In stock
LP
BEUYS + PISSOFF
“Creamcheese Düsseldorf 1968”
The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums.
In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums.
Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.
22,50€
In stock
CD
BEUYS + PISSOFF
“Creamcheese Düsseldorf 1968”
The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums.
In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums.
Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.
16,00€
Out of stock
LP
Conrad SCHNITZLER & PHARMAKUSTIK
“Schubkraft”
“Kontraktion” and “Extruder” are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con’s former studio Leberstrasse in Berlin.The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinistic energy and infernal industrial sound-eruptions similar to Conrad’s first three albums “Schwarz”, “Rot” and “Blau” and to the rumbling train wheel rhythms of “Zug” (from the “Red Cassette” 1974). The albums also carry the spirit of the first “Cluster” album (released in 1971 on Philips) due to the imposing bruitiste elements and uneasy sci-fi atmospheres.
“Schubkraft”, the third and final album of the Schnitzler/Pharmakustik-triology (recorded during the same sessions in Berlin) contains two long pieces of thrust generated force and propulsive power. Soundwise an album combining mechanically driven rhythms and propelling velocity with rusty organic textures. The shiny yellow cover reflects the sheer explosive drive of the audio-material.
The complete session-material has been refurbished, restructured and recombined by Siegmar Fricke at Pharmakustik-studio Germany.
22,50€
In stock
2 LP
NURSE WITH WOUND
“Gyllensköld, Geijerstam And I At Rydberg’s” (silver)
Silver and black record
*
"This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
35,00€
Out of stock
2 LP
NURSE WITH WOUND
“Gyllensköld, Geijerstam And I At Rydberg’s”
"This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
29,00€
Out of stock
Book + CD
NURSE WITH WOUND
“Gyllensköld, Geijerstam And I At Rydberg’s”
Art Book CD – Silver Collection 24 page Deluxe Art Book with augmented CD album. All artworks by Babs Santini.
22,00€
Out of stock
3 LP Box
Jac BERROCAL
“1973-1976-1979”
This luxurious pink Cadillac colour box set, “1973-1976-1979” brings back the first 3 albums of Jac Berrocal (Musiq Musik – Paralleles – Catalogue) in which countless personalities of the crossover music of the hexagon participate. 200g vinyl records remastered colorful metal covers, an impressive booklet of photos and unpublished documents come to decorate this numbered and limited edition.
MUSIQ MUSIK
First album of Berrocal, recorded in 1973 with excessives reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by jac Berrocal and Roger Ferlet during their numerous journeys : Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria, various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs … embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster.
PARALLELES
1976, Vince Taylor, the Black Archangel of Rock’n’roll, agrees to come and record “Rock’n’Roll Station”, a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this “bric-a-brac” a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period.
CATALOGUE
1979, the year of the album Catalogue. Jac Berrocal and his “Marquises of disorder” make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of “Micro-cinemas put end-to-end”, a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the Punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York’s no wave.
75,00€
In stock
CD
SILVER APPLES
“Contact”
New edition + new mastering of 1968 album in deluxe A5 Digipak (DVD Format).
Formed in 1967 as an electronic rock duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk, the band quickly gained a reputation as New York’s leading underground musical expression.
First full-length album was released in 1968 on KAPP Records. The self titled album rode the Billboard Magazine Top 100 list for 10 weeks.
The second full length album was released in 1969, titled “Contact”. A national tour was launched by the band’s recording popularity. A third album was recorded in 1970, but not released when KAPP folded.
Without a record label the band disbanded, and, except for an occasional bootleg release, was not heard from again until 1994, when a German label named TRC, without license, re-released the first two albums in a 2 CD version, complete with poster. Since then numerous artists around the world have released covers, tributes and samplings of Silver Apples material.
16,00€
In stock
CD
SILVER APPLES
“Silver apples”
New edition + new mastering of 1968 album in deluxe A5 Digipak (DVD Format).
Formed in 1967 as an electronic rock duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk, the band quickly gained a reputation as New York’s leading underground musical expression.
First full-length album was released in 1968 on KAPP Records. The self titled album rode the Billboard Magazine Top 100 list for 10 weeks.
The second full length album was released in 1969, titled “Contact”. A national tour was launched by the band’s recording popularity. A third album was recorded in 1970, but not released when KAPP folded.
Without a record label the band disbanded, and, except for an occasional bootleg release, was not heard from again until 1994, when a German label named TRC, without license, re-released the first two albums in a 2 CD version, complete with poster. Since then numerous artists around the world have released covers, tributes and samplings of Silver Apples material.
16,00€
Out of stock
2 CD, Book
NURSE WITH WOUND
“Homotopy to Marie”
Deluxe silver hardcover book with the 2CD version + 24 pages of artworks by Steven Stapleton.
20,00€
Out of stock
2 LP
NURSE WITH WOUND
“Homotopy To Marie”
Homotopy To Marie is the fifth album by Nurse With Wound, released in 1982, created by Steven Stapleton, music and sleeve.
The album is “a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques”. The album which combined tape edits with resonating gong tones and disembodied children's voices to create a sonic collage far removed from the harsh improvisations of the group's early albums.
The title of the brief closing track derives from a passage from Les Chants de Maldoror, a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound’s debut album Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella; both phrases appear in Lautréamont’s work.
The album was first issued on Stapleton's own United Dairies label on vinyl, cassette and later in remastered compact disc including an extra track “Astral Dustbin Dirge”.
This masterpiece reissue, is the official full double album from the original recording sessions. The 4 tracks from the original LP plus additional recordings from the same period.
This second, double album masterpiece in the Silver Collection of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.
Black vinyl, 800 copies.
29,00€
Out of stock
2 LP
NURSE WITH WOUND
“Homotopy To Marie” (silver)
Vinyl silver & black + deluxe metallic gatefold limited to 700 copies.
Homotopy To Marie is the fifth album by Nurse With Wound, released in 1982, created by Steven Stapleton, music and sleeve.
The album is “a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques”. The album which combined tape edits with resonating gong tones and disembodied children's voices to create a sonic collage far removed from the harsh improvisations of the group’s early albums.
The title of the brief closing track derives from a passage from Les Chants de Maldoror, a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound’s debut album Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella; both phrases appear in Lautréamont’s work.
The album was first issued on Stapleton’s own United Dairies label on vinyl, cassette and later in remastered compact disc including an extra track “Astral Dustbin Dirge”.
This masterpiece reissue, is the official full double album from the original recording sessions. The 4 tracks from the original LP plus additional recordings from the same period.
This second, double album masterpiece in the Silver Collection of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.
36,00€
Out of stock
Picture Disc
NURSE WITH WOUND
“Chromanatron”
2013. Chromanatron is the new album from Nurse with wound, collages of no less than 5 albums by the mythical German band from the late 60s SAND. These five psyche-experimental-krautrock albums include their first oddity Golem, that NWW discovered a long time ago and represented straight away a great source of inspiration for him.
A great dedication to Sand, and hat-in-hand, chapeau bas ! to Nurse with wound for this once again unique masterpiece.
Chromanatron is part of the series Inxodem released by Rotorelief. It is a series of new albums from Sand as well as a reissue of their obscure and rare album Golem. This series of albums is called Inxodem, the series title having one letter for each album. Current 93 is also part of the project with When the may rain comes, cover versions of the original track from Sand.
All paintings and collages of the Inxodem series are created by Babs Santini aka Steven Stapleton.
Limited and numbered edition of 500 copies on picture disc.
19,00€
Out of stock
CD
NURSE WITH WOUND
“Chromanatron”
2013.
Chromanatron is the new album from Nurse with wound, collages of no less than 5 albums by the mythical German band from the late 60s SAND. These five psyche-experimental-krautrock albums include their first oddity Golem, that NWW discovered a long time ago and represented straight away a great source of inspiration for him.
A great dedication to Sand, and hat-in-hand, chapeau bas ! to Nurse with wound for this once again unique masterpiece.
Chromanatron is part of the series Inxodem released by Rotorelief. It is a series of new albums from Sand as well as a reissue of their obscure and rare album Golem. This series of albums is called Inxodem, the series title having one letter for each album. Current 93 is also part of the project with When the may rain comes, cover versions of the original track from Sand.
All paintings and collages of the Inxodem series are created by Babs Santini aka Steven Stapleton.
CD 3 flaps 6 panels Digipak
12,50€
Out of stock
book + 2 CD
VIVENZA
“Fondements bruitistes”
Deluxe double-CD book, 108 pages in three languages: French, English, Japanese. Included The Art Of Noises - Futurist Manifesto - by Luigi Russolo (1913). “The Bruitist Foundations of Action” (French title “Fondements Bruitistes d'Action”), which came out in october 1984, opens the period in Vivenza’s work on Bruitist sound when he started to incorporate the question of the relationship that holds between the technological and mechanical industrial fabric - which makes up the reality of the modern world - and the human and social environment. It is released in double albums as two separate vinyl LPs in the context of the Archives of Industrial Music from France.
23,00€
Out of stock
book + CD
VIVENZA
“Réalités servomécaniques”
Deluxe CD book, 32 pages, pictures & texts in three languages: French, English, Japanese.
“Réalités servomécaniques” is an improved version faithful to the original recordings with visuals specially reworked, answering to a categorical assertion, theoricaly and practicaly on Vivenza’s bruitist point of view, who presents sounds, “noises”, under their rawest and genuine aspect: sounds are machines / machines are sounds. Thus Vivenza captured the essence of factories with a strong sense of austerity, radicality, verticality, including thick smokes and intense darkness of industrial landscapes, as Réalités servomécaniques directly refers to the triumph but also decline of heavy industries in the 80s. The mechanics, cogwheels, forges and machines smash us in the face in a radically powerful way, being at the same time under our eyes and inside us, at the heart of our selves, in an ultra realistic way while listening. We are then, with Réalités servomécaniques, plunged in the midst the machines, and in the machines, with a surprising and striking strength. “Machines are sounds / sounds are machines!”
15,00€
Out of stock
book + 2 CD
NURSE WITH WOUND
“Spiral Insana”
Same content as the vinyl reissue but on two CDs inside an art book with screenprinted artworks.
20,00€