In stock
CD
Thomas TILLY
“Birds measuring space”
As a counterpoint to discourses about sound in nature, french sound artist Thomas Tilly continues his research on the use of noise by non humans. Following the noise walls of Codex Amphibia, Birds measuring space focuses on the strange rituals operating by the mysterious Guacharos de Cuevas, and its interpretation by humans and technology.
Thomas Tilly (FR) is a sound artist and composer of experimental music. His work is based on field experiments using microphones, loudspeakers, and acoustic analysis instruments. Developing a unique approach to phonography, influenced by biology, anthropology, and sound measurement, his creations, broadcasts, and installations open up a field of listening that extends beyond the naturalist paradigm.
13,50€
In stock
2 CD
NURSE WITH WOUND
“Alice the Goon”
Experience the mesmerizing allure of Nurse With Wound's 'Alice the Goon' in an expanded edition 8 panel digipak, featuring original release art, alongside older renditions by Babs Santini! This enhanced version promises to captivate and intrigue both new listeners and avid fans. Contains several unique mixes by Colin Potter, Andrew Liles, Matt Waldron, Diarmuid MacDiarmada, Señor Coconut and unreleased material from the original sessions.
DISC ONE
I Yam What I Yam Intro Remix Diarmuid MacDiarmada
Pseudoacacia
(I don't want to have) Easy Listening Nightmares
Prelude to Alice the Goon
Coconut Mix Remix Señor Coconut
The Happy Wanderer Remix Andrew Liles,
Queasy Listening Remix Colin Potter
Impotence Out of Tune
DISC TWO
And That's All I Yam: Conclusion/Confusion Remix Diarmuid MacDiarmada
Afterthought to Prelude to Alice the Goon Remix Matt Waldron
27,50€
In stock
CD
NURSE WITH WOUND
“”Healsgebedda Budgerigar”
A welcome expanded CD release for this album, which sold out very quickly when it was released on vinyl last year. It comes in a full colour 6-panel digipak of heavy gauge card in gloss laminate, with 2 unreleased tracks & an alternative mix of the title track.
On Healsgebedda Budgerigar, Nurse With Wound turn memory itself into a delirious tape loop: long, sample‑swollen excursions where pet chatter, phantom TV themes and street detritus melt into a woozy, psychedelic netherworld of half‑remembered sound.
16,50€
In stock
CD
Werner DURAND & John KRAUSBAUER
“Black Seraphim”
Separated by an ocean and a generation apart, German reedsman, Werner Durand and American stringsman, John Krausbauer, have both been devotees of the cosmic ur-drone for many decades. Their new recording on Moving Furniture Records, “Black Seraphim”, brings together for the first time their singular vision and approach in a half hour droning dirge. The setup finds Krausbauer on his oft-employed violin, while Durand continues to explore the possibilities of his self-invented reed instruments. The same foundations that lie at the heart of their musics: (electro)-acoustic instrumentation, long durations, alternate tuning systems, all can be found on the harmonically dense and rich offering. An unrelenting, buzzing choir of harmonics and overtones begets a timewarped hallucinatory trip into the black ooze of trance’d consciousness.
Werner Durand has been active as a saxophone player since the late 1970s. After studies of both indian as well as persian flutes, he has created his own unique wind instruments since the mid 80s, based on just intonation. He has collaborated with numerous composers and performers, including Amelia Cuni, David Behrman, Henning Christiansen, Catherine Christer Hennix, Arnold Dreyblatt and many others. Currently he performs as FLOCKS- a duo with multi-Instrumentalist Ulrich Hohmann as well as with singer Anna Clementi as ARTIFICIAL HIPSTERS. Together with Anna Clementi and Luciano Chessa he performs in the trio EFNI - performing on replicas of the Intona Rumori - futurist instruments invented by Luigi Russolo in early 20th century, Grants and residencies include Cité des Arts, Paris, 1989; Podewil, Berlin 1999; Worpswede artist colony, Germany 2004/5; AIR –Krems (Austria), 2011 & Civitella Ranieri (Italy)2013. He has curated festivals of traditional as well as avantgarde music in Berlin like "Urban und Aboriginal“, "Pipeline“ , "USArts“ , "Minimalisms" and "Intonations“ and "Musiksalon Berlin" at the Ethnological Museum.
John Krausbauer is an American musician, artist, and brend practitioner. As a tireless pursuer of the sonic arts for nearly 30 years, he’s had numerous recordings published, performed his musics in North America, Europe, and Asia, and has instigated and participated in countless musical group configurations. Since 2020 his wide ranging interests have led him to pursue critical writing and visual art as his primary activities, while occasionally engaging in solo and group musics. He has shown his A/V work around the globe and had his writings published in the US and New Zealand.
11,00€
In stock
CD
Dario CALDERONE
“The Infinite Garden”
The Infinite Garden is a project by Dario Calderone for four musicians and a live soundscape, aiming to encourage a global way of listening through constant communication between different spaces and dimensions. For this release, Aurelie Nyrabikali, Naomi Sato, Gareth Davis and Dario Calderone have joined forces with the soundscape of the Amstelpark on a cloudy and partially rainy day at the end of January 2025. We kindly thank all the car drivers, pedestrians, birds, raindrops, aeroplanes, radio waves, spirits, trees, bushes, ghosts, subtle minds, earthworms, fallen leaves, moles, audience members, foxes, amphibians, water insects, fungi, memories, dreams, intuitions and meteorological events which have contributed to this recording.
Dario Calderone: Composition and Double Bass
Aurélie Nyirabikali Lierman: Vocals, Shruti Box, Percussions
Dario Calderone: Double Bass
Gareth Davis: Bass Clarinet
Naomi Sato: Sho
Amstelpark: Soundscape
11,00€
6 CD box
Kevin DRUMM
“The Mild Temper”
For more than thirty years, Kevin Drumm has developed a unique sonic language situated at the intersection of drone, electronics, improvisation and sound abstraction. Continuously evolving, his work has become one of the most distinctive voices in contemporary experimental music.
Comprising more than six hours of music, The Mild Temper presents an extensive collection of pieces built from gradual transformations, micro-acoustic events and frequency-based structures characteristic of Drumm's practice. Across six discs, the music explores varying states of density, resonance and spatiality, reflecting a sustained interest in the physical properties of sound and their perception over extended durations.
The title, The Mild Temper, suggests a quiet force rather than an overt gesture. Sonic materials often appear restrained, held in a delicate balance between stasis and motion. Small shifts gradually alter the acoustic landscape as layers of frequencies emerge, recede and recombine throughout the listening experience.
Avoiding narrative and dramatic development, these works offer immersion in highly detailed sonic environments where every element contributes to the construction of a deeply absorbing listening space. Attention to texture, depth and duration forms the connective thread throughout the collection.
With The Mild Temper, Kevin Drumm continues his exploration of sound as an autonomous phenomenon, presenting a body of work of remarkable coherence that reflects both the singularity and maturity of his artistic practice.
Mastering by Jim O'Rourke
Tracklisting :
1-1 01 Feb 1
1-2 Retina Check
1-3 Etc A
2-1 Eisegesis
2-2 Exegesis
2-3 New Old Card
3-1 The Blind Owl
3-2 Master Of Idealism
4-1 Achromic Pants
4-2 Odd Ways
5-1 Battles In The Snow I
5-2 Battles In The Snow II
6-1 Grey Screen
6-2 \&\\ : \
6-3 \&\\ : \\
45,00€
In stock
CD
Ben VIDA
“Oblivion Seekers”
To be an attentive listener to the world as it stands is to be saturated with language. Speech resounds through nearly every space that features human beings, whether unwanted or desired, mundane or profound. Words sit on the page and in the ear, proliferating endlessly. This superabundance has long been a point of fascination for composer and musician Ben Vida, but over the past several years it has led to a new method of music making that simultaneously exalts and interrogates the primacy of language in our sonic and cultural environments. Gently, playfully, Vida breaks down language’s hierarchy of meaning and sound until they exist in egalitarian harmony.
Oblivion Seekers is Vida’s newest album in this mode of composition, following 2023’s collaboration with new music ensemble Yarn/Wire The Beat My Head Hit. Like its predecessor, the music’s focus is on coordinated duets of spoken word in a neutral tone, the variable cadences of the words in motion creating complex internal rhythmic structures. He is joined by the voices of Nina Dante, Christina Vantzou, John Also Bennett, and Félicia Atkinson, creating a singular tone that is neither theirs nor his, fluid in its gender presentation, accent, and diction. The instrumental compositions that form the album’s understory have the casual flow of dialogue, conversational but subdued, rarely the agent of change. Here, Vida likewise called upon an accomplished community of players to accompany him: Dante on harp, Bennett on bass flute, Matt Bauder and Will Epstein on saxophones, Henry Fraser on bass, Cleek Schrey on violin, and Booker Stardrum on percussion.
Performed By:
Ben Vida - Voice, Keyboards, Vibraphone, Guitar, etc
Nina Dante - Voice and Harp
Christina Vantzou - Voice
Felicia Atkinson - Voice
John Also Bennett - Voice and Bass Flute
Matt Bauder - Tenor and Alto Saxophone
Will Epstein - Soprano and Alto Saxophone
Henry Fraser - Acoustic Bass
Cleek Schrey - Violin
Booker Stardrum - Percussion
17,00€
In stock
CD
FNTC
“Opera”
he experimental landmark Opera by FNTC returns in a remastered CD edition, nearly forty years after its original cassette release on Staalplaat in 1987. A striking document of Europe’s late 80s cassette underground, Opera captures the collective at their most adventurous - merging spontaneous composition, sound collage and performance art into a single immersive experience. As a member of the Fluxus movement, Willem de Ridder brought his conceptual sensibility to the project. Cora Emens, known for her erotic performances, contributed a distinctive vocal presence. Nick Nicole expanded the palette using everyday instrumental objects, while Hessel Veldman shaped and structured the work’s unique soundscape. Also featuring Jon Rose on violin, the recording remains a testament to the fearless creativity that defined the experimental music scene of its time.
Recorded during the summer of 1986, Opera showcases FNTC’s distinctive approach to instant composing and live sound construction. Conceived as a three-dimensional ‘hearplay’, the original performance unfolded across a multi-speaker setup, with the audience blindfolded and reclining on couches. Following its cassette release, Opera was featured in the All Chemix Radio Series, issued by Staalplaat and the Radio Art Foundation on tape and broadcasted internationally. It also became a part of FNTC’s European Instant Composing Tour throughout the late 1980s.
Now available on CD for the first time, this edition restores the full depth and atmosphere of the original performance. The accompanying artwork, discovered in Willem de Ridder’s archive, features a collage created by De Ridder and Peter Pontiac. Faithful to the spirit of the avant-garde and the legacy of Dutch cassette culture, Opera stands as a vivid reminder of a time when pushing boundaries defined the underground.
14,00€
In stock
CD
Seth PRICE
“Inner Storm”
Seth Price is an American contemporary artist known for his conceptually driven, multidisciplinary practice spanning video, music, sculpture and writing. His work explores circulation, media systems and the production of images and meaning in contemporary culture. Price has exhibited widely at major international institutions and is also recognized for his influential essays on art and distribution.
Music has long been central to Price’s practice. Beginning in 1994 with a 4-track recorder, his approach was rooted in experimentation, using field recordings, found sounds, feedback and tape loops. For over a decade, music functioned as both an experimental laboratory and an undercurrent to his film and video work. “It was really the emotional soundtrack to my life.”
That sensibility returns here with renewed focus. Inner Storm is rooted in a deeply personal moment and unfolds as an intense document, charged with immediacy. The album comprises four pieces built from single-pass improvisations using a replica of an early synthesizer, requiring real-time manual control. A constant LFO pulse acts as an internal rhythm, unifying the compositions. Effects pedals are adjusted on the fly, making each moment of sound inseparable from the act of its creation. More than a return to music, Inner Storm reaffirms its role within Price’s broader practice: a space where process, emotion and time converge.
14,00€
In stock
CD
Enno VELTHUYS – Paul RIEDL
s/t
A bridge between generations of ambient exploration, this split release unites two artists connected through mood, texture, and introspection: Enno Velthuys, the late Dutch composer and visual artist whose melancholic ambient works defined a quiet corner of the 1980s cassette underground and Paul Riedl, best known as the creative force behind visionary metal band BLOOD INCANTATION, who here reveals a parallel world of deep ambient sound. Together, these recordings form a contemplative journey across aesthetics: a meeting of two artists who, though separated by time, share a commitment to sound as emotional architecture.
Velthuys’s contributions are drawn from the EXART vaults and carefully selected by Hessel Veldman to serve as an appetizer for an upcoming LP of more unreleased material on Stroom Records. Across four cassettes, Velthuys crafted a deeply personal sound - minimal, dreamlike and steeped in solitude - that would later come to be recognized as a cornerstone of European ambient music. The pieces presented here continue that fragile lineage: meditative, intimate and quietly transcendent.
Flipping over the record, melancholy turns into total darkness and time seems to stand still. Massive slabs of sound and tar-coated melodies emerge from the depths. In contrast yet in harmony, Riedl’s side of the album presents archival recordings that explore a fascination with cosmic sound and isolation. While known for exploring the outer reaches of metal, Riedl has long been devoted to ambient and experimental composition. His selections for this release, curated to complement the music of Velthuys, trace a dialogue between decades and sensibilities, blending analog warmth and deep atmospherics with a sense of timeless drift.
14,00€
In stock
CD
CLUB MORAL
s/t
Club Moral is an organization founded by artists Anne-Mie Van Kerckhoven (AMVK) and Danny Devos (DDV) on January 1st, 1981, in Antwerp, Belgium. From 1981 until 1987, Club Moral functioned both as an industrial band and a venue. The venue, located in Antwerp, became a hub for underground culture, hosting numerous exhibitions, happenings and live performances by artists like Produktion, Boyd Rice, John Duncan and Coupe de Grace. The first event at Club Moral took place on June 19th, 1981, featuring État Brut performing live together with DDV and Mécanique Végétale. Later that year, on September 19th, the band Club Moral made its live debut. They quickly gained a reputation for their confrontational performances, provocative imagery and uncompromising attitude. Between 82 and 87, the group released a series of legendary cassettes, filled with raw industrial sounds, primitive power electronics, noise and conceptual art.
In 1989, the band remained active and recorded their first LP for Cthulhu Records. Around the same time, Frank Gorissen began producing electronic music and hosting a radio program called Radio Militia. He invited Club Moral to perform a live radio session in his studio, where the band played a mix of new versions of familiar tracks and improvised pieces. The recordings were never released, until 2024, when Frank rediscovered the original tapes and produced a new master that perfectly captures the raw energy of the performance. Club Moral agreed on releasing it as an album and AMVK designed the cover art, featuring images of people who were born or died on the date of the performance, March 29th.
In the late 1990s, DDV was a teacher-in-residence at the art school where I was studying. I enrolled in his performance workshop and on the first day, he showed us videos of extreme performance art and then challenged the group to do similar actions. His determination and hardline approach left me impressed and it became an inspiring and intense week for me personally. I’m happy and proud to be able to release this Club Moral CD as a follow up to the Lonely Weekends 7” from 2006.
14,00€
Out of stock
CD
Kali MALONE & Leila BORDREUIL
“Music For Intersecting Planes”
Recorded at night by candlelight in the Temple of La Tour-de-Peilz, Switzerland, Music for Intersecting Planes captures the immediacy of sound in space. Cellist Leila Bordreuil and organist Kali Malone join in a work of austere, ritualistic presence, where the granularity of air, the vibration of strings, feedback, and subdued sine waves intersect in sculptural form.
Minimal in means yet expansive in effect, the music slowly unfolds like beads on a thread, punctuated by silence and deep breaths. Bellows whistle within feathered string harmonics, interference patterns pulsate throughout the chapel, and the environment itself becomes part of the composition, with ringing church bells and motorcycles passing in the distance.
Performed live in single takes, the music balances patience and intensity, composure and chance. The collaboration reveals new terrain: more tonal and composed than Bordreuil’s work, more textural and raw than Malone’s.
Music for Intersecting Planes is both severe and tender, an elemental convergence of cello and organ that resonates with the timeless intrigue of acoustic phenomena.
17,00€
In stock
CD
Miroslav BEINHAUER
“Pieces For Broken Piano”
Grand Piano Gebrüder Stingl from 1916. The year is 2021. The piano is in the garden; the sun shines on it and rain falls on it. The piano cannot be tuned. Some keys work only partially, some not at all. It is Broken Piano. The first pieces for Broken Piano were recorded on this piano in 2021 and became part of the Fluxus editions Stolen Symphony (2023) and Keep Together (2024). The pieces for this edition were written and provided by Terry Riley and Milan Knízák. "Broken Piano," which was acquired by the Opening Performance Orchestra to make live and studio recordings, was the focus of both volumes of this edition between 2021 and 2023. Compositions for Broken Piano intended for Fluxus editions were recorded by Czech pianist Miroslav Beinhauer. During this time, other new works for Broken Piano were written by a variety of Fluxus and non-Fluxus composers. In the spring of 2022, the Opening Performance Orchestra and Broken Piano participated in an event hosted by Mieko Shiomi. This was a new version of her early work "Spatial Poem": it was a moving event, documentation of which was presented at the Aichi Triennale 2022 in Tokyo. During this performative event, consisting of moving any object, Broken Piano was moved from the village Vyzlovka to Unhost, where the SONO music studio is located. It is in the SONO studio that the new compositions for Broken Piano were recorded, written by Terry Riley, Philip Glass, Milan Knízák, Gordon Monahan, Elliot Sharp, Milan Gustar, and Yoon-Ji Lee, which form the content of this album. All the new compositions were recorded by pianist Miroslav Beinhauer.
13,50€
In stock
3 CD
Le UN
“25 pièces sans vide”
3 CDs providing an overview of Le UN's work through improvisation in large ensembles (CD1 & 2) in different acoustics, improvisation in small and medium-sized ensembles (PME), and outdoor performances in public spaces (brigade d'intervention légère).
Le UN was started in 2012 at the initiative of David Chiesa. In 2019, the team was renewed to concentrate solely on what is known as free or non-idiomatic improvisation. Key principles being: no recourse to any sort of score or direction, and improvisation considered not as a style or genre but rather as an attitude to music making. Improvisation also poses questions about the ephemeral and impermanence: the music leaves traces, and not proof.
There are 25 of us, including a light artist and a performer. We play on different stages in different venues or theatres, and we also adapt to exhibition spaces, and we sometimes even invent "devices" that bring improvisation to the fore. We are increasingly attracted to playing with ideas beyond that of the traditional stage, to where the ensemble can be conceived as an ecosystem, taking as starting points ethical notions (the links between us, our rapport with the world and the environment, our choices of self-organisation...) and aesthetics (accepting or taking responsibility for the contradictions in our own practices, interrogating improvisation in all its components, and questioning the practice of the frontality of performance...). We venture into contexts that throw us, like playing on the street, on a river, in caves, in acousmatic situations with speaker projections, etc. We confront our sounds, our ephemeral discourses with all manner of surveying. Without quite knowing where we are going, we think that walking, breathing, feeling, looking, also speaks to a place that is rightly musical.
With Sophie Agnel, piano, Pascal Battus, rotating surfaces, Claire Bergerault, accordion and voice, Benjamin Bondonneau, clarinet, Christophe Cardoen, light apparatus, Patrick Charbonnier, trombone, David Chiesa, double bass, Michel Doneda, soprano saxophone, Camille Emaille, percussion, Nina Garcia, electric guitar, Amanda Gardone, double bass, Bertrand Gauguet, alto saxophone, Anouck Genthon, violin, Rozemarie Heggen, double bass, Benoit Kilian, percussion, Soizic Lebrat, cello, Lionel Marchetti, electronics, Michel Mathieu, actions, Natacha Muslera, voice, Jérôme Noetinger, electronics, Jean-Luc Petit, bass clarinet, sopranino saxophone, Christian Pruvost, trumpet, Dominique Regef, hurdy- gurdy, Aude Romary, cello, Mathieu Werchowski, violin and viola.
25,00€
In stock
2 CD
SMALL CRUEL PARTY
“Quietly Flows The Ouabache”
"Old material never released before, different from his other releases"
17,50€
CD
ErikM
“Bidule 2.0”
Unreleased Sound Objects by Pierre Henry / Reload and Original Composition by ErikM
Bidule 2.0 is an unique reinterpretation of Pierre Henry's little-known sound heritage combined with ErikM's original composition. The album explores previously unused raw materials, transformed through ErikM's highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.
« Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France).
Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time.
Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings.
Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur. »
ErikM
Production : CNCM/La Muse en Circuit, Alfortville et INA/GRM Paris
Coproduction : CNCM/GMEM, Marseille
Mastering : Frédéric Alstadt – Angstrom Mastering
A live performance at Présences électronique festival is included on CD version as bonus track.
13,00€
6 CD box
Steve RODEN
“Every color moving (1988 – 2003)” (2026 reissue)
2026 reissue.
“Every Color Moving” consists of 6 discs, covering 7 hours of the 15 first years of Steve Roden musical activities. The first 4 discs contain unreleased works and impossible to find small editions. The last 2 discs offer a selection of tracks made for compilations during the same period. From the surprising early experiments to the development of his often imitated but never equalled ‘lowercase’ aesthetic, these are some of Roden’s earliest works, documenting numerous rare and unreleased recordings.
The discs are accompanied with a 32 page booklet with an essay and extended track notes, written by the artist.
Steve Roden (1964-2023) was a visual and sound artist born in Los Angeles. Roden’s work includes painting, drawing, sculpture, film/video, sound installation, and performance. Roden’s earliest musical experience was as the singer of the Los Angeles punk band “Seditionaries” from 1978 - 1982, performing locally with some famous bands from this scene. Roden’s early works moved from loud to quiet in the midst of an emotional crisis at age 18, fueling a shift in his work, with the discovery of Eno’s Obscure label. In the early -1990’s Roden discovered the Broken Music catalog (an encyclopedic survey of records related to visual artists), offering a context for an artistic practice rooted in both visual and sound art.
In 1990 Roden released his first recording on a self-released cassette titled “the secret of happiness” under the artist name “in be tween noise”. Since then, Roden has released 45 solo recordings on various labels, alongside numerous collaborations and compilations. By the late 1990’s Roden began to use his own name as the artist of his solo recordings. Most of Roden’s sound works tend towards using a singular source - such as objects, architectural spaces, field recordings, or texts. These things, become abstracted through humble electronic processes to create new audio spaces, or “possible landscapes”. In 2000, he used the term “lowercase” to describe a music that “bears a certain sense of quiet and humility”. Over the years, he has created a rich and diverse body of work that is uniquely his own, mixing conceptual rigor, experimentation and musicality.
40,00€
6 CD box
Steve RODEN
“A thousand breathing forms” (2026 reissue)
2026 reissue, similar to the first one but without the bonus 3"CD.
“A thousand breathing forms”, the second boxset of Steve Roden archive works released by Sonoris, is a selection of unreleased or hard to locate works from 2003 to 2008, a very prolific and creative period for the californian artist.
The boxset is centered on his hard-to-describe loop based sound works that are uniquely his own (such as Stars of ice, A Christmas play for Joseph Cornell) but also includes the conceptual “One hour as the bumps of surfaces” and some more musical or instrumental works. “So delicate and strangely made”, the title of one of his very first records, could still be the right description of his sound work, rooted in visual arts and architecture, mixing conceptual rigor and experimentation without neglecting musicality.
Steve Roden (1964-2023) was a visual and sound artist born in Los Angeles. Roden’s work includes painting, drawing, sculpture, film/video, sound installation, and performance.
Most of Roden’s sound works tend towards using a singular source - such as objects, architectural spaces, field recordings, or texts. These things, become abstracted through humble electronic processes to create new audio spaces, or “possible landscapes”.
Mastering by Giuseppe Ielasi.
"Over the last thirty years, Steve Roden has risen as a singular voice, attacking and advancing the highest challenges of the avant-garde - blurring the lines between nearly every creative field, moving outwardly toward the boundary with every day life. A visual and sound artist, his work spans the fields of painting, drawing, sculpture, film/video, sound installation, and performance.
A pioneer of Lowercase music, a movement which uses amplification as a means to address the quiet and unheard sounds of objects and environments, Steve Roden is one of the great contemporary successors of John Cage. Looking beyond the shadow cast by chance and indeterminacy, he casts the ear toward a world indicated by the composer’s most original, radical, and often neglected idea - the value and beauty of the sounds of non-instrumental sources and of the every day. Through subtle intervention, he has illuminated the path for a rising generation of artist working in sound - refusing categorization, working as comfortably in a museum or gallery, as the contexts of music. Guided by rigorous conceptual perimeters and concerns, across A Thousand Breathing Forms the axis of Roden’s work snaps into view - the monumental presence of the smallest moment and sound.
This boxset, which collects Roden’s unreleased and hard to find works from the incredibly prolific period between 2003 and 2008, is drenched in musicality. Centered around loop based works, it pulls relentlessly and democratically from a seemingly endless world of source - samples of records from an array of cultures, field recordings, instruments, object, and environments. It is a body of work, which, for being birthed electronic process, appears stunningly organic - steeped in humanity and touch. A world of intimacy. The discrete at a towing scale. A realm to be inhabited, which burrows deep - taking residence in the ear. As it sounds, resonances, and structures intertwine, Roden appears as a vision of the future, and a bridge to the past - a breaking of dogma, and a reconciliation for the schism between Minimalism and the conceptualism of Cage. A world guided by ideas, presenting the profound beauty, meaning, and importance of sound, across its six CDs, A Thousand Breathing Forms is a revelation - a lens into the practice and work of an artist of incredible significance, as much as an opening to the larger field. Capturing and advancing some of the most important and difficult ideas of the last hundred years with elegance, accessibility, and grace, this is a collection which promises to grow over time and at every turn."
Bradford Bailey
CD1
1. stars of ice (2008, cdr, new plastic music)
2-9. stills for guru dutt (2004, unreleased)
CD2
1-4. in flows and spuns (2004, released as a 100 copies lp by en/of)
5. 22 letters and the resonance of a three pointed star (2006, compilation track)
CD3
one hour as the bumps of surfaces (2003, radio broadcast, unreleased)
CD4
1. calmem (2008, unreleased)
2. for you the sunrise (2008, unreleased)
3. banjoharmonium (2006, unreleased)
CD5
1. a christmas play for joseph cornell (2007, cdr, new plastic music)
2. thomas sat down and looked at the sea (2004, compilation track)
3. vester fields (2007, cdr, volume projects)
CD6
1. winter is herd or heard (2007, unreleased)
2. to these 4 horizons (2008, unreleased)
3-5. sleep/walk/drive (2003, unreleased)
6. aucla irde lalu ne (2008, compilation track)
“as i listen to the tracks that are compiled here, i realize that for so many times my works have been inspired by the works of others, and other objects. ‘stars of ice’ was inspired by a chinese 7” record salvaged from a thrift store. ‘stills for guru dutt’ came out of my love of discovering my favorite bollywood director, and the en/of record used the sound of the great indian playback singer mohammed rafi. ‘22 letters and the resonance of a three pointed star’ was inspired by an early 1960’s building for the olivetti design firm in ivrea italy, where the original installation was placed within the lobby where it was “modulated” by the space. ‘a christmas play for joseph cornell’ was of course, inspired by the work of joseph cornell, but also george brecht’s water yam scores. the banjo used in banjoharmonium was found at the flea market (my home from home), and the harmonium was a gift from my friend damon. yes, maurice blanchot!, herd and heard - wordplay always. ‘these 4 horizons’ was, again with collaborating with architecture, making recordings in the rain on the site of le corbusier’s roncham after getting lost for hours while trying to find our way through torrential rains (that you can hear on one of these tracks). ‘sleep walk drive’ was a collaboration, also something important to keep one honest. the last track, so tiny, was a cover version of the oldest recorded sound we know, and the story of that not only generated this track, but a sound and video installation… and so i have been collaborating not only with people but with objects, ideas, and forms.” Steve Roden
40,00€
In stock
CD
Jon DALE
“Last Blues”
In Last Blues, De la Catessen presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. Listeners are invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows listeners something that may never have happened there.
"Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance
15,00€
In stock
CD
Jon DALE
“Theatre”
"It's music where nothing happened. It's the kind of music somebody might write in Adelaide, Australia. Nothing happened." --Morton Feldman
Theatre is De la Catessen's second venture into the archive of Jon Dale. Originally released in a tiny CD-r edition of 50 copies on Tristes Tropiques in 2019, Theatre now reappears in an edition of 150 glass-mastered CDs. Theatre sees Jon Dale eschewing the hearthwarm drones of his previous album on de la Catessen, Last Blues, and dwelling upon an elusive aural concept: a limbo. Theatre hums with an occupied silence, heightened by scattered expectant sounds: a door opens or closes; muffled voices murmur nearby. As almost nothing continues to happen, the listener occupying the silence seems to hover at the edge of (non)existence. It's tempting to classify Theatre as a purely conceptual listening experience, or to compare it to listening to someone who is in the quiet act of listening to something else, just out of earshot. But at its heart, Theatre is a simple and elegant manifestation of the dichotomy that dynamizes minimalism: how little of something -- versus how much of nothing -- must be.
15,00€
In stock
CD
WOLF EYES & Anthony BRAXTON
“Live At Pioneer Works, 26 October 2023”
Formed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as "noise," though they have called themselves "psycho jazz" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats.
"Both parties clearly understand what the other stands for and adapt their approaches accordingly. Braxton purists are in for a solid headache, of course, but something really clicked between these artists, and it was all in good fun. As far as Wolf Eyes' discography goes, this is also one of their best-recorded albums." --François Couture, All Music Guide, regarding Black Vomit
13,00€
Out of stock
2 CD
Michael RANTA
“Transits Volume 1”
2024 release
American percussionist and composer Michael Ranta is a legendary figure who has worked with some of the most significant names of 20th century music but despite this and impressive body of work of his own, he has remained an obscure figure. Important Records presents Transits Volume 1 the first in a series of releases by composer/percussionist Sarah Hennies documenting never-before-heard chamber works mostly composed in the 1970s while Ranta was living in Taiwan. Mastered by Tom Eaton at Sounds & Substance. Based overseas since the late '60s, Ranta is known primarily as a percussionist who worked closely with Harry Partch, Karlheinz Stockhausen, Helmut Lachenmann, Toru Takemitsu, and Jean-Claude Éloy but is also an accomplished artist himself with a vast body of work spanning improvisation, electronic music, and composition. The works in the Transits series comprise a dozen works of scored compositions for solo and chamber ensembles almost all of which are completely unknown with no known performances or recordings since their original premieres. Volume 1 includes "Mharuva," a 30-minute marathon tour-deforce for solo marimba, "Seven Pieces for Three Percussionists," and the 40-minute "Continuum II," a stunning display of virtuosity for two bass clarinets, percussion, and electronics. Transits, Volume 1 features performances by Sarah Hennies, NYC clarinetists Madison Greenstone and Katie Porter, and the Bard College Conservatory Percussion Ensemble.
16,00€
In stock
CD
Alvin LUCIER
“One Arm Bandits”
2023 release
"One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes. One Arm Bandits was an important project for Alvin Lucier. The idea for the piece goes back to conversations we first had in 2007 about the relationship between bow direction changes and shifts in phase. In the summer of 2015 we worked these ideas out in long sessions with Judith Hamann and T. J. Borden in New York, and the resulting piece received its first performances in Graz and Zürich in 2016. Alvin thought of One Arm Bandits as a radical statement, I think primarily in view of the severe reduction in material -- even in the context of his music -- and the physical restraint required in performance. The unusually long duration attests to Alvin's recognition that an expansion of scale was required in order to magnify acoustical details of such subtlety. In November 2021 Alvin saw proofs for the CD artwork. He passed away at the age of 90 on December 1, before he could see the album in its final form. Work with Alvin was always joyful, stimulating, and surprising. We dedicate this recording to the continuing spirit of this remarkable musician and friend." --Charles Curtis
15,50€
In stock
CD
RAZEN
“Postcards From Hereafter”
2023 release
Razen's Postcards From Hereafter was recorded using a 17th century organ tuned at 398 Hz (meantone) in a Belgian cathedral erected in 1305. The ensemble explored, with rich results, the organ's strict and limiting tuning with an arrangement that included hurdy gurdy, recorders, chalumeau, violone and nyckelharpa. The pieces on Postcards From Hereafter explore the crossover between this world and the next with improvised spiritual, religious music. Brussels-based ensemble Razen use the unique timbral and drone characteristics of their chosen string and wind instruments in improvised, instinctive music that mixes pre-industrial, spectral and ethnic dreamtones with trance and medieval mysticism. The group includes Brecht Ameel and Kim Delcour as well as Pieter Lenaerts on five-string double bass and sarangi, Paul Garriau on hurdy-gurdy, David Poltrock on Ondes Martenot, Berlinde Deman on serpent, and Jean-Philippe Poncin on chalumeau and bass clarinet. RIYL: Olivier Messiaen, Sun Ra, Popol Vuh.
Over the past twelve years, the Brussels-based ensemble Razen has been forging a singular path that rethinks the idiom of minimalism and pushes it toward a higher plane; tapping the primal root, while pushing toward the future. Founded in 2010 as duo of Brecht Ameel (organ and string instruments) and Kim Delcour (wind instruments), growing and contracting as an ensemble over the years, the band deploys improvisation and the unique timbral and drone characteristics of string and wind instruments to sculpt landscapes of intuitive long tones, combining the trance-inducing roots of music with a progressive vanguardism that seeks the intangible and the unknown. The band's releases are emblematic of the hybrid between psychedelic music, Early Music and contemporary spectral approaches. Razen has performed all over Europe on numerous occasions, on international festivals and well-known venues, from Fylkingen in Stockholm to Berghain in Berlin to the small church of Dranouter (Belgium).
"... an intoxicating sauce of stark and tripped out ritual music... which conspires to keep listeners in a semi-permanent trance state" --Julian Cope (Head Heritage).
"... a heady brew of deep listening music that is almost medieval in mood and wholly reverential in technique" --Edwin Pouncey (Wire Magazine).
"Razen push the drone potential of medieval instruments like hurdy gurdy as well as shawm and recorders... into realms of total sensory overload" --David Keenan (Volcanic Tongue).
14,00€
In stock
CD
OVERTONE ENSEMBLE
“2”
2021 release
Tim Catlin formed the Overtone Ensemble in 2012 in order to perform works using his self-made "Vibrissa" instruments. The Vibrissa includes twelve vertically mounted aluminum rods that are longitudinally stroked with gloved hands to produce ethereal "singing" tones. The long sustaining nature of the rods sound and microtonal tunings allow players a sonic palette of complex textures and harmonic complexity. Expanding from the instrumentation on their first album, these new recordings utilize Vibrissa instruments, plus a range of extended techniques on old instruments including timpani, bowed piano, bowed glockenspiel, bowed guitar, as well as some new instruments, like doppler rods and whirled tubes. The majority of the recordings were done in the Old Chapel building in Melbourne, Australia. The chapel, formerly attached to the Old Melbourne Gaol boasts ten-meter-high ceilings which added an enveloping acoustic ambience. At times it felt as though the spectral presences of former inmates were hovering benevolently in the rafters watching on.
14,50€
Out of stock
2 CD
Laetitia SONAMI
“Dangerous Women: Early Works 1985-2005”
2025 release
Laetitia Sonami was born in France, where she studied with Eliane Radigue. She moved to the United States to study electronic music, first with Joel Chadabe at SUNY Albany, then at Mills College where she was mentored by Robert Ashley and David Behrman. Laetitia Sonami is not only a gifted composer/designer of electronic music, but a compelling presence on stage. This collection of early works covers a period when Sonami transitioned from live mixing with cassettes, homemade analog synths and objects in the early eighties, to working with MIDI, MAX software and "off the shelf" synths and samplers. At the same time, she begins a long collaboration with Melody Sumner Carnahan, using her dramatic texts to evoke characters and behaviors to inhabit musically and visually. All but two of the works on this release utilize Sumner Carnahan's stories, and all but one use Sonami's famous invention, the lady's glove, an arm-length tailored glove fitted with movement sensors allowing the perform to fluidly control digital sound parameters and processing, as well as motors, lights and video playback. Sonami has since moved on to works for another of her inventions, the Spring Spyre, which applies Machine Learning to real time audio synthesis.
23,50€
Out of stock
2 CD
Matt ROGALSKY
“Visitations And Revisitations”
2024 release
With Visitations and Revisitations, Matt Rogalsky continues lines of work that seem to inevitably revolve around explorations and honoring of place, people, and memory. Ambient, expansive and immersive, twelve new songs without words invite listeners on travels through spectral sound worlds. All the compositions combine elements of acoustic and electronic sound, where the electronic sound is often derived from underlying acoustic sources which often remain unheard while their liminal, spectral qualities are evoked in new ways. On this collection, two "Visitations" bracket ten "Revisitations." Each "Revisitation" identified by a letter is an investigation into the work of a composer or musician whose work has meant much to Rogalsky: "The 'Revisitations' all function as homage compositions, in an alphabetical series of 26, where each letter references a composer whose work has touched me, and whose sounds I have spectrally explored in a new response piece." The "Visitations" are different from the "Revisitations" in their referencing of intensely personal conditions: one derives from the resonances of a family upright piano which came from Rogalsky's maternal side, and one evokes experiences in movement, sound and community around the base of Sacred Buffalo Guardian Mountain in Banff Alberta. The range of influences Rogalsky explores on Visitations and Revisitations span from musicians and poets in his local sphere, to internationally well-known contemporary and historical figures in music and sound. Some sources are revealed and others kept private as a guessing game for listeners. A number of the tracks on the album are based in recordings of live performances while others are purely studio compositions. Matt Rogalsky is based in Kingston/Katarokwi, in Ontario Canada where he runs the Sonic Arts Studio at Queen's University. He previously released a double CD album Memory Like Water on XI Records in 2006 (XI 131CD).
15,00€
Out of stock
2 CD
Merce BLASCO – Lucie VITKOVA
“Blasco/Vitkova/Anette”
2023 release
On this album, Lucie Vítková and Merche Blasco explore cyborgness through their relationships with their instruments. Lucie perceives the accordion as an extension of their body -- sound, matter, and movement locked in a self-generating cybernetic loop. Merche built Anette, a 3D printer, as her interlocutor and companion in the performance space; in return, Anette printed thimble-microphones Merche wears on her fingers, which render the machine's unique electromagnetic voice audible to human ears. Performed through an octophonic system, the wearable microphones expand Merche's hand gestures to sonically fill the performance space, surrounding the audience with the sensation of being within Anette's busy, mechanical body. For this album, the eight signals broadcast by Merche's thimble-microphones were later mixed down to stereo, replicating the spatial image created live. This album is the record of an inter-material conversation among the trio of Vítková, Blasco, and Anette (technically a quartet since Merche was six months pregnant at the time), in which human and nonhuman elements of the cyborgian system are in constant interflow. The album includes a text written by Shelley Hirsch.
15,00€
In stock
2 CD
Michael WINTER
“Counterfeiting in Colonial Connecticut / a lot of tiles (trivial scan)”
2022 release
XI Records announce the release of a double-CD set of Michael Winter's music organized by guitarist Elliot Simpson. Each CD features a single composition, demonstrating different sides of Winter's work.
The first, "Counterfeiting in Colonial Connecticut", is a socially-engaged piece written for Simpson and in honor of George Floyd. The second, a lot of tiles (trivial scan), derives music from a set of mathematical tilings (often referred to as tessellations). The album art features reprints of altered and counterfeit colonial Connecticut bills as well as custom-made, hand-stamped prints of the tilings. "Counterfeiting in Colonial Connecticut" interleaves guitar passages with readings of excerpts from the book of the same title written by Kenneth Scott and published by the American Numismatic Society in 1957. Readings from the Scott Compendium are complemented with readings of texts written by Winter reflecting events that occurred during the composition of the piece; particularly the protests sparked by the death of George Floyd, a black man brutally murdered by police while being arrested for allegedly using a counterfeit $20 bill. Simpson is accompanied by Gemma Tripiana Muñoz on piccolo and the texts are read by Simpson, Winter, and animator Mandy Toderian.
"a lot of tiles (trivial scan)" is based on a set of rectangle substitution tilings explored by Chaim Goodman-Strauss in his seminal paper "Lots of aperiodic sets of tiles". A rectangle substitution tiling is generated by dissecting a rectangle into four smaller rectangles, which are then dissected into eight even smaller rectangles, and so on. The parenthetical in the title, "trivial scan", refers to the method of sonification. Sonic parameters of the music are determined by scanning and reading the tilings. The piece is quite open. As Simpson explains about Winter's music in the notes: "Although his music covers a wide range of forms, formats, and concerns, there seems to always be a careful consideration of the adaptability of his works... They can expand and contract to accommodate diverse instrumentations, durations, spaces, and situations... There is an understanding that the myriad of possibilities defined by the scores will never be exhausted; new constellations of materials, performers, and contexts will always exist." In the recording of "a lot of tiles (trivial scan)", this variability is explored through different combinations of electronic, synthesized, and acoustic sounds featuring Simpson and saxophonist Omar López, the dedicatee of the work.
15,00€
In stock
4 CD
William BASINSKI
“The Disintegration Loops (Arcadia Archive Edition)”
From label :
Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller, Laurie Anderson, describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.” The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st Century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”
42,00€
In stock
16 CD box
Denis DUFOUR
“Complete Acousmatic Works — Vol 2”
With the imminent release of this second volume of the Complete Acousmatic Works, Denis Dufour’s oeuvre is the subject of an unprecedented discographic publication.
Together, the two box sets comprise a total of 32 CDs, featuring 93 works and over 34 hours of music, spanning nearly fifty years of creative output (1976–2024).
The experience is extended through the booklets (Fr / Eng / De), including detailed notes for each title, reflections on the texts set to music, as well as forewords by Frédéric Acquaviva (Vol. 1) and Robin Rimbaud [Scanner] (Vol. 2).
Denis Dufour (1953 )
Through a morphological and expressive approach to sound, Denis Dufour has developed a body of work in constant renewal, driven by projects that are each singular in nature.
The resulting catalogue unfolds as a vast fresco, in which no motif is repeated, embracing a wide range of immersive sonic landscapes.
An insatiable creator, his compositions — instrumental, vocal, mixed, and fixed-media — now form a catalogue of nearly 200 titles.
With the release of the second box, KAIROS continues the monumental undertaking of documenting Denis Dufour’s complete acousmatic works. When one considers the extraordinary stylistic breadth, the wealth of expression, and the ever-expanding sonic territories explored in this second 16-disc set, one might feel that Dufour’s œuvre has at last been fully charted or, conversely, that there is still an inexhaustible world left to discover. Our need for music is insatiable, yet Dufour’s sonic-musical creation, his multi-polar acousmatic art, once again rises far above the ordinary. May this second box set in the larger anthology demonstrate how he has become one of the rare figures capable of breaking the space-time barrier through his unique ability to absorb other sound worlds and unite the disparate spheres of the audible, thus embodying the voluptuous, generative chaos of the music of our time.
60,00€
In stock
16 CD box
Denis DUFOUR
“Complete Acousmatic Works — Vol 1”
A first box set containing 16 CDs, presenting more than 40 works and 18 hours of listening, including never released before music by Denis Dufour and texts in a detailed booklet (Fr/Eng/Ger).
With his morphological and expressive approach to sound, Denis Dufour works on pieces in a constant state of renewal and on ideas that are specific to each piece. This results to a work looking like a large fresco in which no theme sounds alike, containing varied and breathtaking soundscapes and a patchwork of sounds, thoughts and colors that enable us to appreciate the sheer imagination as well as the consistence of his style. By deliberately but effortlessly opening his music to all sounds, Denis Dufour works with liberty, independence, rigor, and craftsmanship so refined that makes one forget oneself. Every second of sound is wrapped by a conscious ear so that so that his work contains no trace of automatic tools. Composer, teacher, researcher, director of label and festival, Denis Dufour, has greatly contributed to the development of acousmatic art in the world during forty years. First volume of the integral of his acousmatic work, this boxset regroups 44 works of Denis Dufour, composed between 1977 and 2020. Each one of the 16 discs is conceived as a listening program, which provides to listeners an immense landscape. The second volume is expected in 2022, and his instrumental work is under publication as well.
CD 1 – 3 Melodramas 1, 2 & 3
CD 4 – 5 Radio Art 1
CD 6 – 9 Suites 1, 2 & 3
CD 10 – 11 Tombeaux 1 & 2
CD 12 Acousmalides Cycle 1
CD 13 – 14 Sacred Music 1 & 2
CD 15 Electronica
CD 16 Moments musicaux 1
60,00€