In stock
2 CD
David JACKMAN
“Steadfast”
This is the seventh and last release in the Die Stadt CD series. Even though David Jackman gets the credit in the title, the music itself is pure Organum electronics—dense, noisy, and exactly what fans would expect. Emerging as a meditative gesture within the long and enigmatic arc of David Jackman’s output, Steadfast stands as both a summation and a deepening of concerns that have occupied him for decades. Issued as a double CD by Die Stadt, the release captures Jackman—best known for his work under the Organum moniker—at a moment of stark clarity and quiet force. His legacy, shaped through collaborations with figures like David Tibet and Steven Stapleton, has always occupied a space between austerity and intensity, drawing on minimalism, drone, and ritualized abstraction to forge a language uniquely his own.
Across the two discs of Steadfast, we find a music that is neither strictly acoustic nor electronic, but something in between—an environment, a slow unfolding. Analog synthesizers swell and recede like distant weather systems; field recordings and incidental sounds rise with spectral insistence before dissolving again into silence. There is a patience here, a sense of refusal, of staying with the sound long after others might have let go. Moments verge on the imperceptible, only to bloom suddenly into passages of engulfing texture.
Rather than a document of change, Steadfast feels like a portrait of duration—of persistence in listening and making. It does not seek to impress but to inhabit; it asks for time and gives it back in kind. For those familiar with the ceremonial gravity of Organum or the liminal poetics of Nurse With Wound, this work may feel at once familiar and startlingly new—a quiet epiphany from one of the most singular voices in experimental sound.
19,00€
In stock
2 CD
David JACKMAN
“Schining”
"Music and musical releases can be controversial for many reasons. Lyrical content, shocking covers, too loud, too quiet: David Jackman’s music is controversial for none of these reasons. His music isn’t noisy or silent, with no lyrical content or a shocking cover. I am not on any discussion group online and never was, but I can imagine a discussion with the topic: “Is David Jackman doing the same thing over and over again?”. I don’t know the answer, but I can guess. We can say the last few releases (and I am discounting his Organum Electronics releases; they are in a different league) contain the same musical elements.
I copy from my last review, “A drone, Shruti-like, some low gong sound, the occasional bang on the piano, a church bell and some crows flying overhead”. The crows may have flown away, but the other elements are there. I also wrote, “The drone is continuous here; the others appear irregularly. The whole work is slow and majestic. The music has a funeral aspect, like a black-and-white picture from an Edgar Allen Poe story. It is very similar to much of his recent work, and it is hard to figure out the difference(s). All of this fits my pop-art theory. I love this mystique and playing around with similar ideas and notions. I am sure this mystery will never be unravelled” - Frans de Waard
19,00€
In stock
CD
David JACKMAN
“Flames Of Fire”
David Jackman (Organum) presents "Flames of Fire", a mesmerizing 47-minute composition titled 'Flames of Fire & Stars of Lighte the Sun Ariseth'. The piece unfolds with a metallic hum, evoking the resonant vibrations of a sitar, before dissolving into vast, shimmering drones that stretch into infinity. Departing from his work as Organum Electronics, this recording embraces a more organic sound while retaining subtle electronic textures. A sinuous, undulating tone weaves through the composition, swelling and receding into the depths of the frequency spectrum, creating an immersive and meditative experience. Jackman reintroduces the resonant gong sounds that have defined his recent output, culminating in a surge of controlled noise toward the piece’s climax. Limited to 500 copies in a striking digisleeve featuring exquisite artwork by Jonathan Coleclough, this release is a must for devotees of deep, immersive soundscapes.
"The drones here are heavier, submerged in an orchestral darkness... A vast, nebulous mass, both mechanical and immense, painting a sonic portrait of bleak grandeur—a fitting soundtrack for shadowed times." — Vital Weekly
14,50€
In stock
CD
David JACKMAN
“A Cloud Of Light”
‘A Cloud Of Light’ is the fourth album in the David Jackman / Organum Electronics release series on Die Stadt, and the first under his own name. The work sees him returning to calmer fields of sound which could already be heard on the acclaimed D. Jackman ‘Herbstsonne’ (DS119) from 2019, and the following Jackman ‘Silence In That Time’ (DS123) from 2020. Again the sounds of Tampura, Organ, Piano, Bells and Crows are the chosen sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2023 and edited by Alan Jones at RMS Studios in South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough.
UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co‑founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which eventually evolved into a new version under the name Organum Electronics in 2019. Since 2019 five albums were released by Japanese imprint Siren Records, followed by (so far) four albums on Die Stadt. This is the fourth of seven albums which are scheduled for release on Die Stadt until the end of 2024. Apart from several albums under the Organum Electronics moniker these will also include works under David Jackman’s own name.
14,50€
In stock
CD
ORGANUM ELECTRONICS
“Noughwhere”
Organum Electronics ‘Noughwhere’ is the third OE album for Die Stadt, and could almost be seen as a culmination of all previous OE albums in terms of denseness and intensity. Like with all these works it’s a return to the electronic sounds David Jackman already created at the very beginning of his Organum project about 40 years ago. Similar sets of particular sound sources, arranged in a variety of permutations and combinations, and a variety of structures, to create a range of variations. They “offer an experience of instant immersion and sustained immediacy” as one reviewer observed listening to OE ‘Quietude’ (DS128) and OE ‘Darcknes’ (DS130) which were released end of 2023. Recorded in 2023 and edited by Alan Jones at RMS Studios in South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough.
UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co‑founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which eventually evolved into a new version under the name Organum Electronics in 2019. Since 2019 five albums were released by Japanese imprint Siren Records, followed by (so far) three albums on Die Stadt. This is the third of seven albums which are scheduled for release on Die Stadt until the end of 2024. Apart from several albums under the Organum Electronics moniker these will also include works under David Jackman’s own name.
14,50€
In stock
CD
ORGANUM ELECTRONICS
“Quietude”
Organum Electronics ‘Quietude’ is another intense aural experience. A dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Quietude’ (DS128) is the first OE release on Die Stadt.. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.
14,50€
In stock
CD
ORGANUM ELECTRONICS
“Darcknes”
Organum Electronics ‘Darcknes’ is the sibling album of ‘Quietude’ (DS128). It is a similarly dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Darcknes’ (DS130) is the second OE release on Die Stadt. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.
14,50€
In stock
CD
David JACKMAN
“Silence in that time”
The follow up to last year’s critically acclaimed album Herbstonne, Silence in that time is a direct offshot of the former album, adding more sounds to the overall sound palette. Recorded at RMS Studios South London in 2019, the single 42 min. long track stands as another distinctively beautiful and haunting work in the artist’s discography.
Artwork by Jonathan Coleclough.
14,00€
Out of stock
10" + CD
FOVEA HEX
“The salt garden III”
"The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern." Drew Daniels (Matmos)
The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.
Original price was: 17,50€.10,00€Current price is: 10,00€.
Out of stock
CD
Asmus TIETCHENS + CV LIQUIDSKY
“Monoposto”
17th and final part in the re-release series of all early Tietchens albums between 1980—1991.
Originally released on Dragnet, Dom Elchklang in 1991. This new version incl. 3 Bonus tracks and is another joint release by German labels Die Stadt and aufabwegen. Jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.
"It was just before the end of the heroic times when CV Liquidsky and I decided to record a studio album together. Almost too late considering that Liquidsky already lived and worked in Hamburg since 1979. Our ways had crossed many times since and a mutual friendship developed. Actually we discussed a possible collaboration several times. Liquidsky was a graphic designer, journalist, musician and someone who really moved things in all these areas. I got to know Liquidsky's musical side as him being one half of the industrial music duo 'Cinema Verite', and at the same time through his journalistic skill's, writing excellent reports about the Hamburg and International music and cultural scenes. As a trained artist he also did record covers and posters, illustrated Fanzines and created some disturbing free works. It was no secret that his chosen artist name derived from both ,Cabaret Voltaire'(CV) and 'Liquid Sky'(Liquidsky). His real name was Andreas Hoffmann. The recordings for 'Monoposto' were made between 1988-1990. The mention of the years 1981-1990 on the cover was deliberately misleading. Our work scheme was to try and record one track per nightly session, and when ever we met in the studio we stuck / clung to this strict working method. It was our intention to avoid making a perfect studio album. Improvisation, chance, errors and spontaneous decisions were the game plan. After a track was recorded it was mixed the same night or even early the next morning, so it was finished. No ironing out and no corrections were made, no matter if the raw diamonds we created started to shine or not. It was Liquidsky who persuaded me to accept this almost Dadaistic concept, as I'm basically someone who takes longer to create a track. He concentrated on his guitar and I concentrated on the electrical treatments. Later a good friend of ours described the music as a mixture of apathy and ecstasy, beauty and ugliness. In fact I never worked on an album with such a melancholic note before of ever after. The cover was created by Liquidsky within a couple of hours. The word 'Monoposto' has actually no meaning. It's a Blindtest to show the actual look of a certain typography common in the analog world back then. Liquidsky was fast and he always stood on the right side. Andrea Hoffmann died on 6th of September 1998."
15,00€
In stock
CD
David JACKMAN
“Herbstsonne”
A new work by David Jackman (Organum), Herbstsonne consists of a single 47 minutes long track which is the result of recording sessions at RMS Studios South London in 2018. Using the sounds of tanpura, piano, organ and bells the music perfectly captures the title of the piece which translates to Autumn Sun.
[…] « 'Herbstsonne' is one long piece and sounds very spooky. The tanpura drones are in the background, along with, I assume, the organ, and on top, there is the regular bang on the piano and bells. Five times these bangs are louder, like a small cluster of bells and piano tones; the drones continue throughout. It sounds like a funeral march, slow and solemn, a slow march towards the grave, and as such it fits the requiem themed releases of the last years ('Amen', 'Sorow', 'Omega', 'Sanctus' and 'Raven'; all actually under the banner of Organum) and 'Herbstsonne' is no different. Before I already talked about Jackman's advancing age and all of this is perhaps to be seen as a very long farewell soundtrack. That is also one of the big mysteries in the work of David Jackman. I can imagine people going 'oh it's the bloody same thing over and over again', but I like the sheer consistency of it all. It is the same and yet it is also very much different. This is another piece of very sad music and I love it. » (Vital Weekly)
14,50€
Out of stock
LP
CM von HAUSSWOLFF
“Operations of spirit communication”
Small repress of the classic album from 2000 which is partly based on (and also dedicated to) the work of Friedrich Jürgenson who recorded the “voices of the dead”. Gatefold cover. Clear vinyl. 300 copies.
17,00€
In stock
maxi CD
Thomas KÖNER – Asmus TIETCHENS – Ditterich von Euler-DONNERSPERG
A three track EP released in conjunction with a live performance on the 29th April 2012 on the MS Stubnitz in Bremen. Initial copies were given away for free to ticket holders on the night of the concert. Each artist contributes one exclusive track. 500 numbered copies in full color slipcase cover.
13,00€
In stock
CD
John DUNCAN-KONTAKT DER JÜNGLINGE-CM von HAUSSWOLFF
“A compilation of live recordings specially released for a Die Stadt label night feat. All artists, at Argos in Brussels on 18. October 2007. The John Duncan recording was made at The Compound, San Francisco on 21 July 2007. Kontakt der Junglinge (Asmus Tietchens & Thomas Koner) “Montreal Solution 1” is an excerpt from their live performance at Mutek Festival, Montreal on 28 May, 2003. The final track on this CD is by C.M. Von Hausswolff and was recorded at “Easy To Swallow”, All Tomorrows Parties, SEOne Club, London, cursted by Russel Haswell, on 2 June 2005. Released in a limited edition of 500 numbered copies.”
13,00€
Out of stock
CD
ASMUS TIETCHENS
“Geboren, um zu dienen”
8th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Described by Tietchens himself as his ’Industrial’ album, “Geboren, um zu Dienen” was originally released on the spanish Esplendor Geometrico label in 1986. The CD version incl. three unreleased bonus tracks from the same period and comes with a full colour fold-out booklet incl. liner notes by Tietchens himself.
“If I’d ever recorded an ’Industrial’ solo album, it must be “Geboren, um zu dienen”. Although I obviously wasn’t one of the inventors of ’Industrial Music’, I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative - a tank war between NATO and the Warsaw Pact - sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms ? This particular background has to be seen as the main influence on “Geboren, um zu dienen”. I believe that many of my colleagues also recording ’Industrial’ albums felt the same at that time. IF there would have been a ’Bang’ it - without doubt - would have been global. Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. “Geboren, um zu dienen” was an experiment in itself which first fruits I set free immediately. As if I’d to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of ’Industrial’. The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish ’Esplendor Geometrico’ label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80’s, also albums by the ’Industrial’ group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident ’Nevertheless’.
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral (”A Call for abortion”), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the ’Stiftung Warentest’. Go on Germany !” Asmus Tietchens, 2006
“If I’d ever recorded an ’Industrial’ solo album, it must be “Geboren, um zu dienen”. Although I obviously wasn’t one of the inventors of ’Industrial Music’, I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative - a tank war between NATO and the Warsaw Pact - sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms ? This particular background has to be seen as the main influence on “Geboren, um zu dienen”. I believe that many of my colleagues also recording ’Industrial’ albums felt the same at that time. IF there would have been a ’Bang’ it - without doubt - would have been global. Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. “Geboren, um zu dienen” was an experiment in itself which first fruits I set free immediately. As if I’d to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of ’Industrial’. The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish ’Esplendor Geometrico’ label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80’s, also albums by the ’Industrial’ group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident ’Nevertheless’.
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral (”A Call for abortion”), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the ’Stiftung Warentest’. Go on Germany !” Asmus Tietchens, 2006
13,00€
Out of stock
CD
Asmus TIETCHENS
“Aus Freude am Elend”
“11th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Aus Freude Am Elend is based on the human voice as a primary sound source and was originally released in edition of 500 copies on Dom America in 1988. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. The original front and back cover. First edition of 600 copies”. “Following my research of piano and water sounds (DS102, DS88) it didn’t come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80’s, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track with the exception of ’In memoriam P.F.’) was based on voices of people who I naturally didn’t ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. You’ll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: Rarely before this album and only once after it (on Stupor Mundi) did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the ’Ritual’ was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. AUS FREUDE AM ELEND too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported - even partly inspired - by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PC’s opened new doorways. Half of the material on AUS FREUDE AM ELEND was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Did Carlson used to be a fan of Dom which was founded by Christoph Heemann and Achim Flaam. Did he simply liked the release politics of this label. And what became of Dom America ? Actually I don’t know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However AUS FREUDE AM ELEND had vanished shortly after its release. I only used ’stolen’ voices twice again (’Stupor Mundi’, 1990 and ’Das Fest ist zu Ende. Aus’, 1993) after this album by the way.” Editorial notes : All the tracks were copied from the original tapes which I found to be still in very good condition. The final track "Weiter nicht" on Side-B of the LP ended with a lock groove. It’s presented here in its original length and therefore stops abruptly. The bonus track "Doch noch weiter" was recorded almost one year after the release of the LP.
15,00€
In stock
CD
Asmus TIETCHENS & Okko BEKKER
“E”
2015
This is part 15 in the Tietchens reissue series of vinyl releases from the 1980ies. E was a joint work with Okko Bekker that was originally released on DOM in 1988. The CD reissue includes both tracks from the bonus 7” U that came with the first pressing of the LP. Furthermore there are two extra unreleased pieces from the same period. As always the original LP cover artwork is reproduced in the CD booklet as a fold out poster; the booklet also has some editorial remarks. Edition of 600 copies, joint release with Auf Abwegen.
15,00€
Out of stock
CD
Roger DOYLE
“The ninth set”
“Irish composer Roger Doyle’s first release on Die Stadt is his prize-winning work The Ninth Set, a 67 minute masterpiece in 5 parts. He was awarded the Magisterium Prize at this years’s Bourges International Electro-acoustic Music Competition in France for parts 4 and 5. The award, which is one of the most important prizes in the world for electronic music, is open to composers having at least 25 years of professional experience in the field, and its objective is “the promotion and diffusion of works that might become milestones in the history of electroacoustic music”. Previous works of Doyle include a 5-cd set Babel which took ten years to compose, where each track corresponds to a room or place within an imagined tower city; and the 3 hour Passades, music made from software that freezes sounds like a freeze-frame in dvd. He’s also known for his project Operating Theater which released the classic “Rapid Eye Movements” album - consisting of 4 works composed between 1968 1980 - on Steven Stapleton’s (Nurse With Wound) own United Dairies label in 1980. Furthermore he guested on Fovea Hex’s “neither speak nor remain silent” EP number 2 “Huge”, alongside among others Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter. The cd comes in a color digipack in a first edition of 600 copies.”
5,00€