VINYL - Page 17 of 45

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Allen RAVENSTINE
“Electron Music / Shore Leave”

Waveshaper Media presents Electron Music/Shore Leave, a new LP by former Pere Ubu synthesist and electronic music trailblazer, Allen Ravenstine. The LP is comprised of two EPs (1 per vinyl side), the first two parts in Raventine’s new Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires. For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings. By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Electron Music/Shore Leave now marking his 3rd solo full-length. Electron Music/Shore Leave brings together ten of the prodigious composer’s most recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, traditional acoustic instruments and the sampled sounds of birds, dogs and other artifacts of nature. Working prodigiously on a daily basis, over the past two years Ravenstine has amassed a large number of atmospheric recordings that he has intuitively aggregated into groups of five pieces each. The first five recordings, subtitled Electron Music, are found on Side A of this LP while the second five, Shore Leave, comprise Side B. Ravenstine played the majority of the sampled instruments on these recordings as well as piano, Moog theremin, a Roland Aerophone and a bevy of synthesizers including a Korg MS20, EML 200, and a Doepfer Dark Energy. Recording virtually over the internet due to the covid pandemic, collaborators from around the world contributed Ondes Martenot, prepared piano, transverse flute, trumpet, saxophone, double bass and percussion. The result is a heady, disparate brew of compositions that range from abstract to lyrical, in the process conjuring up a bricolage of ambient soundtracks, jazzy miniatures, space age exploration, world music, Erik Satie-like studies and the ghost of Harry Partch. As a collection Electron Music/Shore Leave is a stunningly mature work that provides new and surprising sonic rewards with each and every listen. The album contains 10 songs on vinyl LP - limited to 300 copies.

19,00€

In stock

2 LP

Ellen FULLMAN
“In the sea”

Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman's large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself. Along with her 1985 debut album – appropriately titled The Long String Instrument – Fullman's only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland. Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans. Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman's pioneering and timeless work.

29,00€

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THE NECKS
“Mindset”

Long awaited re-issue of The Necks 2011 masterpiece. Always different, here the Necks resolutely layer polyrhythmic material to form seething blocks of sound - in two long pieces, one more stripped back to the live trio, the other featuring multiple strata of swirling Hammonds, noise-guitar and electronics. Their 16th release still resonates on its own.

21,00€

In stock

Mark PERRY
“Snappy Turns”

Debut solo album for Alternative Tv frontman and long-time running Uk punk scenester, originally released in 1980 on Deptford Fun City Records. Mark Perry was also the man behind the iconic Sniffin' Glue zine, founded in July 1976. The album was produced by Grant Showbiz, principally known for his work with The Fall, The Smiths and Billy Bragg, and it is literally an art-rock nugget. Sort of an autobiographical work, the record is full of twisted hooks, showing the dark side of post-punk. Less hysterical than the output released with Alternative Tv, Snappy Turns should be considered as a post-apocalyptic pop record. It could have been easily included in the infamous Nurse With Wound list (guess what, his former band was there) introducing several connections to the so-called ‘grey area’. In particular, the disturbing tape loops and the violin heard in Death Looks Down are perversely informed by late Throbbing Gristle, a band seriously informed by the same aesthetics (Alternative Tv used to rehearse in TG studio in Hackney back in the days, while former ATV member Alex Fergusson founded Psychic Tv with Genesis P-Orridge). As the shadow of doubt surrounds our nearby future, Snappy Turns could be easily an appropriate soundtrack. Contains two bonus tracks from the 1980’s 7”: The Whole world’s down on me.

28,00€

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Marcus SCHMICKLER
“Sky Dice / Mapping the Studio”

Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. EMEGO 296 features two new major works from this audacious sound explorer. Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein’s now famous quote regarding quantum mechanics, this is spooky audio at a distance. Fortuna Ribbon is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the 6 examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A. Schmickler’s ongoing investigation of sound matter conjures impossible audio that delight’s in the extremity of form and resulting effects on the listener. Schmickler’s audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound.

20,50€

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Aaron DILLOWAY
“The Beauty Bath”

Restock 2021 "Alternate version of very limited LP (250 copies) on Japanese label Rockatansky. About 50% of this is actually different & reworked material than what is on the Rockatansky LP. This edition is a one time pressing limited to 500 copies. Recorded 2008 / 2013. Mastered for vinyl by Jason Lescalleet." "...an amazing LP, with low-level battlefield tectonics and the sound of smeared and tortured magnetic tape coming over like a rusty, Industrial scale take on classic 20th century minimalism. Some of Dilloway's most barbarously vacated drone work here, with intense low-level fireworks reduced to inchoate shadow plays and rolling, planetary scale hypnotics. Then there are moments of glissing, echoing metal tones coming out of silence, suddenly morphing into sad feedback chorales ala Eliane Radigue's early workings but with a crude, lonely aspect that is extremely affecting. One of Dilloway's most personally expressive tone works with intensely sad feedback drones circling wraiths of clanking magnetic tape." ---David Keenan, Volcanic Tongue

26,00€

In stock

2 LP

ORA CLEMENTI
“Sylva Sylvarum”

Black Truffle is pleased to present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (Penultimate Press, 2014). From the opening ‘Peach of Immortality’, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, we hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late 80s/early 90s flavour that at various points calls up New Age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM. Threaded through this distinctive array of sounds are the two musicians’ voices, sometimes singing, sometimes speaking through varying degrees of manipulation. A guiding thread through the pair’s collaboration, beginning with their initial experiments with lip-readings, the presence of these two voices – cole’s crisp and sibilant, Rushford’s rich and low – reinforces the sense that the music is immersed in itself, less performed by two people than occurring between them. On Sylva Sylvarum, these voices first come to the forefront on the third piece, ‘Dialogue Between a Grandmaster of the Knights Hospitaller and a Genoese Sea Captain’, where in unison they intone fragments of a description of an imaginary space taken from a 17th century utopian text. The two voices resurface periodically thereafter, most stunningly in the unexpected turn into cushiony dream pop on ‘Magic Mountain’. At other points, the subtle manipulation of pitch and intonation in the close-miked vocal performances filters the recitations through a fog of abstraction that climaxes with the almost incomprehensible alternating syllables of the side-long closer ‘Forest of Materials’. Like the album’s title, these textual elements are drawn from various literary descriptions of utopias, a theme that also informed the pair’s musical approach. Far from anything dryly illustrative, utopia figures into Sylva Sylvarum as an invitation to inhabit otherworldly spaces that, like the empirical details that proliferate in these literary utopias, are grounded in mundane reality but shot through with the eldritch. Admirably framed by the abstracted digital topographies of Sabrina Ratté’s artwork, the uncanny sweep of the album’s fifteen pieces is expansive enough to take in stretches of crackling austerity, warped microtonal keyboard etudes and moments of stunning beauty, the latter most strikingly when cole and Rushford are joined by Callum G’Froerer on trumpet and Joe O’Connor on trombone for a series of dream-like moments moving from growling overtones to poignant lyricism.

21,50€

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2 LP

Remko SCHA
“Guitar Mural 1 feat. The Machines”

Black Truffle is pleased to announce the first-ever vinyl reissue of Remko Scha’s Guitar Mural 1 featuring The Machines, originally published as a rare cassette edition by Taal Beeld Geluid in 1982. A computational linguist by profession, Scha played an important role in the development of sound, installation, and digital art in the Netherlands from the late 1970s onward, co-founding the performance and exhibition space Het Appolohuis in Eindhoven in 1980. Alongside Paul Panhuysen and Jan Van Riet, Scha was a founding member of the radical improvisation group The Maciunas Ensemble, though he is best known for his work with mechanised electric guitars, documented on the legendary 1982 LP Machine Guitars. Guitar Mural 1 documents an installation of Scha’s mechanical guitar ensemble The Machines held at a Groningen gallery space in 1982. Five electric guitars hang from the wall, their strings sounded by rotating rubber strings and a sabre saw controlled by a mechanical apparatus, as well as four ropes criss-crossing the five instruments on the wall. Once the mechanism was set up, Scha’s only intervention was to vary the speed at which it operated. Where Machine Guitars presents short excerpts clearly distinguished by rhythmic and timbral variation, here we are confronted with four enormous side-long slabs of percussive string attack and the resulting clouds of harmonics. Variation is minimal across the duration of each side, making for a sculptural listening experience, as if we are patiently examining each facet of a static object. But significant variety exists between the four sides, each of which shows off a different facet of what The Machines were capable of. The first two excerpts feature open strings sounded at rapid tempos, dissolving the percussive attack into a continuous stream of sound reminiscent of Charlemagne Palestine’s ‘strumming’ technique. On the third side, the strings are partly muted and the tempo slightly lowered, resulting in layers of relentlessly chugging rhythm somewhere between an ensemble of hand drums and an early Velvet Underground bootleg. On the fourth side, havoc breaks loose in percussive waves of asynchronous repetition that bring Scha’s sound world close to that of another pioneer experiment in musical mechanisation, the Solar Music of Joe Jones. Presented as a limited edition 2LP set in a deluxe gatefold sleeve accompanied by stunning visual documentation of the original installation, remastered audio and new liner notes from Alan Licht and Van Lagestein, Guitar Mural 1 is an exhilarating document occupying a unique space between kinetic sculpture, hardcore minimalism and rock & roll.

25,00€

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Sam DUNSCOMBE
“Outside Ludlow / Desert Disco”

Outside Ludlow / Desert Disco is the first major solo release from Australian performer-composer Sam Dunscombe, now based in Berlin after residing for the past decade in San Diego and Tokyo. A virtuoso clarinettist who has performed in composed and improvised settings with artists such as Klaus Lang and Taku Sugimoto, their practice also embraces computer music, lo-fi electronics and field recordings, in addition to their long-term commitment to archiving, studying and performing the work of Romanian spectralist composer Horatiu Radulescu. The two side-long pieces presented on this LP began from a chance encounter in a specific geographic location (documented in the photographs that grace the record’s sleeve). Exploring California’s Mojave desert with a friend, Dunscombe made the unlikely discovery of a tangle of quarter-inch tape snared on a cactus. The digitised version of this tape, variously edited and processed, as well as Dunscombe’s own transcription and embellished performance of some of its material on Hammond organ, makes up one of the main ingredients of the LP’s first side. The other is a field recording of the area outside the ghost town of Ludlow, where the tape was found, where haunted silence is punctuated by freight trains and clusters of explosions from gold mines and the local marine corps. Far from any kind of documentary approach, the resulting composition reaches back to the smeared atmospherics and overdriven tape crunch of Hands To, Small Cruel Party or Joe Colley, before the Hammond organ rises up to cast a spectral shimmer reminiscent of 1960s tape music classics like Arne Nordheim’s ‘Warszawa’. On ‘Desert Disco’ (its title perhaps a clue to the content of the mysterious tape), Dunscombe zeroes in on a single fragment of the tape, accompanying it with analogue synthesis to craft an immersive work based on a single chord. Throughout the course of this work, the monolithic opening sonority gradually splits apart, revealing an infinity of rhythmically phasing lines that swarm like a cloud of insects and patter like falling rain, placing Dunscombe’s piece in a lineage of patient electronic exploration that includes landmarks like Costin Miereanu’s Derives and the contemporary work of Jim O’Rourke.

20,00€

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Frantz LORIOT
“While Whirling”

On While Whirling, French-Japanese violist Frantz Loriot unleashes the essence of the viola as an explosive expressive force. Pushing the instrument to extremes, he ceaselessly explores its most subtle and unexpected sonorities. From a single acoustic string instrument, he miraculously teases and evokes hallucinatory impressions of harpsichords pounded, bells struck, electronics cracked, dirt shoveled; Loriot has created a unique, personal music filled with moments of textured transcendence and tension-filled tenderness. While Whirling is Loriot's second solo album and a masterclass on how to develop a radically personal musical language. As a third-generation classically-trained musician, Loriot's rupture with that tradition is striking as he continues to challenge every pre-conceived relationship between instrument and instrumentalist. Having first been inspired to rethink the physicality of musicianship by hearing Tom Cora's playing on his collaboration with the Dutch punk-rock band The Ex, Loriot sought out a series of teachers that could further expanded his sense of the musically possible/possibly musical. From Joëlle Léandre, he was opened up to the combination of aesthetics and politics; from Barre Phillips and his "large calm energy," Loriot learned about the necessity to get uncomfortable in his music-making. And from David S. Ware, he took an understanding of music as a matter of life and death. To his biological and pedagogical foundations in classical music, Loriot supplemented his understanding of music's force with realizations of vitality, awareness, and danger. While Whirling was recorded in the acoustically balanced space of Das Institut in Zürich, a small, intradisciplinary art space with angled walls on the top floor of a residential building on a quiet street. Because Loriot knew that he wanted to focus on both capturing and unspooling specific acoustic phenomena that he sought to manifest, he had to choose a place that would be ultra-conducive to intense focus, yet still casual enough to make room for life to burst in. As a sequence of solo excursions, each track on While Whirling rewrites the balance between improvisation and composition. The drama of Loriot struggling to complete a sequence after arriving at a texture he so clearly strove for puts the listener in an extremely privileged position; you have the pleasure of hanging on to each desperate subtlety of his decision-making process as he pushes himself and his music further and further across the vanishing edges of ever-expanding horizons. Deluxe LP with download; Heavy tip-on jacket with embossing and spot finishes; Full color inner sleeve and insert.

23,00€

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2 LP

Jean-Luc GUIONNET
“L’épaisseur de l’air”

Thin Wrist Recordings release L'épaisseur de l'air (the thickness of air) by Jean-Luc Guionnet. After more than three decades playing the alto saxophone, this is the French artist's first solo saxophone album. Since the 1990s, Guionnet has built a renowned and thrilling oeuvre of works with pipe organs, electronics, and field recordings as both an improvisor and composer; L'épaisseur de l'air finally documents his dedication to exposing sides of the alto saxophone that quite simply never existed until he developed them. His tone is as clear as direct sunlight, so when he boils it in mud or scratches at it as if for air, his emotion is palpable. A double-LP masterpiece and a definitive statement about the profound physical relationship between an improvisor and their instrument. A student of Xenakis at the Sorbonne, Guionnet has constantly explored the philosophical side of music; his work interrogates fundamental questions about skill, intuition, experience, and performance that arise through improvisation. He has instigated and featured in unexpected collaborations such as performances with noted British philosopher Ray Brassier and artists Seijiro Murayama Mattin as well as his long running artistic partnerships with dancer and choreographer Lotus Edde Khouri. For this album, Guionnet retreated to a barn in Brittany, where he recorded by himself at night over the course of a few weeks. Each of the nine improvisations -- spanned across two LPs -- uncovers such particular sonic territory that it's a miracle the whole adds up to such a complete statement. But by pushing space and silence so startlingly and oblongly into the pieces, the gnarled, gritty textures of his tone begins to make sense as a response to time that is forever shifting in such unpredictable ways that you better get into it while it's still coming out. Direct metal mastering at Calyx Mastering Berlin. Pressed at Record Technology, Inc. (RTI). Deluxe gatefold double LP with download; Heavy tip-on jacket including debossed and embossed inserts.

34,00€

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Yoshi WADA
“The Appointed Cloud”

Saltern present the first-time vinyl edition of Yoshi Wada's The Appointed Cloud (1987), a work which Wada has often said is his favorite of his own. Staged at the Great Hall of the New York Hall of Science, The Appointed Cloud was Wada's first large-scale, interactive installation and featured a custom pipe organ, among other homemade instruments, controlled by a computer with a customized interface and software designed by engineer David Rayna, known for his work with La Monte Young. This recording captures the opening performance for which Wada brought together four musicians on bagpipes (Wada, Bob Dombrowski, and Wayne Hankin) and percussion (Michael Pugliese) to perform with the installation, operated by David Rayna. Remastered from the original master tape by Stephan Mathieu, and cut to vinyl via Direct Metal Mastering by Hans-Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a digital download of the album. Edition of 600. In Wada's own words: "This performance [of The Appointed Cloud] was one of most memorable performances I've done. The space itself -- the Great Hall of the New York Hall of Science -- was incredible. The building was designed for the 1964-65 World's Fair and had spaceships hanging from the ceiling so people felt like they were traveling in outer space. It was an amazing experience with the sound of the pipe organ, sheet metal, pipe gong, and bagpipes all together. 60 minutes may seem like a long duration, but it didn't feel like it."

26,00€

Out of stock

Philip CORNER
“Through Mysterious Barricades with George Maciunas”

New Philip Corner LP on Recital. Voice recordings from a small performance in Italy, early in 2020 -- Homages to/from George Maciunas (1931-1978). Corner's piano meditative playthroughs of Couperin's The Mysterious Barricades (1717), from 1989 and 1992. These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic. Manic exaltation, distorted harmony things. Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window. Booklet features passionate writings on the Couperin piece and its meaning by Corner. Philip wrote a new reflection for this LP edition, "The Mesure of the Mystery". This album is built from the finest ingredients: beautiful piano with stomach-c lenching voice stretches. Edition of 250; 12-page pamphlet of scores and an essay by Corner.

27,00€

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Bill ORCUTT & Michael MORLEY
“Electric Guitar Duets”

LP reissue of Land And Sea's limited 2016 tape documenting a performance by guitarists Michael Morley and Bill Orcutt at the L&S gallery in Oakland. "... Once regrettable antics were permanently affixed to the rearview mirror, the pair chauffeured across the bay to Land And Sea, the cozy gallery on San Pablo Avenue in Oakland and sobered up on vegan cocktail wieners and gummie vitamins. You may doubt, you may scoff -- have fun with it, champion, seriously -- but on July 6, 2016, they rendered a landscape where miniature squalls grind in between seamlessly intersecting improv, and they did it sharp as the slap of a palmful of plum-colored hazelmyer elixir following a good, close shave. The distinctive sound of the Fender Telecaster as played without effects by Orcutt ('one of music's premier abstractionists,' according to Osmo Montesanto) remains unblunted throughout the album, an aggressively serrated presence within Mr. Morley's contrapuntal flanking. This freely improvised performance is imbued with discipline and deliberate restraint, the better to connect the players more to the sound than to the instruments . . . The duo's number-one fan worldwide Cye Husain, pictured on the back cover, would surely attest that the singular structure-building of Orcutt and Morley defies and transcends most any 'well, actually' bloviature that the usual bore-splainers will need to hurl into the troposhere. For instance, that a third guitar is clearly audible at certain parts in the mix -- beautifully recorded by Gabie Strong, by the way -- can be accounted for most sensibly by Aotearoan metaphysics. Mr. Morley's ax of choice was 'Patu Tutae Opoko Nui, a 2006 Squire Telecaster made in Indonesia that I had modified over the years. It died and was ushered up to Valhöll in Gothenburg, Sweden in 2018.' Readers opting to take a moment to refer to Morley's Instagram post dated 6 June 2018 and view the last rites of this extraordinary combination of wood and metal should do so now. He cried. You should expect to do the same . . . Electric Guitar Duets is that otherworldly modulation we all crave and rarely find, hovering halfway between a deeply satisfying lattice of blurred sky roars and the soundtrack from a Stefan Jarworzyn biopic scored by Sergio Leone left on the floor out of its sleeve. Morley and Orcutt hold everything sideways at least as well as the centrifugal force required for slow-motion footage of mannequins riding tiny motorcyles around the inside of a chrome replica of Lee Van Cleef's skull. For other examples of fluid-splattered shards glistening inside crimson murk pulsations, only murder rolling through cold, cold blood comes to mind as superior to this 44-minute live recording." --S. Glass

21,00€

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Judith HAMANN
“Shaking Studies”

Nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, Shaking Studies, is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann's conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand's tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann's alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding. It's presented alongside the CD set, Music for Cello and Humming (BF 018CD). Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse-based project, "Materialities of Realisation." She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O'Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young, and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada's Duets, Graham Lambkin's Community, Alvin Lucier's Illuminated By The Moon, and Gossamers, with Rosalind Hall. Edition of 500.

21,50€

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2 LP

Catherine Christer HENNIX – CHORA(S)SAN TIME-COURT MIRAGE
“Blues Alif Lam Mim”

Having already unearthed three collections of archival 1970s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer's music by turning to more recent work with this first-time vinyl edition of Hennix's Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis, a 2014 piece first released as a CD in 2016. The double album captures the April 22, 2014 premiere of the composition by the Chora(s)san Time-Court Mirage, Hennix's expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the origins of the blues in the Eastern musical traditions of raga and makam, Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis has its roots in Hennix's 2013 realization of an Illuminatory Sound Environment, a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix's own The Electric Harpsichord. As Hennix explains in Other Matters, Blank Forms' 2019 collection of her writings: "Rag Infinity/Rag Cosmosis presents fragments of 'raga-like' frequency constellations following distinct cycles and permuting their order, creating a simultaneity of 'multi-universes.' When two such 'universes' come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated -- the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically 'transfinite' Poincaré cycles (cyclic returns to initial conditions). As with Hennix's best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Over this mesmerizing ebb and flow, vocalists incant an Arabic-language devotional poem written by Hennix that features quotations in praise of Allah from the Quran. Also reproduced on the album's gatefold jacket is Hennix's elegant reduction of the sacred text, represented as the first letter of its first line gradually paired down to a single dot, which invites the contemplator to bring their inner knowledge to the composition for use as a meditation prompt. Listeners without spiritual inclinations, but who are willing to immerse themselves in the music, will find the work's serene intensity to be its own reward."

36,00€

Out of stock

2021 repress. "One of Treader's most requested recordings sees the great UK free saxophonist Evan Parker on soprano and tenor saxophones, duetting with European birdsong. A fitting tribute to his friend, the celebrated soprano saxophone player Steve Lacy, who died in the year of its initial release." One of Treader’s most requested recordings sees the great UK free saxophonist Evan Parker on soprano and tenor saxophones, duetting with European birdsong. A fitting tribute to his friend, the celebrated soprano saxophone player Steve Lacy, who died in the year of its initial release. A titan of British free jazz, Evan Parker needs no introduction. His output, both as a bandleader and collaborator, are the stuff of legend. Within the history of the European improvised music, he’s everywhere - having intertwined his singular approach with Peter Brötzmann, Manfred Schoof, Tony Oxley, Derek Bailey, Han Bennink, Alexander von Schlippenbach, Keith Rowe, Barry Guy, and countless others at a ferocious pace. Despite his renown for work within ensembles, Parker often becomes the most striking version of himself when he steps out onto his own, offering an unparalleled approach to the solo saxophone. Evan Parker With Birds is one of the more memorable versions of this. Recorded as a tribute to his friends and longtime collaborator, Steve Lacy, who had died shortly before its recordings, Evan Parker With Birds isn’t technically a solo work. It features the veteran player consumed by, responding to, and playing against, a sonic landscape of field recordings by Ashley Wales, birdsong recorded by Geoff Sample, Charles & Heather Myers, Jean C. Roche, Myles North & Eric Simms, with further offerings and interventions by John Coxon. The result is so fantastic and engaging, it leaves little question of why it has been one of Treader’s most popular releases since it first emerged. A world of shimmering sonority and rippling, sometimes brittle texture - an album filled witth surprise - elements of nature and humanity forced into balance and harmony by Parker’s tones and ear. A wonderful rethinking a musical structure and creative approach, the announcement for the vinyl reissue of Evan Parker With Birds has already sent the heads scrambling to get a copy.

21,00€

In stock

MUSICA ELETTRONICA VIVA
“Spacecraft”

Musica Elettronica Viva, or MEV for short, was formed in 1966 in Rome by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor. From the very beginning the group was based on musical freedom and the shunning of convention. Using contact microphones to record and manipulate sound wherever it could be found – from box springs to vibrators – and improvisationally combining those recordings with tenor sax, homemade synths and the very first Moog to trek cross the Atlantic, MEV made some of the most imaginative and abrasive sounds of the time. Recorded in live performance at the Academy of Arts (Akademie der Künste) in Berlin on October 5, 1967, Spacecraft is made up of a single piece of the same name – a slow building, jarring and disquieting work that reveals the entire MEV ethos in its lone half hour. As group member Alvin Curran put it “The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos - both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it.” Our Swimmer is pleased to present this first ever vinyl issue of MEV’s Spacecraft, an early piece from the most free-spirited group of the 20th century avant-garde.

22,50€

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Alvin CURRAN
“The Works”

The Works - one of the most famous pieces by brilliant American composer Alvin Curran - was not created by will and direct purpose but, as the composer himself states, as a “providential accident” which is to say quite organically. Combining piano and voice with found sound and a custom-built Serge modular synthesizer, “The Works” is a slowly developing piece where space and ambient tape are eventually overtaken by raga-esque chanting and frenetic piano playing, where synthesizer washes become full-on workouts all leading to a coda where the listener is “finally carried off on the wheels of the Berlin U-Bahn.” Curran - whose initial training and musical education was as a pianist - had been living in Roma, Italy, in the mid-‘70s returning to his roots and performing regularly in cocktail lounges on Via Veneto. It was this return to piano and vocals that became the genesis for The Works. In relearning the piano, a five-note “motive” took hold. Added to this was “a recording I had made of our 14 year old dachshund Caspar just before he died. It was, in fact, a love song which he persisted in singing all day after meeting a lovely bitch in heat in Piazza Navona. This I knew would be the beginning of the piece.” As the piece expands further the listener will hear “cows munching grass, the Rome-Florence express train, a horse-fly caught against a window pane, my footsteps approaching a Roman fountain and later going up the steps of my old studio, cicadas, an Amsterdam calliope, a tin can being kicked, and a series of sounds from La Serra di Lerici.” Though “The Works” has been performed in many incarnations over the years, it’s this performance - captured on February 24, 1980, and originally released that same year by the short-lived Italian avant-garde label Fore - that is the definitive version, and one of the finest recordings ever made by the celebrated composer.

23,00€

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André STORDEUR
“Oberheim SEM 8 Voice 1979-80”

Sub Rosa presents in their Early Electronic series, the final chapter of music by Beglian key composer of early electronic experiments, André Stordeur (1941-2020). Side A features a previously unreleased, stark and poignant composition from 1979; while the B side is vibrant and almost playful of pieces from the 2000s. André Stordeur His musical career started in 1973 with a tape composition for the soundtrack to a film on Gordon Matta-Clark titled Office Baroque. Later in the 1970s, he participated to avantgarde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris De Laet. Since 1980, Stordeur composes exclusively on Serge synthesizer, either a Serge series 79 and a Serge prototype 1980, which was especially built for him by Serge Tcherepnin himself. In 1981, Stordeur composed the music of Belgian film director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control,[4] a guide to everything modular. Oberheim While 'Oberheim' is the centerpiece of this LP, we pressed for the first time on vinyl three pieces from the session André called 'Synthesis Studies,' previously featuring on Complete Analog and Digital Electronic Music, 1978-2000. 'I was helped in my studies by a must-have book: The Techniques of Electronic Music, by Thomas Wells and Eric Vogel (University Stores, 1974). That book aside, I learned synthesis on my own. After a trip to India in 1968, I discovered Indian music and took tabla and sitar classes in New Delhi; my teachers were students of Chatur Lal and Ravi Shankar. Later, in the 2000s, while living in the US, I tried to recreate through synthesis all the Indian musical instruments I loved so much.' 'Drone' is one of his most spectacular works.

15,00€

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Rip HAYMAN
“Waves: Real and Imagined”

Captain Rip Hayman (b.1951, New Mexico) has come ashore again, bearing fresh cargo. A student of John Cage, Ravi Shankar, and Philip Corner, Rip was a founding editor of the notable Ear Magazine (1975-1991), and since 1977 he has run New York's oldest bar, the Ear Inn. The focused minimalism of his new LP Waves: Real and Imagined varies from the collaged spectacle of his first Recital LP, Dreams of India & China (2019). This oceanic dish holds two side-long works: “Waves for Flutes,” a multi-tracked flute composition recorded by the artist in 1977. ‘Angelic’, ‘Grave’, and ‘Sad’ modes overlap an effect of medieval choral organum, as shifting patterns evoke water and wind variations of the shore and vast sea beyond. An enchanting and arresting piece. The second side holds “Seascapes,” which was recorded on the Pacific ocean in February and March of 2020 – through calm seas and tempestuous storms. The ship as the instrument played by the sea. We feel both lost and saved when at sea, the landfall feared or longed for. The album is dedicated to all those whose souls have been lost and found at sea amidst the waves, for each sea wave is a child of Oceanus & Tethys, Greek gods of the sea, every one sent on their way to play...

27,00€

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KLEISTWAHR
“Winter”

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr. Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some. With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

20,00€

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2 LP

COMPILATION
“Strain Crack & Break Vol. 2, Music from the The Nurse With Wound List (Germany)”

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List. Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next Strain Crack & Break edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen-years-old. From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe (namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt. Including lesser-known artists like the late Wolfgang Dauner whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting ‘em whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a shit about the Fab Four’s Hamburg roots. Elsewhere we have a plethora of German bands made for German audiences as they try and shed second hand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1 newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm hand shakes for the camera. Strain Crack & Break Volume Two is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle, with tracks by Mr. and Mrs. Fuchs (aka Anima-Sound) who played their instruments completely naked throughout their anti- career alongside previously unpressed tracks by the scene’s leading Detroit-born African American drummer Fred Braceful who’s band Exmagma officially had the coolest record sleeves and track titles of ALL TIME (Torpedo Tits? Yes Please!). From an era where it was embarrassing to go into your local record shop and hum the tune over the counter, well that young lad Steve Stapleton was braver than that, and besides, these tracks are unhummable and at times unutterable. Did somebody in the crowd shout out for Joel Vandroogenbroeck! Good luck with that one. Stapleton is sharing. Even Stevens. Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of OUR kind of music, back to the disused elevator shaft towards ground zero. Arrriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous nerds have faltered (or simply, got the wrong end of the stick). After Strain Crack & Break Volume One merely scratched the surface of this DIY dossier of elongated punk- prog peculiarities, our second lavish metallic gatefold double vinyl compendium drives a much deeper groove, which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl want-list in the early 1970s. Comprising of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats this second volume of the series throws us straight back in the deep end, putting the Bad in Baden and the odour in The Oder with little need for cheap Cologne. Willkommen to another forgotten plateau found beneath the psychedelic underground, as Steve Stapleton and Finders Keepers dig new tunnels through the fabric of your vinyl wish-list, these German records are heavy, so find Solid Ground or watch you floorboards Strain Crack & Break before your bloody ears.

29,00€

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François J. BONNET & Stephen O’MALLEY
“Cylene Suisse redux”

Cylene Suisse Redux documents François J. Bonnet and Stephen O'Malley's Switzerland tour in December 2019, following the release of their first album, Cylene. The two musicians chose to entrust sound material recorded on the tour to the expert ears of two friends and great musicians Jim O'Rourke and Ryoji Ikeda, giving them carte blanche, and each in turn chose a distinct personal approach. For Ryoji Ikeda, it was a question of finding a moment, circumscribing a fragment of time through his listening, with minimal intervention. For Jim O'Rourke, on the other hand, the live recordings became material to be deconstructed and reassembled, to tell, according to his musical sensibility, a path of metamorphosis for Bonnet and O'Malley's music. Cylene Suisse Redux is a prismatic substrate of a series of concerts surrounded by friendship, lakes, mountains, and by nightfall.

Editions Mego · François J. Bonnet & Stephen F. O'Malley 'assembled by Jim O'Rourke (excerpt)' (EMEGO 298)

21,00€

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2 LP

Caterina BARBIERI
“Fantas Variations”

Fantas is the epic opening track on Caterina Barbieri’s acclaimed 2019 release Ecstatic Computation. The original Fantas laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritised over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged Fantas to a slowed-down, austere and eerie version for two Organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin and Annie Garlid, joining forces to express the choral, psychedelic and vitalistic nature of the piece. Barbieri’s former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes Fantas for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske’s reinterpretation for Saxophone and Voice captures the atmospheric essence of Fantas and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes Fantas for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta’s Singeli reinterpretation of Fantas transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck’s variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale’s take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid & Stine Janvin) - Fantas Variation for Voices (7’38’’) Composed by Evelyn Saylor. Performed by Evelyn Saylor, Lyra Pramuk, Stine Janvin and Annie Garlid. Recording, mix and additional production by Bridget Ferrill at Real Surreal Studio, Berlin 2021. Bendik Giske - Fantas for Saxophone and Voice (7'31'') Adapted and performed by Bendik Giske. Recorded, mixed, and produced by Bendik Giske in Funkhaus, Berlin 2020. Kali Malone - Fantas for two Organs (10'21'') Arranged for The Utopa Baroque Organ, The Sauer Organ and tuned sine waves. Recorded by Benny Nilsen at Orgelpark, Amsterdam 2020. Walter Zanetti - Fantas for Electric Guitar (7'27'') Recorded by Walter Zanetti, Bologna 2020. Jay Mitta - Singeli Fantas (12'03'') Recorded by Jay Mitta in Sisso Studios, Dar Es Salaam 2020. Baseck - Fantas Hardcore (4'44'') Mixed by Anthony Baldino, Los Angeles 2020. Carlo Maria - Fantas resynthesized for 808 and 202 (4'29'') Recorded by Carlo Maria, Milano 2020. Kara-Lis Coverdale - Fantas Morbida (3'04'') Performed, recorded and mixed at The Shop in Valens, Ontario by Kara-Lis Coverdale, January 2021. Engineering assistance from Robert Coverdale and Adam Feingold.

Editions Mego · Bendik Giske 'Fantas for Saxophone and Voice' (EMEGO 279)

27,00€

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HECKER / Okkyung LEE
“Statistique Synthétique / Teum (the Silvery Slit)”

A split album as part of the GRM Portraits series with two electroacoustic pieces by Florian Hecker (computer-generated multiphonic sounds and resynthesized recordings of localized textures) and Okkyung Lee (an acousmatic piece written for computer-generated sounds, pre-recorded materials and cello that was developed for the Acousmonium sound diffusion system during a residence at Ina GRM, Paris, in January 2019). Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see “shoulders of hills”, as Cézanne wrote. Teum (the Silvery Slit) is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation. In his sound installations and live performances, Florian Hecker (born 1975 in Augsburg, lives and works in Vienna) deals with specific compositional developments of post-war modernity, electro-acoustic music, and other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization. Their objectual autonomy is exposed while simultaneously evoking sensations, memories, and associations in an immersive intensity. Okkyung Lee (born 1975 in Daejeon, South Korea) is a cellist, composer, and improviser who moves freely between of artistic disciples and contingencies. Since moving to New York in 2000 she has worked in disparate contexts as a solo artist and collaborator with creators in a wide range of disciplines. A native of South Korea, Okkyung Lee has taken a broad array of inspirations—including noise, improvisation, jazz, western classical, and the traditional and popular music of her homeland—and used them to forge a highly distinctive approach. Her curiosity and a determined sense of exploration guide the work she has made in disparate contexts. Okkyung Lee has appeared on more than 30 albums and has collaborated with Arca, David Behrman, Chris Corsano, Jacques Demierre, Mark Fell, Ellen Fullman, Douglas Gordon, Jenny Hval, Vijay Iyer, Christian Marclay, Ikue Mori, Phill Niblock, Bill Orcutt, Marina Rosenfeld, John Zorn, among others.

Editions Mego · Okkyung Lee 'Teum (The Silvery Slit)' (excerpt) (SPGRM 003)