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Dave PHILLIPS

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Dave PHILLIPS
“Disappear”

disappear was born of something that ceased to be, suddenly, unexpectedly, painfully. like two mirrors that reflected too strongly and burst. the shards that were left tell a story. of a trance meeting of an insect and a flower in a self-made paradise and the resulting journey that took them towards new dimensions but was brutally cut short before these could be explored. the sun disappeared. the resulting daze looked back and saw... mirrors don’t reflect what we want to see. disappear consists of 7 pieces composed alongside a presence. the story linking the pieces unfolds when the presence disappears and the 8th, last piece of the album appears, a cleansing lament disguised as an abomination. marnować means waste in polish. composed between january 2018 and november 2019, a period also known as the berlin daze. mastered by riccardo mazza. edition of 300
18,00€
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Dave PHILLIPS
“To death”

this album is dedicated to death. not death the spectre that installs horror and fear in many (in the western world), nor death the enemy of the (western) for-profit medical system, but death as part of a cycle, like birth. death the only certainty in life. dying, like living, as something that can be done well - or not. death also something that can be a release, a relief, a liberation, the end of suffering, a freedom. this album is inspired by my father's illness, deterioration and death, and my being his carer for the 15 last months of his life. recording this album started 6 months into that journey, from october 2020 on. it was my father's wish to die at home, and my siblings and i granted him that wish. this album was sent off to press early june 2021, when my father found his peace.
Misanthropic Agenda · Dave Phillips "real catastrophe"
13,00€
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2 CD

Dave PHILLIPS
“Homo animalis”

A landmark release in dp’s discography and the first release on the new Schimpfluch Associates label. Dave Phillips, *1969, living and working in Zürich Switzerland, has been a purveyor of radical sound since the mid 80's as a founding member of the influential Fear of God. In 1991 he met rudolf eb.er and has been part of the schimpfluch-gruppe since. working solo since 1987, dp has appeared on 150+ releases and has played around 400 concerts in 40 countries. schimpfluch associates is a label founded in 2013 by dave phillips (zürich) and rudolf eb.er (osaka). its focus is on works of reference by sound artists associated with schimpfluch. homo animalis collects some of dp’s most accomplished work to date. composed between 2009 and 2011 (with two from 2007). these pieces originally appeared on limited edition cassettes in russia, poland and the US. in the winter of 2012 they were reworked and conceived as an album. this album is no compilation but describes a phase in dp’s life and work marked by incisive personal experiences formed into sound. an intensification of the compositional approach and the increased use of classical elements are two noticable sonic aspects. begun on “?”, “homo animalis” takes a turn for the more sinister and satirical and contains the quintessence of this phase. the inclusion of an elaboration on humanimalism adds to the significance of this album. dp’s humanimalism is a concept worded here for the first time. it describes a developed humanoid existence that has overcome the erroneous religious and material phases and has grown into an empathic creature that has made a clear shift towards an emotion-based existence, with social and environmental senses as primary and inherent functions.
19,00€
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2 CD

Dave PHILLIPS
“South Africa recordings”

2CD + 16 page booklet in a 6-panel cardboard sleeve. Edition of 300. Raw field recordings. Immersion. Listening beyond sound. Nature speaks languages. we can “hear” them, but do we listen, do we try to understand? floods, tornados, land erosion, global warming, et cetera - these are but the most obvious examples of nature speaking. these discs contain nature’s sounds with this particular intention/communication in mind. the field recordist in the role of a mediator. aesthetic choices are but departing points. the quality of attention defines the quality of experience. of hearing. of listening and understanding. then the exploration may begin. tongues speaking, senses responding, resonating and reverberating. altered states. immersion - being part of something. south african wildlife and its soundscapes are in-your-face. but disappearing. forced away by human supremacy/stupidity. hear: night soundscapes with bubbling kassinas in riparian woodland. tremolo sand frogs and anuran night chorales. a semi-dry river bed after sunset. climatic events at the billion year old mmabolela rock. vigorous toad night chanting at a small lake. curious and vocal desert crows. cicada serenades, solos, duets and ensembles - frequency rapture. transpiration, flies and ears. barking geckos ringing in the night. night-insects crooning. howling jackals and roaring lions. hundreds of doves at a waterhole - the magic of avian movement in unison. wandering hyenas meeting family at their den. a mountain forest stream. primate vocalisations. a morning river walk. the atmosphere of a gorge. swamp forests, wind and clicking katydids. a hippopotami laughing. dung beetles in flight. swamp life. squirrel voices from beyond. an egyptian fruit bat cave. these recordings have been equalised and arranged. panning is used. no other audio treatments, effects or manipulations have been applied. many tracks are single recordings, a few are layered. each disc is one continuous listening session. alternative playback on headphones is suggested. maximum volume yields maximum effects. recorded in mmabolela game reserve (‘sonic mmabolela’, limpopo province), kgalagadi transfrontier national park (northern cape province), marloth nature reserve (western cape province), addo national park (eastern cape province), oribi gorge nature reserve (kwazulu-natal province), amatigulu nature reserve (kwazulu-natal province), isimangaliso wetland park (kwazulu-natal province), south africa, november 2015 to january 2016. photos by nathalie dreier and dp complement the soundscapes. topography: riparian woodlands (mmabolela), sand dune desert (kgalagadi), semi-arid karoo (addo, mmabolela), hilly forests (marloth, oribi), riverine and swamp forests (amatigulu), savannas, subtropical dune forests and wetlands (isimangaliso). day temperatures between 30° and 43°C.
14,00€
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Dave PHILLIPS
“Field recordings”

“This is a co-release with Tochnit Aleph. Recorded by Dave Phillips, January-March 2001 and January-February 2004. These recordings have been equalized, other than they have been left es arecorded. No mixing, no layering, non normalization or compression, no effects nor any other additions or manipulations. All cuts are indexed. Play loud. Alternate playback through earphones is highly recommended. Seriously.”
10,00€ Original price was: 10,00€.5,00€Current price is: 5,00€.
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Tony CONRAD
“Untitled (Solo for the Building of a Museum)”

This recording (2002) captures the two instruments central to Conrad's practice at the time: his self-built Long String Instrument and his amplified violin. He performed hidden behind a large sheet, and the nature of what unfolded behind it was never disclosed to the audience. Mudam Recorded at the construction site of the future Mudam - Musée d'Art Moderne Grand-Duc Jean, Luxembourg, designed by I. M. Pei - during the Museum Night of October 12, 2002, by invitation of Marie-Claude Beaud. The concert was co-organized by Transhistorics, a coproduction by Sub Rosa and Philippe Franck's Transcultures. Conrad also performed several times in Europe alongside Charlemagne Palestine in the following years, including the October 2005 concert An Aural Symbiotic Mystery. Short Bio Tony Conrad (1940-2016) was an American musician, experimental filmmaker, and composer, active across media since the early 1960s. A pioneer of drone music, he was a central figure in the New York scene of the 1960s and performed as part of the Theatre of Eternal Music. He became known as a filmmaker for his 1966 film The Flicker. Over the following decades he performed and collaborated with a wide range of artists. Interview The recording is accompanied by an extended interview conducted by Philippe Franck, published here as a tribute to him. - Doesn't this relate to intensity - the kind of theatrical intensity largely absent from computer music performance? - When I started performing again with the violin in the 1980s, some people described what I was doing as "expressionism." I was surprised at first - in my own arrogance I thought: this is mine, I invented it. But I took the criticism seriously, and it led me to ask what actually distinguishes expressionism from other forms of expression. - Perhaps we should simply speak of expression, rather than 'Expressionism'? - Exactly. In performance, I like to work at what I'd call the zero degree of sound - harmonic structure itself. I can be entirely satisfied with a pure open fifth: dance, meditation, heroism, all of it is contained within a fifth, provided I can find my way into that sonic space. Once, a student who admired La Monte Young told me I was playing out of tune. I remember thinking thinking: I'm playing music, not notes. I'm making music that speaks to people.  
13,50€
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David TOUB
“Gendarme de la Libertad”

David Toub is a unique voice in American minimalism, a genre that has produced quite a few composers over the past 80 years. Our first contact dates back about fifteen years, and from the very beginning, David struck me as a committed composer, dedicated to building a coherent body of work. But he is also an engaged individual, deeply concerned with the challenges of our time and genuinely generous. In other words, a mensch—a rare kind of person. His music, in some ways, reflects today’s anxieties and uncertainties: repetitive, obsessive, often dark, and questioning. This is the second album of his music that I have recorded, and this time, David has incorporated the human voice to feature a speech given by Che Guevara in 1964. The speech addresses the contradiction between a state's founding principles and its actions. How can a nation advocate for freedom year-round while deliberately acting against minorities, particularly those historically oppressed? The piece does not provide an answer—this question remains just as relevant today, 60 years later. (Stephane Ginsburg) David Toub (b. 1961, Newark, NJ) is largely self-taught, with the only formal composition education consisting of attending music school (Mannes College of Music; Juilliard Pre-College Division) during weekends while in high school. He remains an active composer. While Toub composed serial and dodecaphonic music until 1982, his subsequent works have been described as “minimalist,” although the durations of a subset of his compositions are not at all minimal (1.5 to over 4 hours in some cases).
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Mats ERLANDSSON & Gus LOXBO
“Minnets Långa Kedjor”

Minnets Långa Kedjor by Mats Erlandsson & Gus Loxbo is an intimately crafted musical topos moving through landscape of free improvised music, electroacoustic drone and doom metal according to an inherent dream logic. Their collaboration takes its starting point in a long friendship and a common frame of reference shaped by their upbringing environment in Bergslagen, with the specific moods that a shared past geographical location can give rise to. Through associations and memories - geographical, poetic and imaginary - immediate musical impulses shaped by an interplay that has developed over 25 years were captured instantly. These impulses formed the foundational material for a process of transformation where the music has been amplified, obscured and refined through extensive studio work carried out by Mats Erlandsson in the electroacoustic music tradition using editing and audio transformations through digital processing and analogue tape work. As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in various collaborations utilizing synthesized and recorded analog and digital sound, contaminated field-recordings and extensive tape processing. Gus Loxbo has had a long career in improvised music primarily as a double bass player both solo and with groups such as Pombo and Silence Blossoms. His solo debut album Trådknaster was recorded by Mats Erlandsson and released in 2021 to much acclaim. The album contained nine solo compositions for double bass with no overdubs presenting the abstract sound of Loxbo’s extended performance techniques and a stark highly amplified light. Mats Erlandsson and Gus Loxbo have been playing music together since before either one of them had any notion of the existence of experimental music, and their musical relationship was fundamental in helping each other transform and extend their respective ideas about what could constitute a valid musical expression. The album Minnets Långa Kedjor is their first recorded work presented in public.
17,50€
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Maria W HORN
“Melting Pillars Of Snow”

XKatedral is proud to present a new full-length album by label co-founder Maria W Horn. Melting Pillars of Snow is a collection of new compositions from the renowned Swedish composer written for Contrabass Recorder, Shō, Percussion, Electric Guitar, Voice and Electronics performed by Horn together with a chamber ensemble consisting of Anna Petrini, Mattias Hållsten, Magdalena Meitzner and Mats Erlandsson. The album also features narration by Horn as well as a guest appearance by Michael Gira on the first single Scythe of Saturn. Melting Pillars of Snow sees Maria drawing inspiration from W.G. Sebald’s novel The Rings of Saturn which is a poetic reflection following an unnamed narrator wandering along the Suffolk coast in England. As the landscape gradually shifts the text touches in various ways on the passage of time and the distance between past, present, and future, reflecting both vast temporal scales, such as the cycles of the seasons, deep historical time and microscopic moments and fragments. With the compositions contained in this release Maria evokes a similar sense of stillness - an environment in which the movement of time itself can be illuminated and observed. The instrumentarium found on this album is Horn’s most ambitious to date and sees her adding a complex array of percussion instruments, wind instruments operating at each extreme of the musical range and electric guitar paired with her regular palette of customized algorithmic synthesis and electronic processing to weave a spiraling spectral tapestry through the audio range. Percussionist Magdalena Meizner performs specialized techniques on the overtone triangle, dubachi, timpani and tam-tam, as well as pitched wine glasses and bowed crotales. The low end contrabass recorder played by Anna Petrini and the high frequency Shō performed by Mattias Hållsten add contrasting chordal arrangements set in strict metric structures. The ensemble is completed by Mats Erlandsson performing on electric and acoustic guitars moving from gentle arpeggiated figures to doom-laden drones and feedback howls. Maria W Horn: Electronics, hurdy gurdy and narration Anna Petrini: Contrabass recorder Magdalena Meitzner: Overtone triangle, bowed crotales, tam-tam, dubachi, timpani, pitched wine glasses and specialized percussion techniques Mattias Hållsten: Shō Mats Erlandsson: Electric and acoustic guitars, analog tape treatments Michael Gira: Narration on Scythe of Saturn
27,50€
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Stephen O’MALLEY
“Avaeken”

American experimental composer Stephen O'Malley releases 'Avaeken', two sides of immense, immersive, self-annihilating music via Dais Records. The record preserves site-specific work: O'Malley installed 'Avaeken' as part of 'Wish You Were Here', the exhibition by renowned American artist Banks Violette, underscoring the tension between presence and absence, life and loss. O'Malley and Violette have developed a distinct language of sound, space, and sculpture over the past two decades, reverberating the walls of world-class institutions from The Guggenheim and Centre Pompidou to prominent galleries such as Maureen Paley in London, Gladstone Gallery in NYC, and Antwerp’s TICK TACK, the brutalist space where Wish You Were Here unfolded in early 2026. Emerging now as an LP, 'Avaeken' presents power and phenomena: low-frequency vibrations, deep oscillations, and phase cancellations that translate as innately effective in any environment. Violette’s visual expression — the impossibility of locating yourself within the loss of a friend and the broader decay of culture — now fills the LP sleeve and feels inextricable from O'Malley’s sound, both still without resolution. The origins of 'Avaeken' date back to 2020, when O’Malley was commissioned by the ZWERM electric guitar quartet of Belgium. He rendered the piece, naming it after the millennium-plus-old oak tree on Sweden’s island of Fårö, for four guitarists on standard electric guitars, sustaining microtonal harmony produced with EBows and slides. "Natural harmonic tone coloured by the valves of the amplification is the one desired characteristic," reads the initial notes. "At first I asked, why would I write for another guitar player?" he says. "I realized how amazing it is to be a listener on the other side of the music; together we were able to try all these precisions with intonation, harmonics, specific microtonal ideas." The quartet performed 'Avaeken' several times before O'Malley joined them for a recording session in Muziekcentrum De Bijloke, a 13th-century former hospital with modern acoustics in Gent.
26,00€
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Kassel JAEGER
“Sub Re”

Kassel Jaeger (aka François J. Bonnet) returns to Shelter Press after Swamps / Things, Shifted in Dreams, and the recent reissue of the classic Zauberberg, co-composed with Akira Rabelais and Stephan Mathieu. With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales, the historic and essential Parisian studio that Bonnet has been directing since 2018. Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It's precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a multitude of contexts and occasions to give them form. The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch's contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology. Sub Re also refers to a chapter in Victor Hugo's Toilers of the Sea, a key passage in which the main character, faced with a colossal task, finds himself alone in the middle of the sea, beneath a gigantic shipwreck caught in the jaws of an isolated reef, surrounded by water, currents, and winds, alone to face the impossible. It is indeed beneath the surface that actions arise, decisions are made, and intuition guides us.  
17,50€
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