Out of stock
6 CD, DVD, box
REYNOLS
“Minecxio Emanations 1993-2018”
Pica Disk is extremely proud to present "Minecxio Emanations 1993-2018" - a box-set dedicated to the cult Argentinian band Reynols that features 52 audio tracks (mostly previously unreleased), 90 minutes of video and extensive liner notes and visuals.
Reynols started in 1993 in Buenos Aires and is famous amongst many things for its unique Down’s syndrome drummer/vocalist Miguel Tomasín, who is the band's spiritual architect. Reynols is also known its musical diversity, which spans everything from cosmic free rock and lo-fi drone electronic music, to conceptual sound art and social/political/esoteric observations. The world of Reynols is a universe completely of its own, and inhabits so much that even an extensive box like this only scratches the surface. Although Reynols have worked with an open-process DIY philosophy and been subject to multiple documentaries the band has still managed to sustain an element of mystery, so the release of "Minecxio Emanations 1993-2018" marks the first time the band has allowed an extensive overview of their work to be made. Fans of the band will also be happy to learn that most of the material is previously unreleased, including two albums from the early 2000s that were completed but never released; the earliest recordings from 1993; collaborations with artists Acid Mother's Temple and Pauline Olivers; conceptual pieces; and more. There's also a DVD with 90 minutes of videos. This box-set shows the full range of Reynols, and has been six years in the making and is the most extensive box-set project by Pica Disk.
Reynols is Miguel Tomasín, Roberto Conlazo and Anla Courtis
Details:
Booklet 1: The story of Reynols
A 3000 word new piece by Marc Masters which covers the history, culled from new interviews with Anla Courtis, Roberto Conlazo and Miguel Tomasín. Also included are shorter text/appreciations by Lasse Marhaug, Oren Ambarchi, Sindre Bjerga, Sixto Fernando, Sigtryggur Berg Sigmarsson, C. Spencer Yeh, John Olson and others.
Booklet 2: Visuals
A full booklet of photos, artwork, press clippings, quotes, flyers and posters. Most of this material have not been published before.
7 x Discs:
Disc 1: Early Reynols
Early recordings from the birth of Reynols in 1993-94, some material from small edition cassettes, some previous unreleased.
Disc 2: Vedeosmas Tecretre
An album made in 2001-2003, but never released.
Disc 3: Jaz Ronco Jits
A selection of the “Jaz Ronco Japi Javas” sessions from 2001-2002, only previously available as very limited CDRs.
Disc 4: Conceptual Mogal
A disc of Reynols conceptual pieces, including performances at the Eiffel Tower in Paris, NASA in Houston, the Atomium in Brussels, outtakes from the 10.000 Chickens Symphony and from public street protests in Buenos Aires during the December 2001 crisis. All previously unreleased.
Disc 5: Roniles Dasa Selebro
Another previously unreleased album from 2000-2001.
Disc 6: Reynols and Friends
A collection of collaborations with artists like Dr.Socolinsky, Pauline Oliveros, Nelson Gastaldi, Jazzy Mel and Acid Mothers Temple. Recorded between 1998 and 2018. Previously unreleased.
Disc 7: DVD
A 90 minute collage of live performances and other videos that offer a rare portal to the world of Reynols.
All discs come in individual printed wallets.
All audio have been remastered from the original masters.
Limited edition of 500 copies.
Digital version available from Bandcamp comes with all booklet and artwork, but DVD material is exclusive to the physical box-set.
A limited amount of t-shirts will also be made to celebrate the release of the box-set.
"Long may they confuse"
- John Olson (Wolf Eyes)
“I know Reynols indeed: they are among the most experimental and wild people I’ve heard”
- Thurston Moore
“Reynols is a super band to me. Someday, I wanna fly to Mars with Anla, Rob and Miguel all together. Let’s do asado there.”
- Mitsuru Tabata (Zeni Geva, Acid Mothers Temple, Boredoms)
“One of the most bizarre musical/social units to function. Ever”
- Muckraker Magazine
"The Reynols frontier is, in terms of sheer sonic, aesthetic, and conceptual creativity, an infinite expanse. It doesn’t break out of barriers so much as it evaporates them. It’s not that the rules don’t apply in Reynols music. It’s that nothing applies. The sound is itself, and everything else." - Marc Masters, from the liner notes of the box
40,00€
In stock
LP
MENSTRUATION SISTERS
“Glass walking”
Pica Disk is proud to release “Glass Walking” - an LP of recently unearthed recordings by the infamous Australian noise band Menstruation Sisters.
Over the years the Menstruation Sisters have through a selective, but incredibly varied output of albums steadily built a reputation among music fans as a unique band. It was never a secret who the members of Menstruation Sisters were, yet the band’s aura was shrouded in mystery and confusion, possibly because they would completely reinvent themselves with every new recorded statement. As a fan of the Menstruation Sisters you had to abandon everything you knew with each new piece of the puzzle.
And now we can go back to the beginning, the birth of the Sisters, as by pure luck early previously unreleased material from 1995 was recently discovered in the vaults in Perth’s Endless Studios archives. On these recordings the band was the duo of Oren Ambarchi and Nik Kamvissis, but with producer Anthony Maher assisting and performing on some tracks. Ambarchi and Kamvissis would continue as a duo until Brendan Walls joined in 2001
The material heard on “Glass Walking” has a different flavor to the albums that would follow. Fans will immediately be struck by the almost total absence of drums and guitars, as the music on “Glass Walking” is built around electronics and vocals. This makes the music feel more immediate, urgent and desperate. Tracks like “Give Blood” and “Don’t Fuck” reveals the missing link between Hanatarash, Maurizio Bianchi and the monkeys in the Evolution Revolution band. This is noise music history in reverse.
The album also contains the first Menstruation Sisters live concert, which documents that the band’s ferocious performance antics were also fully developed from the very first time they set foot on stage. This is the complete set, all glorious 9 minutes and 35 seconds of it.
“Glass Walking” will only be available on vinyl and comes with liner notes and archival photos that explains everything.
Over the years the Menstruation Sisters have through a selective, but incredibly varied output of albums steadily built a reputation among music fans as a unique band. It was never a secret who the members of Menstruation Sisters were, yet the band’s aura was shrouded in mystery and confusion, possibly because they would completely reinvent themselves with every new recorded statement. As a fan of the Menstruation Sisters you had to abandon everything you knew with each new piece of the puzzle.
And now we can go back to the beginning, the birth of the Sisters, as by pure luck early previously unreleased material from 1995 was recently discovered in the vaults in Perth’s Endless Studios archives. On these recordings the band was the duo of Oren Ambarchi and Nik Kamvissis, but with producer Anthony Maher assisting and performing on some tracks. Ambarchi and Kamvissis would continue as a duo until Brendan Walls joined in 2001
The material heard on “Glass Walking” has a different flavor to the albums that would follow. Fans will immediately be struck by the almost total absence of drums and guitars, as the music on “Glass Walking” is built around electronics and vocals. This makes the music feel more immediate, urgent and desperate. Tracks like “Give Blood” and “Don’t Fuck” reveals the missing link between Hanatarash, Maurizio Bianchi and the monkeys in the Evolution Revolution band. This is noise music history in reverse.
The album also contains the first Menstruation Sisters live concert, which documents that the band’s ferocious performance antics were also fully developed from the very first time they set foot on stage. This is the complete set, all glorious 9 minutes and 35 seconds of it.
“Glass Walking” will only be available on vinyl and comes with liner notes and archival photos that explains everything.
14,00€
Out of stock
LP
SULT – Lasse MARHAUG
“Harpoon”
Håvard Skaset / Jacob Felix Heule / Guro Skumsnes Moe / Lasse Marhaug. Recorded at Tunnelen, Oslo, May 2014. Mixed at the best studio in Oslo, 2015–2016. A collaborative LP of acoustic improvisors SULT (Håvard Skaset: guitar / Jacob Felix Heule: percussion / Guro Skumsnes Moe: double bass) and Norwegian sound artist Lasse Marhaug. The source material is performed by SULT, while the album was constructed and produced by Lasse Marhaug. In the hands of Marhaug the already dense and visceral expression of SULT is transformed into a maelstrom of layered sheets of scraping noise, rising and collapsing simultaneously. Some listeneres will place “Harpoon” in the proximity of artists like Organum, David Tudor and Ferial Confine, but the music carves its own place in the landscape. A joint release between Pica Disk and Conrad Sound, limited to 200 copies.
14,00€
Out of stock
LP
Stine Janvin MOTLAND
“In labour”
Stine Janvin Motland is a vocal performer from Stavanger, Norway. She has been active for a number of years in different constellations and as a solo performer, but In Labour is her debut solo album. Stine has a distinct way of working with her voice - with a strong focus on intervals, repetition and texture.
In Labour is recorded and produced by Lasse Marhaug.
The recordings were made at various outdoor and indoor locations in Norway during the summer and autumn of 2013. The idea was to place Stine in challenging sonic environments, and to explore how the surroundings affected the performances. The locations were picked for their sonic qualities.
In Labour is both a solo voice and a field-recording album at the same time, but it is quite different from what either of these usually sound like.
180 gram vinyl LP.
In Labour is recorded and produced by Lasse Marhaug.
The recordings were made at various outdoor and indoor locations in Norway during the summer and autumn of 2013. The idea was to place Stine in challenging sonic environments, and to explore how the surroundings affected the performances. The locations were picked for their sonic qualities.
In Labour is both a solo voice and a field-recording album at the same time, but it is quite different from what either of these usually sound like.
180 gram vinyl LP.
14,00€
In stock
LP
Chee Wai YUEN – Lasse MARHAUG
“In Praise of Shadows”
Yuen Chee Wai is a musician, artist, designer and curator based in Singapore. Often inspired by ideas drawn from philosophical and literary texts, and perspectives glimpsed through the filmic eye and photographic lens, Yuen’s stylistic oeuvre in improvised music is marked by internalised reflections on memory and loss, invisibility and indeterminacy. In 2008, he teamed with Otomo Yoshihide (Japan), Ryu Hankil (South Korea), and Yan Jun (China) to form FEN (Far East Network), a music quartet that continues to work with multifaceted networks and collaborations between musicians and artists across Asian countries. He is also a member of the avant-rock band The Observatory, with whom he plays guitar, synth and electronics.
Lasse Marhaug has since the early 1990s been one of the most active artists in the Norwegian noise/experimental music scene. As a performer and composer he has contributed to well over 300 CD, vinyl and cassette releases over the years, as well as extensive touring and performing live on all continents of the world. In addition to his solo work, Marhaug has collaborated with many artists in the fields of noise, experimental, improv, jazz, rock and metal, as well as working with music and sound for theatre, dance, installations, cinema and video.
In 2006, the two spent a full night recording together at the now defunct FluxUs record store in Singapore. The material for the sessions were partially mixed, but remained unfinished. Ten years later, in 2016, the two met again to record in Marhaug’s Oslo studio. The previous recording wasn’t thought of during the new session, but in the course of the mixing it was discovered that the two recordings fit together like a glove. The long-form droney 2006 sessions, recorded late at night in the humid heat of Singapore, complimented the more angular electronic 2016 recording, which was captured in daytime during the brutally cold January winter of Norway. The opposing qualities of the sessions complemented each other, and now the result is available as “In Praise of Shadows”. Sometimes it takes ten years to make an album.
“In Praise of Shadows” is co-released by Pica Disk and Ujikaji Records as a vinyl LP, as well as streaming/download via Bandcamp. The LP features liner notes by Marhaug, as well as photography by Philipp Aldrup.
Yuen Chee Wai - Computer (2006), Guitar and electronics (2016).
Lasse Marhaug - Computer (2006), Electronics (2016).
Only 50 copies available through Metamkine.
Lasse Marhaug has since the early 1990s been one of the most active artists in the Norwegian noise/experimental music scene. As a performer and composer he has contributed to well over 300 CD, vinyl and cassette releases over the years, as well as extensive touring and performing live on all continents of the world. In addition to his solo work, Marhaug has collaborated with many artists in the fields of noise, experimental, improv, jazz, rock and metal, as well as working with music and sound for theatre, dance, installations, cinema and video.
In 2006, the two spent a full night recording together at the now defunct FluxUs record store in Singapore. The material for the sessions were partially mixed, but remained unfinished. Ten years later, in 2016, the two met again to record in Marhaug’s Oslo studio. The previous recording wasn’t thought of during the new session, but in the course of the mixing it was discovered that the two recordings fit together like a glove. The long-form droney 2006 sessions, recorded late at night in the humid heat of Singapore, complimented the more angular electronic 2016 recording, which was captured in daytime during the brutally cold January winter of Norway. The opposing qualities of the sessions complemented each other, and now the result is available as “In Praise of Shadows”. Sometimes it takes ten years to make an album.
“In Praise of Shadows” is co-released by Pica Disk and Ujikaji Records as a vinyl LP, as well as streaming/download via Bandcamp. The LP features liner notes by Marhaug, as well as photography by Philipp Aldrup.
Yuen Chee Wai - Computer (2006), Guitar and electronics (2016).
Lasse Marhaug - Computer (2006), Electronics (2016).
Only 50 copies available through Metamkine.
17,00€
In stock
LP
Bjørn HATTERUD – André BORGEN
“Dalstrøka Bortafor”
Bjørn Hatterud and André Hardang Borgen have been staples of the Norwegian experimental music underground for 20+ years. Individually they have been active with numerous projects – spanning from post-ironic queernoise and decontructed folk plunderphonics to cloudy guitar psychedelia and hard hitting avant boogie – both musicians have wandereed the kind of adventurous artistic paths that starts to make sense when viewed in hindsight, revealting continuous multidisciplinary lines of ideas.
Despite being long-time collaborators Dalstrøka Bortafor is Hatterud and Borgens debut album as a duo. It’s also a record that took 13 years to make. Not that the twosome were aiming to making an album, Dalstrøka Bortafor slowly fell in place through numerous recording sessions that accumulated and eventually took the shape of an album. (You can’t rush magic).
The six tracks that make the album are dream-like electronic excursions, with layers of synth, guitar, percussion, viola and found sounds the duo weaves a sonic tapestry that hints at a kinship to 1970’s German electronic music pioneers. This is probably not accidental, as Hatterud collaborated with Conrad Schnitzler in the years before his passing. But there’s more to it, the Norwegian title translates to The Valleys Beyond – and this is music that brings you deep into Norwegian folklore, with trolls, draugen and other mythical creatures lurking within the forest. But, Hatterud and Borgen are there to guide you through the mysterious landscape, making sure that you come out at the other end unharmed.
Available on LP in an edition of 200 copies, and on all digital platforms.
Despite being long-time collaborators Dalstrøka Bortafor is Hatterud and Borgens debut album as a duo. It’s also a record that took 13 years to make. Not that the twosome were aiming to making an album, Dalstrøka Bortafor slowly fell in place through numerous recording sessions that accumulated and eventually took the shape of an album. (You can’t rush magic).
The six tracks that make the album are dream-like electronic excursions, with layers of synth, guitar, percussion, viola and found sounds the duo weaves a sonic tapestry that hints at a kinship to 1970’s German electronic music pioneers. This is probably not accidental, as Hatterud collaborated with Conrad Schnitzler in the years before his passing. But there’s more to it, the Norwegian title translates to The Valleys Beyond – and this is music that brings you deep into Norwegian folklore, with trolls, draugen and other mythical creatures lurking within the forest. But, Hatterud and Borgen are there to guide you through the mysterious landscape, making sure that you come out at the other end unharmed.
Available on LP in an edition of 200 copies, and on all digital platforms.
14,00€
In stock
2 LP
PBK & Jim O’ROURKE
“Unidentified again”
All music by Phillip B. Klingler (PBK) and Jim O'Rourke, 2014-15.
About “Unidentified Again” : “I first met Jim O'Rourke in 1989. We corresponded by mail and would talk on the phone frequently. Jim was in college at that time and he was very excited about music. He sent me mixtapes, we would talk about his love of Van Dyke Parks, his work with KK Null or Henry Kaiser. I also remember he sent me Godflesh’ “Streetcleaner” album which he likened to
King Crimson’s “Red”. Jim’s soundwork was always special and I released one of his compositions on my Assemblage” compilation tape in 1990. We talked about collaborating, but then my situation changed suddenly and in 1992 I moved to Puerto Rico with my family. My life got complicated and I fell out of touch with a lot of friends while there. By the time I got back to the States things had changed for Jim as well, and he was in a nomadic phase, drifting around, performing a lot of concerts around the world, but a letter I sent to his parents’ address eventually reached him and in 1997 he wrote back and replied that he was only able to finish about ten minutes of electronic music a year. Still, the interest in collaboration was there, though Jim was very busy and things did not materialize in the collaborative direction for us.
That was the last time I heard from Jim for 15 years, until something coincidental happened in 2012. My cousin runs a label and put out a record by Merzbow. One day my cousin informed me that my old buddy Jim O’Rourke had ordered the album. As I was assisting him with shipping copies of the album, I wrote a note to Jim and threw in a couple of my CDs along with the LP.
Not too long after that, Jim and I were in contact again. As is always the case with us, we fell into vigorous conversations about music and everything else - and again the idea of collaborating occurred. Rather suddenly Jim surprised me with source material I could use. I immediately went to work on it, with the idea that approximately 40 minutes would just about be ideal for an LP project. The sound material Jim sent was likely composed on his Serge modular synth. We’d been discussing synthesizer heroes of ours - Jim sharing his love of Roland Kayn’s expressive work and I’m always going on about David Tudor. I worked on the first two mixes, but I dug Jim’s sources so much I didn’t do any kind of manipulation on them. I built audio environments for his sounds to live in, and they do sound alive, like synthetic landscapes with birds or animals of some primitive, or alien, origin and, of course, also huge drones that could be electrical storms. I sent Jim my own sources and he came up with two beautiful mixes, each quite different from the other.
I’m very pleased we finally got to do our collaboration - even if it took a quarter of a century to make it happen.” Phillip B. Klingler, April 2015.
About “Unidentified Again” : “I first met Jim O'Rourke in 1989. We corresponded by mail and would talk on the phone frequently. Jim was in college at that time and he was very excited about music. He sent me mixtapes, we would talk about his love of Van Dyke Parks, his work with KK Null or Henry Kaiser. I also remember he sent me Godflesh’ “Streetcleaner” album which he likened to
King Crimson’s “Red”. Jim’s soundwork was always special and I released one of his compositions on my Assemblage” compilation tape in 1990. We talked about collaborating, but then my situation changed suddenly and in 1992 I moved to Puerto Rico with my family. My life got complicated and I fell out of touch with a lot of friends while there. By the time I got back to the States things had changed for Jim as well, and he was in a nomadic phase, drifting around, performing a lot of concerts around the world, but a letter I sent to his parents’ address eventually reached him and in 1997 he wrote back and replied that he was only able to finish about ten minutes of electronic music a year. Still, the interest in collaboration was there, though Jim was very busy and things did not materialize in the collaborative direction for us.
That was the last time I heard from Jim for 15 years, until something coincidental happened in 2012. My cousin runs a label and put out a record by Merzbow. One day my cousin informed me that my old buddy Jim O’Rourke had ordered the album. As I was assisting him with shipping copies of the album, I wrote a note to Jim and threw in a couple of my CDs along with the LP.
Not too long after that, Jim and I were in contact again. As is always the case with us, we fell into vigorous conversations about music and everything else - and again the idea of collaborating occurred. Rather suddenly Jim surprised me with source material I could use. I immediately went to work on it, with the idea that approximately 40 minutes would just about be ideal for an LP project. The sound material Jim sent was likely composed on his Serge modular synth. We’d been discussing synthesizer heroes of ours - Jim sharing his love of Roland Kayn’s expressive work and I’m always going on about David Tudor. I worked on the first two mixes, but I dug Jim’s sources so much I didn’t do any kind of manipulation on them. I built audio environments for his sounds to live in, and they do sound alive, like synthetic landscapes with birds or animals of some primitive, or alien, origin and, of course, also huge drones that could be electrical storms. I sent Jim my own sources and he came up with two beautiful mixes, each quite different from the other.
I’m very pleased we finally got to do our collaboration - even if it took a quarter of a century to make it happen.” Phillip B. Klingler, April 2015.
28,00€
In stock
7"
John WIESE – Lasse MARHAUG
“Continous Loop Sheep”
The 7” it took 20 years to make: In 1997 Lasse Marhaug and John Wiese arranged to record a split cassette for Norwegian label Komkol Autoprod. The music was recorded on June 6th at the exact same time on opposite side of the Atlantic, as a form of musical telepathy. They also agreed to base the recordings on continous loops. The recordings were made, but the cassette was never released and the material remained forgotten until Marhaug found and digitized the master in 2014. It was agreed to wait until the recording was exactly 20 years and edit each other’s material down to 7” length, making it a 20 year long telepathic collaboration.
9,00€
In stock
CD
Okkyung LEE
“Dahl-Tah-Ghi”
Okkyung Lee is a cellist, composer, and improviser who moves freely between of artistic disciples and contingencies. Since moving to New York in 2000 she has worked in disparate contexts as a solo artist and collaborator with creators in a wide range of disciplines. A native of South Korea, Lee has taken a broad array of inspirations—including noise, improvisation, jazz, western classical, and the traditional and popular music of her homeland—and used them to forge a highly distinctive approach. Her curiosity and a determined sense of exploration guide the work she has made in disparate contexts. Lee has appeared on more than 30 albums, including a diverse variety of recordings as a leader, but she is perhaps known best for her improvisational work, where she draws upon visceral extended techniques, in both solo and collaborative contexts. Not content with static performance approaches, Lee routinely explores the spaces she performs in, responding to atmosphere, audience, or objects surrounding her, to produce an immersive experience.
“Dahl-Tah-Ghi” was recorded at the Emanuel Vigelang Mausoleum in Oslo in June 2013 for a limited audience of 30 people. The artist Emanuel Vigeland (1875-1948) erected the building in 1926, intended as a future museum for his sculptures and paintings. He eventually decided that the museum should also serve as a mausoleum. All the windows were closed and his ashes were to rest in an urn above the entrance door. The mausoleum is completely covered with fresco paintings that depict human life from conception till death, in dramatic and often explicitly erotic scenes. The mausoleum also has an extraordinary reverb of up to 18 seconds, and has become a desirable space for artists to perform intimate concerts because of its special accoustic character.
“Dahl-Tah-Ghi” was recorded at the Emanuel Vigelang Mausoleum in Oslo in June 2013 for a limited audience of 30 people. The artist Emanuel Vigeland (1875-1948) erected the building in 1926, intended as a future museum for his sculptures and paintings. He eventually decided that the museum should also serve as a mausoleum. All the windows were closed and his ashes were to rest in an urn above the entrance door. The mausoleum is completely covered with fresco paintings that depict human life from conception till death, in dramatic and often explicitly erotic scenes. The mausoleum also has an extraordinary reverb of up to 18 seconds, and has become a desirable space for artists to perform intimate concerts because of its special accoustic character.
12,00€
In stock
CD
Don & Camille DIETRICH
“Dietrichs”
Simultaneously with the reissue of the “Dietrich” solo album, Pica Disk is proud to release a contemporary recording of Don Dietrich – which is also the debut of the duo with his daughter Camille Dietrich.
Having grown up exposed to her father’s playing since birth Camille Dietrich has been in a unique position as a musician, being subjected to a method of free playing that takes most artists years of exploration to locate. Yet as a cellist Camille has not grown up a copy of her father, and while she shares his unforgiving intensity in her playing, there is an individual confidence and playfulness to how she approaches her instrument, especially when considering that she was 19 years old at the time of the recording. Camille’s fresh approach also feeds back to Don, and the trust the two have in each other makes for a dynamic that usually takes years to achieve, making their duo album not just a father/daughter novelty one-off record, but a fully fledged musical statement that marks the start of a collaboration to reckon with.
Having grown up exposed to her father’s playing since birth Camille Dietrich has been in a unique position as a musician, being subjected to a method of free playing that takes most artists years of exploration to locate. Yet as a cellist Camille has not grown up a copy of her father, and while she shares his unforgiving intensity in her playing, there is an individual confidence and playfulness to how she approaches her instrument, especially when considering that she was 19 years old at the time of the recording. Camille’s fresh approach also feeds back to Don, and the trust the two have in each other makes for a dynamic that usually takes years to achieve, making their duo album not just a father/daughter novelty one-off record, but a fully fledged musical statement that marks the start of a collaboration to reckon with.
9,00€
In stock
CD
Don DIETRICH
“Dietrich”
For four decades Don Dietrich has been one of the three musicians that makes Borbetomagus, a band that somewhere in the crossing point between loud rock, free improvisation and electronic noise music carved their own unique place in the musical landscape. Often overlooked and underappreciated Borbetomagus kept going like a steam train, slowly building a cult following that appreciates them for their uncompromising vision. Few bands can look back at a career with as much integrity as Borbetomagus, and if the term “no compromise” ever meant something in music, they embody it.
Alongside his time in the band with Donald Miller and Jim Sauter, saxophonist Don Dietrich has also ventured into doing solo work a few times. In 2002 he recorded his debut full-length album “Dietrich”, released on the French label Élevage De Poussière in 2003. This was a small run edition LP with limited underground distribution, yet over the years the album grew to be considered a classic of the noise music field. It became a cult record, which its fans would champion to like-minded adventurous music lovers.
Outside the trio format Dietrich’s lone amplified saxophone appeared even more direct and unforgiving, like a force of nature that is both ripping itself apart and regenerating immediately. The intensity of Dietrich’s physical playing isn’t as much helped by the electric amplification as bringing it to its knees. A whole history of how to play the saxophone is killed off and reanimated over the course of the album’s six pieces.
The “Dietrich” album has been out-of-print for years, and is now being reissued in remastered form on CD by Pica Disk. As an added bonus the 1994 “Chinese Root Letter/Tabulae Sex” 7”, originally released on Thurston Moore's Ecstatic Peace Records, is also included.
Alongside his time in the band with Donald Miller and Jim Sauter, saxophonist Don Dietrich has also ventured into doing solo work a few times. In 2002 he recorded his debut full-length album “Dietrich”, released on the French label Élevage De Poussière in 2003. This was a small run edition LP with limited underground distribution, yet over the years the album grew to be considered a classic of the noise music field. It became a cult record, which its fans would champion to like-minded adventurous music lovers.
Outside the trio format Dietrich’s lone amplified saxophone appeared even more direct and unforgiving, like a force of nature that is both ripping itself apart and regenerating immediately. The intensity of Dietrich’s physical playing isn’t as much helped by the electric amplification as bringing it to its knees. A whole history of how to play the saxophone is killed off and reanimated over the course of the album’s six pieces.
The “Dietrich” album has been out-of-print for years, and is now being reissued in remastered form on CD by Pica Disk. As an added bonus the 1994 “Chinese Root Letter/Tabulae Sex” 7”, originally released on Thurston Moore's Ecstatic Peace Records, is also included.
9,00€
In stock
CD
Benjamin NELSON
“First”
Following numerous small run releases and years of private development First is the debut CD release by Benjamin Nelson. Recorded and mixed in the summer and fall of 2015 in Oslo First represents the culmination of Nelson’s live and studio practice since 2008 focused on long form, reductionistic, and near-static electronic music. First explores the perception of time, interference patterns, room reflection and hearing fatigue as primary compositional elements. Favoring textural over tonal development First is equal parts immersive environment and sound object. Nelson encourages listeners to observe sound in a sculptural manner – listening as a process of observing slow changes as one would to those of a physical object and its environment.
With influences stemming from early minimalism and composers such as Eliane Radigue and Maryanne Amacher the influence of 80s home taper works such as those of Jeph Jerman’s Hands To and John Hudak can also be heard in Nelson’s work; eschewing the elements of pseudo-spirituality, passive listening and pastoral subject matter often associated with minimal oriented sound for a focus on rougher textures and objective listening. Not every room is easy to be in, and those that are not are usually more interesting.
Available only on CD in an edition of 300 copies. UV varnish print on black paper in plastic wallet.
With influences stemming from early minimalism and composers such as Eliane Radigue and Maryanne Amacher the influence of 80s home taper works such as those of Jeph Jerman’s Hands To and John Hudak can also be heard in Nelson’s work; eschewing the elements of pseudo-spirituality, passive listening and pastoral subject matter often associated with minimal oriented sound for a focus on rougher textures and objective listening. Not every room is easy to be in, and those that are not are usually more interesting.
Available only on CD in an edition of 300 copies. UV varnish print on black paper in plastic wallet.
10,00€
Out of stock
5 CD
OMIT
“Enclosures 2011-2016”
Co-released with End of the Alphabet Records.
Since his first self-released cassettes in the early 1990s, New Zealand’s Clinton Williams aka Omit has been on a singular and personal musical journey. Described as one of the greatest outsider artists currently working in the field, Omit employs homebuilt instruments constructed from modified electric motors and salvaged sound sources to create a startlingly original soundworld. It is a world he inhabits alone, isolated in the small town of Blenheim in southern New Zealand, but it involves a deep exploration of the human condition. Over the years OMIT’s music has become less noisy and more sparse and minimal, as open signal patterns and oblique textures pass each other in haunted spaces.
“Enclosures 2011-2016” is a 5xCD box-set co-released by Pica Disk (run by Lasse Marhaug out of Norway) and End of the Alphabet (run by Noel Meek in New Zealand) and collects Omit’s most recent self-released albums, artefacts that originally came in super limited edition CDRs with hand-made covers between 2011 and 2016. Unavailable except directly from the artist, these beautiful works are now available remastered in a deluxe box-set along with OMIT’s famous surrealist drawings and science fiction themed artwork, plus liner notes by close friend and collaborator Bruce Russell (The Dead C/A Handful of Dust).
“Clinton Williams is the hardest-working man in minimal electronic music. He is one of two people I know fairly well who I honestly believe is possessed by genius.” Bruce Russell (from the liner notes)
Since his first self-released cassettes in the early 1990s, New Zealand’s Clinton Williams aka Omit has been on a singular and personal musical journey. Described as one of the greatest outsider artists currently working in the field, Omit employs homebuilt instruments constructed from modified electric motors and salvaged sound sources to create a startlingly original soundworld. It is a world he inhabits alone, isolated in the small town of Blenheim in southern New Zealand, but it involves a deep exploration of the human condition. Over the years OMIT’s music has become less noisy and more sparse and minimal, as open signal patterns and oblique textures pass each other in haunted spaces.
“Enclosures 2011-2016” is a 5xCD box-set co-released by Pica Disk (run by Lasse Marhaug out of Norway) and End of the Alphabet (run by Noel Meek in New Zealand) and collects Omit’s most recent self-released albums, artefacts that originally came in super limited edition CDRs with hand-made covers between 2011 and 2016. Unavailable except directly from the artist, these beautiful works are now available remastered in a deluxe box-set along with OMIT’s famous surrealist drawings and science fiction themed artwork, plus liner notes by close friend and collaborator Bruce Russell (The Dead C/A Handful of Dust).
“Clinton Williams is the hardest-working man in minimal electronic music. He is one of two people I know fairly well who I honestly believe is possessed by genius.” Bruce Russell (from the liner notes)
30,00€
In stock
4 CD
WITCYST
“Real Folk – Lathe Cut Singles 1993-1997”
A bone-fide underground legend, Witcyst has been creating completely unique noise music from the isolation of smalltown New Zealand since the late eighties. For three decades Witcyst has been an infamous prol yet mysterious force of the deep noise underground, sharing handmade cassettes, lathe cut singles, CDRs and art objects via the post, but never touring or appearing live.
Witcyst’s mysterious career is marked by a complete absence of live performances and a massive prolificness in recordings wrapped in his own hand-made day-glo collaged artworks and assemblages. His music is the freest of free music. Unhampered by arch design or advanced technique, his work stands as an ever-surprising, unmatchable feast for the ears and eyes.
With the release of “Real Folk” Pica Disk and End of the Alphabet hope to break the long-held secret of Witcyst and bring his glorious visions to a wider audience. The 4xCD boxset collects 40 tracks from 20 self-released 7” lathe cut singles from the mid-nineties (all from legendary New Zealand lathe-cutter, Peter King), that were originally released in editions of 10 to 20 copies, so rare most of them have never appeared on Ebay or Discogs. The box-set also includes three booklets of artwork, photos and an extensive first-time home interview of Witcyst himself by Noel Meek.
• 4 CDs > 40 tracks > more than four hours of material
• 3 booklets totaling 72 pages, including first time in-depth interview with Witcyst and almost 100 colour photos and artwork.
• CDs in individual colour wallets reproducing the artwork of each 7” single
• Limited edition of 300 copies.
Witcyst’s mysterious career is marked by a complete absence of live performances and a massive prolificness in recordings wrapped in his own hand-made day-glo collaged artworks and assemblages. His music is the freest of free music. Unhampered by arch design or advanced technique, his work stands as an ever-surprising, unmatchable feast for the ears and eyes.
With the release of “Real Folk” Pica Disk and End of the Alphabet hope to break the long-held secret of Witcyst and bring his glorious visions to a wider audience. The 4xCD boxset collects 40 tracks from 20 self-released 7” lathe cut singles from the mid-nineties (all from legendary New Zealand lathe-cutter, Peter King), that were originally released in editions of 10 to 20 copies, so rare most of them have never appeared on Ebay or Discogs. The box-set also includes three booklets of artwork, photos and an extensive first-time home interview of Witcyst himself by Noel Meek.
• 4 CDs > 40 tracks > more than four hours of material
• 3 booklets totaling 72 pages, including first time in-depth interview with Witcyst and almost 100 colour photos and artwork.
• CDs in individual colour wallets reproducing the artwork of each 7” single
• Limited edition of 300 copies.
30,00€