In stock
CD
Massimo TONIUTTI
“Variation séculaire géomagnétique (Antidocument/Groundwork)”
"Massimo Toniutti is an Italian sound designer and experimental musician. He is the brother of Giancarlo Toniutti who is best known for his dark ambient masterpiece La Mutazione which was originally released on the Broken Flag label in the UK and later reissued by Klanggalerie. Massimo started working with sound when he was a teenager, collecting and playing recordings of all kinds. In th 1980s he released four cassettes on his own label, all heavily influenced by the experimental musis scene of that time. He soon developped a strong relation to electroacoustic structures, space/environment and silence. In the 1990s, he began investigating radio, creating his own sound archive and producing unusual broadcasts. He released an album entitled Il Museum Selvatico, which was reissued in Australia in 2018 on Oren Ambarchi's label Black Truffle. A documentation of his radio work can be heard on the CD Le Gabbiette Di Faraday, collecting radio pieces from 1996 to 1998. After a twenty year break, the cassette Antidocument/Groundwork was released in 2016 in a tiny edition of only 100 copies. Klanggalerie asked Massimo Toniutti to reissue this composition on CD to which he agreed. When work was started, Massimo decided to extend it to a much longer piece which became Variation Séculaire Géomagnétique. if you are into Musique Concrete, Dark Ambient or simply beautifully crafted atmospheric music, then this release is for you."
12,00€
In stock
CD
Jac BERROCAL – David FENECH – Vincent EPPLAY
“Ice Exposure”
Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the ‘70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock ‘n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the ‘70s and ‘80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lizzy Mercier-Descloux, Lol Coxhill, Yvette Horner and James Chance.
In the 90s his protean achievements were celebrated on the Fatal Encounters compilation, but far from slowing down in the autumn of his life, Berrocal has maintained an extraordinary work-rate, keeping studio dates with Pascal Comelade, Telectu and Jaki Liebezeit, among others.
Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings – wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions – for Berrocal’s unmistakeable voice and breathtakingly lyrical horn sound to flourish. Fenech cut his teeth in the mail-art scene of the early ‘90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin’s Gagarin label, and he has also worked as a software developer at IRCAM, and played with Jad Fair, Tom Cora, Rhys Chatham and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Planam/Alga Marghen and PPT/Stembogen. Ice exposure is the sequel and companion piece to 2015’s Antigravity, its title couldn’t be more apt: sonically it is both colder, and more exposed – in the sense of rawer, more volatile, more vulnerable – than its predecessor, capturing the combustible energy and barely suppressed violence of the trio’s celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. This CD version also has two bonus tracks that have not been available before.
12,00€
In stock
CD
David JACKMAN
“Silence in that time”
The follow up to last year’s critically acclaimed album Herbstonne, Silence in that time is a direct offshot of the former album, adding more sounds to the overall sound palette. Recorded at RMS Studios South London in 2019, the single 42 min. long track stands as another distinctively beautiful and haunting work in the artist’s discography.
Artwork by Jonathan Coleclough.
14,00€
Out of stock
CD
Fani KONSTANTINIDOU
“Winter Trilogy / The Big Fall”
Fani Konstantinidou is a composer and sound artist living and working in the Netherlands. She has a particular interest in cultural and social identities and their influence in music composition. Since 2015 she works on her personal artistic project, Sound Topographies, where she uses a variety of sound sources inspired by her own surroundings. From musical instruments to spoken language and from everyday sound[scape]s to computer-generated sounds, her music is characterized by shifting
sonic textures that circulate between drones, noise, arrhythmic melodies, and atonal rhythms.
Inspired by the influence of space and time in music, she creates and recreates timelines of sonic events aiming at musical dialogues and public communication through sound.
The two trilogies were realized between 2015-2019 in the Netherlands and implemented into a sequence of live shows during the same period. Both inspired by cultural sonic imprints, the Winter Trilogy (computer & accordion) and The Big Fall (computer & analogue synthesizer) explore the potential and the antitheses between analogue versus digital while expressing a personal view of particular rural landscapes.
11,00€
Out of stock
2 CD
Alvin CURRAN – Reinier van HOUDT
“Dead Beats”
Moving Furniture Records is proud to present to you the composition Dead Beats by Alvin Curran (US), commissioned by Moving Furniture Records for pianist Reinier van Houdt (NL).
This production is a collaboration between Moving Furniture Records, Willem Twee Studies, ‘s-Hertogenbosch, and Martijn Comes.
This is the start of a new series on Moving Furniture Records under the name Contemporary Series in which we will focus on new works by contemporary composers and musicians.
"Early in his career, composer Alvin Curran turned away from piano—the instrument he was trained on—in favor of all manner of sound-making, rejecting the classical tradition. His work as a member of Musica Elettronica Viva opened up new possibilities for art music, drawing heavily upon improvisation. In the last installment of this column I discussed one of his singular solo recordings from the ‘70s, where his compositions were utterly liberated from any given tradition. He eventually returned to piano, but created music from a much freer point of view.In 1991 he began writing what would amount to the 12-movement, six-hour opus “Inner Cities,” studies of the teeming energy and contradictory impulses of urban centers. Curran composed the ninth movement for Dutch pianist Reinier van Houdt. Curran wrote of the work as a whole: “My goal, as always, was to reduce the musical elements to their ultimate essences, to repudiate and embrace dualism, and to emulate, even in permanent notation, the feel of spontaneous music-making.”
On this new recording, van Houdt illustrates that goal brilliantly in a 30-minute journey marked by thrilling and unnerving polarities of density and energy, freely arranging ideas gleaned from all across history. “Dead Beats” is a new work written for the pianist which remaps those earlier concepts into a far more elliptical and shape-shifting five-movement expedition, where it’s hard not to delight in getting lost over and over again."
16,00€
Out of stock
10" + CD
FOVEA HEX
“The salt garden III”
"The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern." Drew Daniels (Matmos)
The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.
Original price was: 17,50€.10,00€Current price is: 10,00€.
Out of stock
CD
Asmus TIETCHENS + CV LIQUIDSKY
“Monoposto”
17th and final part in the re-release series of all early Tietchens albums between 1980—1991.
Originally released on Dragnet, Dom Elchklang in 1991. This new version incl. 3 Bonus tracks and is another joint release by German labels Die Stadt and aufabwegen. Jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.
"It was just before the end of the heroic times when CV Liquidsky and I decided to record a studio album together. Almost too late considering that Liquidsky already lived and worked in Hamburg since 1979. Our ways had crossed many times since and a mutual friendship developed. Actually we discussed a possible collaboration several times. Liquidsky was a graphic designer, journalist, musician and someone who really moved things in all these areas. I got to know Liquidsky's musical side as him being one half of the industrial music duo 'Cinema Verite', and at the same time through his journalistic skill's, writing excellent reports about the Hamburg and International music and cultural scenes. As a trained artist he also did record covers and posters, illustrated Fanzines and created some disturbing free works. It was no secret that his chosen artist name derived from both ,Cabaret Voltaire'(CV) and 'Liquid Sky'(Liquidsky). His real name was Andreas Hoffmann. The recordings for 'Monoposto' were made between 1988-1990. The mention of the years 1981-1990 on the cover was deliberately misleading. Our work scheme was to try and record one track per nightly session, and when ever we met in the studio we stuck / clung to this strict working method. It was our intention to avoid making a perfect studio album. Improvisation, chance, errors and spontaneous decisions were the game plan. After a track was recorded it was mixed the same night or even early the next morning, so it was finished. No ironing out and no corrections were made, no matter if the raw diamonds we created started to shine or not. It was Liquidsky who persuaded me to accept this almost Dadaistic concept, as I'm basically someone who takes longer to create a track. He concentrated on his guitar and I concentrated on the electrical treatments. Later a good friend of ours described the music as a mixture of apathy and ecstasy, beauty and ugliness. In fact I never worked on an album with such a melancholic note before of ever after. The cover was created by Liquidsky within a couple of hours. The word 'Monoposto' has actually no meaning. It's a Blindtest to show the actual look of a certain typography common in the analog world back then. Liquidsky was fast and he always stood on the right side. Andrea Hoffmann died on 6th of September 1998."
15,00€
Out of stock
3 CD
Charles CURTIS
“Performances and recordings 1998-2018”
Saltern presents its fifth release, Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; Edition of 500.
27,00€
Out of stock
2 CD
Matt SHOEMAKER
“Tropical Amnesia Two & Three”
Double CD limited edition of 300 copies.
All sound recorded November 2007 in/at/around Mamori Lake, Amazonas, Brazil.
Material culled and assembled December 2007/January 2008 in Seattle.
13,00€
In stock
CD
Christine ABDELNOUR & Joachim NORDWALL
“A higher state of body and mind”
Lebanese saxophonist Christine Abdelnour brings an impressive, extended instrumental vocabulary to Joachim Nordwall’s cryptic electronics in this live recording made at Ystad Konstmuseum for Sweden’s Firework Edition Recordings
Falling deeply within the label’s taste for sounds that exist on the liminal edge of perception, ‘A Higher State of Body and Mind’ sees Abdelnour coaxing spittle-inflected small sounds and bestial whimpers from her brass tool while Nordwall colours the negative space in elemental, greyscale drones and sheets of coruscating electronic texture.
Their results are organic and drily, soberly expressive in a transfixing style of sonic dialogue that covers all tiers of the frequency spectrum. As the release’s title implies, ‘A Higher State of Body and Mind’ is attuned to extremes of penetrative highs and rich, sonorous low end, but neither dominate the other, rather they buoy and balance each other in their quest to elevate listeners to experience, feel and perceive the recording on its purely sensual, synaesthetic terms.
Original price was: 12,50€.7,00€Current price is: 7,00€.
Out of stock
CD
SINK
s/t
Andrea Ermke, minidiscs - Chris Abrahams, DX-7 - Marcello Busato, drums - Arthur Rother, electric guitar.
It took 15 years since its foundation to release their first album. Sink was formed in Berlin in 2004. Though their music is improvised, Sink play, perform, sound and feel as a band with a distinct band sound. Their sound ranges from typically Berlin Echtzeitmusik related mixed electroacoustic and acoustic soundscapes which can, but need not, result in a minimalistic groove. Sink already appeared on “Echtzeitmusik Berlin” compilation we produced in 2012.
“Sink” is a perfect blend of diverse sound sources. Rother’s minimal chord playing and guitar arpeggios mix with Abrahams’ masterful knowledge of the depths of Yamaha DX-7 which sometimes emits typically electronic timbres and sometimes he makes it sound like an organ. All this coalesces with Ermke’s sonic intrusions from her minidiscs and Busato’s wide range of playing techniques on percussion and drums, now shadowy, then outbursting. “Sink” is a staggering feast of the joys found in the process of sonic research with their own instruments. A malleable bubble of hovering excitement, romantic slowdowns and joyous refrain. A perfect musical match for your post-Techno after party.
13,50€
In stock
CD
Michael RANTA
“Die Mauer”
11 track album of previously unreleased music for a ballet choreographed by Philippe Talard.
Composed, performed and recorded by Michael Ranta in 1988/1989.
CD in 6 panel fold out sleeve. Edition of 500 copies
14,00€
In stock
CD
Stéphane GARIN & Jean-Philippe GROSS
“Dénombrement”
For percussions, electronics and recorded sounds.
Recorded between 2017 and 2019 by Benjamin Maumus, Richard Comte, Nils De Deyne and Jean-Philippe Gross, “Dénombrement” regroups a series of connections between percussion and electronics. The placement of percussion in different phonographies, with an intense and sustained mix of live or pre-recorded sonic data results in a highly synchronised merging of sources. Not only does this create a complete ambiguity and a loss of frame of references in an aesthetic that approaches a study, but transcends it, by recordings of the creation of the piece itself, imbuing it with humanity and distance, humour and anecdotes.
Originally a drummer, he has played in the field of electronics, experimental and improvised music since 2001. He is curently playing with Stéphane Garin (Dénombrement), Jean-Luc Guionnet (Angle), Jérôme Noetinger, Axel Dörner, Clare Cooper (Nevers), John Hegre.
Recent works included music for theater, dance and performances, as well as compositions, Cutting Lines for the ensemble Dedalus, and Sécante for the project Phonoscopie.
From october 2001 to june 2009 he was engaged as a music program curator for Fragment (Metz, France).
Eich is a new label created by musician and composer Jean-Philippe Gross to release his collaborations and solo work.
8,00€
Out of stock
CD
Will GUTHRIE
“Nist-Nah”
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT027), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat.
However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal
percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.
Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’. On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.
Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at D&M, Berlin. Images by Sylvie Meunier.
13,00€
Out of stock
CD
FEN
“No one’s island”
FEN (Far East Network) is a group project made up of musicians from Singapore, Japan, China, and South Korea who play improvised music. It was first started on the suggestion of globally renowned musician Otomo Yoshihide in 2008 for a French festival MIMI. Each member is an artist who works individually on the experimental music scene in his respective country. They have been supporting each other's activities by organizing concerts in their own countries, and this relationship became the motivation to form FEN, and to extend their network to react with the reality of Asia in artistic means.
From their activities, they realized that unlike artists in Europe, those in Asian countries had difficulty communicating due to differences in their cultures, languages, historical backgrounds and political situation. FEN originated from their thinking about not only practical and productive but also aesthetic ways to solve this problem. They soon found out that working as an organizer and as an invited artist didn't help them to sustain their relationship. Certainly, a relationship between collaborators with common interests and concerns was more productive than one arising merely from invitation and acquaintance.
They pursue "performing together through improvisation" as a method and "never talk about music" as a private code. FEN is a musical group and at the same time it is a form that maintains unique aesthetics and sustainable relationships in diverse Asian cultures. Also through FEN's activity they explore the aesthetic possibilities of a new form of music which is different from music in the Western world. FEN's goals are to become a foundation and to organize diverse meetings to support other sustainable networks and cultural exchanges among many experimental musicians in Asia. Therefore they withdraw their ego from controlling and designing music.
“No One’s Island” is their third album and the first studio recording. Here they explore the nuances of the current political situations worldwide which is a mesh of inner and outer laws and decisions taken everywhere and all the time such as visa system, and the gap between official political tension and people’s everyday life. All this affects our understanding and expressing, making human condition complex and inefficient. Why human spend so much time for applying visa instead of creating art and listening to each other?
The musicians change their instrument and method without letting the other members know. They almost have never done a rehearsal. They agree with any suggestion from other members. They let go. Here in their first studio album recorded in New York they reproduced their attitude to the strange world with electronic feedback, computer noises and variations of rock guitar motifs. All merge into an unfamiliar structure, an ever-changing and unbalanced form. The album trying to add their own, personal, ways of playing and thus undermining the overall similarity of everything, making the reality no one’s island their own. It’s a voice from no master, an organ within no body, an essential chapter in the body of oeuvres of Otomo Yoshihide, Yan Jun, Yuen Chee Wai and Ryu Hankil.
Otomo Yoshihide: guitar, Ryu Hankil: max/msp, Yan Jun: electronics, Yuen Chee Wai; guitar and electronics.
Produced, mixed and mastered by Lasse Marhaug
13,50€
In stock
CD
Lars AKERLUND – Eryck ABECASSIS
“Falls”
Eryck Abecassis and Lars Åkerlund started their Falls project to investigate the possibilities of achieving instability with synthesizers and electronic instruments. With only one dramatic change in their strategy: they employed both the same branded instruments to do that and it worked.
Eryck Abecassis is a French musician who has been working in diverse areas of music production: producing his own albums and works for chamber orchestras, theaters, installations and cinema. He got commissions from such institutions like INA-GRM, Radio France and Institut Français and played at many festivals like Amplitude, Presences, IRCAM. Now he mostly works with modular synthesizer and computer.
Lars Åkerlund is a sound artist and composer and performer of electronic as well as electroacoustic music hailing from Sweden. With a classical training, he also works in the music underground scene. He founded bands such as P.I.T.T. (among others, with Zbigniew Karkowski) and the Lucky People Center and recently the LLLSD (Lab for Life-Long Sound Dysfunctions) which toured in South East Asia, China and Japan during 2018 and 2019.
He performs solo and in collaboration with other artists, film makers and choreographers. Åkerlund lives in Stockholm working in the studio with computers, controllers and live electronic equipment such as an amplified monochord.
In eight tracks of “Falls” they drive you to the state of ecstasy. Working with a minimal and an accurate attention for the structures, they gain such a level when they lose control of their two Doepfer Dark Energies that it starts hypnotizing the brains. Subliminal thoughts, experiences and sonic hallucinations may suddenly erupt to the surface. Take care when using these powerful and uncompromising musical dream machine which will disorientate you in its subversive sonic masses and spectrum.
13,50€
In stock
CD
Burkhard STANGL & DIEB13
“Jardins des bruits”
Burkhard Stangl: guitar, electronics
Dieb13: acoustic and electronic gramophones and electronics
Burkhard Stangl and dieb13 live and work in Vienna, both being long time protagonists of the local scene as well as travelling and collaborating with musicians from all over the planet. Many of those collaborations and connections have been documented on the double-CD compilation”klingt.org: 10 Jahre Bessere Farben” [mikroton cd 5 | 6] commemorating the first ten years of existence of named online platform, which was founded and is since being run by dieb13.
Burkhard Stangl needs no further introduction being a remarkable and highly acclaimed guitarist. He explores the full range of sonic possibilities on his guitar, its dynamic, harmonic, melodic and noisy spectrum. This adaptability allows him to get to work in a variety of musical contexts, from collective improvised music projects like Polwechsel (until 2004), Efzeg and Schnee to written contemporary music for various ensembles and from solo works to collaborations with Angélica Castelló, Christof Kurzmann, Christian Fennesz and others.
dieb13, also based in Vienna like Stangl, is a particularly active musician, filmmaker, software programmer and theorist. Being a valued improviser and a proven specialist for the musical and technical aspects of turntablism, he played and plays in various groups like Swedish Azz, Efzeg, (Fake) The Facts and collaborated with countless musicians from local and international scenes, among them Billy Roisz, eRikm, Phil Minton, Hans Koch, Mats Gustafsson, Camille Emaille, Anna Högberg, Susanna Gartmayer.
In 2002 Stangl and dieb13 released their duo album “eh”, which gave a very thorough and entertaining insight in the possibilities of interactions between guitars and record players. Now, 17 years later, on “Jardin Des Bruits”, or “Garden Of Noises” they explore and expand the sonic properties of their group sound and include plenty of soundscapes from Paris and Montreuil, where the recordings took place in May 2019. Burkhard Stangl once said that he allows himself to play his special so-called “eh”-tuning only in this project, because of its high emotional tension verging on nostalgia. A pair of tracks on “Jardin Des Bruits” sounds like a farewell to their sonic adventures from 2002 which they masterfully convert to their current musical ideas. Their themes remain particularly alluring and bruitfully fruitful as ever, with each track telling its own engrossing story. This is sharp, focused contemporary music of the kind, where minimalist motifs meet maximalist outbreaks. “Jardin Des Bruits” is another landmark recording made by two of the most prolific experimental explorers of sound and music active today.
Recorded at Instants Chavires and the streets and metro trains of Paris and Montreuil in May 2019.
13,50€
Out of stock
CD
Phill NIBLOCK
“Music for organ”
Music for Organ is comprised of two, sidelong works - Unmounted / Muted Noun, composed in 2019 for organ and four pre-recorded tracks, and Nagro (aka - Organ), for organ and tape, from 2007. In the case of later, the tape material was recorded in 2007 by Emanuel Schmelzer-Ziringer, on an 18th century organ in Austria. The remaining recordings were made by Hampus Lindwall, in presence of the Niblock, in Belgium earlier this year.
Unmounted/ Muted Noun, 2019, for organ AND 4 pre-recorded tracks. Hampus Lindwall, organ.Nagro (aka - Organ), 2007, for organ and tape Tape material was recorded May 1, 2007 at the Joseph Gatto Organ (1787) in Sankt Kirchberg am Wagram, Austria by Emanuel Schmelzer-Ziringer.
16,00€
In stock
CD
Luigi ARCHETTI – Bo WIGET
“Weltformat”
Edition of 300 copies housed in a six-panel gatefold cover that unfolds to reveal the musical score of the album.
Ending the decade of silence which followed more than ten years of remarkable, critically acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitions effort to date, "Weltformat", issued by Die Schachtel.
Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part "Low Tide Digitals" series, released by Rune Grammofon between 2001 and 2009. "Weltformat", like its predecessors, builds on decades of solo and collaborative efforts by its creators - Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Lüdi, Taku Sugimoto, Tetuzi Akiyama, and others. Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album's four sides the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse.
Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful. "Weltformat", encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking, Die Schachtel is overwhelmingly proud to release "Weltformat" in both clear double LP and CD formats.
15,50€
In stock
CD
SABOTEUR
“Saboteur”
This new CD works somehow as a sequel to the first collaboration between Roro Perrot and Yves Botz, released on tape by Decimation Sociale, during the early days of the label, and once again brings together two undisputed masters of french coprophony.
What we have here is the trademark “shit folk for a shit world”: retarded, inhuman growls against a barrage of out-of-tune six string mayhem, an uncompromising vomit towards all that is polished and clean, and yet, this album manages to combine the usual elements present on previous releases with a few more layers of absurdity.
It consists of a single track, sprawling over 45 minuts of object banging, annoying clavier chaos, obtuse de-composition and cavernous no-fi psychosis, with a distinctive “live recording” fee that evokes contemporary urban collapse as much as animalistic reclusion - the bootleg soundtrack to sociopathic acts of sabotage and mongoloid abomination.
8,00€
In stock
CD
MAGINOT
s/t
Dead frequencies, parasites recodings, sounds of the ground, while objects are cracking, music, noise. Romain Perrot (VOMIR) and Paul Hegarty (SAFE) being determined the final failure of the noise, through a rigidity both relentless and brittle.
200 copies, digisleeve.
8,00€
Out of stock
6CD box
VOMIR
“Black Box”
Vomir announces the cover box, with laser engraving on black wood, who is the best HNW artist around. HNW stands Harsh Noise Wall, better known as Wall of Noise, and Vomir is Romain Perrot, who's best known for his habit of wearing a black bag over his head when playing live. Six solid CDs that comes with a wooden box, which resolutely occupy a narrow and strictly defined dynamic band, with shifting textures of distortion and heavy low end. In retrospect it's surprising it's taken noise artists this long to notice the appeal of stasis -- its ear-fooling potential amplifies minor structural changes and renders small sound events disproportionately large, as well as allowing them to generate a genre variant which is both intensively aggressive and strangely calming. Nothing is progress. Everything repeats itself endlessly and nothing stands out as important. Nothing more should be undertaken. We will never arrive at the final destination. The truth is over, comes the loneliness. These are definitive new CDs of total static harsh noise, crusting, crushing, crackling of 75 minutes each by the master of the HNW Romain Perrot. No ideas, no changes, no development, no entertainment, and no remorse. Urashima continue the tribute of the genre with more than seven-and-a-half hours of monolithic HNW on six-CD set with an astonishing black wooden box. Each single CD comes in black wallet with no graphics plus individually numbered certificate in 200 copies and foldable color poster with picture and text in French and English.
45,00€
In stock
CD
Jean-Jacques BIRGÉ & Hélène SAGE
“Rendez-vous”
"French group Un Drame Musical Instantané was founded in 1976. They present an original, unclassifiable, inventive music, which drifts from jazz to electronic sounds and contemporary music. Klanggalerie has started an extensive re-issue program with these unique avantgarde pioneers which will bring back their classic albums but also side projects like this one. Rendez-Vous was recorded in 1981 but never released. This is what group founder Birgé has to say about the recording: 'I met Hélène when she was doing a performance at Espace Palikao in Paris with choreographer Lulla Card Chourlin. She was singing whilst driving an old Mercedes Benz, trying to run over Lulla, and playing double bass on its roof! I proposed her to record some improvisations at Studio GRRR as I've always done with new musicians and as I'm still doing. The connection was so great, as one can hear on this record 37 years later, that I asked her to join the 15-piece orchestra of Un Drame Musical Instantané which had just been founded. She brought some crazy stuff into the group, playing strange instruments she had invented herself. She is a wonderful flute player, but I asked her to play all kinds of instruments and also to sing, leaving her often free to improvise besides the written score. In the next years we both played as a duo and she became the fourth member of the Drame. When I listen to these pieces today, I'm surprised by the high degree of composition, the quality and variety of our inventions. The mix of acoustic and electronic instruments sounds totally contemporary, plus with the energy of youth and the absolute love for innovative forms.'"
12,00€
In stock
2 CD
Robert ASHLEY
“Improvement (Don Leaves Linda)”
"Like John Bunyan's Pilgrim's Progress (1678), Improvement (Don Leaves Linda) is an allegory for an individual's self-realization. The opera takes its imagery from the history of the Jews --beginning with their expulsion from Spain in 1492 and ending 500 years later in the United States. Improvement (Don Leaves Linda) was first conceived as a recording for Nonesuch Records (1991). Ashley followed with three other operas, making up a quartet or tetralogy under the name Now Eleanor's Idea (LCD 1009CD), and all four operas were performed often during the first half of the 1990s. The opera was revived in 2018-19, with a new cast: Gelsey Bell as Linda; Brian McCorkle as Don, Mr. Payne, and Companion; Paul Pinto as Junior, Jr.; Aliza Simons as Now Eleanor; Dave Ruder as The Doctor; Amirtha Kidambi as Mr. Payne's Mother; Robert Ashley (on tape) as Narrator I; Amirtha Kidambi and Aliza Simons as Narrator II. Improvement (Don Leaves Linda) was presented by the Kitchen, February 7th through 16th, 2019. Live Sound and Processing: Tom Hamilton. Live cast recording by Eric Sherman and Tom Hamilton. CD mixed by Tom Hamilton."
27,00€
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€
4 CD box
Jim O’ROURKE
“to magnetize money and catch a roving eye”
A 4-hour work recorded at Steamroom (composer’s studio) between 2017 and 2018.
Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in constant state of flux. The finely crafted art of subterfuge.
“To magnetize money and catch a roving eye”, four CD’s – a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory, and shows all the talent of Jim O'Rourke.
Composer, performer, multi-instrumentalist, born in Chicago in 1969, Jim O’ Rourke is a veritable chameleon, working at the frontiers of very diverse musical genres.
30,00€
Out of stock
10 CD boxset
FORMANEX
“20 years of experimental music”
Nantes trio Formanex celebrates 20 years of activism in experimental music with a 10 CD edition full of amazing collaborations with ONsemble (contemporary music group from Nantes and Saint-Nazaire) and composers they have worked with. The box set includes early works by Formanex’s own Julien Ottavi, unique compositions created by Keith Rowe, pieces by Kasper T. Toeplitz, Ralf Wehowsky, Seth Cluett, Michael Pisaro, Radu Malfatti, as well as other giants of contemporary music from the last 50 years; such as Phill Niblock and Christian Wolff.
A rare collection of CDs, this box set represents a broad vision of experimental music from noise to electronic abstract composition, radical minimalism, contemporary and improvised music.
85,00€
Out of stock
3 CD
Rudolf EB.ER
“Om Kult : Ritual Practice of Conscious Dying – Vol I-III”
"Om Kult 1-3 - the complete Om Kult 3CD triptych, recorded and processed at Om Kult Osaka between 2016 and 2018. Evolving from his extended “Brainnectar” studies on psycho-spiritual cleansing rituals derived from various shamanic and yogatantric traditions - and his examinations of aural hallucinations and paranormal perceptions - Eb.er focuses now on the occult knowledge and techniques for the transition from life to death, on the ejecting mind as well as on the decomposing human body.Field recordings of Japanese forests, creeks and waterfalls, haystacks and dirt piles, maggots and flies feeding on carcasses, monks chanting and obscured voices from occult activities meet complex structures of seemingly minimalist sine wave and noise compounds, moldy tape hiss, rattling and drumming at absurd covens, digging in dirt and scraping on wood, decaying drones, abrupt bewildering noises and blackmetalesque grunts. And the mind leaks into non-dual awareness."
38,00€
In stock
CD
Pierre-Yves MACÉ
“Rhapsodie sur fond vert”
"Six long years have passed since Pierre-Yves Macé's last album on John Zorn's prestigious Composer Series. In the meantime, the talented composer has been working hard and has gained eminence in the world of contemporary music. He has produced works for Ensemble Intercontemporain (founded by Pierre Boulez), the Paris Chamber Orchestra, and the Hong Kong Sinfonietta and has collaborated with directors Joris Lacoste and Sylvain Creuzevault on ambitious works mixing theatre and opera. Much to our surprise, he returned to his first love—the studio—a few weeks before the birth of his son, which resulted in a series of highly contrasted yet straightforward tracks. Here, Macé deploys an abundance of forms and sounds: a detuned piano triptych, a Bertolt Brecht sound archive, abrasive electronics, some melancholic ambient escapades, an elegant cello solo, a miniature for bass and celesta flute, or funeral melodies for trélombarde, a peculiar instrument from Brittany. With this very personal record, Pierre-Yves Macé pushes further his exploration of "disturbing strangeness"."
12,50€
In stock
CD
TONUS
“Segment Tones”
Dirk Serries: soprano melodica, accordeon.
Martina Verhoeven: concertina, cello.
Colin Webster: clarinet, alto sax.
Performed, recorded, mixed and mastered at the Sunny Side Inc. Studio, Anderlecht (Belgium) on November 24th 2018.
"Despite the low volumes, the generous use of space, the long, explorative tones and surprisingly subtle harmonies, the subdued and intimate music on Segment Tones (and other related albums) keeps the flame of dissent burning. Just as the clattering of rambunctious free jazz can be regarded as a tumultuous answer to political provocations and general madness, the minimalist means of this album are as determined in their refusal to comply. While all these droning textures and unusual techniques might sound like a concentrated private affair, bundled together they also turn into an act of resistance, showing there is an alternative to greed, rancor and prejudice, and also to fear and uncertainty. This might be a ‘small’ release on a little DIY- label from Belgium (of all places), but it represents a larger world of possibilities. " Guy Peter
Original price was: 9,00€.5,00€Current price is: 5,00€.
In stock
CD
SERRIES / VANDERSTRAETEN / VERHOEVEN
“Impetus”
Dirk Serries: acoustic guitars - Kris Vanderstraeten: percussion - Martina Verhoeven: piano.
Performed, recorded, mixed and mastered at the Sunny Side Inc. Studio, Anderlecht (Belgium) on December 16th 2018.
"With all its creaking, rustling, quacking, plucking and plonking sounds and restlessness, this album is a feast of abstraction, but listen carefully, and you will find so much more between all those awkward sounds. This is strikingly open, spontaneous and intimate music, but there’s a glue that keeps it all together. Not childish, but repeatedly childlike in its sense of wonder. With music as free as this, it is hard to put your finger on what exactly it is that makes it tick, but the explanation might be a simple one. Amidst this colorful, intricately detailed sound painting, there is the realization that these three artists speak the same language indeed. " Guy Peters
Original price was: 9,00€.5,00€Current price is: 5,00€.