SALE - Page 3 of 12 - Corticalart

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2 CD

COMPILATION
“Troum Transformation Tapes: The 20th Anniversary Celebration (1997-2017)”

For the 20th anniversary of the band, TROUM invited friends and admired artists from their own history to cover, re-interpretate, re-process, collage, morph or just being inspired (by) any TROUM basic material; after one year of collecting masterial the result is a unique compilation of 19 tracks with a wide range of creative approaches - much more than your standard "remix" collection. All material was exclusively recorded for this compilation ! With tracks from Contrastate, Inade, Vance Orchestra, Tarkatak, raison d'etre, Nadja, Martyn Bates, Multer, QST, Ure Thrall, Bad Sector, Cisfinitum, etc

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Zachary PAUL
“A Meditation on Discord”

On Zachary Paul’s debut album for Touch, “A Meditation on Discord” compiles two live recordings from 2018 and a short film score, showcasing his expressive range and unique playing style. Both live recordings — “Premonition” and “Slow Ascent” — were fully improvised on his violin (“The Duke,” 1878), a minimal assortment of pedals (Earthquaker Afterneath, Diamond Memory Lane Jr, and Boss RC-30) and looped vocals.

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James RUSHFORD
“The Body’s Night”

Black Truffle is pleased to announce the release of Australian composer-performer James Rushford’s The Body’s Night. Known to many through his collaborative works with Oren Ambarchi, crys cole, Kassel Jaeger, Klaus Lang, Joe Talia and many others, this LP is Rushford’s first solo release in a decade and the very first he has composed, performed and recorded entirely alone. Primarily recorded in Los Angeles in 2017, The Body’s Night is a single electro-acoustic suite stretching over thirty minutes, utilising field recordings, flutes, ocarina, microphones, organ, percussion, piano, tape, analogue synthesizers, viola and voice. True to its title, the record immediately ushers into a nocturnal, intimate, claustrophobic space where the hyper-amplified rustle of clothing and vocal mumbles are shadowed by uneasy synth tones, fluttering white noise and distant filigrees of ultra-high-pitched tones at the edges of aural perception. While the influence of contemporary composers such as Klaus Lang and Jakob Ullmann (both of whose music Rushford has performed extensively) makes itself felt in the music’s attention to the liminal space between sounds, Rushford also draws on the bedroom synth explorations of 80s acts like DDAA and the harmonies and production values of black metal, drawing a common thread between these influences in terms of their shared interest in atmosphere and deliberate retreat from perspicuity. Relief from this claustrophobic atmosphere comes through the episodic structure of the piece, where like an already dark shot fading to black, each sequence retreats from our ears before we feel we have properly grasped it. Rushford uses classical electro-acoustic techniques and plays elegantly on the fundamental ambiguity of the acousmatic situation, in which we can never be sure of the source of the sound we are hearing. But rather than a tribute to the masterworks of musique concrete, this is defiantly idiosyncratic and personal music. Meticulous in production values and exploratory in timbre, tonality and form, The Body’s Night is a key work from one of the most singular young composers at work today. Stunning artwork by O.B. De Alessi. Design by Lasse Marhaug. Mastered and cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin

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Barbara PROKSCH
“OPTO_PHON”

Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied Lettering and Illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long lasting fascination for letters and geometrical figures, and often incorporate signs, characters and writing as well as calligraphic elements. Another thread of influence stems from her background in theatrical painting: the body language and the physical aspects of painting which come to the fore when working on huge canvas with large brushes and liters of paint. From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing – in a linguistic sense – cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments. This observation has led to the development of her group of works called OPTO_PHON, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper mounted like drumheads and treated with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early OPTO_PHON performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it while it is being cut and ripped. Side A of this LP contains excerpts from OPTO_PHON performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to OPTO_PHON: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine. Edition of 300 in full-color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes.

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Walter MAIOLI & Nirodh FORTINI
“Taraxacum”

An amazing adventure of a musicological and botanical research on the psychoacoustic qualities of the green world. It's the investigation of an organic symbiosis, real and mysterious at the same time, between the pharmacological properties of the plant and the sound emitted by the same material essence. From the single natural element comes the vibration permeating the whole universe; an indissoluble binomial for which "everything that makes up existence contains the information of itself in all its parts". Here, the visionary Walter Maioli (Aktuala, Futuro Antico, Synaulia) collaborates with the music therapist and eclectic composer Agostino Nirodh Fortini, for more than thirty years specialist in the field of sound and video applied to body therapies and meditation. By exposing the archetype breath of the stem, slowing its speed and manipulating and filtering it electronically, the two explorers create a bath of harmonic games with purifying and regenerating powers; a deep and nebulous drone inhabited by insects, alien sounds similar to the vibrates of Fender Rhodes or tonal interludes with plays of stones in water, on the surface of an inner lake, learning to observe and dive into love and awareness.

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Ruedi HÄUSERMANN
“Galerie Randolph”

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann’s Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann’s alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors – Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps? –Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O’Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before. Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin

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Arild ANDERSEN / Clive BELL / Mark WASTELL
“Tales Of Hackney”

Arild Andersen : double bass / electronics Clive Bell : khene (thai mouth organ) / shakuhachi / pi saw (thai flute) / shinobue Mark Wastell : percussion / shruti box This genre defying trio release their debut offering, Tales Of Hackney. Quick to capture the energy and undeniable empathy of their celebrated live performances at Cafe OTO on 24 September 2017, the troika reconvened the following day for an intense 10-hour east London studio session. The beguiling, often meditative results see Andersen deploy his usual sensitivity of touch and evocative tone, as he works in empathetic tandem with Wastell's refined percussive textures and Bell's Asian woodwind armoury. (Jazzwise)

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Pierre JODLOWSKI & LES PERCUSSIONS DE STRASBOURG
“Ghostland”

"The Percussions de Strasbourg embark on a journey through the enigmatic universe of Pierre Jodlowski’s ghosts. Ghostland is a troubling, intimate, uncertain, unstable and obscure territory in which a complex entity travels to the light. The voice of Katharina Muschiol, the electronic music and the four percussionists merge thanks to a subtle and precise writing. They compose a complex organism of sound evoking calm, anxiety, euphoria and madness at the same time.The delicacy of this work relies on a daring and masterful performance, with whispers, squeaks, clatter of metal rods, synchronized gestures, grooves playful drums, pulsed soundtracks and saturated guitars. Vibrant and full of sensations, this recording perfectly reflects the pleasure that this adventure represents for the Percussions de Strasbourg." Minh-Tâm Nguyen

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Pierre JODLOWSKI & LES PERCUSSIONS DE STRASBOURG
“Ghostland”

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Pascal LE GALL
“Returns”

"RETURNS is a suite in four parts. At the beginning each part was a musical composition as such but finaly after a while the idea of an organisation of this different parts was introduced. The first part, mixed with the sound of different broken glasses, is a musical overture and introduce with his rhythms and his melodies the following parts. The three following parts are mixed with different sounds from records played on turntables with variable-speed drives. With the intense focus of a scientist fed up with pointless repetition, Pascal takes a scalpel to composition, improvisation and performance, and (with the most basic means) examines their sameness, and their miniscule but important differences."

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Zhu WENBO / Zhao CONG / Takashi MASABUSHI / Masahide TOKUNAGA / Yuma TAKESHITA / Yuji ISHIHARA / Hiroyuki URA
“Trio and Septet”

This is the 3rd CD release commemorating the 6th anniversary of Ftarri, the CD shop in Suidobashi, Tokyo. It documents a concert held at Ftarri in June 2018, featuring Beijing-based musicians Zhu Wenbo and Zhao Cong. The first set was an improvised performance by Zhao Cong (electronics, objects), guitarist Takashi Masabuchi, and alto sax player Masahide Tokunaga (25 minutes). In the second set, a septet consisting of these three musicians plus Zhu Wenbo (buzzer, clarinet, whistle), Yuma Takeshita (remodeled bass guitar), Yuji Ishihara (drums, percussion), and Hiroyuki Ura (percussion) perform Zhu Wenbo's composition "Noise Music" (17 minutes). Both are carefully controlled, finely detailed, superb performances.

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3 LP

ELEH
“Homage” [!!damaged cover!!]

Coffret abimé au dos, fente au niveau de la tranche du haut + quelques taches de vieillissement. Split at upper edge on the back of the box + few foxing spots. Presenting a unified whole, the Homage 3LP boxed set contains Homage to the Square Wave, ...Sine Wave and ...Pointed Waveforms, all out of print until now. Initially released separately in 2008, 2009 and 2012 respectively with custom letterpress jackets, this collection includes new retrospective artwork by John Brien. Each disc comes in its own one-color silkscreen jacket using the same blue, orange and green from the original editions; all housed in a rigid white satin-coated slipcase with spot varnish printing hand-numbered out of 800. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation Eleh enables an individual reaction free of the clutter of white noise.

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Christian FENNESZ & Jim O’ROURKE
“It’s Hard For Me To Say I’m Sorry”

Recorded in Kobe, Kyoto, Tokyo, September 2015. Photos by Jim O’Rourke. Layout by Shunichiro Okada. Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O’Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It’s Hard For Me To Say I’m Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience.
The signature of both O’Rourke and Fennesz cohabit this new release with O’Rourke’s gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It’s Hard For Me To Say I’m Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

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Christian WOLFF
“Berlin Exercices”

Christian Wolff - piano, melodica + Ensemble Zwischentöne (Hans-Ulrich Altenkirch - Vibraphone. Ellen Fricke - Voice. Robin Hayward - Tuba. Rainer Killius - Contrabass recorder. Aleksander Kolkowski - Violin. Kurt König - Percussion. Annette Krebs - Guitar. Inge Morgenroth - Tenor Saxophone. Natalia Pschenitschnikowa - Flutes. Helles Weber - Accordion). Peter Ablinger - Artistic director. Bill Dietz - Liner notes. “Exercise” indicates relatively shorter pieces in which the process of work, of practicing and of trying things out within specified limits, in short a kind of discipline in process, are being attempted. I regard them as both exercises in composing and for performers, especially as the performers function as members of an ensemble.” Christian Wolff

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2 LP

THE THING
“Mono”

Initially published on CD by Smalltown Superjazzz in 2011. Mats Gustafsson, tenor and baritone saxophones. Ingebrigt Haker Flaten, bass. Paal Nilssen-Love, drums. The Thing music + two Sonny Rollins tracks and one Norwegian trad. Recorded and mixed 2011 in mono in Melbourne, Australia. Limited release of 500. Heavyweigt double-vinyl, first time on vinyl.

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3 CD

Charlie MORROW
“Toot!”

“CD 1: Central Park 1850; Breath Chant; Windsong; Very Slow Gabrieli; Marilyn Monroe Collage; Late Afternoon Chant. CD 2: Central Park 2007; Chorale Bounce 1; Chorale Bounce 2; Wave Music for 30 Harps; Wave Music for 40 Cellos; Toot ’n’ Blink Chicago; A Future Harvest. CD 3: Book of Hours of Catherine of Cleves; Feather. Charlie Morrow (b 1942) is a sound artist, composer, sound poet, eventmaker. Charlie Morrow is a conceptualist whose music and sound work explores many styles and forms, from events for media and public spaces to commercial soundtracks, new media productions, museum installations and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Charlie Morrow, for an artist who has been making music for over 50 years, has been vastly underrepresented on recordings. This 3 CD retrospective set attempts to rectify that situation to some degree. The 15 works on these discs span the years from 1957-2007 and include : Morrow’s first major work, Very Slow Gabrieli, a super slow motion performance of G. Gabrieli’s Sonata Pian e Forte for double brass ensemble; Book of Hours of Catherine of Cleves, a beautiful polychromatic, almost tactile collage where chattering sparrows and mellifluous songbirds join the measured undulations of devotional voices. Brass rings out over cradles of bells, doves coo, gulls mew and the wash of the tide ushers in the late Medieval intricacies of dulcimer, recorder and viol. You can experience the sound made by herds of instruments through the two instances of Wave Music included in this set. As well as environmental works, chanting pieces, audio collages, and so much more.” label info

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Lucio CAPECE
“Factors of space inconstancy”

“Factors of Space Inconstancy” For soprano saxophone, two wireless speakers as pendulums in oscillation, cassette walkman, volume pedal. Two wireless speakers are moving as pendulums in oscillation. They amplify a cassette walkman in recording function. The cassette recorder works in this way only as a microphone, producing a delicate feedback that I modify or play together with by producing similar tones with the soprano saxophone. I modify the cassette walkman´s response using a volume pedal, considering that changing the volume with the walkman volume controller changes the material characteristics of the feedback in an unwanted way. The wireless speakers receive the information with a few seconds delay, what creates an artificial reverberation. According to the place where I situate the cassette walkman, and myself (playing the saxophone), this delay and the interaction with the feedback changes, in a subtle way, the idea of the shape of the room. The difference with the real resonance of the room becomes evident each time I stop the walkman´s function, using the volume pedal. Note: The walkman´s cassette motor and tape produces a hiss, what gives an almost permanent subtle background white noise to this recording. Only absent when I stop the walkman function, via the volume pedal. I have played versions using the walkman without a cassette, reducing this hiss. But I have largely preferred the recording version including it. “Eyes don’t see simultaneously” For analog synthesizers and equalizers in feedback. This piece works with sound regarding the way we can perceive it as foreground or background. It´s structured as a come-and-go between ears and body listening. 300 copies.

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Paul PANHUYSEN
“Twenty-Three Carillon Sudokus (Number Made Visible – Number Made Audible)”

“Carillon Sudokus” is the sonic counterpart to “Oog & Oor” (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934–2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from “Eight Double Sudokus”, a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the Golden Ratio in much of his art because he felt that instead of limiting his artistical freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination.
“A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series.” (from the liner notes by René van Peer).
These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Edition of 300 in full-color gatefold sleeve with printed inner sleeve. Liner notes by René van Peer.

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12"

Lee GAMBLE
“B23 Steelhouse – Motor System (Extension)”

Limited pressing, white label featuring two unreleased tracks. ‘B23 Steelhouse’ is a rework of ‘Steelhouse Chaconne’, itself an unreleased Lee Gamble dub from 2013. On the flip is ‘Motor System’, a track taken from last year’s Koch album and extended. Both tracks have been remastered and sound much louder and dynamic than the album cuts - primed for the DJs.

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Gilles AUBRY
“And who sees the mystery”

Gilles Aubry, field recordings, electronics. “And who sees the mystery” is a music piece based on sound check situations and rehearsals of Amazigh music recorded by Gilles Aubry between 2013 and 2014 in Morocco. Using his microphone as a sound processing device Aubry has transformed further his field recordings in the studio through performative feedback techniques. Far from an ethnographic account, his composition is an abstract sonic exploration of traditional instruments, rhythms and spaces. It also features a poetic text in Amazigh language by Farid Zalhoud, “Tribute to the Ear”, commissioned especially for the project.

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David ROSENBOOM – Anthony BRAXTON
“Two lines”

“David Rosenboom, MIDI Grand Piano, HFG (Hierarchical Form Generator), Responding Sampled Piano; Anthony Braxton, Sopranino, Soprano and Alto Saxophones, Clarinet and Flute. Two legendary composer-performers join forces on this recording to unite composition with improvisation, "new music" with "new jazz." Starting from Rosenboom’s notated score for Two Lines and his musical computer program, these musicians have achieved, to paraphrase Rosenboom, a composition that is immediately heard. Duets with interactive HMSL software. Includes Rosenboom’s Two Lines, plus compositions in collaboration with Braxton: Lineage, Enactment, Transfiguration and Transference.”

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David MARANHA ENSEMBLE
“Salt, Ashes, Goat Skin”

“In an everlasting process that continuously repositions and reevaluates infinity as a consciously unachievable but ultimately rewarding goal since the early 90’s, David Maranha’s music has been riding that arc with ferocity and aplomb. A unique vision that has been translating the eternal in a sprawling language through countless performances, approaches and records like Marches of the New World and the Roaratorio-released classic Antarctica. Always the unsettled mind, Maranha conveys his spiraling vision towards its core with this new ensemble. Comprised of Diana Combo on drums, Filipe Felizardo on electric guitar and David himself on organ and violin, they are a speculative tour de force around animic and sensory principles of movement, stillness and reaction. Long drawn out semi-riffs feedback along the drifting textures of the violin and the organ like rock’s ultimate coda stretched into nowhere. Drums plodding in restraint, sustaining the drone-like vortex of electricity without ever reaching any sort of conclusion in four pieces that inhabit their own universe continually. As it should.” – Bruno Silva

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BLOOD STEREO
“The Larval Tuning Fork (& Other Visions)”

Karen Constance & Dylan Nyoukis: Vocals, Objects, Instruments, Tape Players & Other Recording Devices. Recordings from Brighton, Blackburn, Dunbar, London, Albany, Jersey City, Amherst, Glasgow, Berlin, Schiphorst, Gerlesborg. Assembled at home. "Remember when you were a kid and you got your first big hunk of bubblegum? ‘Course after the first fif-teen seconds the stuff always tastes like rubber tires. But what kid could care? Nah, you were hoping to get a hugeass bubble going— something with a real sense of distention— that would plaster itself pink all over your hair and your clothes when it finally blew out. Dylan & Karen use tapes & toys & their mouths to bring you creaking doors, aviaries, doddering old ladies, a troupe of muppets grunting & puking their guts out, some old drunk sailor squeezing a harmonium, etc. But what’s important here is the overall bulge & slump as their record breathes, now bigger… now smaller… now bigger… and a little bigger still. Lately they’ve been taking advantage of improved sound quality, but it seems to be in the interest of making things more slippery rather than less so (and if you listen to a lot of records, you know what a fucking blue moon that is). So go ahead & let them get a little bit of their saliva on you. It’s the only way to find out whether they pop one off this time". (liner notes by Angela Sawyer of Weirdo Records). Cover artwork by Karen Constance (front) and Dylan Nyoukis (back). Edition of 300 copies.

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Mike MAJKOWSKI
“Days and other days”

Mike Majkowski “Days and Other Days” is the official follow-up to his critically acclaimed “Neighbouring Objects” CS on Astral Spirits in 2015. “Days and Other Days” is officially Majkowski’s 7th proper solo release following on the heels of the equally magnificent releases “Bright Astonishment of the Night” on Bocian Records and “Swimming in Light” on Entr’acte Records. “Days and Other Days” is quite possibly the most astounding and darkest (in a good way) album we’ve heard from Majkowski yet! He continues to explore the intersection between acoustic instruments and electronic sounds. Diving deeper into repetitive structures and their mutations, as well as resonant frequencies of acoustic instruments. Once again this album was recorded & mixed entirely by Majkowski over the course of a few months in 2016 and beautifully mastered by the one and only Lawrence English. Mike Majkowski’s “Days and Other Days” is out May 26, 2017 in an edition of 300 LP’s with digital download.

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Robin HAYWARD
“Stop time”

Robin Hayward plays microtonal tuba in Catherine Christer Hennix’s ensemble and Stop Time is his first composition to be released on Important Records. Stop Time was commissioned for a festival of the same name taking place in Leuven in 2013. It is the first piece to use a subset of the three-dimensional physical version of the Hayward Tuning Vine, invented in 2012, as a musical score. The harmonic space implied within the four cubes contained within the subset, based on prime numbers two (octave, colour-coded grey), three (perfect fifth, colour-coded blue) and five (major third, colour-coded red), is explored by the acoustic instruments and projected via the surround-sound system onto the physical space of the performance area. In tonight’s performance, the colour-coding is made explicit through spotlighting each musician according to the colour of the pitch they are currently playing. In the middle of the piece, when the central black ball is sounded, the lighting therefore momentarily disappears. The idea is not so much to simulate synesthesia as to explore possible interactions between sound, vision, space and time. Harmonic space is projected over time onto physical space, thus “stopping time”. The recording and photos are from a performance taking place at De Bijloke, Ghent, in September 2014. Bertel Schollaert, Baritone Saxophone. Pieter Matthynssens, Cello. Wannes Gonissen, Electronics. Robin Hayward, Tuba.

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Arek GULBENKOGLU
“Three days afterwards”

“Three Days Afterwards is the fourth solo release from Arek Gulbenkoglu. Within manifests a disorientating assignment of tones, textures, and voice. Hovering around the key words below there is an unsettling psychedelic music – ripe for the current foreboding age:
Sickness
Rooms
FM synthesis
The fickle
Objects
Rituals
Armenia
Vibrations
The inconsequential
Three days afterwards”
Arek Gulbenkoglu
Mastered by Joe Talia. Artwork concept by Arek Gulbenkoglu. Layout by Matthew Revert. Published by Mark Harwood. Three days afterwards comes in a high gloss sleeve in an edition of 300 copies.

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3 CD

ELEH
“Retreat. Return. Repose”

Only 10 copies available and it’s already sold out ! This deluxe 3 CD set presents Eleh’s Retreat, Return & Repose together for the first time. The LPs were originally only available via Important Records mailorder. Retreat is a collection of exploratory sound assemblages put together during a cabin sojourn. New timbral richness, tonal expansion and deep synthesis make these pieces rather different from previous work. Return reflects on time away. Repose contains only one piece, the final recording of Circle Two: Coastal Rotation For Dune Loop which was debuted at 2010’s Mutek festival in Montreal. This piece completes the Retreat/Return trilogy with Repose and is intended to stand very much on its own. Rain on your hood. Your heart beats. A beach break roaring in the distance. Isolated pines are played by the wind. A fine spot for repose. You turn around and head home.

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FENNESZ
“Fa 2012”

Fa 2012 + Fa (Mark Fell Remix). Mastered and cut by Rashad Becker at Dubplates and Mastering, Berlin, July 2012. Layout by Tina Frank. Special 12” featuring new versions of the track Fa, taken from the debut Fennesz solo album
‘Hotel Paral.lel’ (1997). 15 years after its initial release, Christian Fennesz gives this throbbing monster of a track a new seeing to, extending it and adding more of that magic he is so well known for. The album was always an exercise in exploring alternate means of hearing club based music. This new version carries that concept further. This is backed by a cracking new mix by the ever productive Mark Fell, adding is unique beat structures, and even a MLK sample, which lends his contemporary rhythmic landscape a odd nostalgic twist. This 12” can be seen as a warm up for the new Fennesz album, which is currently scheduled for 2013 release.

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JUNG AN TAGEN
“Agent Im Objekt”

Composed, recorded and mixed by Jung An Tagen in the VIV. Artwork & layout: J. Fröhnel. Mastering: Rashad Becker.
Jung an Tagen is practicing sonic animism on a molecular level. With ‘Agent im Objekt’ he confronts us once more with a form of highly abstracted electronic music - puristic clubsounds for an accelerated future. Kicking off with an accumulation of high-pitched, psychoactive sounds, ‘Agent im Objekt’ takes us into a hyperreal sphere reigned by sonic entities. Playing with swarm-dynamics and singular signals, moments of distance and proximity and noise textures that stimulate our perception, Jung An Tagen transgresses the common syntax of clubmusic. His strategies resemble computer music composition and focus on timbre, texture and structure in an almost analytical way. The sounds filtered from his synthesizer are polished and bright, but behave in an astonishingly organic way, forming propulsive melodic sketches. Arranged in multiple layers of versatile polyrhythms, the tracks are nurtured by the forceful dialectics of precisely arranged chaos and ecstatic order. With his titles, Jung An Tagen is further adding an enigmatic narrative to his tracks, transcending the actual sphere of the dancefloor towards fictional storytelling. Following the structure of a one-sided chatlog, they evoke associations from the X-file series or mystery novels, revealing a brainteaser that is drawn from mysterious coordinates and secret codes.
In addition the official video »20:03 [Y] HOW IS THAT POSSIBLE?« underlines Jung An Tagen’s interdisciplinary interest in synaesthetic processes. Developed in collaboration with the programmers JeongHo Park and Scott Sinclair the video visualizes particle explosion data from CERN - the European Organization for Nuclear Research. Inspired by Peter Kubelkas ‘Arnulf Rainer’, the resulting geometric figures are exposed to a ’complimentary stroboscope’ that glitches your receptors and stimulate your brainwaves with photo- and EEGstimulation close to seizure, inducing a hallucinative reality.
‘Agent im Objekt’ is playful but analytical, uplifting but mentally disturbed. While the dynamic use of reoccuring motives forces your body to move, cerebral timbres provoke a series of stimuli to massage your brain. It is intellectual body music that might mark a poetic turn in progressive dance music.

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LP + DVD

BALLISTER
“Low Level Stink”

Dave Rempis: Alto & Tenor Saxophone. Fred Lonberg-Holm: Cello & Electronics. Paal Nilssen-Love: Drums & Percussion. Recorded by Michael Huon at the Oorstof concert series, DE Studio, Antwerp March 22, 2015. Mixed and mastered by Dave Zuchowski, Chicago 2016. Filmed at the Oorstof concert series, DE Studio, Antwerp March 22, 2015 When Ballister – the fearsome trio of Dave Rempis (saxophones), Fred Lonberg-Holm (cello) and Paal Nilssen-Love (drums) – performed in Antwerp in March of 2015, they played the kind of music you know some musicians are capable of, but rarely get to experience. It was a magnificent concert that grabbed you by the collar and took you for an adrenaline-fueled ride. There were some quieter moments when you could enjoy the view and take a breath, but the impression that lingered on was one of fearless exploration, tremendous sway and primal joy. Free music in its superlative form: adventurous, cohesive and forceful as a hand grenade. Edition of 300

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2 LP

The TRANSCENDENCE ORCHESTRA
“Modern Methods For Ancient Rituals”

Written and recorded at Cats Abbey in November 2016 by Anthony Child and Daniel Bean. Anthony and Daniel played the Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, symphonie, glockenspiel, hand bell, Electro Harmonix 45000, Strymon Blue Sky, Strymon DIG, and Roland RE 101 Space Echo.
The title of the debut album from The Transcendence Orchestra outlines the modus operandi of this pairing of Anthonyv Child and Daniel Bean. Recorded in a remote English rural setting over a period of 24 hours this is an apt location for a recording that eschews time and space in favour of methodological displacement and deep psychological navigation.
Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky and Roland RE 101 Space Echo among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm and melody subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown.

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12"

Russell HASWELL
“Double A”

Russell Haswell strikes bone on this 2-track, 20 minute follow-up to the napalm massage of ‘Conceptual nO!se’ for Poland’s Bocian label, and his fearsome split with Pain Jerk for Editions Mego. It also marks his return to the catalytic Diagonal imprint after the deviant blatz of his ‘37 Minute Workout’ LP in early 2014, which was hailed at No.11 in The Quietus albums of the year so far. ‘Double A’ renders Russell at his slyest and most honest, presenting spasmodic, un-edited improvisations belying influence from the pivotal epoch of diamond-cut ‘80s freestyle, industrial and Detroit techno. Depending on your perspective, they’re either splintered, tetchy DJ tools or skeletal nO!se inversions. Either way, they bristle and spark with a compulsive nervous energy and disciplined impulse control that’s Haswell to the core: challenging, uncompromising and bloody crucial. On the A-side, ‘Foxy’ sparks manic hi-hat chatter and bruxist squall masticated with unpredictable intensity, angled and affective like a box of knock-off fireworks hoyed at the ‘floor. Stand back and watch ‘em scatter. On the flip, the mercurial sleight-of-hand at play in ‘One Take Dub No Edit’ gestures the hard-ass chops of 12” bonus beats and the show-off breakdown edits of Carlos Berrio or The Latin Rascals. A non-stop, one-shot flashback to a vital time when futurist Latin freestyle and industrial funk were the dancer’s choice.

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