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ILIOS
“El anillo invisible que sujeta el mundo de la forma al mundo de la idea”

Active since the early 90’s in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound pale e touching and surpassing the limits of the sound spectrum ILIOS advocates for an anti-career. Some of ILIOS recorded output has been regarded by the media as: “The sound of death” or “The most enervating record imaginable”. More than 300 live shows, lectures and workshops in 30 countries in: Asia, South + North America, Europe, Oceania pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. Numerous audio releases including: “Kenrimono” (released on PAN) based on sounds of pachinko parlours, “Vento Elektra” based on electric signals and home electricity, (Antifrost) the “Symphonies for oscillators and internal combustion engines”, based on car vibrations performed live; and many others. Apart from his solo work, ILIOS is also known as founder and half of MMMD (aka Mohammad), a chamber doom project together with cellist Nikos Veliotis. “El anillo invisible que sujeta el mundo de la forma al mundo de la idea” was commisioned by the reknown Ensemble Phoenix Basel, a formation known for its interpretations of pieces by composers such as Zbigniew Karkowski, John Duncan, Lou Reed, William Bene, Jérome Noetinger among others. It has been performed live in Switzerland, in Basel and Geneve in June 2016. This recording consists of the live (no further mixing) in Geneva on June 12th, 2016 at Cave 12. Although it was not intended, tragic circumstances automatically qualified the piece as an hommage to the late Daniel Buess, co-founder of the Ensemble Phoenix Basel who died a few months before the piece was finished. A physical exercise, aligning all instruments to perform form the highest possible frequencies down to he limits of infrasound before converging to an endless procession - lament. Bass Flute / Flute: Christoph Bösch. Contrabass: Aleksander Gabrys. Violin: Wojciech Garbowski. Electric Guitar: Maurizio Grandine. Percussion: Sebastian Hofmann. Oscillators/ Field Recordings: ILIOS. Trumpet: Nenad Markovic. Electronics: Thomas Peter. Bass Clarinet / Clarinet: Toshiko Sakakibara. Baritone Saxophone: Remo Schnyder. Keyboards: Samuel Wettstein. Written and conducted by ILIOS. Performed live in Geneva at Cave12 on June 12th 2016.

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The SET ENSEMBLE
“Stopcock”

Founded in 2010 in Oxford, the Set Ensemble is dedicated to the performance of experimental music and contemporary composition. All of the members of the ensemble are also composers and they often write for one another, using the ensemble as a testing ground for new ideas, developing and rehearsing pieces together. This process is a collaborative endeavour with the score acting as one material amongst many, directing or shaping actions within a complex field of activity. This disc contains six such compositions by Sarah Hughes, Bruno Guastalla, Patrick Farmer, Dominic Lash and Paul Whitty, the scores for which are all text- or instruction- based. Running the gamut from tonal instrumentation to fluxus antics, sometimes even within one work, this collection refuses to sit tidily within one strand of contemporary music, reflecting the broad influences and practices of the ensemble’s members. This album was released in conjunction with the fourth issue of BORE. BORE was founded in 2013 by Sarah Hughes and David Stent and publishes scores that are primarily text-based, but may encompass any form of notation or instruction intended for the realisation of musical performance, staged events, texts, images or objects. The fourth issue of BORE collects a number of scores by members of The Set Ensemble, including Angharad Davies, Rhodri Davies, Patrick Farmer, Bruno Guastalla, Sarah Hughes, Dominic Lash and Paul Whitty. A CD of etudes for buried and exhumed audio tape. Through its focus on process and materiality, Bias opens the practice of sound ecology beyond the acoustic to consider the audibility of the chemical composition of soil. From scraps of muddied media buried across three sites in Austria, Greece and Italy, Lami crafts a series of melancholy studies which seem to question the inevitable legacy of human culture and industry in the geological strata. Edition of 150 CDs packaged in oversize 7” sleeve, with 16 page risographed booklet featuring accompanying visual works by Lami and a commissioned text by Francesco Bergamo.

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FLATUS VOCIS TRIO
“Grosso modo”

We managed to get a few copies of this 1990 vinyl. Rare and new ! Flatus Vocis Trio with Fátima Miranda, Llorenç Barber, and Bartolomé Ferrando.In the phonetic poetry tradition. Recorded in 1989 in Madrid.

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KANON
“The beauty is the thing”

“Kanon : Aki Takase (piano, inside piano). Kazuhisa Uchihashi (guitar, effects and daxophone). Axel Dörner (trumpet). This trio’s musical inspirations give birth to an amazing, extraordinary, mind-boggling mandara of sound. It’s an extreme sound that could only be achieved by people engaged in the ultimate sonic and musical explorations. Surrender yourself to the joyful sounds coming out of the left and right speakers, and you’re sure to be taken on a natural high. It took confidence and pride for these three to come together as regular members and name their group Kanon. Once you hear their sound, you’ll see the light -guaranteed !”

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LP

Hans W. KOCH
“The Lost O. theorem”

hans w. koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: “more thought, less material”. koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne. Since the 1980s, koch has been concerning himself with the concept of “total harmony” (harmonie totale) introduced by Russian composer Nikolai Obouhow (1892–1954) where all twelve tones of the Western tonal system – in different octave ranges – are stacked into chord complexes, thus articulating the idea of a vertical twelve-tone music, as opposed to the horizontal twelve-tone music after Schönberg. Less than the mystical connotations expressed by Obouhow, koch is interested in the conceptual potential of this approach: a self-contained harmonic system in which every chord is an inversion of every other. koch has made several works relating to total harmony and calls this work group “the O. theorem”. This LP presents two pieces within this group: “stele fuer n.o.” for large orchestra (2010) was premiered at the festival MaerzMusik in Berlin in 2010 with the Konzerthausorchester Berlin. “clock of fifths [totensonntag]” (2017) is an electronic piece where a field recording of church bells is filtered through a smartphone app developed by koch: The microphone signal is divided into twelve tone pitches that are heard in accordance with a timer that moves through the circle of fifths shown on the smartphone display. Edition of 300 in full-color sleeve. Printed inner sleeve with liner notes by Volker Straebel and hans w. koch.

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7"

Finlay SHAKESPEARE
“Routine”

"Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire and New Order. Routine is damming slight on the soulless electronic age in which Finlay spits a curse on the mundane repetition of existence over the top of a wild unfurling techno pop banger. The B-Side Perris propels itself as a crazed analogue drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and concurrently an absolute belter in the contemporary mainframe."

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2 LP

Finlay SHAKESPEARE
“Domestic economy”

The playful confidence that exudes Finlay Shakespeare’s practice is flagarenty laid out on Domestic Economy, his extraordinary debut full length. Domestic Economy displays two eventful sides evidencing the unique musical approach Shakespeare has developed in such a short period of time. Let’s get some facts straight, Finlay is young. And talented. His programming skills belie his years and one can detect a sharp appreciation of historical electronic pop whilst simultaneously developing a canny understanding as to where such a form exists in the current age. Shakespeare’s brazen lyrical content and significant melodic prowess highlight a brave new voice in what can often be an sterile aesthetic environment. Domestic Economy bursts with edgy ecstatic electronic pop. A form not only unusual for Editions Mego (actually known for idolising such forms) but somewhat of a scarcity amongst the modern electronic landscape. Beling age, form and movement Domestic Economy is a damn near perfect amalgamation of historical respect and contemporary anxiety wrapped in an exquisite song-form package. Made in Bristol. Published in Wien. Delivered to all brains, like a wayward dream.

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cassette

JUNG AN TAGEN
“Proxy States”

Cassette version. On Proxy States, his third release on Editions Mego, Jung An Tagen continues to expand his unique vision of oblique electronic music mixed with future dance club sound. On Proxy States techno is evolving into another realm, manifesting as his most formulated attempt to combine modern composition techniques with ritualistic techno aesthetics. Here he takes his obsession with structure to a more narrative build-up, creating new paths and textures around his infectious beats. With this structure, Jung An Tagen develops an emotional relationship between repetition and dissonance -- it's addictive music, music in constant explosion. The 12 seconds of the first track, "Spill (False)" sound like a recreation of The Big Bang, creating the perfect intro for this molecular polyrhythmic adventure. It also creates the connection/disconnection with his previous work, Agent Im Objekt (EMEGO 248LP, 2018), bridging the two but also creating a space to embark on a new sonic trip. This self-contained explosion offers the right coordinates and propels the listener to Jung An Tagen's sonic realm. All of this is done with his usual fearless but mindful approach. His unique exercises with structure, time and sound create an ecstatic familiarity with the sounds while at the same time inducing a creeping physical alienation. In other words, some parts may be rhythmically infectious, others will give you no chance to immerse. The stimulation is astute and continuous, encouraging an out-of-this-world experience. The main arc of Proxy States consists of a 16 against 17 poly-rhythmic synth line that through different intonations of the kick drum always transforms its syntax. This synth line always scales up 1 key, in the middle of the track, foreseeing the upcoming structure. While these tracks (3, 4, 5, 6: "Wreath Products") follow an almost obsessive-compulsive order, the remaining tracks seem to blow up the structure entirely like the last scenes of the 1970 Michelangelo Antonioni's film Zabriskie Point, creating an event inside the event. Proxy States was impossible to press on vinyl but the fast, sharp and wild grooves of Jung An Tagen's new album are incredibly synched with the concept of an ever accelerating future.

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LP

ETOU
“En orbite”

ETOU arose from the convergence of two giants of current Canadian music: Martin Tétreault, a dazzling turntablist of international renown; and Michel Langevin, the famed drummer of the legendary progressive metal band, Voivoid. For this promising duo’s first LP and CD, Oral and Minute have teamed up to introduce this unique partnership to all lovers of thundering sounds and electrifying performances. The intensity of their studio compositions and wide-open dialogues are unique and unmatched. Michel Langevin is a drummer who made his mark in both heavy metal (over 25 years with the Jonquière band Voivoid) and alternative music (numerous collaborations); the sheer physicality of his performances has left no listener indifferent. Martin Tétreault, known worldwide for his use of turntables, diverse surfaces and stringed instruments, is an experienced improviser with countless collaborations to his credit. This “super group” has been in the making for several years. The pair’s first encounter dates back to April 12, 2007, at the 100% Batterie! event based on Martin Tétreault’s concept of playing exclusively drum solos on vinyl, and bringing together nine drummers in the same hall (Michel Langevin among them). Since then, the duo has performed on several occasions in Quebec, each highly memorable. The two musicians have developed a sound that combines their respective practices, with a heavy accent on rhythm, percussion and tangled masses of sound that emerge from their vibrant exchanges. Sharing a clear musical affinity, each is open to the world of the other in a collaborative dynamic. Martin Tétreault is here powerfully and abrasively percussive, while Michel Langevin approaches the drums as a complete instrument, a source of rhythmic variations and unusual textures. The range of possibilities thus expands for each instrumentalist. From this collision of musical genres and cross-pollination of practices, new approaches emerge, new avenues of diversity and creativity. The compositions on these two disks, each available at the launch, were recorded in May 2013 at Studio Resther in Montreal and mixed in December 2013. They reflect the work of two musicians who complement each other rather than engage in a duel. With their extraordinary musical dialogues, accelerations, dynamic contrasts and unbridled energy, the two disks will simply take your breath away. Their shows are like balls of fire, penetrating our souls and irradiating us with their astounding high-voltage sound. For all those interested in the galvanizing power of musicians who give all they have, this is absolute must listening. Source : ORAL_records. 200 copies.

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Rizan SAID
“King of Keyboard”

It can be justifiably said that without Rizan Said a good number of Syrian singers from the 1990s on might never have been heard -- most notably Omar Souleyman, who has collaborated with Said for two decades. Where synthesizers can bring a certain artifice and death to the sound of music, Said’s torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds, respectfully forcing the component sounds of folkloric dabke to the next level. This is the updated sound of the ages, with hand drums and reed flutes emulated and pounded out on Korg keyboards.

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LP

PROSTITUTES
“Ghost Detergent”

Conceived. Recorded. Mixed @ Elbur House 2014. Mastered by Giuseppe Tilleci at Ennislab Rome. After countless singles, LPs and performances played around the world, James Donadio is back with his first full length effort since 2014s “Petit Cochon”, “Ghost Detergent” is a consummate amalgam of fried gear, chunky bass and fractured samples. Donadio’s extraordinary ability to fuse his wide range of influences into a collection of lucidly executed and concis.e jams has reached it’s paragon.
“Ghost Detergent” is a rhythm-centric maze of fluctuating patterns adorned with
crooked fills and raucous melody. Tracks like “Nerve and Gall” and “Government
Wrecker” stomp with a coarse, grinding fuss gliding on swinging bottomless
bassline turbulence. Locked in puzzle-like sampling patchwork collides perfectly
with an array of rogue electronics creating a sense of daring nearly extinct in the
age of gridlocked BPM-steady 12”s. Tracks like “Pregnant Toad” and “Cheap
Amplifiers” play out like a Def Jam bonus beat with ripping, cough syrup slathered DMX snare sounds. “Ghost Detergent” has an unhinged, unrelenting churn that stares squarely into a personal vacuum, remaining uninfluenced by the influencers and unflinching in its originality. Neither bird nor egg are relevant here.
Prostitutes has managed to carve out it's own tenure in contemporary electronic
music by delivering in live performance and by shattering expectations on records. Never does the aesthetic outweigh the content, and “Ghost Detergent” delivers only the wheat and none of the chaff.

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DRØNE
“mappa mundi”

This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff’s label, Pomperipossa. In a 5” jacket with artwork and font by nico, who also provided the hand-written text for the vinyl artwork for the 2015 and 2016 releases, “Mappa Mundi” traces and describes audio surrounding and occupying the planet earth. Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the ‘bing bong’ of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle (“Start!”) has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus ‘no’ becomes a powerful rejection, rather than merely a preference; and no-ers are more easily to spot… “You’re going the wrong way”! (To which the only sensitive and mature response is: “Good!”) Call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You’ve lost!”. The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': “I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime.” The Quietus wrote: “Last year’s distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures.”

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Elisabeth HARNK – Joëlle LÉANDRE
“Tender music”

Elisabeth Harnik: piano. Joëlle Léandre: double bass. Liner-notes by Ken Vandermark. Recorded by ORF (austrian broadcasting corp), in concert at WIST, Graz, Austria on april 16th 2016.
“The importance of the music of Elisabeth Harnik and Joëlle Léandre, both in tandem and in other circumstances, also has further resonance and significance in a broader social context. Consider the amount of time they have worked relentlessly in the often male dominated fields of jazz and new, experimental, and improvised music. As we close in on the second decade of the 21st century, it is still clear that we are living in a far from equitable world. To face that discrepancy as an artist for decade after decade, often under the gaze of outright hostility, is something that needs to be identified. […]
I can’t ask more of a musician, a visual artist, a writer, a filmmaker, a choreographer, a dramaturge, a photographer, a architect, a designer, of an artist, than to contribute creatively and with generous passion despite ongoing adversity. Without question, with this album and with their careers, Elisabeth Harnik and Joëlle Léandre have done so. One of the definitions of the word “tender” is “humane.” Is there a better way to identify and celebrate their work, the gift of it to all of us, than to call it humane music?” Ken Vandermark, Chicago, January 21, 2018

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2 CD

Michael Vincent WALLER
“The south shore”

The South Shore the debut album of Michael Vincent Waller on XI Records featuring chamber works composed from 2011-2014 performed by the following twenty-five musicians, including ensembles: Christine Kim and Pauline Kim Harris (Project SiS) with Conrad Harris, Daniel Panner, Charity Wicks; Dedalus Ensemble with Didier Aschour, Amélie Berson, Cyprien Busolini, Thierry Madiot, Pierre Stéphane Meugé, Deborah Walker; 20<21 Ensemble with Yael Manor, Itay Lantner, Erin Wight, Clara Kennedy and Jessica Park; Nicolas Horvath; Esther Noh; Carson Cooman; Katie Porter and Devin Maxwell (Red Desert); Luna Cholong Kang; Marija Ilic; Eric Huebner and Max Mandel. “The music of Michael Vincent Waller offers a welcome and rare alternative to the tempo and noise of modern life. These touching miniatures employ the pure modal scales first described by the ancient Greek philosophers and sustained through millenia in the folk song of many lands, in religious chant, and in the modern era by the works of composers such as Erik Satie (especially his monodrama Socrate) and Terry Riley (especially A rainbow in curved air).” “Anthems” (2014) for cello and piano duo. “Atmosfera di Tempo” (2013) for string quartet. “Profondo Rosso” (2013) for piano trio. “Per La Madre e La Nonna” (2012) for string trio. “Pasticcio per meno è più” (2014) for piano solo. “La Rugiada del Mattino” (2013) for violin and cello duo. “Tre Pezzi per Trio di Pianoforte” (2014) - Pezzo I for piano trio. “Tre Pezzi per Trio di Pianoforte” (2014) - Pezzo II for piano trio. “Tre Pezzi per Trio di Pianoforte” (2014) - Pezzo III for piano trio. “Nel Nome di Gesù” (2013) - I. for cello and organ duo. “Nel Nome di Gesù” (2013) - II. for cello and organ duo. “Organum” (2014) for organ solo. “Tacca Prima” (2013) for cello solo. “Il Tenuto Mento Alto” (2014) for violin solo. “Ritatto” (2013) for sextet - flute, alto sax, electric guitar, viola, cello, trombone. “La Riva Sud” (2014) for piano and viola duo. “Pupazzo di Neve Partitas” (2013) for cello solo. “Variations for Quintet” (2014) - Variations I for flute, string trio, and piano. “Miniatures” (2014) - III. Return from The Fork for piano solo. “Y per Henry Flynt” (2012) for cello solo. “Capo Finale” (2012) - I. Capo for viola and piano duo. “Vocalise” (2014) for flute solo. “Arbitrage Deux” (2013) for clarinet solo. “Arbitrage” (2011) for bass clarinet and gong percussion duo.

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2 LP

Giovanni Di DOMENICO
“Duos with guitar”

Giovanni Di Domenico (piano, Rhodes), With Norberto Lobo (acoustic guitar), Tetuzi Akiyama (acoustic guitar) and Jim O’Rourke (electric guitar). Recorded during the course of 3 years (from 2011 to 2013) in various locations in Brussels and Tokyo, this 2 LP puts together 3 of the most uncompromising and original guitar players of the globe (there should have been a fourth great guitar player, the late Hans Reichel, but unfortunately he passed away days before asking him to join the project), all with their unique sound and approach to music and their instrument, all glewed together by Giovanni’s ever personal and forward music thinking.

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CD

BLIP
“Dead space”

Blip is a duo collaboration between Jim Denley and Mike Majkowski: two of Australia’s most prominent improvising musicians. They began playing together in 2002, as members of The Splinter Orchestra, and formed Blip in 2009. They have been developing their own approach to the woodwinds/strings duo arrangement, deconstructing and reconstructing this format. Blip music focuses on duration, the subtleties of sound, the pitch within timbre and texture, as well as pulse. With this Blip move from clear and simple structures to multi-layered complexities.

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Kasper T. TOEPLITZ
“Amas”

AMAS is one lengthy composition, played live on a computer consisting of long electronic parts; as described by Toeplitz, it is “a growing organism: my idea when working on it was to take some ideas from Don Buchla’s “philosophy” as a starting point - ideas from the “West-Coast” school of music: in building the “engines” which produce sounds, the shaping of the sounds is rather made by modulations and adding harmonics (by distortion or rather waveshaping) than the more “classical” (East-Coast) method of using filtering. But the Buchla/West-Coast influence is also on the structure of the music itself, the work considered as a living organism rather than a strict composition; or perhaps rather like a fixed time and a walk with a given direction, but all the steps are not fixed.” Kasper T. Toeplitz is a French composer and musician of Polish origin, born in 1960. He lives in Paris. He has worked with academic research organisations, such as GMEM, GRM, IRCAM, and Radio-France, as well as with experimental musicians, such as Éliane Radigue, Zbigniew Karkowski, Dror Feiler, Tetsuo Furudate, Phill Niblock and Art Zoyd. Citing Giacinto Scelsi, Gyorgy Ligeti and Iannis Xenakis as influences, his early work was mostly written for traditional instruments. He received several prizes and distinctions for these works: 1st prize in composition for orchestra at the festival of Besançon, 1st prize in the Opéra Autrement/Acanthes competition, Villa Médicis Hors-les-Murs in New York, prize Léonard de Vinci in San Francisco, Villa Kujoyama in Kyoto, and DAAD in Berlin. He has also written for his electric guitar orchestra, Sleaze Art. He then integrated computers into his work, via the programming language MAX. Please note: This release packaging comes folded into quarters, ending up as a 5 ” x 5 ” brochure style booklet (liner notes inside), with the CD in a paper sleeve, all inserted into re-sealable plastic sleeves. There is no jewel case, tray card etc.

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LP

Ingar ZACH
“Le stanze”

It’s been 6 years since Ingar Zachs critically acclaimed solo album; M.O.S. (SOFA 532). On his 5th album, Le Stanze, Ingar Zach continues to develop his unique, personal music, also this time with percussion and electronics. The four compositions show an highly original artist who constantly finds new surprising possibilities in the world of percussion. The music is recorded in a small church in Urueña in Spain and in his studio in Madrid. The result is a brilliant refined album which again confirms Ingar Zach’s impressive solo career.

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LP

ROBIN THE FOG
“The ghosts of Bush”

Created by World Service studio manager Robin The Fog, ‘The Ghosts of Bush’ consists entirely of nocturnal location recordings made by him at Bush House, the iconic home of the BBC’s world service for over seven decades before it moved to a new location in July this year. The recordings were mostly made during Robin’s night shifts at Bush House and then eventually manipulated on dual quarter-inch reel-to-reel machines, creating a seamlessly segued side of ghostly, decaying acoustic sounds captured within the stone-clad building’s numerous corridors, lifts, studios and stairwells. As you’d imagine, the effect is immensely evocative, at once recalling Daphne Oram’s most isolated experiments, Konstantin Raudive’s famous EVP recordings, the disintegrating loops of William Basinski, even Burial’s most haunting interludes, and not least AFX’s ‘Saw II’ classic; a phosphorescing mass of ferric-stroked midnight sonorities and metaphysical murmurs, or as the artist himself puts it “The sounds the building makes when it thinks no one is listening”. Third and final pressing of this much sought-after Hauntological artefact. Edition of 400 copies pressed on white vinyl.

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CD

Patricia BOSSHARD
“Temps suspendu”

“In 2011, the Association Eustache gave me carte blanche to compose a piece on the occasion of Le Grand Eustache’s annual concert in Lausanne, Switzerland. I composed a work for my favourite sonorities, dear to my universe: the infinite register of strings. Starting with a quartet formation, I added the double bass for its palette of low sounds, and percussion for its resonances. The compositional work was put together as rehearsals progressed, with experimentations and improvisations guiding the writing of the score. This quintet explores the full richness of the strings, from the most extreme sounds to the most unknown. It is a bruitist piece, which offers us great refinement and considerable inventiveness. Disconcerting, dreamlike moments… suspended moments.” Annik Rody, violin. Patricia Bosshard, violin, composition. Marie Schwab, alto. Sara Oswald, cello. Jocelyne Rudasigwa, doublebass. Luc Müller, percussion. “Patricia had to stand on tiptoes to reach the gilt handle that only yielded with difficulty under her weight. With both hands, she pushed open the rosewood door and long remained motionless on the threshold. Lining the four walls of the room were maple shelves on which stood hundreds of unknown objects. After having climbed a pair of steps in ebony, Patricia delicately picked up an object and set it on the long spruce table that occupied the middle of the room. She made it spin delicately on the table, looking at it from all different angles until a particular alignment of its elements made a new object suddenly appear out of the object. Her eyes slowly screwed up, and a smile played in her pupils. After a few minutes, she went to look for another object and placed it next to the first. This was a fine rectangular plate in metal, flexible, cold and shiny. A third object, a small, silky ball of black horse hair, soon joined the others. She had fun putting them together, exploring all possible combinations, making worlds suddenly appear. By thus exploring new arrangements of materials, forms, colours, the time passed so quickly that the light was already fading. She pushed the heavy door, resisting the temptation to turn around and without knowing that she was feeling nostalgia for the first time, when she noticed, all about her, that the landscape had changed.” Antonio Albanese

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LP

ARIHA BRASS QUARTET
Ariha Brass Quartet

Also on CD on Al Maslakh Recordings, 2016.
Electronic sounding acoustic only live experimentations by Axel Dörner, Franz Hautzinger & Mazen Kerbaj on trumpet, Carl Ludwig Hübsch on tuba.
“Ariha is a combination of 3 of the most innovating figures of modern day trumpet playing with tuba virtuoso Carl Ludwig Hubsch.
The practitioners here, three trumpeters, Axel Dörner, Franz Hautzinger, Franz Hautzinger, and Carl Ludwig Hübsch hoisting a tuba, practice a unique approach to their instruments. All four musicians set aside a traditional approach to playing, substituting breathe for notes, abandoning a mouthpiece, and applying amplification to microscopic sounds.
The quartet recorded this session in Beirut 2013, after a week’s residency and performances. The four like-mind players open the disc with “Mar Mikhael in The Afternoon,” the longest improvisation at 16-plus minutes. The fluttering of notes is accompanied by the snorting of unseen wild beasts and the coyote howls of brass. Their language, developed in the past 20 years or so, is a direct descendant from the European (as opposed to the American) systems and improvisers such as Derek Bailey, Eddie Prevost’s AMM, and Paul Rutherford.
Stripped of the conventions of noted music, the growls and micro-notes would not be out of place in sci-fi cinema as the backdrop to the silence of an orbiting space station. The squiggles and on/off switches of sounds inhabit the ghosts in the machines of the imagination, but also the rumble and hum of the earth's inner core. “Hamra Drinks” buzzes with the low (really low) bass reverberation and the looping notes of trumpet that take on an organic biologic shape. Each piece conjures a response be it a visual, an emotional, a fragrance, a flavor, or something tactile. Ahira Brass Quartet opens the listening experience to all five senses.” Mark Corroto in All About Jazz
Mastered & Cut by Rashad Becker. Artwork & design by Mazen Kerbaj.

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LP

Derek BARON
“Crooked Dances”

Penultimate Press is proud to present the debut vinyl release from Derek Baron.
From Chicago, IL, now residing in Queens, NY Baron’s work muses on the interior and exterior via explorations of history, memory, listening, domestic ambience and the collective understanding of sound as amorphous matter. Crooked Dances presents a series of Erik Satie’s piano works as played in a flatshare with various interruptions by those who also contribute to the electricity, water and internet bills.
Limited to 300 copies Crooked Dances comes in a high gloss sleeve designed by Maja Larson with bland photographs supplied by Baron.
This is a melancholic, playful journey rooted firmly in the real.
Edition: 300 copies

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LP

Joe MCPHEE & Bryan EUBANKS
“My Undocumented Alien Clarinet”

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer. Bryan Eubanks: Open-circuit electronics (sinetones). What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form.
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
“His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits.” - Time Out NY
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
Artwork by Jerry Starpoli. Liner notes by Joe McPhee.

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THE SOUND PROJECTOR
“#24”

Interviews with: Miguel A. García: “I have accepted all my facets; the music can go anywhere, it can take any direction”. Sébastian Borgo: “I am utterly pessimistic as far as my vision of the world is concerned. Man will disappear in the near future, self destroying himself.” Simon Whetham: “Boring is a completely subjective term anyway, isn’t it…I could quite easily be as bored watching someone playing guitar and pulling faces as someone frowning at a laptop”. Philip Perkins: “Cage influenced everyone, me included, if only by seeming to give permission to do whatever we wanted”. Contributions from Stuart Marshall, Jennifer Hor, Steve Pescott and Paul Khimasia Morgan. Numerous pages of record reviews, fully indexed, profusely illustrated throughout.

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CD

John CAGE
“Music for Speaking Percussionist”

John Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuosic solo-simultaneous realizations of some of these works for “speaking percussionist.” “A Flower” (1950). “51’15.657” for a speaking percussionist (2010), a solo-simultaneous realization of 45’ for a speaker (1954) and 27’10.554” for a percussionist (1956). Realization by Bonnie Whiting. “Music for Two (By One)” (2011), a solo-simultaneous realization of “Music for _____” (1984-1987) for solo voice and solo percussion. Realization by Bonnie Whiting. “The Wonderful Widow of Eighteen Springs” (1942) “Connecting Egypt to Madison through Columbus Ohio, Cage, and the History of the American Labor Movement” (2011) by Allen Otte and John Cage. Incorporating Music for Marcel Duchamp and Variations 2. Allen Otte, voice, prepared piano & frame drums. Bonnie Whiting, voice, percussion, piano.

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LP

ORA CLEMENTI
“Cover you will softer me”

Ora Clementi is the pen name of Canadian sound artist and improvisor crys cole and Australian performer and composer James Rushford. crys has previously collaborated with Keith Rowe and Oren Ambarchi (Bocian records) whilst James worked alongside Joe Talia on the highly acclaimed 'Manhunter' LP (Kye). Penultimate Press is proud to unveil this duo’s new hermetic world of sound, song and speech. Employing farfisa, contact mics, percussion, viola, recordings of James’ pet chickens, ocarinas, piano and miscellaneous junk ‘Cover you will softer me’ slides from the sublime to the startling where individual elements delicately fold and fall amongst an unnerving tableaux of failed lip readings, haunted hiss, piano motifs and glistening debris. The unique combination of sound and voice lends itself to an air ripe with mystery and magic as our humble practitioners invoke that image of childhood, when half asleep, you can hear your parents watching tv in the other room, mumbling moving through walls. Recorded in Melbourne throughout 2013 and 2014 with additional recordings made at No Recording Studio in Essex under the guidance of John Hannon. 'Cover you will softer' was mixed and mastered by Joe Talia and presents itself in a beautiful full colour sleeve designed by Matthew Revert as a limited edition of 400 copies.

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COMPILATION
LIQUIFIED SKY

Line is pleased to announce its latest edition featuring astoundingly detailed audio/visual works by six internationally recognized artists: Evelina Domnitch + Dmitry Gelfand, COH, Paul Prudence, Francisco López, and Asmus Tietchens. The fluidity and even the granularity of light can be unfolded by the senses through active attunement coupled with meticulously orchestrated conditions. Though formerly considered impossible to imagine, let alone perceive, recently, a variety of quantum behavior has been observed on macroscopic scales, from colloidal liquids to biological systems. Liquified Sky documents a series of artworks that pierce this slippery, mesoscopic threshold, departing from the antiquated cult of the illusory, solid-state image. 1. “Mucilaginous Omniverse, part 1”, installation & video documentation: Evelina Domnitch & Dmitry Gelfand / sound: COH. 2. “Mucilaginous Omniverse, part 2”, installation, video documentation & sound: Evelina Domnitch & Dmitry Gelfand. 3. “Hydro Acoustic Study”, video: Paul Prudence / sound: Francisco López. 4. “Memory Vapor”, installation & video documentation: Evelina Domnitch & Dmitry Gelfand / sound: Asmus Tietchens. The sensorial demands of processing quantum behavior incite adaptive resonances, comprising a multidimensional perceptual navigator. Though brains have been compared to clocks, telegraphs, computers and holograms, they are “not like any artificial machine. If anything, they are like natural self-organizing processes such as stars and hurricanes.” [W. Freeman, Neurodynamics: An Exploration in Mesoscopic Brain Dynamics] Occurring on many different scales of time and space, cascades of standing and traveling waves outline the adaptively resonating lattice of intercellular communication. These resonances can be finely tuned through a mesoscopic self-observation system, which translates quantum harmonic pattern, phase and amplitude recognition across the cerebrospinal sea of neuromodulators. Due to the detailed nature of these works, this edition is a data DVD containing high resolution audio-visual files. To ensure proper playback, these files will need to be transferred from the data dvd to a hard drive. They can then be viewed in a variety of programs including Itunes and Quicktime.

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2 CD

Bruce RUSSELL
“Metallic OK”

Bruce Russell is a New Zealand experimental musician and writer. He is a founding member and guitarist of the seminal noise rock trio The Dead C and the free noise combo A Handful Of Dust (with Alastair Galbraith). He has released solo albums featuring guitar and tape manipulation, and has contributed articles to British music magazine The Wire. “This will be alien music to many listeners. Guitars tuned to the occult settings of revenants like Skip James and then played with a knife in an uncanny re-contextualising of the sound of beer bottles against guitar strings on the original Metallic KO; massively deformed electronics that sound like swarms of static, that sound like the needle eating the vinyl; radio interference; broke down piano; sledgehammer fuzz… this is the sound of taking a live Stooges meltdown as the keys to the goddamn kingdom and as a secret intimation of the arc of the future. Now here it is” from the sleevenotes by David Keenan. Recorded in Lyttelton and Christchurch, New Zealand between 2008-2013.

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Daniel HIGGS
“The Fools Sermon, part 1”

Recorded by Eli Winograd at Lone Pine Road, Kingston NY, Spring 2015 Cut by CGB at Dubplates & Mastering, Berlin 1115. “Daniel Higgs once told me that the Earth is actually in its 34th life cycle. That everything has been conceived, created, grown, withered and ultimately been destroyed a grand total of thirty three times to date. As for quite how long this Ourobouros-esque pattern will continue, he never enunciated. For enunciation is at the very heart of The Fools Sermon. Or I should say “Ee-nun-see-a-she-on”, as language in the hands of Higgs becomes a plaything; syllables coil and retreat as if in eternal competition over the course of this 35 minute address. Anyone versed in Higgs’ vocabulary over his 30 year-plus career as musician, poet and orator, The Fools Sermon will feel like a worthy distillation of his other-world view: a raw vision of the sacred and the profane, the physical and the metaphysical, The Proterozoic and the Present. At points, the results conjure a Flannery O’Connor penned pulpit-bound preacher elucidating as a huddle of Tribe Records personnel channel Black Dada Nihilismus; at others the narcoleptic exotica of Eden Ahbez shakes hands with Blind Joe Death. One imagines Gene Roddenberry’s Captain turning his attention to the Philosopher’s Stone, to boldly go where no man and everyman has been before and forever will go again.” Anthony Sylvester, London, June 2016. Ideologic Organ curation and art direction by Stephen O’Malley, manufactured and distributed by Editions Mego.

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2 LP

Mark VAN HOEN
“The Revenant Diary”

3 sides 2LP. All titles composed by Mark Van Hoen. Recorded in Brooklyn & Woodstock NY USA 2011. All instruments & processing by Mark Van Hoen with additional vocals by Georgia Belmont. Cover art by Stephen O’Malley. “Don’t look back”, repeats one of several voices within Mark van Hoen’s The Revenant Diary, his fifth solo album and first release on Editions Mego. Surrounded by weighted beats, analogue synthesizer drones and granular dirt, the unidentified, siren-like female voice’s advice is as much seduction as warning. Tellingly so, for as well as being both Van Hoen’s most ambitious and his most accessible work, The Revenant Diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. The album’s foundation was shaped by a memory and a chance encounter. While remastering some of his early 90s releases and Peel Session tracks, Van Hoen - a founding member of Seefeel, who also worked as Locust and in Seefeel offshoot Scala and has collaborated with Slowdive, Robert Fripp, Edison Woods & Esben and the Witch amongst others - happened upon a track he had recorded in 1982. Attracted by its simplicity, he was inspired to record the basis of The Revenant Diary on 4-track tape, using a minimal set-up, reminiscent of his first early 80s musical adventures as a young teenager. The recollection of one of these - a 13 year old Van Hoen’s experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices - provided an evocative inspiration. The Revenant Diary pivots on this combination of complex reflection and simplified technology. A determinedly analogue affair, it brims over with Van Hoen’s signature sounds: immersively decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. Fragments of female vocals pepper the album, and notably dominate the 10-minute epic “Holy Me”, one of Van Hoen’s most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. Less song-based than his last solo work, the well-received Where Is The Truth [City Centre Offices, 2010], its palette and structure are more descendants of the 1995 album Truth Is Born Of Arguments, which utilised a similar combination of decayed atmosphere against a granular / glitch rhythmic structure. Tracks like “Laughing Stars At Night” and “Unknown Host” exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. But this is no exercise in Instagram-style disposable nostalgia. Van Hoen’s adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, colour-saturated hues of rediscovered Polaroid photos, as the cover artwork, designed by Sunn O)))’s Stephen O’Malley, acknowledges. The Revenant Diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound.”

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Jacob KIRKEGAARD & Niels Lyhne LOKKEGAARD
“Descending”

Descending is a composition consisting of two movements for room resonance, triangles, shakers and horns. The recording was made in August 2015, performed by the Aarhus Jazz Orchestra. Descending is Løkkegaard’s and Kirkegaard’s first collaboration.
The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual and sound works. Niels Lyhne Løkkegaard’s art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear.

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Radboud MENS
“sine~plus”

Sine is one of the earlier works by renowned sound-artist, composer and sound designer, Radboud Mens. It was constructed in 1998 and released on CD by Staalplaat in 2000 who now reissue this on vinyl in 2021, featuring an entire side of new material. Having forged out a unique path in music for many years this is a means by which to view the genesis of what would become “Radboud Mens music”. Side A comprises the original Sine which is considered a minor masterpiece of the early 2000’s click dub electronica. Funkhummer launches proceedings by a measured gathering of elements, buzzes and hums traverse the rhythmic spikes that punctuate throughout. Already at this starting post one can acknowledge machine music with a human pulse. Machines lurch and growl gently amongst a tiny ping pong pulse on the next track Steel. Moi attaches itself to the subconscious with its dizzying sinewy highs and bare bones bass shadowing an equal love for dub processes and experimental forms. With Metal Dub Plate a dark drone anchors the mischievous random play on the surface. Equally unnerving and enticing here we see the end of the original Sine. Flip the record and we enter the new chapter in the story of Sine. Radboud works on music that binds disparate forms together into one sound, as a result these new tracks incorporate all styles witnessed in the original, retaining the clicks and cuts mentality whilst incorporating a deeper ambient drone approach with a minimal dub influence sweeping throughout. For Da is a direct continuation of the original work with it’s light clicks and a woozy atmosphere. Tape shifts gears into a deep haunted world with a skittering beat and repeating melodic cloud of sound. Condition takes the experimental dub further into space leading into the uplifting conclusion where ascension takes hold. The original and updated Sine fit firmly together as a unique whole bringing together a sparse assured sound carefully crafted to ignite a transcendental mood in the listener.

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