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2 LP

Anton HEYBOER
“Rules of the universe”

Kye is proud to announce the release of Rules Of The Universe, a fully authorized anthology of archival audio work by the renowned Dutch artist Anton Heyboer (1924-2005). Heyboer’s stature in visual arts is well known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Heyboer’s only previous vinyl release - 1976’s ill-fated “She And She As One” LP (EMI) introduced a music so resolutely personal and uncommercial in nature that EMI ordered the unsold bulk of the pressing withdrawn and destroyed. Further recordings of Heyboer’s anomalous music eventually trickled out via a string of private press micro-edition CDs/CDRs through the Anton Heyboer Foundation in the 1990’s.
Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks. Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Century’s most original artistic minds.
Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of 500 copies.
28,00€ Original price was: 28,00€.15,00€Current price is: 15,00€.
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Matthew REVERT
“Being small”

Kye is proud to present Being Small, the new LP by Matthew Revert. Lovely collection of Matthew's philosophies, worldviews and wisdom recorded cheaply at his home in Melbourne, Australia. Being Small arrives in a Matthew Revert designed sleeve with matching labels in an edition of 300 copies.
19,00€ Original price was: 19,00€.10,00€Current price is: 10,00€.
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Philip CORNER
“OM Entering. and Once Enterd”

Kye is proud to announce the release of “OM Entering. and Once Enterd”, the latest LP from veteran fluxus composer Philip Corner. “OM Entering. and Once Enterd” comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007. “Om Entrance” which one does.... because the performance is a real “passage from the material to the spiritual” unless the “real” world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians’ coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone. My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost  50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too. The movement from Sang/Teh (Situations). Guard duty in a cold Korean winter. This piece was a major turning-point in my work.  My life too you-could-say. “Of Ancient Times and Modern Sounds” i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their “Ah Ahk” court music (“Soo Je Chun” the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West. Public performance in Seoul. That must have been the Spring of 1961 just before they “shipped me out”, to bring all that back home. Before that the wonderful and exceptional opportunity to “run through” some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival.  But my long-waiting-for performance in Korea on native instruments has yet to take place. The Chopin Prelude piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the “as a revelation” series which “looks into” moments from the classics which usually go by too fast.  Begun with Mozart, the series has “got a lot of mileage” out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz, and others.” (Philip Corner, 2015) “OM Entering. and Once Enterd” arrives in a full color, high gloss Philip Corner designed sleeve, with insert, 350 copies black vinyl.
20,00€ Original price was: 20,00€.10,00€Current price is: 10,00€.
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GOOD AREA
“French Antartica”

Kye is proud to present ’French Antarctica’, the debut LP by Good Area. Drawing from a palette of guitar, rhythm box, cornet, shortwave radio and room activity Good Area have crafted the ultimate stand-alone testament to instantaneous expression. Bypassing such obsolete concepts as dexterity and restraint ’French Antarctica’ cuts loose with a raw unbridled rush of creative force, bristling with home-spun malevolence and anti-social aplomb. Good Area harvest the wisdom passed down from the Decayes, Semool, Nishimura Alimoti and other bastions of shoe-box cassette culture and transcribe their teachings into epic new screeds of confusion. French Antarctica arrives in a full color, high gloss sleeve, with commemorative postcard, in an edition of 400 copies.
16,00€ Original price was: 16,00€.8,00€Current price is: 8,00€.
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GLORIAS NAVALES
“Cofradia Nautica”

Kye is proud to present “Cofradia Nautica” the debut LP by Chile’s Glorias Navales, and the follow-up to 2015’s “Carta a Maureen Tucker” cassette on ETCS. “Glorias Navales is a band based in Santiago, Chile, who combine local folk traditions and paganism with a post-Velvets aesthetic. Imagine Lou Reed, John Cale and Violeta Parra together, doing late night acoustic lo-fi trance jams in a rural area of Chile.” (Ivan Daguer)
Drawn from live concert tapes recorded at BYM Records, and recordings made in the band’s private practice space “Cofradia Nautica” offers a raw, unvarnished walkway straight into heart the of the contemporary Chilean underground. “Cofradia Nautica” arrives in a full-color matte stock sleeve with printed innersleeves, mastered by Jason Lescalleet, in an edition of 400.
19,00€
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LP

MATHS BALANCE VOLUMES
“Absence”

Kye is proud to announce the release of ‘Absence’, the new LP by Maths Balance Volumes. Side A presents material recorded live at the Arts Center of St. Peter, Minnesota as part of Free Form Freakout’s ‘An Evening of Experimental and Improvised Sound’ (04/21/17) while Side B gathers unreleased home recordings from the previous decade. Visionary cassette-based constructs with enough crude mechanics and smudged internal logic to delight the corpse of Arthur Pétronio. Edition of 250 copies.
19,00€
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LP

Michael MORLEY
“Moonrise”

Kye is proud to announce the release of “Moonrise”, the brand new solo LP by Michael Morley. After a 30-odd year history cutting electric music with the likes of Wreck Small Speakers on Expensive Stereos, The Dead C, and Gate, Morley opens a new chapture with “Moonrise”, being the first readily available document of the man in solo acoustic mode. “Moonrise was recorded as an experiment in my newly established recording studio to see what might happen if I played acoustic instruments only, with an ear to some early Spanish guitar music and the Persian oud. After 30 years of playing the acoustic guitar in private for no good reason, I decide to record the activity.” (Michael Morley).’Moonrise’ arrives in a full color Morley designed matte stock sleeve, with complimentary inner bags, in an edition of 500 copies.
20,00€
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LP

Mark VERNON
“Lend an ear, leave a word”

Kye is proud to present “Lend an ear, leave a word” the new LP from Glasgow’s Mark Vernon. “The pieces composed for this album combine field recordings of contemporary Lisbon with found tape recordings from the past;  reel-to-reel tapes, micro-cassettes and Dictaphones collected from the Feira de Ladra market, a popular and lively flea market in the Alfarma district. Each tape recording is an audio snapshot of a specific time; a family album in sound, a musical performance, a compilation of treasured music, or even just the fun of playing around with a tape recorder captured for posterity. Every thoughtless edit or push of the record button teleports us to a different time and place. The musical material extracted from the tapes is also an evocative signifier  that locates it within a specific era. The interesting thing is how the tapes accumulate different strata of time even within a single side. There are consecutive chronological recordings but also sequences with unexpected breakthroughs where the user has carelessly fast-forwarded through the tape, randomly ‘dropping-in’ new recordings. These accidental edits create instantaneous new collages of sounds and voices. I have endeavoured  to retain the essence of these unintentional edits and unexpected outbursts in the pieces I have assembled here. The noisy whir and clicking of the various tape mechanisms is evident on many of the found recordings. As the material is sped up and slowed down it acts as an internal clock, a continuous, steady marker of time, almost like the second hand of a timepiece. All of the pieces contained here within explore one particular environment - the city of Lisbon. Field recordings by their very nature are time-based but the introduction of found tapes into the mix expands the time-scale of these studies from just the short period spent in the city making recordings, backwards to possibly forty or more years in the past. It is a portrait in time *and* place, an archeology of sound. The result of the audio flotsam and jetsam washed up on the shores of low commerce in the flea markets of Lisbon.” (Mark Vernon) “Lend an ear, leave a word” arrives in a full color matte stock sleeve with insert and download card that features additional pieces left off the LP due to time constraints. Mastered by Jason Lescalleet in an edition of 400.
19,50€
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LP

Marcia BASSETT & Samara LUBELSKI
“Sunday Night, Sunday Afternoon”

Sunday Night, Sunday Afternoon is the debut LP by the duo of Marcia Bassett
and Samara Lubelski. Both musicians have played crucial roles in the development of underground sound over the last 20 years, tinting the broad waters of abstract folk, chromatic noise and longform drone, and cementing themselves as cornerstone artists in the process. Sunday Night, Sunday Afternoon is the perfect synthesis of Bassett and Lubelski’s individual crafts - two sidelong forays into deep black string meditation that hang in the air like ghosts on Ludlow Street. Sunday Night, Sunday Afternoon was recorded, mixed by Barry Weisblat in 2010 in Brooklyn, NY, and arrives in a high gloss monochrome sleeve, in an edition of 500 copies.
16,00€
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LP

Dan MELCHIOR
“Home of the blues”

Kye is proud to present ‘Home of the Blues’, the latest LP by Dan Melchior, and his sophomore effort for the label following 2012’s now legendary ‘Excerpts (& Half-Speeds)’. For ‘Home of the Blues’ Dan agreed to undergo a series of exercises aimed not only at destabilizing his natural songwriting process, but also testing the durability of the blues idiom when placed under stress. As one would expect, Dan met the challenge with aplomb, hoisting the project beyond a one-dimensional art-school prank, toward a sincere and multi-faceted presentation of damage and survival as sound. ‘Home of the Blues’ arrives in a full color, high gloss sleeve featuring original artwork by Dan, with an accompanying 18” x 24” foldout poster, in an edition of 400 copies.
20,00€
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CD

Moniek DARGE
“Crete soundies”

“Kye is pleased to announce the release of crete soundies, the major new work by moniek darge, and the follow-up to last years soundies (1980-2001) CD. Crete soundies presents three new pieces - Magnesia (2006), Anemos (2007) and East crete (2008-2009). These works were born from two years of levka ori sound research, and an additional year in east crete in collaboration with fellow sound artist Francoise Vanhecke. Moniek darge was born in bruges, 1952 and studied music theory and violin at the music conservatory of Bruges, painting at the ghent royal academy of fine arts; art history, philosophy and anthropology at the university of ghent, belgium. She is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. since 1970 she has performed around the world and has been active on stage, first with the logos ensemble, then with logos duo (together with godfired-willem raes), and more recently with the m&m robot ensemble. She also founded logos women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. she’s often invited by international artists to collaboration. In 1986 the third program of the national belgian radio broadcasted a series of programs about her concerts and performances in new york city and about some artists with whom she collaborated there. a similar program was made about her music experiences in Kenya and Rwanda. and later on also about Japan, China, Bresil, Australia, New Zealand etc. She herself also realised radio programs about women artists over the world. in 1997 she received the title of cultural embassador of flanders for the logos duo. Moniek darge published several journalistic and literary essays, amongst which “inter media myths, auto-author” (1986), an art edition, combining poetry, drawings, scores and pictures (toronto, art metropole-catalogue no.12) and the book “lijf tegen lijf” (body against body, kritak, leuven, 1982). she’s general editor of the ’logos-blad’, the monthly magazine of the logos foundation, which appears already during more than 30 years and in which she also tells her international music travel experiences. many international magazines published her articles. besides her many concerts and performances all over the world and besides her activities as organiser, Moniek Darge is assistant professor at the "hogeschool gent" where she teaches 20th century art history, audio art and non western art studies at the fine arts department and an introductionary course in ethnomusicology at the music department. Crete soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the flemish government.” label info
16,00€
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2 LP

Eliane RADIGUE
“Triptych”

The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the 4th side. Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she†began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth" Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley , "Jetsun Mila"(1986), as well as the Trilogy of Death: Kyema (1988), Kailasha†(1991) and Koume†(1993).
45,00€
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Andrew CHALK
“Mystical Obscurant”

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint. Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it. “The Seed of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace. What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.
25,50€
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ELEH
“Floating Frequencies / Intuitive Synthesis I”

When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus. From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young" ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH. This audiophile quality presentation of ELEH's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.
25,00€
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Bob BELLERUE
“Chaos Is A Law”

Avec Chaos Is A Law, Bob Bellerue fait du chaos une force créatrice. Feedback, cordes de piano, métal, électronique et drones s’entrechoquent dans une matière sonore en perpétuelle transformation, entre rugosité, dissonance et étranges éclats mélodiques. Une musique physique et imprévisible, qui se construit, se fracture et renaît sans cesse. Ici, le bruit devient matière vivante, l’incontrôlable devient méthode, et le chaos, une forme de liberté.
27,50€
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CD

Russell HASWELL
“Let It Go”

It has been twenty-five years since the seismic events of 2001—when twin towers collapsed under terrorist attack and Coventry's sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997–2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: "Science Fiction is now!" In the face of this darkening reality, LET IT GO arrives as both acknowledgment and antidote. This new full-length on Editions Mego extends an olive branch through defiant sonic diversity—an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell's core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted. The album weaves reverent echoes of 1990s Detroit techno's hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, "rapidly fluctuating pitched sounds" that characterized Iannis Xenakis' late electronic works—resulting in pieces such as Fall 3 and Fall 2, where instability becomes a form of vitality. The tracks Exit Downwards and The Anxieties Of Our Time whilst reflecting the currents of the release also offer surprisingly melodic patterns over jagged rhythms. The wryly titled Thu 25 Dec 2025, (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model—known more evocatively as the drunken walk—each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence. LET IT GO is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.
15,00€
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LP

Klara LEWIS
“Opening”

Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Her new album Opening is a deceptive recording with veiled melodies and clandestine bangers. Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped. The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective. Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways. The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together.
26,00€
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CORTICALART

Mail-order and distribution of experimental music (electroacoustic, improvised music, sound-art, noise, sound poetry), past or present, along with some books, magazines and DVDs.

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