong and yet accepted as either a temporary nuisance or a blessing that would later be regretted..."

Artist	Title	Format	Label	Catalog #
TOOP, DAVID	Apparition Paintings	LP	ROOM40	RM 4116LP
$23.00 PREORDER RELEASE DATE: 9/11/2020 From David Toop: "Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that's not it, or it could be if you want it for yourself but not for me, not now; for me it's about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it's about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognizable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the specter of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world. Don't ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box . . . Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: 'This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.'"

Artist	Title	Format	Label	Catalog #
FISHER & LOL COXHILL, MORGAN	Slow Music	LP	AGUIRRE RECORDS	ZORN 058LP
$25.00 PREORDER RELEASE DATE: 9/11/2020 Aguirre Records present a first time vinyl reissue of Morgan Fisher and Lol Coxhill's Slow Music, originally from 1981. Unique improv/ambient album by two creative minds. Cherry Red generously gave Morgan Fisher musical carte-blanche by offering to distribute a label of his own so, like his studio, he called his label Pipe. For the first album he decided to record an album of ambient music. Rather than using synths, Morgan decided to invite soprano sax supremo Lol Coxhill to supply some raw material which he then processed in various ways. The opening track is based on Lol's beautiful performance of Handel's Largo, recycled through tape delays, VCS3 filters, and octave shifts. The result (in Morgan's opinion) is somewhat like a Mexican funeral march. Other tracks transform the sound of the sax sound into bells(!) and lush orchestral soundscapes. The 20-minute title track is based on the melody of the short closing track (which Lol sang, accompanied by church bells). Morgan recorded phrases from the melody using piano, guitar, bass, and voice. He snipped off the beginning of each note (about 5mm of tape) making the sounds less recognizable, then looped each phrase and recorded long stretches of the loops onto individual tracks of his 8-track TEAC. Finally, he created this piece in real time by fading tracks in-and-out through long tape delays. This pioneering work took weeks of intense experimenting and has been cited as an influence by several top Japanese artists such as Haruomi Hosono of Yellow Magic Orchestra. Lol Coxhill passed away after a long illness, on July 10 2012, aged 79. RIP. Transparent green and black vinyl.

Artist	Title	Format	Label	Catalog #
MACHIDA & CAL LYALL, YOSHIO	Premeditation	2x10"	BY THE BLUEST OF SEAS	BTBOS 001LP
$23.50 PREORDER RELEASE DATE: 9/11/2020 In the early 2000s, Tokyo's SuperDeluxe was a meeting point for many experimental musicians, both international and Japanese. This duo sprung from a live collaboration at the venue in 2006, where Yoshio Machida was experimenting with processed steel pan and Cal Lyall was largely performing using a tabletop guitar setup with a range of electronics. Many subsequent encounters were heavily experimental, ranging from densely layered noise music to sound collage. Through the years, the collaboration shifted to a more tonal approach, with standard tunings and stronger compositional elements. Both musicians have a deep interest in traditional improvisational forms, so there was a natural evolution towards structural ideas -- based on minimal scalar patterns -- as the sound became more acoustic. The most recent instrumentation explores the unusual combination of steel pan, slit drums and banjo, while also delving deeper into the characteristics of the instruments themselves. Personnel: Yoshio Machida - steelpans, gamelan, metal slit drums; Cal Lyall - five-string banjo. Double-10"; gatefold sleeve; eight-page photo booklet.

Artist	Title	Format	Label	Catalog #
SENYAWA & STEPHEN O'MALLEY	Bima Sakti	LP	IDEAL RECORDINGS	IDEAL 198LP
$27.50 PREORDER RELEASE DATE: 9/4/2020 Ancient Indonesian tradition meets doom rock in profoundly Ur ways on Stephen O'Malley and Senyawa's collaborative commission for choreographer Gisèle Vienne. Following a decade of creative bonds forged between theatre director and choreographer Gisèle Vienne and doom sayer Stephen O'Malley that spans multiple soundtracks (solo and with Peter Rehberg in KTL) and visual artworks, the pair traveled to Indonesia on a commission to explore the country's rich culture in 2018. They immersed in a magical world of performative rituals where they encountered Wukir Suryadi, an experimental musician and instrument builder whose acclaimed releases both solo and as half of Senyawa have invigorated the avant and experimental rock scene over the past decade. The six tracks of Bimi Sakti document groundbreaking ventures between Senyawa and O'Malley, yielding an incredibly powerful mix of electric guitar and bass guitar amp worship blended with the remarkable range of tonalities from Senyawa's custom-built bambuwukir, plus traditional pipes and possessed vocals. Practically without precedent in the modern musical sphere, the 44' release speaks to a resounding mutuality and common musical philosophy between two musicians who are usually geographically separated by a hemisphere. Slow to start, but culminating in a wholly dilated musical vision, the performance effectively collapses eons of musical practice and thought into a singular yet timeless expression of beauty and anguish that transcends the sum of its parts. Fleshing out the frequency spectrum between flighty, avian flutes and sprawling subharmonic bass riffs, they come to inhabit a thrilling mid-ground over the course of the performance as O'Malley moves up the registers to thrashing mid-range riffs while Suryadi invokes a range of demonic voices and unearthly tones from his bamboo instrument. The results come to prod the pineal like little else beyond, say, O'Malley's Nazoranai trio with Keiji Haino and Oren Ambarchi, or the Phurpa album on his Ideologic Organ label. One of the boldest and most astonishing records of 2020. Mixed by Randall Dunn; Mastered and cut at Dubplates & Mastering, Berlin. Artwork by Stefano Gerardi. Photos by Estelle Hanania.

Artist	Title	Format	Label	Catalog #
BARON, DEREK	Curtain	LP	RECITAL	R 078LP
$27.50 IN STOCK Derek Baron is a composer, musician, and artist. Curtain is a diary. Both in musical and non-musical situations, they attribute a filmic quality to their journal-like aural self-documentation. Dreams turn real then dissolve. Single phrases and events arrive and leave, abruptly. Yet, the overall sense of place that Baron creates is understood. Opening Curtain is the eponymous piece. A 21-minute live chamber work for quintet recorded in 2018. A musical assemblage of glued-together fragments and scraps of sheet music from Baron's past. Compositions wrote in the small margins and folds of paper; illustrated in the art booklet included with the LP. The flute, violin, guitar, keyboard, and bass clarinet phrases saunter at a pre-sleep pace, until a subdued, yet ecstatic Mass theme ushers in periodically. Delivering the warmth of life... it is a slow beauty. It brings me such happiness listening to this piece. Its continuity is cut with scissors and pasted about oddly... all soaked in a certain malaise; a resigned grace. The next piece and other side of the LP, "Chancel," is rather different. An audio journal flipped through, dropped on the ground, picked up and opened to another page. A confusing montage of world-ized musical snatches: car radios, church choirs emanating to the streets, moldy organs, domestic piano recordings. Similarly, machine vibrations, bodega conversations, and other environmental observations segue the harmony and disharmony of this listening experience. Here are some of Derek's notes from the booklet: "Co-opting new achievements / Thank you for this incredible demonstration / This theatre of procedures / This consoling play of recognitions / No theatre but "what's that", / Nowhere for the silver ball to roll to. / How are we so in love." 16-page color pamphlet of artwork & text by Baron; edition of 150.

Artist	Title	Format	Label	Catalog #
PALESTINE/CASSANDRA MILLER, CHARLEMAGNE	Aaangelicaaa May 10th, 2015	CD	I DISCHI DI ANGELICA	ANGELICA 038CD
$17.50 PREORDER RELEASE DATE: 8/28/2020 2019 release. Recorded live at the AngelicA Festival this album consists of two pieces, one by Charlemagne Palestine (quasi liturgical) featuring himself on crystal glasses and voice, accompanied by tubular bells and a string ensemble; the other by experimental Canadian composer Cassandra Miller, for 26 strings in continuous sliding motion. Both concerts were spatialized with the ensemble surrounding the public (and Palestine himself moving around the space).

Artist	Title	Format	Label	Catalog #
KUBISCH, CHRISTINA	Italienische Stücke/Italian Pieces (1974-1984)	CD	TOCHNIT ALEPH	TA 158CD
$18.00 PREORDER RELEASE DATE: 8/28/2020 First release of the conceptual and performative pieces by Christina Kubisch, composed and realized between 1974 and 1984 during Christina Kubisch's years in Italy. Six-panel, DVD-sized digipak, illustrated with archival photos of Kubisch with extensive program-notes in English. Edition of 300. "Liquid Piece" (1975) for flute, contact microphone and 100 glasses of water (10:00): Personnel: Christina Kubisch - flute and voice. Fabrizio Plessi - water gargling and voice. Recorded live by Phill Niblock at Experimental Intermedia Foundation, New York, 1976. "Identikit" (1974) for five piano players at one grand piano, five cassette tapes and headphones (12:59): Recorded live at festival Pro Musica Nova, Radio Bremen, 1976. "Circles 1" (1984) for voice and tape delay (5:34): Personnel: Christina Kubisch - flute. Realized at Studio RDS, Milan Costante. "Variabile" (1981): sedici percorsi per un paesaggio sonoro (19:12): Personnel: Christina Kubisch - flute, field recordings, custom made electronics, radio signals and electromagnetic objects. "Kleine Liebe Violet" (1983) (9:42): Personnel: Christina Kubisch - voice, flute, slide whistle, conch, objects. Arturo Morfino - voice, drums, guitar, objects. Realized at Studio RAI, Naples.

Artist	Title	Format	Label	Catalog #
FULLMAN & THERESA WONG, ELLEN	Harbors	LP	ROOM40	RM 4123LP
$23.00 PREORDER RELEASE DATE: 8/28/2020 Harbors is a collaboration of composers Ellen Fullman (Long String Instrument) and Theresa Wong (cello), which draws inspiration from the soundscapes, stories, and atmospheres that manifest around bodies of water that propagate exchange. Structured around the extended harmonics of the open strings of the cello, Wong and Fullman utilize subsets of these tonal areas to create distinct sonic environments within the piece. Fullman's Long String Instrument, a stunning installation of over forty strings spanning seventy feet in length, places the performers and audience inside the actual resonating body, transforming the architecture itself into the musical instrument. Wong has developed techniques that take the cello beyond tradition into a vocabulary more closely rooted in the sounds of the natural world. She captures material electronically, layering textures amplified throughout the space which form an immersive field where figure and ground are in constant flux. The piece reveals an orchestration of shifting drones, aberrant melodies and glistening atmospheres. Harbors has reverberated many spaces around the world, including: Click Festival, Helsingør, Denmark; Transformer Station, Cleveland; MONA FOMA, Tasmania; Centennial Hall, Sydney Festival; The Lab, San Francisco; and Museum of Contemporary Art Detroit. An iconic American figure in experimental music, Ellen Fullman is the creator of the long string instrument, in which rosin-coated fingers brush across dozens of metallic strings, spanning fifty to over a hundred feet in length. Her work has encompassed the study of Just Intonation tuning theory, developing a tablature graphic notation system, experiments with various wire alloys and gauges, and wooden resonator design and fabrication. In 2020 she was awarded a Guggenheim Fellowship. Theresa Wong is a composer, cellist and vocalist active at the intersection of music, experimentation, improvisation, and the synergy of multiple disciplines. Her works include The Unlearning (Tzadik, 2011), 21 songs for violin, cello and 2 voices inspired by Goya's Disasters of War etchings, O Sleep, an improvised opera for an eight-member ensemble exploring the conundrum of sleep and dream life and Venice Is A Fish (2014), a collection of solo songs. She currently works and resides in the San Francisco Bay Area.

Artist	Title	Format	Label	Catalog #
DE LAET, JORIS	Experimental & Parametric Music 1976-2017	2CD	SUB ROSA	SR 469CD
$18.00 IN STOCK Through Experimental & Parametric Music 1976-2017, more than 40 years of composer Joris De Laet's work is unveiled. The collection discovers for the first time the great coherence of this work: from "Signalisations" (1976) to "Mnemosyne Pour Une Acousmaman" (2017). The compositions are annotated and explained in detail by the composer, as well as a kind of wild autobiography. Released in Sub Rosa's Early Electronic series. Joris De Laet was born in 1947. Belgian by birth, self-taught by definition, parametric music and art video composer by choice. Founder of the S.E.M. (Studio voor Experimentele Muziek) in Antwerp, 1973. Internships at the IPEM (Instituut voor Psychoakoestiek en Elektronische Muziek) in Ghent, 1972-1975, under Karel Goeyvaerts, Lucien Goethals, and Dr. Herman Sabbe. De Laet is the founder of the SEMensemble, a group of musicians-composers specialized in performing experimental music and live electronics. From 1975 until 1990, he gave concerts with this ensemble throughout Europe (Germany, France, The Netherlands, Austria, Poland, Croatia, etc.) and in Canada (Montreal, Kingston, Toronto). Inspired by the deep control on electronic sonics, De Laet has been defining his work since 1979 as "Parametric Music", music where composition is based on transformation flows of one or several parameters, selected by the composer, that form, through their converging (or diverging) processes the main characteristics of the regulated sonics of the composition. Double-CD version comes in a digipack; includes 20-page booklet.

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