In stock
2 LP
ELECTRIC INDIGO
“Ferrum”
Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects. Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed, and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dancefloor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colors and rhythms, oscillating, resonating, and highly immersive. Mastered by Rashad Becker. Artwork by Tina Frank.
Original price was: 23,50€.14,00€Current price is: 14,00€.
In stock
7"
Finlay SHAKESPEARE
“Routine”
"Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire and New Order. Routine is damming slight on the soulless electronic age in which Finlay spits a curse on the mundane repetition of existence over the top of a wild unfurling techno pop banger. The B-Side Perris propels itself as a crazed analogue drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and concurrently an absolute belter in the contemporary mainframe."
Original price was: 9,50€.5,00€Current price is: 5,00€.
In stock
2 LP
Finlay SHAKESPEARE
“Domestic economy”
The playful confidence that exudes Finlay Shakespeare’s practice is flagarenty laid out on Domestic Economy, his extraordinary debut full length. Domestic Economy displays two eventful sides evidencing the unique musical approach Shakespeare has developed in such a short period of time. Let’s get some facts straight, Finlay is young. And talented. His programming skills belie his years and one can detect a sharp appreciation of historical electronic pop whilst simultaneously developing a canny understanding as to where such a form exists in the current age. Shakespeare’s brazen lyrical content and significant melodic prowess highlight a brave new voice in what can often be an sterile aesthetic environment.
Domestic Economy bursts with edgy ecstatic electronic pop. A form not only unusual for Editions Mego (actually known for idolising such forms) but somewhat of a scarcity amongst the modern electronic landscape. Beling age, form and movement Domestic Economy is a damn near perfect amalgamation of historical respect and contemporary anxiety wrapped in an exquisite song-form package. Made in Bristol. Published in Wien. Delivered to all brains, like a wayward dream.
Original price was: 23,00€.10,00€Current price is: 10,00€.
Out of stock
cassette
JUNG AN TAGEN
“Proxy States”
Cassette version. On Proxy States, his third release on Editions Mego, Jung An Tagen continues to expand his unique vision of oblique electronic music mixed with future dance club sound. On Proxy States techno is evolving into another realm, manifesting as his most formulated attempt to combine modern composition techniques with ritualistic techno aesthetics. Here he takes his obsession with structure to a more narrative build-up, creating new paths and textures around his infectious beats. With this structure, Jung An Tagen develops an emotional relationship between repetition and dissonance -- it's addictive music, music in constant explosion. The 12 seconds of the first track, "Spill (False)" sound like a recreation of The Big Bang, creating the perfect intro for this molecular polyrhythmic adventure. It also creates the connection/disconnection with his previous work, Agent Im Objekt (EMEGO 248LP, 2018), bridging the two but also creating a space to embark on a new sonic trip. This self-contained explosion offers the right coordinates and propels the listener to Jung An Tagen's sonic realm. All of this is done with his usual fearless but mindful approach. His unique exercises with structure, time and sound create an ecstatic familiarity with the sounds while at the same time inducing a creeping physical alienation. In other words, some parts may be rhythmically infectious, others will give you no chance to immerse. The stimulation is astute and continuous, encouraging an out-of-this-world experience. The main arc of Proxy States consists of a 16 against 17 poly-rhythmic synth line that through different intonations of the kick drum always transforms its syntax. This synth line always scales up 1 key, in the middle of the track, foreseeing the upcoming structure. While these tracks (3, 4, 5, 6: "Wreath Products") follow an almost obsessive-compulsive order, the remaining tracks seem to blow up the structure entirely like the last scenes of the 1970 Michelangelo Antonioni's film Zabriskie Point, creating an event inside the event. Proxy States was impossible to press on vinyl but the fast, sharp and wild grooves of Jung An Tagen's new album are incredibly synched with the concept of an ever accelerating future.
Original price was: 9,00€.4,00€Current price is: 4,00€.
Out of stock
2 LP
Mark VAN HOEN
“The Revenant Diary”
3 sides 2LP. All titles composed by Mark Van Hoen. Recorded in Brooklyn & Woodstock NY USA 2011. All instruments & processing by Mark Van Hoen with additional vocals by Georgia Belmont. Cover art by Stephen O’Malley. “Don’t look back”, repeats one of several voices within Mark van Hoen’s The Revenant Diary, his fifth solo album and first release on Editions Mego. Surrounded by weighted beats, analogue synthesizer drones and granular dirt, the unidentified, siren-like female voice’s advice is as much seduction as warning. Tellingly so, for as well as being both Van Hoen’s most ambitious and his most accessible work, The Revenant Diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. The album’s foundation was shaped by a memory and a chance encounter. While remastering some of his early 90s releases and Peel Session tracks, Van Hoen - a founding member of Seefeel, who also worked as Locust and in Seefeel offshoot Scala and has collaborated with Slowdive, Robert Fripp, Edison Woods & Esben and the Witch amongst others - happened upon a track he had recorded in 1982. Attracted by its simplicity, he was inspired to record the basis of The Revenant Diary on 4-track tape, using a minimal set-up, reminiscent of his first early 80s musical adventures as a young teenager. The recollection of one of these - a 13 year old Van Hoen’s experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices - provided an evocative inspiration. The Revenant Diary pivots on this combination of complex reflection and simplified technology. A determinedly analogue affair, it brims over with Van Hoen’s signature sounds: immersively decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. Fragments of female vocals pepper the album, and notably dominate the 10-minute epic “Holy Me”, one of Van Hoen’s most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. Less song-based than his last solo work, the well-received Where Is The Truth [City Centre Offices, 2010], its palette and structure are more descendants of the 1995 album Truth Is Born Of Arguments, which utilised a similar combination of decayed atmosphere against a granular / glitch rhythmic structure. Tracks like “Laughing Stars At Night” and “Unknown Host” exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. But this is no exercise in Instagram-style disposable nostalgia. Van Hoen’s adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, colour-saturated hues of rediscovered Polaroid photos, as the cover artwork, designed by Sunn O)))’s Stephen O’Malley, acknowledges. The Revenant Diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound.”
Original price was: 14,00€.8,00€Current price is: 8,00€.
In stock
LP
BOLDER
“Hostile environment”
Recorded by Bolder. Mastering: Rashad Becker. Cover Art: serious drifting. Artwork: sansculotte. Bolder is Martin Maischein who used to record as Heinrich at Hart on Position Chrome and Peter Votava also known as Pure who has recorded previously for Mego and was half of Ilsa Gold. With their combined background in electronic music of all angles Bolder introduces a significant
proposition to the current experimental electronic boom. Blurring the lines between industrial, techno, dub, ambient and narrative forms, the work on Bolder’s debut presents a dance amongst the abyss, a world where organic rhythms provide the path amongst a swarm of foreboding electronics.
Herein lurks an atmosphere where hostile electronics weigh the hope and paranoia of today’s climate. One humans listen is another humans challenge.
proposition to the current experimental electronic boom. Blurring the lines between industrial, techno, dub, ambient and narrative forms, the work on Bolder’s debut presents a dance amongst the abyss, a world where organic rhythms provide the path amongst a swarm of foreboding electronics.
Herein lurks an atmosphere where hostile electronics weigh the hope and paranoia of today’s climate. One humans listen is another humans challenge.
Original price was: 14,00€.7,00€Current price is: 7,00€.
Out of stock
LP
THOUGHT BROADCAST
“Emergency Stairway”
All tracks: Ravi Binning, 03-04, 2012, Northern California, USA. Mastered and cut 06, 2012 by Rashad Becker at D&M, Berlin. Emergency Stairway could have been Thought Broadcast's debut vinyl full length. In fact, when commissioned in early 2012, only one 7 inch and two super limited tapes were in existence, until some other label snapped to the finish with an even older commission. So, lets say an almost debut. Confused? Well, yes, that's probably the point. Ravi Binning's Thought Broadcast project oozes out a dank and confused audio experience isolated way beyond the city limits. A glance at the titles suggest a routing in the primeval Real Industrial mind set, hooked up to classic dub sensibility. Listening to these fascinating recordings one gets the impression something happened in the room that you are probably not supposed to know about, hinting to a twisted form of Aktionism. Beyond the analogue grime (these tracks were delivered to label as cassettes, then carefully transferred and mastered at Dubplates and Mastering in Berlin) lays some real treats with Orgone
Theater and Portrait Heads fitting neatly beside V.O.A. era Cabs in your local Disko. Simply put, a beautiful record.
Original price was: 15,00€.10,00€Current price is: 10,00€.
Out of stock
CD
PITA
“Get in”
Recorded and mixed by Peter Rehberg at Twisted, Wien March 2015-January 2016. Mastered and cut by Rashad Becker at D&M, Berlin, January 2016. Artwork by Tina Frank. Dedicated to Thomas Jerome Newton.
Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release ‘Get Off’ on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne. Out of this collaboration the seeds were planted for the prolific KTL, guitar-computer duo with Stephen O’Malley.
After a surprise return to live performance in 2015 we are now presented with Pita’s new full length document under the banner of “Get In”.
“Get In” extends the perennial Pita sound into a paradox of intimidation and beauty. “20150609” teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. “Aahn” inhabits a field of electronic nebula, simultaneously inviting and alien. “Line Angel” could be a new form of minimalism for the post internet crowd. “S200729” harks to an acid most splintered whilst “Mfbk” completes proceedings as an ambient drift underscored with classical overtones. “Get in” is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.
Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release ‘Get Off’ on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne. Out of this collaboration the seeds were planted for the prolific KTL, guitar-computer duo with Stephen O’Malley.
After a surprise return to live performance in 2015 we are now presented with Pita’s new full length document under the banner of “Get In”.
“Get In” extends the perennial Pita sound into a paradox of intimidation and beauty. “20150609” teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. “Aahn” inhabits a field of electronic nebula, simultaneously inviting and alien. “Line Angel” could be a new form of minimalism for the post internet crowd. “S200729” harks to an acid most splintered whilst “Mfbk” completes proceedings as an ambient drift underscored with classical overtones. “Get in” is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.
Original price was: 12,50€.8,00€Current price is: 8,00€.
In stock
12"
OUTER SPACE
“Phantom Center”
Recorded and mixed in Cleveland, Ohio and Cashiers, North Carolina 2013-2014. Mastered by Giuseppe Tillieci aka Neel at Enisslab Rome. Album photos by alecia toggle. Layout and label design by Jen Gómez. John Elliott and Andrew Veres have been refining their creative powers as Outer Space since 2010 with “Akashic Record” (Spectrum Spools) and “II” (Blast First Petite). The pair now release their first new material since 2012, Elliott’s first since Emeralds ceased and the first as a duo. Editions Mego are well chuffed to release 'Phantom Center’, a stunning 2 track EP to kick the spring season off. “Arrival and Assessment” confidently sets the tone with multi levels of bass lines weaving around complex rhythms and those vast atmospheres we come to expect from this project.
Flip it over and we encounter the earth shattering “Crixa / 5925”, the perfect soundtrack to staring into an endless void with bottomless sub-bass and Raicevic-informed synthesizer disarray.
Original price was: 12,00€.7,00€Current price is: 7,00€.
In stock
LP
NPVR
“33 33”
All tracks by Nik Void & Peter Rehberg. Recorded and edited at The Premises, London, July 2017. Mastered by Russell Haswell at Haswell Studio, London, August 2017. Cut by CGB at Dubplates & Mastering, Berlin, September 2017.
NPVR is moniker taken on board by Pita aka Peter Rehberg and Factory Floor’s Nik Void. Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.
NPVR is moniker taken on board by Pita aka Peter Rehberg and Factory Floor’s Nik Void. Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.
Original price was: 15,00€.10,00€Current price is: 10,00€.
Out of stock
LP
EVIL MADNESS
“Super great love”
“Evil Madness are: BJ Nilsen, Jóhann Jóhannsson, Helgi Thórsson, Sigtryggur Berg Sigmarsson and Pétur Eyvindsson. Cover artwork by Helgi Thórsson. Recorded and mixed 2007 - 2010. Cut at Dubplates & Mastering, December 2010. This album is dedicated to Franz Graf. Evil madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Johann Johannsson, Sigtryggur Berg Sigmarsson, Helgi Thorsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland). This album, “Super Great Love”, presented by Editions Mego will be their 4th album since the time their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does what ever they damn well pleases when it comes to making the music. With “Super Great Love” they want to get people in the “good” mood for the fresh new year and present them with some upbeat Icelandic “Disko” tunes. Edition of 500.” label info
7,00€
In stock
CD
EVIL MADNESS
“Super great love”
Found stock after inventory !
CD version. “Evil Madness are: BJ Nilsen, Jóhann Jóhannsson, Helgi Thórsson, Sigtryggur Berg Sigmarsson, Pétur Eyvindsson. Cover artwork by Helgi Thórsson Recorded and mixed 2007 - 2010. Cut at Dubplates & Mastering, December 2010. This album is dedicated to Franz Graf. Evil madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Johann Johannsson, Sigtryggur Berg Sigmarsson, Helgi Thorsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland). This album, “Super Great Love”, presented by Editions Mego will be their 4th album since the time their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does what ever they damn well pleases when it comes to making the music. With “Super Great Love” they want to get people in the “good” mood for the fresh new year and present them with some upbeat Icelandic “Disko” tunes.” label info
CD version. “Evil Madness are: BJ Nilsen, Jóhann Jóhannsson, Helgi Thórsson, Sigtryggur Berg Sigmarsson, Pétur Eyvindsson. Cover artwork by Helgi Thórsson Recorded and mixed 2007 - 2010. Cut at Dubplates & Mastering, December 2010. This album is dedicated to Franz Graf. Evil madness has been described as the Traveling Wilburys of Icelandic electronic music. Behind the name stand men like Petur Eyvindsson, Johann Johannsson, Sigtryggur Berg Sigmarsson, Helgi Thorsson and BJ Nilsen (who is not “quite” Icelandic but was born in a country “very” near Iceland). This album, “Super Great Love”, presented by Editions Mego will be their 4th album since the time their formation in 2006. Now for those of you reading who know the music of Evil Madness will know for sure that this band does what ever they damn well pleases when it comes to making the music. With “Super Great Love” they want to get people in the “good” mood for the fresh new year and present them with some upbeat Icelandic “Disko” tunes.” label info
4,00€
Out of stock
12"
Philipp QUEHENBERGER
“Uffuff”
“Mastered & cut by Rashad Becker at D+M, Berlin, June 2011. Pre-master by Falm. New gear from the PQ corner! 12” with 1 new Quehenberger original (Uffuff) and a trio of near remixes from his lastest album Hazard (released as Laton 047 in 2009). Patrick Pulsinger tackles New Beat, in his unique future funk sound. A welcome return of Elin (who hasn’t been on a Mego record since 1995, check Mego 003). He slurps out a version of Hey Gert, making it into an slamming slowed down twister of a track.This leaves the pumping exccess of Altroys (Minimal Sould) Keep Talking remix.”
Original price was: 14,00€.6,00€Current price is: 6,00€.
In stock
CD
Mark MCGUIRE
“Get lost”
“This album is dedicated to my family, friends, and the spirit of the summer night sky. Electric and acoustic guitar, vocals, and guitar-synthesizer recorded digitally between June 2010 and July 2011 in Westlake, Ohio and Portland, Oregon. Mixed at Hardbodies, July 2011 by Mark McGuire. Mastered and cut by Helmut Erler @ Dubplates & Mastering, Berlin. Photography and Art by Mark McGuire 2011. Layout by Julian Gulyas. And yet another killer album from the ever productive Mark McGuire. It just keeps getring better, as he delivers another fine set of tunes in his perfected style. A few more electronic elements than usual and even some voices, but still the unique blend feell good riffs, electric and acoustic loops and melodies that just stick in the head. Its game of 2 sides of course, with side one chocabloc a short hits with side two stretcning to one side long jam of blissed out McGuire ambience. Awesome.”
7,50€
In stock
LP
Bruce GILBERT
“Ex Nihilo”
All tracks written and recorded by Bruce Gilbert, mastered by Russell Haswell. Design: David Coppenhall, front image/ concept: Bruce Gilbert. Cut by Rashad Becker @ Dubplates and Mastering, Berlin.
Editions Mego’s 250th release continues its ongoing legacy of cross-pollinating and perverting various threads of radical 20th Century music whilst concocting and properling further ideas into the nebulous region where we currently reside.
With Ex Nihilo, Editions Mego resumes it’s enduring relationship with long term collaborator and stalwart representative of the labels aesthetic with a new release from London’s most charming deviant occupant, Mr Bruce Gilbert (formerly of Wire, Dome etc..).
Gilbert’s peculiar approach to sound over four decades has seen him engage with a wide variety of practice and performance always hovering amongst the grey area between his mind and the surrounding architecture. Ex Nihilo is another significant entry into Gilbert’s outre sound-book.
Inhabiting a murky zone between interference and trauma, Ex Nihilo is a daring and dark audio ride through a contemporary ketamine haze, one which haunts identifiable parameters whilst remaining too oblique to be truly quantified.
Change and Not teases discomfort, Black Mirrors embraces disorder, Nomad skirts the unsettling. Whilst never quite resolving its own logic Ex Nihilo invites the casual listener to privy a devastating peculiar and somewhat paranoid fantasy (reality?).
Another effortless Gilbert classic.
15,50€
In stock
LP
Felix KUBIN
“Takt der Arbeit”
Felix Kubin (org, electr, sampler). Mi osz P kala (vib, xyl, sampler, perc, effects). Magdalena Kordylasi ska (mar, perc, effects). Hubert Zemler (glsp, dr, perc). The pieces are soundtracks to educational and industrial 16mm films dealing with the subject of “work”. They were commissioned by NDR das neue werk (North German Radio).
Originally developed as a film score “Takt der Arbeit” is inspired by a handful of industrial and instructional films from the early 1960’s until the early 1990’s that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. “Takt der Arbeit” - the beat of work - is not only serving as a title but also as constructive element in this endeavour. Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, its not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings.
Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.
The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin’s skills as a composer, placing him in the field of academic contemporary music.
Originally developed as a film score “Takt der Arbeit” is inspired by a handful of industrial and instructional films from the early 1960’s until the early 1990’s that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. “Takt der Arbeit” - the beat of work - is not only serving as a title but also as constructive element in this endeavour. Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, its not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings.
Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.
The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin’s skills as a composer, placing him in the field of academic contemporary music.
15,00€
In stock
CD
Yasunao TONE
“AI Deviation #1, #2”
Written and performed by Yasunao Tone. Recorded at ISSUE Project Room, Brooklyn, June 9th, 2016 by Bob Bellerue. Mix and mastered by Russell Haswell.
“I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn’t understand my idea, which by using neural network the sound I create would never have any repetitions.
That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality.
I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece.” (Yasunao Tone)
“I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn’t understand my idea, which by using neural network the sound I create would never have any repetitions.
That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality.
I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece.” (Yasunao Tone)
12,50€
In stock
2 LP
UUUU
UUUU are Edvard Graham Lewis, Valentina Magaletti, Matthew Simms & Thighpaulsandra. Recorded and Mixed at Aeriel Studios, Brechfa by Valentina Magaletti, Thighpaulsandra. Mastered by Sarah Register. Photography by Antonio Curcetti.
Individually these humans have implanted feathers in caps such as Coil, Dome, Wire, Tomaga, etc. Collectively they form UUUU, a powerhouse construction of fierce and free sonic exploration, as liberating as it is frightening, resulting in, the richly rewarding. The artists united present a project of exquisite curiosity and confident chaos where the individual thumbprints mesh into a gloriously muscular frenetic free sonic soup. It’s Going All Over The Floor presents itself as a terse meeting between dance, ambient, abstraction and improvisation. The Latent Black Path Of Summons Served proceeds in a tense energy field where random elements bounce around until locking into a fourth world pattern designed to fall into a dense mass of ecstatic noise. Boots with Wings is classic Lewis - a pop tune from the other side of the mind.
UUUU is a schizophrenic seething/soothing masterpiece of a past/present hybrid equally at home in the club, the home and the mind.
Individually these humans have implanted feathers in caps such as Coil, Dome, Wire, Tomaga, etc. Collectively they form UUUU, a powerhouse construction of fierce and free sonic exploration, as liberating as it is frightening, resulting in, the richly rewarding. The artists united present a project of exquisite curiosity and confident chaos where the individual thumbprints mesh into a gloriously muscular frenetic free sonic soup. It’s Going All Over The Floor presents itself as a terse meeting between dance, ambient, abstraction and improvisation. The Latent Black Path Of Summons Served proceeds in a tense energy field where random elements bounce around until locking into a fourth world pattern designed to fall into a dense mass of ecstatic noise. Boots with Wings is classic Lewis - a pop tune from the other side of the mind.
UUUU is a schizophrenic seething/soothing masterpiece of a past/present hybrid equally at home in the club, the home and the mind.
21,00€
In stock
CD
Alan LICHT – Tetuzi AKIYAMA TRIOS
“Tomorrow Outside Tomorrow”
Alan Licht: guitar, electronics. Tetuzi Akiyama: guitar.
Oren Ambarchi: guitar on “Blues Deceiver”.
Rob Mazurek: cornet on “Tomorrow Outside Tomorrow”.
Recorded by Makoto Oshiro, Tokyo, Nov 4, 2014. Mixed by Ted Young & Alan Licht at Outer Space, Brooklyn, July 15, 2015.
Over the years Alan Licht (USA) and Tetuzi Akiyama (Japan) have individually explored the lines that divide improvisation, composition, folk, blues and experimental music. It was inevitable their careers and styles would cross paths. Tomorrow Outside Tomorrow captures a meeting of minds and techniques landing two extended works which blur genre and cliche.
Blues Deceiver presents itself as a dank blues: a dirty crawling mass of feedback, fluctuating vibrations, garage frequencies and distant interference. Featuring Oren Ambarchi the various musical and nonmusical elements weave about creating a music showcasing individual contributions hovering as a holistic whole. There is beauty in this beast.
Tomorrow Outside Tomorrow features the talents of Rob Mazurek in the guest role. Here the trio expand on the workshop blues drone with Rob placing a sombre jazz card on the table. What begins as a loose sound study evolves into an introverted and melancholic exploration of mood, atmosphere, interwoven notes, texture, sound, guitar and electronics.
Tomorrow Outside Tomorrow unveils a nebulous new music.
Oren Ambarchi: guitar on “Blues Deceiver”.
Rob Mazurek: cornet on “Tomorrow Outside Tomorrow”.
Recorded by Makoto Oshiro, Tokyo, Nov 4, 2014. Mixed by Ted Young & Alan Licht at Outer Space, Brooklyn, July 15, 2015.
Over the years Alan Licht (USA) and Tetuzi Akiyama (Japan) have individually explored the lines that divide improvisation, composition, folk, blues and experimental music. It was inevitable their careers and styles would cross paths. Tomorrow Outside Tomorrow captures a meeting of minds and techniques landing two extended works which blur genre and cliche.
Blues Deceiver presents itself as a dank blues: a dirty crawling mass of feedback, fluctuating vibrations, garage frequencies and distant interference. Featuring Oren Ambarchi the various musical and nonmusical elements weave about creating a music showcasing individual contributions hovering as a holistic whole. There is beauty in this beast.
Tomorrow Outside Tomorrow features the talents of Rob Mazurek in the guest role. Here the trio expand on the workshop blues drone with Rob placing a sombre jazz card on the table. What begins as a loose sound study evolves into an introverted and melancholic exploration of mood, atmosphere, interwoven notes, texture, sound, guitar and electronics.
Tomorrow Outside Tomorrow unveils a nebulous new music.
12,50€
In stock
2 LP
VOICES FROM THE LAKE
“Live at MAXXI”
After last year’s releases on Spectrum Spools, Italian techno masterminds Donato Dozzy and Nuel are returning as the duo Voices From The Lake with a release on the mother label Editions Mego: “Live @ MAXXI” is a marvellous organic live-set of hypnotic ambient techno, proofing the outstanding and elegant craftsmanship of their sonic sculpturing, that they both are famous for.
As was to be expected they stay true to their polyphonic topography of liquid scapes: aquatic sceneries are embedded in soaking dense atmospheres, gently gyrating us into trance. Sometimes soft echoes of sirenic voices are heard - the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are being channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound is adding up to a sonic matrix of metaphysic imaginary that is provoked by gentle glides and dynamic beat patterns of almost tribalistic quality.
Dunked in a bath of dark fluid, sometimes washed away at the shores of Kosmische - VFTL’s tunes are not scared to seduce us into a condition of haziness, culminating in a cover of Paolo Conte’s, Max’ which is turned into a dazzling sample of sweet, dreamy melancholia.
With this release Voices From The Lake succeed again in strengthening their position as one of todays most refined ambient techno producers.
As was to be expected they stay true to their polyphonic topography of liquid scapes: aquatic sceneries are embedded in soaking dense atmospheres, gently gyrating us into trance. Sometimes soft echoes of sirenic voices are heard - the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are being channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound is adding up to a sonic matrix of metaphysic imaginary that is provoked by gentle glides and dynamic beat patterns of almost tribalistic quality.
Dunked in a bath of dark fluid, sometimes washed away at the shores of Kosmische - VFTL’s tunes are not scared to seduce us into a condition of haziness, culminating in a cover of Paolo Conte’s, Max’ which is turned into a dazzling sample of sweet, dreamy melancholia.
With this release Voices From The Lake succeed again in strengthening their position as one of todays most refined ambient techno producers.
19,00€
In stock
3 LP
THIGHPAULSANDRA
“The Golden Communion”
September 2015 will see the release of Thighpaulsandra’s 7th full length album “The Golden Communion”, his first since 2006’s “The Lepore Extrusion”. Well over a decade in the making, this is his debut for Editions Mego. It comprises 10 new songs, running well over two hours with individual pieces clocking in between 4 and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Sion Orgon, plus the odd guest/ghost from bands Thighpaulsandra has worked with in the past.
If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.
Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.
Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.
If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.
Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.
Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.
31,00€
In stock
2 CD
THIGHPAULSANDRA
“The Golden Communion”
September 2015 will see the release of Thighpaulsandra’s 7th full length album “The Golden Communion”, his first since 2006’s “The Lepore Extrusion”. Well over a decade in the making, this is his debut for Editions Mego. It comprises 10 new songs, running well over two hours with individual pieces clocking in between 4 and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Sion Orgon, plus the odd guest/ghost from bands Thighpaulsandra has worked with in the past.
If you have heard any of Thighpaulsandra’s previous albums, you will know that you’d best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope’s band (in each case arguably at the height of their creative process) and his work as producer and sound engineer for an even larger variety of customers, you’ll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.
Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.
Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.
If you have heard any of Thighpaulsandra’s previous albums, you will know that you’d best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope’s band (in each case arguably at the height of their creative process) and his work as producer and sound engineer for an even larger variety of customers, you’ll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.
Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.
Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.
18,00€
In stock
CD
Kevin DRUMM
“Trouble”
Recorded Winter 2013-2014 at Frostbite, Chicago, IL. Mastered by Russell Haswell. “Trouble” is the brand new dispatch from the assorted output of Kevin Drumm and sits as one of the quietest in his entire catalogue. A single continuous 54 minute excursion into the netherworld of the audio spectrum, “Trouble” is neither ambient nor drone but a more complex investigation into the deep recesses of sound. One which discreetly works itself into the mind of a listener willing to invest in the path laid out in this extremely subtle, beautiful and
exceptional release.
exceptional release.
12,50€
In stock
LP
BJ NILSEN & STILLUPPSTEYPA – Anla COURTIS
“Golden circle afternoon”
Recorded and mixed in Berlin, Reykjavík, Buenos Aires, 2013. Artwork by Helgi Thorsson, Bj Nilsen & Sigtryggur Berg Sigmarsson.
“Here back in Buenos Aires after more than three months touring… so nice to slow down and relax a bit.”
Those were the first words coming from an email from Anla after another long tour around Europe but there had been many other tours.
Day 10.
After a long train delay in Mannheim we were confused and exhausted and not remembering where the next destination would be. Mannheim had only offered a hard floor as bed and no sheets, and this is in the middle of winter time. Of course this experience gave us the idea that we should or more precisely MOST do a record together which concept would be: Travelling. Like an audio travel guide. Plus we are all big fans of the Travelling Wilburys. We thought this idea
to be one of the best one on this tour so far. In the train we were listening to Future Days by CAN.
Day 4.
Moving backwards a bit here. We caught Anla working on recordings in his hotel room. This was in Stockholm and one of the better paid gigs, with hotel rooms for all of us. Anla was interested in the sound coming from the heater in the bathroom. So he started recording it’s sound using a dictaphone. It sounded really interesting and was made into a long fade at the nights gig in Stockholm.
That same sound you can hear on the record.
Day 6.
Copenhagen: Here traditional town flavors, located bookstores can be found all around. Beer capital town some might say. Weather was not on our side and the trip took close to 12 hours but was all worth it. I think it was Siggi saying something along the lines of: “Expensive but worth it!” Helgi also remembering that time in the late 90s when touring with Reynols. Back then we did gigs with small card paper boxes as main sound source.
Day 8.
The Keukenhof Gardens, Leiden, Holland. We decided to invite some local musicians to the bar, as we had a few days off we took advantage of doing a few outtakes. Some of it appears on this record but we can't tell you where as the track listing got mixed-up by the recording engineers.
“Here back in Buenos Aires after more than three months touring… so nice to slow down and relax a bit.”
Those were the first words coming from an email from Anla after another long tour around Europe but there had been many other tours.
Day 10.
After a long train delay in Mannheim we were confused and exhausted and not remembering where the next destination would be. Mannheim had only offered a hard floor as bed and no sheets, and this is in the middle of winter time. Of course this experience gave us the idea that we should or more precisely MOST do a record together which concept would be: Travelling. Like an audio travel guide. Plus we are all big fans of the Travelling Wilburys. We thought this idea
to be one of the best one on this tour so far. In the train we were listening to Future Days by CAN.
Day 4.
Moving backwards a bit here. We caught Anla working on recordings in his hotel room. This was in Stockholm and one of the better paid gigs, with hotel rooms for all of us. Anla was interested in the sound coming from the heater in the bathroom. So he started recording it’s sound using a dictaphone. It sounded really interesting and was made into a long fade at the nights gig in Stockholm.
That same sound you can hear on the record.
Day 6.
Copenhagen: Here traditional town flavors, located bookstores can be found all around. Beer capital town some might say. Weather was not on our side and the trip took close to 12 hours but was all worth it. I think it was Siggi saying something along the lines of: “Expensive but worth it!” Helgi also remembering that time in the late 90s when touring with Reynols. Back then we did gigs with small card paper boxes as main sound source.
Day 8.
The Keukenhof Gardens, Leiden, Holland. We decided to invite some local musicians to the bar, as we had a few days off we took advantage of doing a few outtakes. Some of it appears on this record but we can't tell you where as the track listing got mixed-up by the recording engineers.
15,00€
Out of stock
CD
Marcus SCHMICKLER & Julian ROHRHUBER
“Politiken der Frequenz”
Following an hypothesis according to which “Music and Economics share a fundamental object: number”, Schmickler and Rohrhuber’s project Politken der Frequenz circles around the acoustic rendering of number concepts. Inspired by Alain Badiou’s Le Nombre et les Nombres and accompanied by mixed choir, the piece attempts to question the apparent immediacy of number that allows calculation to govern today’s economy, social sciences and everyday life. "Change, flexibility, and movement are considered desirable today, while the static, rigid, and unchanging tends to be met with reservation or is implicitly opposed. Movement, perhaps even chaotic movement, or some form of change of the change of the change, appears promising: it suggests the invention of the new, rather than the discovery of the already-there, it is taken as the core of the revolutionary, or at least of the progressive. The unchanging, then, is only a brittle ladder to be used and then thrown away, a dead tool that merely points to life, or even a conservative prison of standardization. By consequence, what seems to exist in movement and nothing more, indeed appears in a favorable light: sound.
Be that as it may, such a positive evaluation of the potential of change mirrors a contemporary economic understanding of change and/or growth, where it is precisely what constitutes value as such. For algorithmic trading, success means the appropriate bet on a trend, for the employer, flexibilization and casualization of labour. And even though the appropriation of change as surplus value implies the arrest of its movement, this capture is only an intermediate unproductive
precondition of investment in the expected dynamical behaviour of free agents. The commenting chorus in Politiken der Frequenz (Politics of Frequency) is an attempt at exposing this mutual ideological support, by introducing a third element, namely the concept of number. A number and its properties can be considered either as an outcome of a dynamic process, like measurement or counting, or (and) as something that exists independently, and is a precondition
necessary for such operations in the first place. From both perspectives, however, the numerical is outside the frame of variation, something unchanging and infinitely resistant. It is in this role that it can serve as a middle and common ground of sound and economy, excluded, but necessary as a mere tool applied to provide external stabilization. What if number is taken as an object of investigation instead, an object of sound, one of mathematics? Can there be an alternative to the eternalized value of change, an alternative to the false dialectics of movement and arrest? Certainly, drawing from the history of mathematics, a sonification of number brings to light something fundamentally different, namely its acoustic shimmer, its glint.” Another version of the piece was commisioned by WDR3 Studio Akustische Kunst. Premiered November 2011. A joint release between Editions Mego & Tochnit Aleph.
Be that as it may, such a positive evaluation of the potential of change mirrors a contemporary economic understanding of change and/or growth, where it is precisely what constitutes value as such. For algorithmic trading, success means the appropriate bet on a trend, for the employer, flexibilization and casualization of labour. And even though the appropriation of change as surplus value implies the arrest of its movement, this capture is only an intermediate unproductive
precondition of investment in the expected dynamical behaviour of free agents. The commenting chorus in Politiken der Frequenz (Politics of Frequency) is an attempt at exposing this mutual ideological support, by introducing a third element, namely the concept of number. A number and its properties can be considered either as an outcome of a dynamic process, like measurement or counting, or (and) as something that exists independently, and is a precondition
necessary for such operations in the first place. From both perspectives, however, the numerical is outside the frame of variation, something unchanging and infinitely resistant. It is in this role that it can serve as a middle and common ground of sound and economy, excluded, but necessary as a mere tool applied to provide external stabilization. What if number is taken as an object of investigation instead, an object of sound, one of mathematics? Can there be an alternative to the eternalized value of change, an alternative to the false dialectics of movement and arrest? Certainly, drawing from the history of mathematics, a sonification of number brings to light something fundamentally different, namely its acoustic shimmer, its glint.” Another version of the piece was commisioned by WDR3 Studio Akustische Kunst. Premiered November 2011. A joint release between Editions Mego & Tochnit Aleph.
12,50€
Out of stock
CD
Bill ORCUTT
“A history of every one”
“A History of Every One” by Bill Orcutt is an album of songs: minstrel songs, holiday songs, hymns, marches, cowboy songs, Disney songs, work songs, delta blues. The original tunes themselves are nothing special, well known, but not particularly well-regarded. Most would be filler on a mid-60’s Doris Day or Burl Ives LP. What Orcutt does with them however is remarkable: expanding upon techniques developed on 2011’s “How the Thing Sings” and incorporating ideas
forged since his recording of “The Star Spangled Banner” last year, Orcutt interrogates the apparent banality of his material, subjecting it to discontinuity, disjuncture and a fractured repetition that is disturbing and revelatory. Titled after a line from Gertrude Stein’s “The Making of Americans” and inspired by the scholarship of Elijah Wald and Eric Lott, “A History of Every One” is a bold re-writing of an important historical thread, an interpretation of a lost text and a bewildering extension upon Orcutt’s already singular language.
forged since his recording of “The Star Spangled Banner” last year, Orcutt interrogates the apparent banality of his material, subjecting it to discontinuity, disjuncture and a fractured repetition that is disturbing and revelatory. Titled after a line from Gertrude Stein’s “The Making of Americans” and inspired by the scholarship of Elijah Wald and Eric Lott, “A History of Every One” is a bold re-writing of an important historical thread, an interpretation of a lost text and a bewildering extension upon Orcutt’s already singular language.
12,50€
In stock
LP
Alan LICHT
“Four years older”
Alan Licht, solo electric guitar. Four Years Later recorded December 14, 2012 at Echo Canyon West engineering: Ted Young technical assistance: Bentley Anderson. Four Years Earlier recorded live December 7, 2008 at the Electric Possible, Washington, D.C. All selections played as heard, no overdubs. A new set by the coolest chap in New York City documenting the development process of a solo electric guitar piece that Alan Licht has been playing out for last four years. Revered for his work in the Blue Humans and Text of Light, and a key figure in the pantheon of experimental solo guitar players born in the late sixties such Jim O’Rourke and Oren Ambarchi, ‘Four Years Older’ is his debut Editions Mego release, representing another peak in a career of mining the rich seams of minimalism, noise and avant-garde in general that stretches back more than two
decades. As it says on the box side A was recorded four years later than the side B (and vice versa). If that wasn’t enough it’s been four years since his last solo LP, YMCA, on Family Vineyard. Four Years Older sees a move away from the loop-based pieces of recent releases. On Four Years Later in particular the guitar’s fingerboard is actually touched more than on any other solo piece of the last ten years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet’s nest, and a malfunctioning PlayStation than a guitar per se. As Alan points out: “Four Years Earlier was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of Four Years Later. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven part piece in this studio version. In concert the piece lasts at least 30 minutes, I’ve shortened it on Four Years Later with an eye towards top 40 radio play. :)” The initial ‘Four Years Earlier’ session is a blistering electronic nailstorm that would not feel out of place on one of Russell Haswell’s legendary ‘Live Salvage’ sets. ‘Four Years Later’ is equally relentless but lets in some light with an ecstatic mid section that ascends toward the spiritual.
At the end of the day the final result is music which is both corrosive and lyrical, a feeling which is reflected in Stephen O’Malley’s eye melting artwork.
decades. As it says on the box side A was recorded four years later than the side B (and vice versa). If that wasn’t enough it’s been four years since his last solo LP, YMCA, on Family Vineyard. Four Years Older sees a move away from the loop-based pieces of recent releases. On Four Years Later in particular the guitar’s fingerboard is actually touched more than on any other solo piece of the last ten years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet’s nest, and a malfunctioning PlayStation than a guitar per se. As Alan points out: “Four Years Earlier was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of Four Years Later. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven part piece in this studio version. In concert the piece lasts at least 30 minutes, I’ve shortened it on Four Years Later with an eye towards top 40 radio play. :)” The initial ‘Four Years Earlier’ session is a blistering electronic nailstorm that would not feel out of place on one of Russell Haswell’s legendary ‘Live Salvage’ sets. ‘Four Years Later’ is equally relentless but lets in some light with an ecstatic mid section that ascends toward the spiritual.
At the end of the day the final result is music which is both corrosive and lyrical, a feeling which is reflected in Stephen O’Malley’s eye melting artwork.
9,00€
In stock
LP + DVD audio
Russell HASWELL & Florian HECKER
“Kanal Gendyn”
“Editions Mego is happy to announce the release of “Kanal Gendyn”, a Vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full length release by the artists following their highly acclaimed albums, ’Blackest Ever Black (Electroacoustic UPIC Recordings)’ (Warner Classics, 2007), and ’UPIC Warp Tracks’ (Warp, 2008), in addition to their remix’s of Popol Vuh, and Voice Crack. In the late 90s, early 2000s, it became common for bands, or solo artists to perform live - often alternative - soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell & Florian Hecker chose to create a real-time soundtrack, to an unscored film, ’Kanal Video’ (1992, 60 min) by the Swiss artist duo Peter Fischli & David Weiss. Core to Kanal Gendyn is Haswell & Hecker’s ongoing research on the legacies of polymath Iannis Xenakis (1922-2001) and in particular his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates ‘sound out of nothing’. In an interview with Peter Hoffmann, the artists recall: “This video, which consists of an hour long ‘ride’ through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects - struck us both as an ideal piece to be projected in a ‘nightclub’ or music venue with a Gendyn only performance. We found twisted relations with such an hour long ‘tunnel vision’. Once with the seemingly endless amount of computer generated video projections used as visuals accompanying raves and techno parties during the 1990’s - and also to the accounts of visual hallucinations induced by Mescaline as described by Heinrich Klüver in the 1920’s - with the so called ‘form constants’ - where he mentions amongst others, ‘tunnel like’ patterns. The particularities of Gendyn, with its ever changing and meandering waveforms appeared to us as an ideal counterpart.” Kanal Gendyn was performed on the occasion of the event ‘Musterraum 9. Dual Presentation - Peter Fischli & David Weiss - Russell Haswell & Florian Hecker’ at Musterraum, Munich, 30.01.2004. Originally constructed as an experimental building, ‘Musterraum’ - German for sample or reference room - was a freestanding cube with a base area of 10 12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne. Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12 / B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, ‘Kanal Video’ (1992, 60 min.) screened on three facing walls. Kanal Gendyn is released as stereo vinyl LP + 4.0 DTS 24 Bit / 48 KHz DVD (audio only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30 x 30 cm 170 gramm paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich. Its also worth noting that, with a running time of over a hour, this is one of the longest single LP releases you will come across ! Cut by Rashad ’the Master’ Becker at Dubplates & Mastering, Berlin, September 2011.”
22,00€
In stock
CD
FENNESZ
“Bécs”
The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was “Endless summer”. Now, in 2014 Editions Mego is extremely proud to release the conceptual follow up that landmark of abstract pop. Bécs (pronounced “baeetch”) is Hungarian for Vienna and is the first full length Fennesz solo release since 2008’s “Black Sea”.
Eschewing the more drone orientated works of “Black Sea”, “Bécs” returns to the more florid pop mechanisms as deployed on Endless Summer. “Static Kings” features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10 minute centrepiece “Liminality” (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. “Pallas Athene” creates a
sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track Bécs’ is an astonishing contribution to contemporary pop. “Sav” (co-written by Cédric Stevens aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing “Paroles”, a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it’s a world to
inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist.
All tracks by Christian Fennesz, except “Sav” by Cédric Stevens & Christian Fennesz. Modular Synthesizer on “Sav” by Cédric Stevens. Bass on “Static Kings” by Werner Dafeldecker. Drums on “Static Kings” by Martin Brandlmayr. Drums on “Liminality” by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/14. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Cover design by Tina Frank.
Eschewing the more drone orientated works of “Black Sea”, “Bécs” returns to the more florid pop mechanisms as deployed on Endless Summer. “Static Kings” features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10 minute centrepiece “Liminality” (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. “Pallas Athene” creates a
sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track Bécs’ is an astonishing contribution to contemporary pop. “Sav” (co-written by Cédric Stevens aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing “Paroles”, a gentle melody unravels amongst swirls of electronics and fried disruption. Bécs is not just an album or a series of songs, it’s a world to
inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature. A singular work by a singular artist.
All tracks by Christian Fennesz, except “Sav” by Cédric Stevens & Christian Fennesz. Modular Synthesizer on “Sav” by Cédric Stevens. Bass on “Static Kings” by Werner Dafeldecker. Drums on “Static Kings” by Martin Brandlmayr. Drums on “Liminality” by Tony Buck. Recorded & mixed at Amann Studios, Vienna, 2013/14. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Cover design by Tina Frank.
12,50€
Out of stock
LP + 7"
RAGLANI
“Real Colors Of The Physical World”
Sounds : Joseph Raglani. Speech : Melissa Meinzer. Mastered & Cut by Rashad Becker. Art: Jeremy Kanappell. “Real Colors of the Physical World” is a title whose parameters of reference may at first seem obvious, but a moment’s consideration renders it strange. The physical world, as opposed to the phenomenal, is, as we are able to suppose through the insights of science, an invisible place, if it is even enough to count as a place. What, then, are the qualities being named here? By way of an answer, it is worth recalling that musique concrete has not only an historical but a conceptual priority over kosmiche musik. The concrete in the cosmic: electronic music concerned itself from the beginning with getting past the emotional, historical, and religious themes that had defined traditional composition in order to head straight into the very matter of sound. For the concrete composers, this meant literal experimentation, stretching, analyzing, and recombining the properties and limits of auditory material and its perception. The kosmiche musicians conserved those approaches through metaphor as much as technique. The continuity between them involves a vocabulary of fundamental concerns: space, time, shapes, speed.... Electronic music arguably allowed for music to become actively self-reflexive, even ontological, for the first time. Its natural epic form has always been the cosmogony. The kosmiche focus on space travel and cybernetic futures has its roots in the earlier electro-acoustic renderings of a universe whose deepest origins are electrical and sonic. Two tacit, convergent metaphors structure the conceptual explorations of both approaches: that "electronic composition" accurately describes the activity of the human nervous system; and that cosmic evolution may be legitimately qualified as an act of modular synthesis. But much electronic music today has lost sight of the ambition to map that convergence, giving way instead to an emphasis on superficial prettiness, period nostalgia, the merely pleasant stupor of the New Age; or else to a vacuous static of technical fiddling. Raglani has never abandoned the grand vision that distinguished his ancestors, and this is his most determinedly comprehensive piece of work. It revisits the promise in the electronic synthesis of sound, implicit from its beginning, to construct a plastic image of the imperceptible dynamics beneath the surface of the world. This is a drama realized at constantly telescoping scales, in all directions. If the disintegration of a divine voice into the skittering communications of machines, or the transformation of a densely alien jungle into the promise of personal redemption, can count as objects of experience, they can do so only here, through the condensation of sound. But this hectic, exotically diffuse rendering has more in common with the world as we know it than does the placid stability of actual things; inner life has its own geometry, its own physics. The cosmic in the concrete: real colors remain within. Raglani has been making electronic music since he saw Otomo Yoshihide perform while under the influence of severe fever. This is his first full length album under his own name since 2006’s Of Sirens Born.” Michael Ferrer
9,00€
Out of stock
CD
PINKCOURTESYPHONE
“taking into account only a portion of your emotions”
Formed from places, plastics, and particulars 2014-2016. Mastered at D&M, Berlin, September 2016. Design by Richard Chartier. The ongoing project by Los Angeles-based sound artist Richard Chartier (b.1971) sends you a new coded message of sumptuous distant drones and glacial orchestral heartrendings. Poised and polished slow motion pulsations tug at your emotions (but only a portion of them). For those listeners desirous of the output of The Caretaker, Angelo Badalamenti, William Basinski, and other such dark wistful wonderment.
Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Amorphous, changing, and slipping in and out of consciousness, operating like a syrup-y dream and strives to be both elegant and detached.
Please don’t hang up. This call is important. You’re coming with Pinkcourtesyphone… leave everything… it’s getting late.
12,50€
In stock
LP
HOX
“Duke of York”
Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following on from the highly acclaimed ‘it-ness’ in 1999. Duke of York a bittersweet contemporary electronic pop record which could only exist as a result of the unison of these particular, peculiar souls.
At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content.
The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis’ distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms.
At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content.
The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis’ distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms.
15,00€