SALE - Page 4 of 12 - Corticalart

Out of stock

Jean-François LAPORTE
“Soundmatters”

“Soundmatters is the first major compendium of the recordings from French-Canadian sound artist Jean-Francois Laporte, including his highly acclaimed composition Mantra. In balancing formal precision and intuitive expressionism, Soundmatters results in a series of visceral compositions that build upon the traditions of minimalism, graphical composition, and phonography. Laporte reveals his colossal talents for experiential composition through deftly processed recordings of tumultuous windstorms that would make Chris Watson proud, spiralling drones that he’s polished to a Haflerian sheen, the majestic bellowing of sustained horns in the empty cargo hull of a decommissioned ship, and of course the metallic growl of his immaculate Mantra. Given the numerous parallels to Xenakis’ smoldering electroacoustics and Tony Conrad’s delirious harmonics, Laporte’s work demands the attention as an under recognized genius in the realm of avant-garde composition.” “Électro-Prana” (1998). “Boule qui roule…” (1997). “Dans le ventre du dragon” (1997). “Mantra” (1997). “Plénitude du vide” (2005).

In stock

Sale

LCC
“Bastet”

Written and produced by LCC. Mastered and cut by Mike Grinser at D&M Berlin, 2017. Recorded and edited at EMS Stockholm, IAC Malmö and Gijón, 2016.Additional field recordings courtesy by Marcos M. Merino and Bando de Nuestra Sra. de la Blanca. Cover by Pedro Maia.
Bastet is the second album of LCC (Ana Quiroga and Uge Pañeda). Bastet is a ritual study gliding the path from the rites of the ancient to the realm of the modern. Bastet is the name of the ancient Egyptian goddess closely linked to music and female power who coerced humans to entertain her in order to keep her untamed animalistic side in check. Whilst absorbing this legend the second LCC release presents itself as a vast canvas of ritual, restraint and spacious sonorities. Stark and unnerving Bastet is not reliant on pure electronics as abstract theatre but rather utilises these tools to conjure a world circling the spheres and planes of symbolic human activity.
Recorded throughout 2016 among residencies at the legendary studios EMS of Stockholm, the Inter Arts Center of Malmö and their own studio in Gijón, Bastet is a rich experience: cryptic, visionary and utterly compelling. 8 tracks laying forth a deep listening journey into the netherworlds of human experience, movement, ritual and space.

Add to cart

In stock

Sale

BJ NILSEN
“Massif Trophies”

BJNilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. Recent work has explored the urban acoustic realm and industrial geography in the Arctic region of Norway and Russia. His original scores and soundtracks have featured in theatre, dance performances and film. Celebrating 27 years as a recording artist Massif Trophies is the first solo release for Editions Mego. In 2015 he set off on a month long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contributes, this became one of the main inspirations for the album, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms and rock avalanches. It is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contains narratives based on experiences and recordings from the trip.
All source material recorded in Gran Paradiso, July 2015. Engineered at Odd Phasing and Echoes, Amsterdam NL. Photography BJNilsen.

Add to cart

In stock

Sale

2 LP

Thomas BRINKMANN
“A 1000 keys”

Dedicated to Conlon Nancarrow.
“How many can get a personal sound out of a fucking piano?!” Lee Konitz.
Thomas Brinkmann takes his seductive reductionism to the next level. “A 1000 KEYS” is a harsh meditation on the expressive qualities of digital sound production. In translating the timbre of a grande piano into binary codes, thus rebuilding its corpus with 0 and 1s, Brinkmann subverts the sensual qualities of this proto-romantic instrument in a sardonic way. Replacing the musician with a mathematically precise series of frenetic repetition and intriguingly dissonant difference, the result sounds at times like a violent ride through the brains of Schönberg or Webern, drained in amphetamines, at others like Feldman’s ephemeral sketches or Russolo’s futurist outburst.
Brinkmann's conceptual framework is resonating in the track titles. Using shortcuts of international airports, he refers to non-places that establish their own space-and-time continuum, while lacking individual identity and history. These functional scenarios are sterile passages for anonymous, objectified masses, at the same time there’s hardly a better place to grasp the very subjective character of time.
“A 1000 KEYS” is a fatal homage to minimalism and a consequent denial of virtuosity and the idea of creative genius. Paraphrasing the romantic idea of human perfection, Brinkmann found a way to create sonic algorithms of tenderness and brutality, establishing dramatic expressiveness in his constructivist analytics. The result is of radical beauty.
PLEASE NOTE: LHR, YWG & MAD do not appear on the vinyl edition but are included on the download version. Vinyl includes download card.

Add to cart

Out of stock

Sale

CINDYTALK
“The Labyrinth Of The Straight Line”

Written and recorded by Cindytalk between 2013–2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK. Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen. Design/images: David Coppenhall
‘The Labyrinth of the Straight Line’ is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980’s, Cindytalk’s latest release pays homage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality. As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.
We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.
Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

In stock

Sale

12" monoface

Russell HASWELL
“Tongue dancer ‘85”

Single sided 12” vinyl with rubber stamp. Edition of 300. Recorded at EMS Elektronmusikstudion 19.03.2015. Used = ALM, Tiptop Audio, SERGE...

Add to cart

Out of stock

Sale

2 CD

Russell HASWELL & PAIN JERK
“Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit”

Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit' is the long awaited collaboration from two of the world finest purveyors of noise, electroacoustics and top shelf audio mayhem. Having met at the legendary Tokyo venue 20000 volts in 1997 Haswell and Pain Jerk (Kohei Gomi) stayed in touch with the intent to collaborate at some point in the future. This was eventually realized in 2012 when they were offered a gig to play together at the Rammel Club in Nottingham. Prior to the show they exchanged files of solo recordings, as a means of forming a basis for what was initially conceived as an 'extreme duet tag mass attack'. It was here that the foundation was laid for the epic extreme end result we now encounter. The Nottingham performance was recorded and both parties took away the results in addition to their solo recordings to re-edit and re-send, back and forth, for 2 years, re-editing, re-contextualising these original sounds. The results of this extended collaboration is a punk academic collision which utilises advanced computer music techniques and analogue/digital modular synthesizer splurge, along with the more basic and belligerent frequencies found in distortion and feedback. This can also be read as a study of editing in all forms; hyper editing, editing in pop music, editing in dance culture, electro-acoustic editing, the editing techniques used in musique concrète, editing used in film and advertising along with the notion of gaps - the audible and inaudible. A blistering 2cd collision of transformation, technique, ideas and form which resides equally in the advanced fields of electroacoustic study and the high energy freeform noise from which both practitioners sprung.

Out of stock

Sale

“A” TRIO + Alan BISHOP
“Burj Al Imam”

Entirely recorded at Tunefork Studios on the outskirts of Beirut, Burj al Imam’s five tracks include three largely improvised numbers, a loose reworking of early Sun City Girls track “The Imam” and a cover of traditional Americana song “Gently Johnny”. The album displays remarkable coherence, for four musicians coming from such different backgrounds. True to their habits, the Lebanese trio of trumpeter Mazen Kerbaj, guitarist Sharif Sehnaoui, and bassist Raed Yassin create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums. The three musicians largely avoid conventional technique, instead using what sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments’ true voices occasionally arise. Perched above the ambient din, Alan Bishop is in fine form, and alternates between gentle crooning and malevolent whispering. Alan Bishop: guitar and voice; Mazen Kerbaj: trumpet; Sharif Sehnaoui: acoustic guitar; Raed Yassin: double bass.

Out of stock

Sale

Philipp QUEHENBERGER
“Content”

Philipp Quehenberger’s music has existed as a consistent strain amongst the Austrian underground for the last 15 years. His output is a cracking combination of dance floor zeal and deep disco disorientation. A perpetually rotating sphere which blends genres whilst bending the body and mind. Quehenberger's sweaty cerebrum is significantly showcased on his second full length for Editions Mego. 'Content' ventures deeper into Quehenberger's world of electro noir, ketamine cool and sordid soul. 'Fucked' is a monumental drive through a gloriously queasy and sleazy terrain which leads into the rolling rhythms of last years killer 'Uff Uff 12"". Here an oozing psychedelic tapestry folds amongst muffled voices resulting in a striking propulsive chant. 'Startled' further charts the depths of dance and disorientation as striding rhythms coalesce amongst gloriously diminishing synths. 'Extended' bounces around an ecstatic carnival atmosphere where an abject ringleader swerves amongst swirling organs and a thick organic beat. 'Content' is brimming with hard driving dance music. A bass line degenerate hurtling out of the speakers as the ultimate mood enhancer. Equal parts quarantine and club 'Content' is one Quehenberger’s finest works to date.

In stock

Sale

ENSEMBLE SKALECTRIK
“Trainwrekz”

Ensemble Skalectrik is a side-project of Nick ’Ekoplekz’ Edwards. Previous emissions include the self-released psycho-geographical abstraction of "Snuff Mill Tapes" and a homage to Maurizio Bianchi via Feral Tapes. Focusing entirely on spontaneous composition and one-take improvisation, Ensemble Skalectrik represents the most raw, extreme performance-based electronic music in Edwards’ repertoire. On "Trainwrekz", Edwards has dusted-off his turntables, grabbed a stack of old vinyl (mainly sound effects and easy listening albums), added a selection of sound-shaping devices (filters, equalizers, loop-pedals) and proceeded to record a series of delirious, derailed sonic sketches that sound like nothing else in his rapidly expanding discography. Ranging from the portentous pile-up of "Wrekwahn", the oppressive atmospherics of "Wrekfore" and the serene ornithological drift of "Wreksikz", these half-dozen pieces document the emergence of a highly personalized form of turntablism that incorporates elements of Chance, Drone, Dub, Hauntology, Musique Concrete and Free Improvisation. Performed and recorded in three sessions during the month of November, 2012. additional production and mix jan.2013 Active Participants: Alesis Nano Compressor, BASF Chrome cassette (x2), Belcat Delay, Chance, Danelectro ’Reel Echo’, Ekdahl ’Moisturizer’, Electrix ’EQ Killer’, Electro-Harmonix ’The Worm’, Muza FD900 ’M Ambience’, Nick Edwards, Rocktek 6 Band EQ, Stanton STR8-30 direct drive turntable (x2), Yamaha MT3X cassette multitrack and a selection of vinyl LP records.

Add to cart

Out of stock

Sale

2 LP

Nick EDWARDS
“Plekzationz”

Made by the founders of the initial Mego label, Peter Rehberg (Pita), alongside Andreas Pieper and Ramon Bauer (General Magic) these recordings are legendary in their execution. It was these pioneering releases, along with the earlier Warp and Sahko output, that really pushed abstraction squarely into the formally safe realm of dance music. The results were amongst the most influential musical offerings of the period and the paths laid out have been traversed by many a sonic explorer to this day. Both the EP and full length were made via the same process whereby microphones were placed in a fridge in order to harvest the unusual microscopic sound world within. The resulting hums, buzzes, flickers and icy drones were then reassembled and reconstructed to make an assortment of tracks which range from rhythmic, ambient and glacial straight on through to the downright bizarre.

In stock

Sale

2 LP

TYME. x TUJIKO
“Gyu”

“All songs produced and written by Tyme. / Tujiko Noriko. Except tracks 2, 8 written by P.P.A / Tujiko Noriko. Mixed by Tyme. Tujiko Noriko returns to Editions Mego after a period of relative silence. This time in collaboration with Tyme. (aka Tatsuya Yamada, member of MAS). This album was developed from songs that the duo made once a year at the end and beginning of new year, for a period of six years. These were sent to friends and people who asked. After six years there were six tracks they added five more the illustrations of Kimura Toshiko to complete the album. A gaudy take on J-pop perhaps? These songs are bustling with a weird sense optimism thats not only fun but a little odd as well. The end and the start of a year, made by thinking of future, giving it a shiny sheen with just a dash of darkness. GYU is an onomatopoeia of - holding something tight, grabbing something. You know you like it really. CD version released by Nature Bliss in Japan, so no export there for that format. Vinyl version is for the World.”

Add to cart

Out of stock

Sale

Håvard VOLDEN
“Space Happy”

In the first episode of the new Twin Peaks series, a man - a security guard or janitor kind of guy - is staring intensely into a human sized glass compartment. There is nothing Inside it but the image of his own reflection, but the intensity of the scene and the man’s gaze is high, as if a monster could appear inside the compartment at any time. We get the feeling this box is a portal to another dimension. Space Happy sounds like this kind of mysterious box or portal. Several pieces are built around field recordings or sounds of electricity, the type of sounds that exist in empty rooms or scenes in movies before anything happens. Elsewhere, sounds of different electrical instruments are assembled, stacked, cut and pasted, looped or layered with fast tape echoes, sounding otherworldly, yet familiar and lo-fi. The record is reminiscent of an archival collage of the past fifty years of electronic music, run through a tape machine in space, but at the same time it is the very personal and very intimate work of a single composer and their own sounds. Sounds that never build into the shapes you would think, but keep evolving on their own entrancing path. Perhaps this is why Space Happy sounds so contemporary, yet difficult to place in the landscape of contemporary music or composition. It sounds more like a work of film or visual art, in which the images are replaced by sounds, and any sense of narrative is replaced by intense, beautiful mystery. Håvard Volden (b.1980, Trondheim) is a Norwegian experimental guitar player, based in Oslo since 2006. He is known for his collaboration with Jenny Hval since 2008, and his instrumental noiserockjazz band Moon Relay. He have also several other active projects, such as the Swedish/Norwegian electro-acoustic trio Muddersten (released on SOFA) and a duo with the Italian percussionist Carlo Costa. Space Happy is Håvard Volden’s second solo album, and we are extremely satisfied with releasing this music on SOFA.

In stock

Sale

Antoine CHESSEX
“Subjectivation”

Subjectivation is the new solo album from Swiss artist Antoine Chessex. Produced by Rekem Records (GR/UK) and Fragment Factory (DE), it features some of his most direct and developed work to date. Using material from solo live performances in San Francisco, Berlin, Zurich and London between 2010 and 2015, the sides of this record distill the touchstones of Antoine's sonic language into two sharp and forceful statements. The first side opens with a formidable tour-de-force, a developing field of distortion in which tenor saxophone adds on a metal-tinged sludgy tonality, wedged through dense masses of sound. Following on the second side, are some subtly executed sonics, documented at London's Café Oto. Here it is Chessex's multiphonics taking centre stage, a rapid-fire of voices from the horn that gets enveloped in a back-and-forth between electroacoustic structures, psychoacoustics, and pure tone. Connecting the two sides is a meticulous attention to the different levels that operate within sound, and a compositional hand that favours intensity and depth, making this one of Chessex's most definitive statements. Antoine Chessex is a multifaceted composer and sound artist who works across a number of areas within adventurous sonic practices and art. Edited and Mixed by Antoine Chessex Mastered by James Plotkin Cut by Flo Kaufmann Artwork by Robert Schalinski Edition of 323

Add to cart

Out of stock

Sale

CHICAGO EDGE ENSEMBLE
“Insidious Anthem”

Dan Phillips: Guitar. Mars Williams: Saxophones and Percussion. Jeb Bishop: Trombone. Krzysztof Pabian: Double Bass. Hamid Drake: Drums. Chicago Edge Ensemble is a special quintet of finest musicians dealing in avant-garde jazz and improvisation, put together by Dan Phillips. Insidious Anthem is their second album, and first on Trost Records.

Out of stock

Sale

TROU AUX RATS
s/t

Trou aux rats is synthetic organs driven music, romantic and funeral. 'Heavily distorted organ mingling with the damp and mould and scrape of corroded metal. But there’s loveliness peeking through as well, bleached-out melodie' Trou aux rats is Romain Perrot aka Vomir (Harsh noise wall) aka Roro Perrot (Shit folk). 100 copies, hand stamped white label and signed by the artist.

Out of stock

Sale

MUDDERSTEN
“Karpatklokke”

Henrik Olsson, objects, friction, piezo. Martin Taxt, microtonal tuba, electronics. Håvard Volden, guitar, tape-loop. Muddersten is a type of mudrock whose original constituents were clays. It looks like hardened mud and, depending upon the circumstances under which it was formed, it may show cracks or fissures, like a sun-baked clay deposit. Fertile clay and fat soil, compressed, dried out and turned into stone. Still delicate flowers will find their way through its cracks and fissures, prosper in its barren ground. It´s all about hydraulic; the phenomena that liquid is almost impossible to compress. Plants soak up water by their roots and pump it into their expanding cells. The cells are built up mainly on cellulose which won't break under pressure, nor will the water they contain. Once the pressure from below is too strong the surface will break. The names of the improvisations on this record are perhaps not all that important; skyggesildre, kjempeløk, stjerneskjerm, blodstorkenebb, strid kråkefot, høstfloks, sibiriris. In the end nothing is really all that well defined anyhow and the circumstances remains unclear. Clay, rock, water, flower, cellulose and photosynthesis. The hardened, the flowing, the persistent and the growing. Nevertheless, the relentless striving and the drought stillness seems constantly present simultaneously in these sessions. Motion and friction, like wild flowers pushing their way through an unforgiving mudrock. Water fighting dehydration.

Out of stock

Sale

Jean-Luc GUIONNET & Thomas BONVALET
“Fusées”

Second collaboration between Thomas Bonvalet (strings, percussions, objects…) and Jean-Luc Guionnet (keyboards, saxs, electronics…). Second album, more electric in a way. Recorded at Instants Chavirés January 2014 by Adrian Riffo.

In stock

Sale

PERLONEX
“Perlonoid”

Ignaz Schick (turntable, objects, sine waves, live-electronics, feedback). Jörg Maria Zeger (electric guitars, live-electronics, feedback). Burkhard Beins (drums, percussion, objects, zither). Recorded live at Sophiensäle Berlin during Echtzeitmusiktage, Berlin 2010. All music played as heard, without overdubs. Recorded by Kassian Troyer & Ignaz Schick. Mixed by Jörg Maria Zeger. Mastered by Werner Dafeldecker. This recording has been waiting in the archives for its release since it was performed and recorded during the month-long Echtzeitmusiktage in Berlin. It sums up the whole decade of Perlonex’ previous music making, but at the same time marks a turning point for the group. Due to external individual obligations and other personal reasons Perlonex took a longer concert break after this event up until 2013. In 2014 the group started rehearsing and playing live again, performing a series of concerts in Berlin and Sweden. The music of Perlonex became more colorful and musique concrete-like, not at least due to Ignaz Schick’s return to vinyl manipulation. The concert you can hear on Perlonoid was one of the last concerts of the band where he uses his object-based rotating surfaces set-up. Perlonoid is rather monochrome, drony, and slow-paced. It is stunning how the music repeatedly gravitates towards its ever-emerging tonal centers. The intensity builds up sheer endlessly and finally explodes at its peaks. An exceptionally powerful sound system, the nice conditions of a large good sounding space and an enthusiastic Berlin festival audience stimulated the trio to build a piece which is both detailed and intense at the same time. Perlonex clearly pushes their long-established maximal-minimalistic material to its formal and physical limits. Perlonoid makes the 7th release of the band Perlonex and will be followed in 2017 by more archive recordings - including recordings with guest performer Mike Cooper - as well as releases of new material. Also in 2017 the group will intensify its concert activity. - But until then, lean back and enjoy the wonderful soundscapes of Perlonoid! Perlonex was formed in late 1998 and has eversince performed, recorded and toured extensively through numerous countries. Over the years Perlonex have created a unique blend of different styles – settling somewhere in the no man’s land between electro-acoustic improv, industrial noise, ambient, minimal and often even incorporate elements of psychedelic music. On their extensive tours they have performed in an extreme range of different settings: from academic contemporary music festivals via improv and electronica venues to rough underground and punk/noise clubs. They are frequently invited to prominent festivals all over Europe and have performed concerts in Australia, Canada, Malaysia, New Zealand, Russia & the USA. In Autumn 2004 Perlonex invited two guests, Keith Rowe & Charlemagne Palestine, to join the trio for each one set at the Berlin Podewil. The event was labeled perlonex.tenions and the entire concert was released as a 2CD on the Ukrainian imprint Nexsound. Especially the meeting with Charlemagne Palestine turned into a very special and magic event & became both an amazing musical and personal exchange. Since then every once in a while Perlonex teams up with Palestine and he has become a frequent guest to the group. Another 2CD “It Aint Necessarily So” is documenting a Vienna concertand had been released in 2009 on Zarek. Even though Perlonex normally don’t perform with guests they have made a few more exceptions, besides Charlemagne Palestine & Keith Rowe they also teamed up with R Keenan Lawler and the fabulous lapsteel guitarist Mike Cooper. In plus they collaborated with visual/video artists Ulrike Flaig (video feedback) on several occassions.

Add to cart

In stock

Sale

2 LP

Valerio TRICOLI
“Clonic earth”

The experimental Italian composer returns to PAN with a new LP, titled ‘Clonic Earth’. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-’00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape. Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz. His studio compositions, documented on few records, often explore themes of the internal – represented both by the psychological and the physical – and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within. The new record, ‘Clonic Earth’ is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions. Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of ‘Clonic Earth’ explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, ‘Miseri Lares': “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.” This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element – hence a representation of the infinite decay and a mean of communication with the otherworldly – serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world. The 2xLP is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

Add to cart

In stock

Sale

2 x 10"

Thomas DIMUZIO
“Amid Zero Echo”

Thomas Dimuzio’s Amid Zero Echo marks the new release from this US underground legend from San Francisco, whose massive hypnotic soundscapes already released in the 90’s were much ahead of the time! Four new transcendental drone masterworks abstracted from electric guitar bristle with life through the dense, rich and detailed sonic expanse of Dimuzio's glorious sound world. Vibrating wires of the electric guitar inform a digital musique concrete modus operandi replete with unheard studio techniques which form a music with a strong organic core. These four drones open wide rooms for phantastic aural imaginations: like flying over endless grounds of unknown origin, sensing a heavy suction of extreme gravity, moving towards a black hole center... or driving into a totally dark mining tunnel with all the metallic ore and dust around… These are drones that LIVE from the inside! Striking gatefold artwork by Mars Wellink showcases two clear vinyl 10”s in an equally compelling and beautifully designed package. Limited in edition to 500 copies. Thomas Dimuzio is a musician, composer, sound designer, mastering engineer, label proprietor, and music technologist residing in San Francisco, California. Inspired as much by John Cage as Led Zeppelin, Dimuzio’s music forms a sonic excursion that transports the listener into other worldly aural realms. “His work has a narrative, filmic tug that will draw you into its dark corners, ears alert… brilliant and rarely less than entertaining.” [Peter Marsh, BBC] Long regarded as a musical pioneer for his innovative use of live sampling and looping techniques, Dimuzio has earned a deserved reputation worldwide as an avant-garde sound artist in touch with the aesthetic pulse of time and technology. A true sonic alchemist who can seemingly create music events out of almost anything, Dimuzio’s listed sound sources on his various releases include everything from “modified 10 speed bicycle” and “resonating water pipe” to short-wave radios, loops, feedback, samplers, synthesizers and even normal instruments such as guitar, clarinet and trumpet. Dimuzio’s eclecticism bespeaks a career equally informed by a profound dedication to his craft and collaborations with friends, artists and technologists alike. Dimuzio's recordings have been released internationally by ReR Megacorp, Asphodel, RRRecords, No Fun Productions, Sonoris, Record Label Records, Odd Size, Seeland, and other independent labels. Among his collaborators are Chris Cutler, Dan Burke, Joseph Hammer, Anla Courtis, Nick Didkovsky, Due Process, Voice of Eye, Fred Frith, David Lee Myers, 5uu’s, Matmos, Wobbly and Negativland.

Add to cart

Out of stock

Sale

2 CD

Philip CORNER
“Satie Slowly”

American composer Philip Corner likes Satie too well not to object to how he is played. From the time of his participation in the first performance of Satie’s “Vexations” he realized that here was, lurking under the travesties of the 1st Gymnopédie, one of the greats of this or any other century... a “secret genius” who masked with humility and seeming conformity a profoundly innovative thorough-going critique of the limitations and pretensions of our High Culture as it has come down to us. A 44 page booklet of commentary and and additional 16 page booklet of graphic analyses set out to demonstrate this - with implication for performance of the works. As the record title “Satie Slowly” shows, the indication “lent” is taken at its full value. An ample selection of piano pieces, spread across two CDs, come from his early period, music with great spiritual content.

Out of stock

Sale

COMPILATION
SUR LES RAILS

A compilation made under the collectif Transports en commun. Artists working with disabled or autistic people in the field of experimentral and improvised musics. With Atelier Mediterrannée, Creahm, Wild Classical Music Ensemble, Les Harry’s, Adam Shelton, Phil Minton, Amplified Elephants, DNA, AND?, Électrogène.

Out of stock

Sale

2 CD

Ryoko AKAMA
“Places and pages”

A 2 CD with realisations of short text scores, actualised by Ryoko Akama, Cristián Alvear, d’incise, Cyril Bondi, Stefan Thut and Christian Müller.
“I had been inspired by short text works like ‘Water Yam’ by George Brecht, ‘grapefruits’ by Yoko Ono, and some other pieces by Alison Knowles or James Tenney. I am also interested in the haiku and the poetry tradition of Japan as well.
The threshold between the defined and undefined in minimalistic word and sound composition fascinates me. I enjoy witnessing the process whereby a score transforms into a different medium, especially when the instructions are open-ended.
I did a series of scores called tada no score between 2013-14 in which I wrote short scores in hidden places in busy towns or in a natural landscape. These weren’t explicitly made for performance purposes, but were more like marking my musical thoughts in relation to passing time. The next year, 2015, I was invited to Chile to play a concert with Cristian Alvear. I had an idea to compile a notebook with many short texts, this time deliberately intended for performance. I gradually accumulated a number of short scores that would relate to ‘place’, ‘space’, ‘time’ or ‘location’, and assembled them into pages of the notebook.” (R. Akama)

In stock

Sale

COMPILATION
EXPERIMENTAL MUSIC CONCERT 2

Atsushi Yonemoto: unamplified electric guitar. Hirohiko Yamada: unamplified electric guitar, synthesizer, conductor. Hisayo Kobayashi: bottled water, conductor. Mamoru Nakajo: metronome, co-conductor. Masayuki Takano: triangle, conductor, direction, co-conductor. Toshihisa Hirano: synthesizer, electric guitar. Guests : Hikaru Yamada: alto saxophone, water measurement. Ikuhiro Yamagata: voice, triangle, water measurement. Yoko Ikeda: viola, triangle. Tetuzi Akiyama: unamplified electric guitar, triangle, electric guitar. Taku Sugimoto: bowed guitar, tuning, electric guitar. Wakana Ikeda: flute. Recorded by Taku Sugimoto at l-e, Tokyo, December 4, 2016. Includes an insert with scores and liner notes by Wakana Ikeda, Yoko Ikeda, and Masayuki Takano in Japanese and English (English translation by Atsushi Yonemoto).

Add to cart

In stock

Sale

COMPILATION
EXPERIMENTAL MUSIC CONCERT

“All the composers appearing on this CD are the participants in my experimental music school, the series of which washeld ibn the summer of 2013. It is essentially impossible to teach any kind of art; you can only learn voluntary how to do it. I myself had never intended to become a teacher. Nevertheless, I conceived an idea that it would be useful to do a kind of school.” Taku Sugimoto. With pieces from Atsushi Yonemoto, Hisayo Kobayashi, Masayuki Takano, Hirohiko Yamada, Mamoru Nakajyo, Rei Sasaki, Toshihisa Hirano.

Add to cart

Out of stock

Sale

2 LP

Anton HEYBOER
“Rules of the universe”

Kye is proud to announce the release of Rules Of The Universe, a fully authorized anthology of archival audio work by the renowned Dutch artist Anton Heyboer (1924-2005). Heyboer’s stature in visual arts is well known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Heyboer’s only previous vinyl release - 1976’s ill-fated “She And She As One” LP (EMI) introduced a music so resolutely personal and uncommercial in nature that EMI ordered the unsold bulk of the pressing withdrawn and destroyed. Further recordings of Heyboer’s anomalous music eventually trickled out via a string of private press micro-edition CDs/CDRs through the Anton Heyboer Foundation in the 1990’s.
Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks. Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Century’s most original artistic minds.
Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of 500 copies.

Out of stock

Sale

TRANSISTOR
“The Din of Eons”

Transistor was founded in New York city by Ben Miller (vocals) and Franck Vigroux (electronics). Collaboration began in 2009 followed by live performances in Europe and the US. After a well-received 2010 LP, Transistor is releasing destination a new studio album in 2013. Transistor’s live performance is known to produce intense physical energy with the use of Vigroux’s sub-bass frequencies and miller’s cryptic vocal stance. Influences range from industrial to punk to electroacoustic music. LP limited edition 300 copies.

Out of stock

Sale

Max E. KELLER
“Vier politische Kompositionen für Tonband”

Edition of 500 copies. 20 page illustrated booklet with liner-notes in German and English. Four political tape compositions 1976-1979 by Swiss composer Max E. Keller (b.1947). A rare case of left-wing / socialist electroacoustic music. The CD includes Keller’s piece from the long out-of-print and sort of legendary Split-LP with Martin Schwarzenlander from 1977 plus 3 previously unreleased tape compositions. Max E. Keller originally started out as one of the first Swiss Free-Jazz musicians in the mid 1960’s and studied composition with Hans Ulrich Lehmann and Helmut Lachenmann, and electronic music with Nicolaus A. Huber und Dirk Reith. In 1972 he was expelled from the Darmstadt International Summer Courses for New Music because of his political stances. Since the early 1970’s Keller wrote more than 150 pieces for various forces which are performed internationally. Since 2007 he is chairman of the Swiss Society for Contemporary Music. Tracklist: “Sicher sein” (1976, for voice and tape, 24’06 min). “Grundgesetze” (1977, for four voices and tape, 13’32 min). “Sie” (1978, for voice and tape, 15’08 min). “Hymnen” (1979, for two voices and tape, 14’26 min).

Out of stock

Sale

2 CD

J.B. SMITH
“No More Good Time in the World for Me”

CD Digipak with 36 page booklet featuring liner notes by Nathan Salsburg. Folklorist Bruce Jackson was among the last to record work songs. In 1964 he visited Ramsey State Farm in Rosharon, Texas, where he met Johnnie B. Smith, prisoner 130196. A native of Hearne, Texas, Smitty was 46 years old and on his fourth prison term. In his younger days, Smitty toted lead hoe in a flat-weeding gang and led the work songs. It’s hard to overstate the importance of a good song leader in the penitentiary setting—one needed to be rhythmically, lyrically, and physically reliable, to maintain those songs over interminable hours of hard labor under an unforgiving south-central Texas sun. But J.B. also sang other songs, different songs—those he’d made up to occupy himself while chopping sugarcane or picking cotton. He referred to them as his “little ol’ songs.” The longest stretched to thirty-three verses, or more than twenty-two recorded minutes. Although Smitty knew and sang a variety of melodies, to an assortment of work songs and sacred pieces, he employed only one tune for his compositions. What changed were the tempo and the ornamentation with which he individualized them. “The Major Special,” “No More Good Time In The World For Me,” “Ever Since I Been A Man Full Grown”—each song Smith charged with its own emotional ambience, as a seasoned preacher intuits the particular colors and atmospheres that should imbue each portion of his service. Smith was paroled in 1967, a year after his final session with Jackson and the release, on John Fahey’s Takoma Records, of an LP - Ever Since I Have Been A Man Full Grown —of three of Smitty’s songs. That summer, Bruce arranged for him to sing at the Newport Folk Festival, at which he appeared on stage with Pete Seeger, and, in one of the only photos that survive of him, in the company of Robert Pete Williams and Muddy Waters. A couple of years passed before Bruce heard from him again. He had returned to Amarillo, where he preached for a while; a parole violation then sent him back to prison.

Out of stock

Sale

Ben VIDA
“Slipping control”

Slipping Control derives from the text piece “Tztztztzt Î Í Í…” wrote last year by Ben Vida (and published as a book by Shelter Press). Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í… became the intrinsic element that tied some different pieces of art made by Ben Vida and presented at the eponymous show at AVA Gallery (NY, USA) in april 2013. “I was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. I wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record etc) and see how the original source material morphed and changed as it manifested in these different modalities. The process of developing each unique work involved setting of control paths for the text to be processed though. In terms of this path the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control - and this is where Tyondai and Sara come in…” A Control Path may look something like this: Text > Performer/Vocalist > Voiced Recording > Electronic Analysis > Reconfigured Text > Audio Synthesis > LP Record. Or maybe like this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation. Or this: Text > Performer/Vocalist > Video/Audio Recording > Electronic Analysis > Audio Synthesis > Video Editing > Color Synthesis > Video Installation > Color Field Panel Display. Or more simply: Text > Poster. All music by Ben Vida, with Tyondai Braxton, and Sara Magenheimer. Mastered and cut by mastered by Helmut Erler at Dubplates & Mastering, Berlin. First edition of 500 copies, color cover + printed inner sleeve + double sided insert, 140gr black vinyl.

Out of stock

Sale

Mike COOPER
“Light on a wall”

Orange vinyl limited to 100 copies. New album from Mike Cooper recorded live on Radio Lebanon in Beirut. Cooper plays electric lap steel and sings several of his “Spirit Songs” - a body of vocal works that he has been presenting live over the past few years. These “songs” are constructed by chopping up - (William Burroughs / Brion Gysin / Tom Phillips style) - Gravity’s Rainbow and V - two novels by Thomas Pynchon. No chords, melodies or harmonic patterns for each song are planned prior to them being performed. Both accompaniment and the songs melody are improvised during each performance rendering each performance unique. There are other recorded versions of these pieces which, by the very nature of this approach to presentation, are completely different. This set differs radically from other versions also because it was recorded using an electric Vietnamese lap steel guitar (as apposed to his usual electro-acoustic resonator guitar) heavily processed through a vintage Kaos Pad and Zoom Sampletrack looper. The guitar has built in, on board, distortion, wah-wah and tremolo. The result is a more dense and “heavy metal” sound than is usually associated with Cooper’s music. All the songs and improvisations are original apart from the last track Masters At War - a version of an anti war song from the sixties written by a master of the genre but here presented as a thundering call to throw light on a wall… “Every war and every conflict between human beings has happened because of some disagreement about names. It is such an unnecessary foolishness, because just beyond the arguing there is a long table of companionship set and waiting for us to sit down…” - Rumi - Sufi Poet.

Catalogue

CORTICALART

NEWSLETTER

INFORMATIONS