|
|
|
|
viewing 1 To 25 of 61 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
GODREC 066LP
|
"This is the third and concluding part of the trilogy In Another Land. It is not the dialectic synthesis of its antagonistic predecessors, it is just one of three equivalent antipodes that could have been released in any order. Mostly percussive and constantly transforming structures are weaving their net through both sides of this album. Processes of convergence follow moments of decay, high event density alternates with moments of quiet, aimless meandering. A further commentary on the not so obvious subject of the whole trilogy: absence and/or inevitability of repetition." --Kauders
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GODREC 070CD
|
This new Laibach album, through a new/fresh interpretation, examines the conflict-ridden genesis of the band's formation in the industrial town of Trbovlje in 1980 and questions the band's aesthetic, sonic, and ideological roots from the distance of time. Includes 16-page booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GODREC 060CD
|
2022 repress. 2021 release. We Forge The Future is a document of a Laibach show, held in Museo Reina Sofía, Madrid, on November 26th, 2017. For this museum occasion, Laibach re-enacted the historic performance that was initially staged on April 23rd, 1983, as part of the XII Music Biennale Zagreb in Croatia -- then still a part of Yugoslavian federation. The performance caused furious public/media campaign against the group, whose result was a formal ban on Laibach in Slovenia and Yugoslavia, that lasted until 1987. Musically, the record documents Laibach revisiting their noise/industrial roots, including their famous pieces of that period, such as "Smrt za Smrt", "Boji", and the title song...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 069LP
|
After the magnificent Negative Infinity (GODREC 062LP), which is easily one of their best and most furious works they have ever done, The Flying Luttenbachers return with completely different musical approach. Something that can be described as kind of open-form, the record contains two one-sided pieces, almost in tradition of old prog-rock records. Hustle and bustle heavy and complex riffing from previous records, turned into high intensity droning fields...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 057LP
|
2020 release. ...a little bit of Baroque... ...a little bit of Zwölftonmusik... ...a little bit of electronica... ..............that's Lepenik................
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 059LP
|
2020 release. Lésions Graves is an experimental extreme-metal trio on a journey towards minimal music. Racing drum patterns and humming melodic shreds interweave with disharmonic sound spheres and complex rhythmic and melodic phase shifts. Fast, loud, aggressive, repetitive, irritating.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 063LP
|
In 2015, Bernhard Lang was approached by Sebastian Berweck to compose a piece for his Berlin-based synthesizer trio Lange // Berweck // Lorenz. Considering his musical background and his roots, Lang saw this offer as double opportunity, one of them being a chance to compose an ultimate tribute to one of his musical heroes, electronic pioneer, Klaus Schulze. On the other side, "Cheap Opera #1 "Répétitions"" turned out as Lang's most political piece to day: his merciless comment on fake patriotism... Both pieces continue Lang's trademark loop aesthetics tradition, however, in a more abstract manner...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 058LP
|
2020 release. Klaus Lang's involvement with GOD Records began with his cult, two-part release of stunning organ works. Famous for his heavy droning sound, Lang's new pieces are highly successful ensemble pieces. "linea mundi." and "weiße farben." were both premiered at the festival Wien Modern. Heavy textures, disturbing counterparts, slow progressions, threatening dynamics. Personnel: Bas Wiegers - conductor; Klangforum Wien - performer; oenm - Österreichisches Ensemble für Neue Musik - performer.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 061LP
|
2020 release. Peter Ablinger is one of home composers of GOD Records. His cult releases Regenstücke 1 and 2 (GODREC 018LP) and Voices and Piano (GODREC 034LP) are part of every serious record collection around the globe. With Orchesterstücke, Ablinger finally delivers some of his remarkable orchestra pieces in last ten years. The release contains three of Ablinger's orchestra pieces: "Quartz", "Wachstum, Massenmord", and highly controversial piece "4 Weiss", for orchestra and white noise, the piece that caused utterly polarized reactions at its premiere on 2019 edition of festival Wien Modern. This LP documents notorious event in the best possible way -- stunning performance and angry audience reaction. Transparent red vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 065LP
|
"Since my piece Terrible Fake (GODREC 033LP, 2015) and especially Darkroom (GODREC 047LP, 2017), I've been trying to integrate some grooves into classical contemporary idiom. Since those experiments were mostly for smaller setups, this time I wanted to transfer it into the larger one in order to get more possibilities to work with different textures and coloring within harmonic structures of clusters and chromatic movements of melodies. Constant transformation and mutation of musical material makes the sound movable and the whole piece is morphing throughout. The sound of the whole ensemble is filtered through delay effect, which offered additional, almost psychedelic tension to the whole piece, even with some microtonal incidents. The division of the piece into 'Element A' and 'B' is actually a concept of two-sided vinyl and the two parts with almost same duration, are one of the concepts of the whole piece." --Slobodan Kajkut
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GODREC 056LP
|
2019 release. The Flying Luttenbachers' Imminent Death is the second release by the seminal cult band since its reincarnation in 2017. Imminent Death is very different in many ways from the previous Luttenbachers releases, but then again, you could consistently say that about most of them. The group has always followed the direction set by its leader Weasel Walter, and reflects his desire to create music of a determinately less common quantity in any given era. The Flying Luttenbachers have always been staunchly committed to making artistic statements which defy current trends and seek the expression of personal truth, mania, and iconoclasm. This offering is a record Mr. Walter has pondered and thought about making for 30 years -- finally, here it is, and it is quite a cathartic exorcism. Personnel: Weasel Walter - drums; Tim Dahl - bass, guitar; Matt Nelson - tenor saxophone; Brandon Seabrook - guitar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 062LP
|
2021 release. Negative Infinity is a sort of return-to-form in a regard, featuring six tightly scripted doses of what they call "brutal prog" -- the tag Weasel coined in the early 2000s to describe an elite breed of intense, complex bands who emphasized harshness and intensity over the typical prog-rock flutes and fairy positivity. This is prog for the apocalypse, not your uncle.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
6LP BOX
|
|
GODREC 050X-LP
|
Limited restock; 6LP box with black cover. Excerpt from liner notes by Sebastian Claren: "When Morton Feldman wrote his second string quartet -- or String Quartet II, as he titled it in the score -- in 1983, he found himself at the height of his career: prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming, as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward' . . . Like the long pieces that preceded it, Feldman's String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music -- two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique..." Live Recording! 317 minutes over six LPs. Personnel: Morton Feldman - composition; Pellegrini Quartet: Antonio Pellegrini - violin; Thomas Hofer - violin; Fabio Marano - viola; Helmut Menzler - violoncello.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
GODREC 051LP
|
The title, Linien II, gives an indication as to what this cycle is about: "Lines" as a catch-all phrase for melodic relationships: differently formed -- from a unison melody for two instruments to counterpoints of independent voices; composed in different ways -- from "calculated" proportioning to spontaneous writing; expressive in different ways -- from lament to competition. If nothing else, these pieces are also a journey through all registers of the clarinet family, from Eb- and Bb clarinet through basset horn and bass clarinet, all the way down to two contrabass clarinets. Personnel: Alexander Stankovski - composition; Petra Stump-Linshalm - Bb Clarinet, basset horn, bass clarinet, contrabass clarinet; Heinz-Peter Linshalm - Eb Clarinet, Bb Clarinet, bass clarinet, contrabass clarinet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GODREC 053LP
|
Another five years were necessary for Kajkyt to destroy old and develop completely new musical concept. III explores territories of complete alienation, abstraction, degradation. A four-part process of pulses that increase to complete reduction and secession. Personnel: Kajkyt - voice, electronics.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 052LP
|
Kauders on the release: "The second part of the In Another Land-trilogy can be considered as the indispensable conceptual antipode to Pt. I (GODREC 042LP, 2017). It's everything that Pt. I is not and vice versa. It's sculptural and it's not pursuing the idea of development, but it's neither static nor repetitive: The mostly short pieces, consisting of heavily treated snippets of recorded (electro-) acoustic instruments are circling around themselves, always aiming to show their core idea to the listener. The thing is the thing is the thing is the thing... just the perspective is changing."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GODREC 054LP
|
After more than ten years, The Flying Luttenbachers are back. The Flying Luttenbachers' Shattered Dimension is the first offering by the seminal cult band since 2007. The current New York City based version of the group on this recording features stalwart leader and primary composer Weasel Walter on drums, saxophonist Matt Nelson (GRID, Elder Ones), bass guitarist Tim Dahl (Child Abuse, Lydia Lunch), and guitarist Brandon Seabrook. During The Flying Luttenbachers' prolific initial 1991 to 2007 sprint, the ever-morphing ensemble explored and challenged the parameters of aggression, dissonance, freedom, hyper-structure, and speed across many idioms ranging from hyperactive free jazz/improvisation, blistering no wave/extreme metal noise infused rock, and ambitiously composed brutal prog. Shattered Dimension was recorded one afternoon in November 2018 at Seizures Palace (better known as Martin Bisi's legendary B.C. Studios to some) with engineer Jason LaFarge. The album opens with a succinct bang in the form of the chaotic blast beat-plus-melody structural form "Goosesteppin'". After the unison melodic statement, the foursome rampages full-speed ahead through the changes, evoking the whiskey-and-cocaine drenched early era mayhem of improv supergroup Last Exit. Four frantic minutes later, the Luttenbachers rein things back a bit, with the extended harmolodic group improvisation of "Cripple Walk". The third composition on the record is the stately, ominous "Epitaph", 13 unlucky minutes of monolithic repetition, overlaid with frantic, destructive free playing in an episodic narrative. "Sleaze Factor" offers a bit of relief in the form of a prominent groove, another harmolodic venture, again influenced overtly by the jazz output of Ornette Coleman's Prime Time, Columbia Records' era Arthur Blythe, and the early James Blood Ulmer records. The final cut on this album is the 23-minute long form called "Mutation". It is a succession of abstract blocks highlighting specific sonic activity, organized as a surreal journey through immorally uplifting atonality and repetition. Gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
6LP BOX
|
|
GODREC 050LP
|
Excerpt from liner notes by Sebastian Claren: "When Morton Feldman wrote his second string quartet -- or String Quartet II, as he titled it in the score -- in 1983, he found himself at the height of his career: prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming, as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward' . . . Like the long pieces that preceded it, Feldman's String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music -- two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique..." Live Recording! 317 minutes over six LPs. Personnel: Morton Feldman - composition; Pellegrini Quartet: Antonio Pellegrini - violin; Thomas Hofer - violin; Fabio Marano - viola; Helmut Menzler - violoncello.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 045LP
|
Helmut Kaplan is a multimedia artist that belongs to a distinctive art scene of Styrian capital of Graz. His medium of expression belongs to visual arts (mostly comic), as part of Tonto association, which once included legendary record label with artists that are already seen on GOD Records roster (Robert Lepenik, Winfried Ritsch, Kauders, Bernhard Lang, Peter Ablinger). He was part of bands like Fleischpost and since the mid '90s, he has been interested in different loop structures using different media (records, cassette players, mixing desks, and computers). 17 Stücke is the final part of a "trilogy" using this form of compositional technique, the first two being Whistle On Carpet and Wave Mash Target (1999) on the Tonto label. Created after a trip to Chicago in 2000/2001, these mostly mono pieces are built from a group of seven subjects that are extended to 17. Sound material consists of lo-fi loops from different sources, like different environments, instruments, orchestras, and synthesizers... "Objects in mirror are closer than they appear." One-sided LP.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 046LP
|
Excerpt from liner notes by Keith Potter: "Georges Aperghis is probably still not much associated, by the public that internationally attends performances of his works, with music for solo piano. Music-theatre -- of an uncommonly original kind, with extended vocal techniques much to the fore -- has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced -- often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry -- are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved. This instrument's 88 keys, and the two hands of its (usually firmly seated) keyboard operative, are normally engaged to less obviously 'theatrical' ends." Personnel: Lenio Liatsou - piano, voice.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
GODREC 048LP
|
dieb13 on Philip Jeck: "... In his hands, a tool as simple as a hammer that blocks the arm of the record player creates a loop with a taste of eternity. Two or three such hammers can create musical galaxies far beyond the reach of traditional instruments, where no human ear has ever been before. From unidentifiable rumble and grinding to brilliant instrument-snippets and comical voice fragments, Philip Jeck glues sounds together as if they were never meant to exist on their own. Whether it be Pachelbel's Canon or some mid-90s dance music that's on Philip's vinyl, but what we hear in the Vinyl Coda is his very unique musical voice -- articulated with a perfect sense for structure, suspense and sound."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 047LP
|
Tiny space... dimmed lights... little steps... circling... like abstract curving lines... round and round... repeat... Composition by Slobodan Kajkut. Personnel: Dejan Trkulja - clarinet; Christian Pollheimer - vibraphone; Slobodan Kajkut - sampler, programming.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 049LP
|
Winfried Ritsch on Mono Metal Space: "... a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer-controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns..." Personnel: Winfried Ritsch - composition/concept.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 044LP
|
Adam McCartney's Oek is a collection of six pieces. The name is a reference to the Tuvan word for "yurt", or quite simply, the idea of "home". The pieces are constructed using very simple material -- scales, built from tetrachords and suspensions, blend the intervals of the chromatic field together. This abstract material is tempered, in turn, by the sounds of the instruments. Artwork by Adam McCartney. Executive producer: Slobodan Kajkut. Personnel: Matej Bunderla - alto and tenor saxophones; Ivan Trenev - accordion; Adam McCartney - harmonium.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODREC 014LP
|
2013 release. Although their music sounds very serious and complex, Duo Adé don't want to be considered as abstract formation. The Graz-based duo comprised of members of cult band Code Inconnu, Gottfried Krienzer and Christoph Uhlmann, have already established themselves as very specific lo-fi electronic constellation with their first release Hungrige Speisen (2000). This time, avoiding any kind of electronic devices and electronic manipulations, they sat themselves at an out-of-tune piano, each taking a different tempo, and recorded eleven versions of Freilassing, one of which is available here on this single-sided LP. The piece is a half-structured improvisation, combination of micro-tonality, bi-tonality, rhythmically independent counterpoints, integration, and disintegration, and (in)homogeneous repetitions. 25 minutes of extremely challenging piano music, on the run into the unknown known...
|
viewing 1 To 25 of 61 items
Next >>
|
|