In stock
LP
TONGUES OF MOUNT MERU
“The hex of light”
Tongues Of Mount Meru is the duo of Jon Wesseltoft & Lasse Marhaug.
Jon Wesseltoft is a versatile electronics composer and musician, having worked with noise, electro-acoustics, improvisation and experimental sound-work for over 20 years.
Lasse Marhaug is an experimental musician, improviser and composer with a long history within noise, improvisational, and experimental music with numerous releases since the 1990’s. He is also a producer, graphic designer, label head and publisher.
Wesseltoft and Marhaug started Tongues of Mount Meru in 2008 as a way to explore their mutual
interest in long-form music, psycho-acoustics, and the phenomenology of sound, and its correlation to perception. Their work as Tongues of Mount Meru is characterised by a stringent and multilayered flow of sound information, with an almost hypnotic quality. This is music that at times is clean-cut and saw buzzing, and at times lucidly beautiful, but always in demand of the listener's full attention.
This music was recorded in 2013 and consists of two pieces that reflect into each other. Both stringent and close-knitted with microtonal frequency interaction, with a slowly unsettling shifting movement. Both pieces gradually blooming within its own sonic time-space, to reveal microscopic movements in tonality, binaural beat patterns and ghostly strata of overtones.
Original price was: 16,00€.10,00€Current price is: 10,00€.
In stock
LP
CASSINI DIVISION
“Eta Carinae”
Around the turn of the century, a psychedelic fellow from Argentina – Miguel Sosa – swapped the grass for the rainy streets of Antwerp. Miguel lived in the long-standing Villa Delfia squat and played classical acoustic guitar pieces on the street to earn the necessary survival dough, winding down with a sustained assault of endless Moog dreambient at home. In no time and seemingly out of nowhere, he’d become a weirdo fixture in town — and ten years later he vanished just as swiftly. In the ensuing decade, we confess to have forgotten a little about Miguel’s music; it was so present in our lives that it was easy to take for granted. Then, a few monthsago, he sent us this mind-bending master of a record he had been working on for years. His essence seems to be etched into these pieces: filmic, dramatic, plastic-classical electronic music that could very well serve as the soundtrack to a documentary about this sweet Argentenian tripper. Much in the vein of Miaux or Blake Hargreaves, and somewhat like Miguel himself, this is music that sounds like it has always been there. We cannot express how happy we are to be putting this record out!
Limited edition of 200 copies
Original price was: 19,50€.12,00€Current price is: 12,00€.
Out of stock
LP
MIAUX
“Black Space, White Cloud”
Repress of the album with blue coloured sleeves.
"Following two singles, two albums, and a bunch of compilation tracks, we are proud to present Miaux’s third LP. Mia Prce, originally from Sarajevo and a Belgian resident since 1989, was reared on a psychedelic diet of Krautrock and similarly serpentine music by her artist parents who were part of the Antwerp-based (and over fifty years old) Ercola collective. Beautiful songs that break hearts without using a sharp object! More tears for the creatures of the night.
Limited edition of 300 copies. "
20,00€
Out of stock
LP
Stephen O’MALLEY
“Auflösung der Zeit”
Produced within the context of ‘The Guidebook of Church Burners’ publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O’Malley is a result of this collaboration. – Emilie Lauriola
Dedicated to Iancu Dumitrescu.
17,00€
Out of stock
LP
ACID MOTHERS REYNOLS
“Vol.1”
Label notes :
"Reynols is back! More than fifteen years after their separation, the most insane combo of the galaxy and beyond will therefore continue to surprise us. And what a return since they are accompanied by some no less eccentric friends, namely the group Acid Mothers Temple.
On one side the Argentinian group guided by the drummer-singer-spirit Miguel Tomasin, known for his embodied chants, his absurd proposals and his chromosome 21 in three triplicate, on the other, the Japanese group with long hair and long beards, to guitars from outer space, led by the legendary Makoto Kawabata.
On the one hand, a trio sometimes quartet having released around sixty recordings including a dematerialized disc entitled "Gordura Vegetal Hidrogenada", a symphony for 10,000 chickens or compositions based on blank cassettes, offering concerts for plants, tributes with dry ice, refractions of psychic energy with toothbrushes or sound performances in public places, etc. On the other, a collective which has up to thirty members, famous and unknown, musicians, artists, dancers, farmers etc. A community with no fixed commune, a scattered collective but bound by a philosophy: "Do Whatever You Want, Don't Do Whatever You Don't Want." This "Soul Collective", in its musical proposal , took on different forms and counted many of the mythical figures of noise and Japanese sound experimentation, with members playing in Boredoms, Zeni Geva, Ruins, Otomo's ISO, Afrirampo, etc.
And it was in 2017, when Acid Mothers Temple was touring South America, that the meeting and recording of this first volume of their collaboration took place in Buenos Aires. Nine damn assertive personalities who, however, know how to find a space of collective pagan communion, a sort of anarcho-mystical mass with long-term beaches, where the waves and flows of saturated guitars or airy voices profile a blues incomparable and unprecedented psychedelic.
Acid Mothers Reynols practice until the end the jamming of tracks and landmarks, They take us to distant lands where unreason is taken seriously, or freedom is the only defensible law.
Absolute respect for these big brothers of the Raw Music Practices, without whom, probably, we would not have created this collection."
16,00€
Out of stock
LP
PUCE MOMENT
“O.R.G.”
On January 27, 2019, as part of the VIVnAT LA DANSE festival of Le Vivat d'Armentières, the duo Puce Moment proposed the first diffusion of their scores written for the mechanical organs of the Café des Orgues d'Herzeele.
The Café des Orgues is a mythical place. It's a small bistrot that pays no mine, in a town of just over a thousand inhabitants on the road to Dunkirk. We can't imagine that the back room hides the most singular dance floor in the corner if not much further. Three great mechanical organs of the famous Belgian brand Mortier are recessed on three of the four walls surrounding the floor. Every Sunday, the room is open to the public made of faithful zealous who never miss a weekend except for a hip operation, young people driven by curiosity as much as the simple desire to eat a carbonade-fries while drinking a Flemish beer, but also large families and lovers of all kinds of folk music.
What a sumptuous idea then to have thought and proposed the creation of an unpublished work played on these organs to make the crowd dance that day. The challenge was rto create a composition that is danceable, where the rhythms lead to the loss of landmarks and where is heard to the micro-details of the sounds of this gigantic sound machine, with grains and textures always more organic.
A series of rough, repetitive and heady pieces that take on a particularly strong dimension to be played on these limonary organs. As if a Comeladian orchestra was playing some Steve Reich in a deterritorialized fest-noz in the Flanders for clubbers fans of German Kraut-electronic music.
16,00€
Out of stock
LP
Raoul HAUSMANN
“Poèmes phonétiques”
Finally available fully on vinyl, here are the famous 'Phonetic poems' from Dadaist Raoul Hausmann - remastered from original tapes and for the first time with the correct track titles along with a 40 pages booklet including typescripts and texts. This LP is published on the occasion of the exhibition Raoul Hausmann and European Experimental Poetry (1945–1971). Musée d'art contemporain de la Haute-Vienne, château de Rochechouart.
The 'Phonetic poems" were conceived in 1918, simultaneously and without much knowing with the russian futurists discoveries of Khlebnikov et Iliazd - with the cosmic sorcerer and trans-rational language 'Zaoum' (1913), Hugo Ball at Cabaret Voltaire (Karawane, 1916), then Kurt Schwitters (Ursonate, 1922).
All these artists-poets were inventors (or re-discoverers) in their own ways of a mediumnic ultralanguage where primordial inter-ethnic and mythological sounds precede meanings, in order to redefine human communication and to connect to the multi-dimensional.
Foreshadows of sound poetry and performative action poetry, these 'Phonetic Poems' are still there, miraculously preserved thanks to some recordings made in 1955 by Philips, then 1959 by Bureau and in 1966 by Henri Chopin, in Limoges where Hausmann had settled in 1944.
All tracks remastered and cut by Frederic Alstadt in 2019 at Ångström Mastering, Bruxelles.
17,00€
Out of stock
LP + CD
UNGLEE IZI
“Apprentissage & Remplacement”
This album is a 4 hours free electronic sonic exploration by one of the wildest french electronic freak - a long journey into the wilderness from extreme digital noises to sophisticated landscapes and suspended silences.
The vinyl contains 2 extracts, 20mn for each side, + 1 CD (74mn) + download card of the 4 hours track.
Mastered and cut by Frederic Alstadt for vinyl and digital.
15,00€
Out of stock
LP
Philippe DORAY & Les ASOCIAUX ASSOCIÉS
“Nouveaux Modes Industriels”
Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés, evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush.
Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen.
In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects.
Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing.
Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.
20,00€
Out of stock
LP
Philippe DORAY & Les ASOCIAUX ASSOCIÉS
“Ramasse Miettes Nucléaire”
In 1976, the Asociaux Associés (antisocial associates, TN) led by Philippe Doray (Rotomagus, Ruth, Crash), recorded the first of the two albums under their own name: Ramasse-Miettes Nucléaires. On synthesiser, Doray fires off his disturbing poetry over psychedelic pop, voodoo rock, off-kilter krautrock, approximate swing … But if the music is iconoclastic (bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal…), one thing is certain: Ramasse-Miettes Nucléaires is one of the best albums of obscure experimental song ever recorded.
It is no surprise that, on the Nurse With Wound List that Steven Stapleton inserted in the first album of his legendary musical project, the name of Philippe Doray can be found between that of the Doo-Dooettes and Jean Dubuffet: his music is genuinely original and, what is more, ahead of its’ time.
It was in 1977 that the first album by Philippe Doray, Ramasse-Miettes Nucléaires, was published on Gratte-Ciel, a label created by the journalist from Rock & Folk Jean-Marc Bailleux and run by Jean-Marc Patrat and José Serré. Encouraged by his wild experience in Rotomagus, a formidable rock band which swept through Rouen, for sure, but also further afield – as Julian Cope was himself inspired, years later, by their explosivity – Doray brought a team to this album which was both untamed and ready to fight to defend it’s terrible (and trembling) poetry.
Backed by his ‘Asociaux Associés’ (antisocial associates, TN), our man from Rouen let his fantasy run wild and cried out again: “sing with me, and don’t be afraid to clap your hands!” And so, much of French popular music was shaken: the ball in Doray’s pinball machine had struck Jimi Hendrix then Alain Goraguer, then Ash Ra Tempel and onto Areski, then T-Rex followed by Jac Berrocal…
As far as the texts are concerned, just take a listen. Doray’s poetry is schizophrenic: nurtured in the Normandy countryside, it relates paranoid tales of booby-trapped towns, Levis jeans, Prisunic supermarkets and plastic dolls… Crumbs of reality which he sucked up to create the album that Souffle Continu and Thierry Müller, mastering (with Ruth, Crash, and Illitch too) spit out again fifty years later, with many good memories.
20,00€
Out of stock
LP
Jasmine GUFFOND
“Microphone Permission”
Editions Mego release the new album by Australian producer Jasmine Guffond. Developed over a two-year period, Microphone Permission is an unsettling musical journey utilizing contemporary tools of communication to display Guffond's ongoing research into online surveillance and sound as a method of investigation. Source material on Microphone Permission are from various projects Guffond has been working on; a commission to sonify the data of the city of Melbourne, a dance performance about the future sounds of an extinct forest, an installation that sonifies Twitter meta data in real time, a job as a composer for a theater work about music and feminism by five young female identifying performers in Western Sydney and a site specific installation at the Linachtalsperre dam that employed the harmonic frequencies of electric currents. The results are a stark, brooding, disorientating journey into a paranoid musical field that sits somewhere between ambient club music and a dystopian soundtrack. Elements of techno, classical music, and sound art form a dark intriguing masterwork that questions the nature of invasive, algorithmic, and computational listening practices. For example, Microphone Permission refers to the consent we routinely give when installing various apps onto our smart devices. Inspired by a 2018 scandal in which fans of Spain's most popular soccer team were effectively turned into unwitting spies by granting the La Liga application microphone permission. No matter which make or model, all smart devices are built with a microphone that is by default, forever listening. Listening in these situations often takes on an algorithmic form that enables tech developers to bypass public response to what is intuitively considered invasive practice, that is, traditional modes of eavesdropping such as using the microphone to listen and record audio. Composed, recorded, and produced by Jasmine Guffond. Image by Ilan Katin; layout by Nik Void.
17,00€
Out of stock
LP
GOLEM MÉCANIQUE
“Nona, Decima et Morta”
Stephen O'Malley on the release (Paris, January 2020):"My first encounter with Karen Jebane (aka Golem Mecanique) was in the context of Echoés above the village of Le Saix in Haut-Ales, in 2016. This tremendous location runs along a deep river canyon with a long cliff on one side and a small mountainside slope on the other. Importantly, and uniquely, some mad acoustician geniuses have built massive concrete amplified horns into the hillside to project sound against the cliff, activating the landscape's natural resonance and delay patterns. The Echoés organizers exploit this system once per year, in a type of private weekend. People arrive for a few evenings of music and enjoy the summer and loosen their minds a bit. I was to be performing later in the night (under the stars, one of my most memorable and moving experiences with music ever), but Karen began her performance directly at sunset, the color saturating the sky and shadows growing deep purple and reds. Instantly and for the next hour I felt like I had descending into the Neolithic/Mythological age. And into the pre-renaissance mindset of time where linearity was absent, cyclic experience unnecessary... just when it was/is. Karen's deep and evocative chanting voice reflected and called forth in multitude amongst the landscape. Bone-chilling, or, perhaps, penetrating down through the bone. A thick and immaterial drone wove itself into the air. Voices began emerging from the cliff's face, the stones itself were singing, seemingly liberated from their geological time space. I understood more about why archetypal memory forms of seers, divinatory, witches and sorceresses exist in our cultural long storylines, our shared sociopsychological neurological rationalization constructs. Those necessary systems of attempting to interpret and communicate the world. It was an incredible moment within the blur between the night and the day. Although Karen's main instrument are her voice, and her mind, she also performs on organ, and also together with the Mediterranean folk music impressionada Marion Cousin on this deeply moving album. Karen also utilizes a very special French instrument known as the BAB, a kind of mechanized vielle (hurdy-gurdy)... one of the more incredible inventions of the La Nòvia group's legendary instrument builder Léo Maurel. Basically, the instrument sounds like an arcane goth/spirit interpreting Phill Niblock's string pieces, in monochrome on the very edge of the invention of color grain. Marvelous." Recorded and mixed by Borja Flames on 2019 New Year's Eve. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin July 2019.
17,00€
In stock
LP
Gareth DAVIS & MERZBOW
“Broken Landscapes”
Following on from their 2016 Moving Furniture release, Atsusaku, Broken Landscapes is a new collaboration between Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek) and Merzbow, Japanese noise mastermind Masami Akita.
The theme of mechanical compression explored in the first album is taken further this time, being looked at in the context of the fears of mechanisation in the environment. A torrent of noise reimagines the North Sea wind farms, the industrialisation in Southern California and the fight for the survival of animals in their overrun habitats. Through three tracks, the sounds of these spaces are crushed and distorted, the sense of air being saturated by the shifting low-end drones and hum of machines, howling reeds and dense white noise pushing away the breathing space.
The acoustic sound almost suffocated beneath the dense mechanical sweep of furiously abusive digital cross-fire and unrelenting production line intensity. Hints of recognition as a voice from the environment shines through before moving abruptly back into the mechanical barrage of looping textures. Broken Landscapes is built on impenetrably thick walls of manipulated field recordings while the bass clarinet saturates the midrange, the massive swirling mesh of analogue and digital material painting pictures of the magnified terrain that surrounds us.
16,00€
Out of stock
10" + CD
FOVEA HEX
“The salt garden III”
"The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern." Drew Daniels (Matmos)
The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.
Original price was: 17,50€.10,00€Current price is: 10,00€.
Out of stock
LP
Mark VERNON
“An annotated phonography of chance”
‘An Annotated Phonography of Chance’ expands upon the soundtrack to an uncompleted 16mm film made in collaboration with English filmmaker Martha Jurksaitis and the Portuguese artist duo Von Calhau! The film ‘Nossos Ossos’ was shot largely on location in the Alentejo region of Portugal in 2013.
Mark Vernon is a Glasgow-based artist whose work exists on the fringes of sound art, music and broadcasting.
At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound, obsolete media and the re-appropriation of found recordings. He incorporates these diverse elements into radiophonic compositions for broadcast, fixed media and live performances.
His solo and collaborative music projects have been published through labels including Kye, Staalplaat, Ultra Eczema, Entr’acte, 3Leaves, Staubgold and Gagarin Records, as well as a series of small CDR and LP editions on his own Meagre Resource imprint.
13,00€
In stock
LP
Jan St. WERNER
“Molocular Meditation”
Molocular Meditation is a bespoke light and sound environment featuring the voice of the Fall’s Mark E Smith. Smith is heard making observations on mundane objects, events and a range of meditation techniques basically associating his discontent with an apolitical british upper class. His voice forms the narrative component of an electroacoustic composition by Jan St. Werner placed in a hyper-real scenario evoking a state of transformation and deceleration. Molecular Meditation premiered at Cornerhouse, Manchester in 2014. This album presents a re-edited stereo version of the original multi-channel installation. Voice and guitar feedbacks were recorded by Werner and Smith at Blueprint Studios Manchester, electronics in Werner’s Studio in Berlin.
The B-side consists of unreleased new work partly written around the same time as Molocular Meditation in context of Werner's Fiepblatter Catalogue on Thrill Jockey. Back to Animals is a non-metric rhythm exercise frantically hybridizing percussive accents with synthesized pulse. On the Infinite of Universe and Worlds is the layout for an electronic opera on Giordano Bruno’s Renaissance writings which Werner was asked to conceptionalize for Finish festival Musica Nova. VS Canceled finds Mark E. Smith reading an email from Domino Records explaining their discontinuation of Von Sudenfed, a band Mark E. Smith had founded with Mouse on Mars' Jan St. Werner and Andi Toma in 2006. Their debut album Tromatic Reflexxions came out on Domino in 2007.
The vinyl record, cut with a diamond needle, delivers as much dynamic range as the digital format.
Music & Production Jan St. Werner
Words Mark E Smith
Words B2 Giordano Bruno performed by Guiseppe Maria Zevola
17,00€
Out of stock
LP
TANZ MEIN HERZ
“Dosses”
In 2015 Tanz Mein Herz welcome a new arrival among its ever-evolving roster of musicians, the self-taught hurdy-gurdy wizard Alexis Degrenier (from La Tène among other bands).
With a tour already in the works, the musicians settle on a set consisting of old material (Magical Stones and Shiny Mud) as well as new themes such as Spiegel Haus, both built around the new instrumentation.
The selection presented on Dosses is taken from the very first rehearsals around these themes, as the musicians strive and wander about freely in search of new musical vistas and promising friendship.
With Ernest Bergez, Pierre Bujeau, Alexis Degrenier, Pierre-Vincent Fortunier, Guilhem Lacroux, Jeremie Sauvage and Mathieu Tilly.
LP, 500 copies, silkscreened covers with stamped labels.
18,00€
In stock
2 LP
Stine JANVIN
“Fake Synthetic Music”
PAN tout a real beauty with Stine Janvin’s scintillating vocal suite ‘Fake Synthetic Music’ - a transfixing and distinguished demonstration of the voice as a hugely flexible instrument, presented in a range of minimalist yet extreme, probing scenarios providing a radical new perspective on familiar sounds.
Conceived as a full-body physical and ambient live performance for theatres, clubs and galleries, ‘Fake Synthetic Space’ is an intently focussed and singular follow-up to Stine’s previous solo LP ‘In Labour’ [Pica Disk, 2014] and her input to last year’s Native Instrument release ‘Camo’ for Shelter Press. Where both of those releases found her vocals combined with field recordings in myriad ways, the Norwegian artist’s latest side is stripped right back to vocals and FX, offering a visceral investigation of her full frequency range with results that explore the deeply uncanny auditory phenomena of otoacoustic emissions in melodic, minimal sequences referencing pop, techno, and trance.
Placed in a broad history of extended vocal investigation ranging from Dadaist poetry to the resonant acoustics of Alvin Lucier, the minimalist abstraction of Steve Reich, and the unearthly sonic spectrum covered by Maja Ratkje, ‘Fake Synthetic Music’ is anchored in the modern day by its use of clinically technoid pulses and repetition, and not least by its ambiguous title, especially in the age of fake news. Through the prism of the voice, Stine both literally and metaphorically reflects contemporary obsessions with authenticity and artifice, using trickery and illusion to strangely reinforce her own sense of self and likewise provide listeners with a life affirming experience.
Between the alien cadence of ‘Mood’, the playfully invasive sounds elicited from Glitch’, and most strikingly in the mesmerising stereo swing of ‘Like Right Now’, Stine presents genuinely shocking rearrangements of her voice quite unlike anything out there right now, and by the time the escalating pitches of ‘Tripple A’ and the whooping avant-jazz-techno of ‘Zen Garden’ have exerted their effect, it’s becomes patently, piercingly clear that Stine’s sound art operates on a remarkably incisive plane of synaesthetic perception
27,00€
In stock
LP
Jenna SUTELA
“Nimiia vibié”
Aspiring to connect with a world beyond our consciousness and our planet, nimiia vibié sounds the interactions between a neural network, audio recordings of early Martian language, and microscopic footage of extremophilic space bacteria. Here, the computer is a medium, channeling messages from entities that usually cannot speak.
However, it is also an alien of our creation. Drawing on nimiia cétiï, Jenna Sutela’s project on machine learning and interspecies communication, the record manifests a more-than-human language. This language is based on the computer’s interpretation of a Martian tongue from the late 1800s, originally channeled by the French medium Hélène Smith and now voiced by Sutela, as well as the movement of Bacillus subtilis, an extreme loving bacterium that, according to recent spaceflight experimentation, can survive on Mars. The bacterium is also present in nattō, or fermented soybeans, a probiotic food considered as a secret to long life. Beyond Bacterial-Martian culture, or Martian gut bacteria, the project attempts to express the nonhuman condition of computers that work as our interlocutors and infrastructure.
Jenna Sutela works with words, sounds, and other living materials. Her audiovisual pieces, sculptures, and performances seek to identify and react to precarious social and material moments, often in relation to technology. Sutela’s work has been presented at museums and art contexts internationally, including Guggenheim Bilbao, Museum of Contemporary Art Tokyo, and Serpentine Galleries. She is a Visiting Artist at The MIT Center for Art, Science & Technology (CAST) in 2019-20. The project originates in n-dimensions, Google Arts & Culture’s artist-in-residence program at Somerset House Studios. Machine learning in collaboration with Memo Akten and Damien Henry. Miako Klein in the contrabass recorder and Shin-Joo Morgantini in the flute, with sound production by Ville Haimala.
Original price was: 20,50€.12,00€Current price is: 12,00€.
In stock
2 LP
Joe COLLEY
“Psychic Stress Soundtracks”
First time vinyl pressing of Joe Colley’s Prix Ars Electronica award winning album. Mastered for vinyl by Giuseppe Ielasi and pressed across 2 LPs, packaged in gatefold jacket with expanded artwork.
"Failure, self-loathing and abject monstrosity continue unabated as the primary themes for Joe Colley's electro-shock minimalism. as with his previous, equally impressive Desperate Attempts At Beauty, he shifts through a seemingly endless supply of antiquated electric gear and forces these dilapidated machines to grind, crush, whirl and twist under conditions they were not originally designed for. On Psychic Stress Soundtracks, Colley astutely transcribes the machines' smouldering march to oblivion, granting them the emphatic capacity for pain and the recognition of existential despair. The ozone smell of melting circuity lingers above the nervous Geiger counter clicks and toxic hums of his electric dynamos. Colley is a gifted, if sometimes under-appreciated composer whose successes rely upon the manifestation of the paradox of building something extraordinary out of junk." - Jim Haynes (The Wire)
28,00€
In stock
LP
A.R LUCIANI
“Elettroencefalogramma”
‘Elettroencefalogramma’ scans the full breadth of electronic composition by Italian musical mastermind Antonino Riccardo Luciani, who’s perhaps best known for his library records, but on the showing here had a strong, prescient line in mind-bending, fathoms-deep experimental and academic work with tape and early, pre-synth devices.
Awarded unprecedented access to polymath composer “Tony” Luciani’s archive of inter-disciplinary work, Finders Keepers’ Andy Votel follows his pressing of Maria Teresa Luciani’s ‘Sounds of The City’ with a first compilation survey of her sibling’s vast catalogue, newly issued via the Dead-Cert label he curates alongside Sean Canty and Doug Shipton. The set falls deep within the label’s remit of reissued and previously unreleased work by overlooked and undocumented pioneers of 20th century sound, revealing a distinctive mix of material that nods to contemporary, tape music, neo-classical, jazz, electro-acoustic and counterpoint composition.
Drawn from original tapes recorded during the 1970s, ‘Elettroencefalogramma’ spans the heyday of Luciani’s work, before synth music was popularised. In this sense it’s worth noting Luciani’s links with Teresa Rampazzi and the pioneering electroacoustic group NPS - and namely Serenella “Serena” Marega - with whom he shares a strong affiliation toward embracing the possibilities of new music at the dawn of an unprecedented sonic epoch.
There’s a sense of being in transition between worlds and eras in the opening blend of melancholy strings and bubbling electronic rhythm ‘Battery Farm’, and likewise the cranky mixture of bestial growls and dissonance in ‘The Zoo’, while the rattly rhythm of ‘Offices’ uncannily recalls Trunk’s recent issue of ‘Mechanical Keyboard Sounds’ from the modern day. But Luciani excels at quieter, introspective styles, as with the flute-led vision of ‘Desol 2’, and most remarkably in the stygian, primitive drum machine pulse and clammy string droens of ‘Forest of Chimneys’, which is surely crying out for imagery of Satanic mills, while the rupturing tape of ‘Bombardment’ sets him firmly in a lane of advanced Italian noise that connects him to Gruppo’s Roland Kayn and Maurizio Bianchi.
21,00€
In stock
2 LP
Roger DOYLE
“Thalia”
The concrète riddle of ’Thalia’ is the Nurse With Wound-listed and cultishly desired Roger Doyle album withdrawn by CBS Classics shortly after its release in 1978. Less than 200 copies reached shops some three years after his distinctive debut ‘Oizzo No’ (1975) - which was reissued by Finders Keepers Cacophonic label to receptive ears in 2018 - and in retrospect the resurfacing of ‘Thalia’ follows that wonderfully odd LP to cement Doyle’s place among the outsider pioneers of ‘70s electronic and avant-garde tape composition
Arguably one of the most important experimental records to emerge from 20th century Ireland, ‘Thalia’ is coveted for its inventive, unpredictable, near-psychedelic brilliance, yet has remained scarce due to major label politics, meaning listeners had to fork out a ton for a 2nd hand copy.
Now readily available on its intended format, the keening, breezy logic and abstract theatric dramaturgy of Doyle’s work on ‘Thalia’ has been reshuffled to highlight its apparent surreality and frolicking apparitions. Combining his studious research and prep work at Utrecht Institute of Sonology (then home to Roland Kayn, Leo Küpper, Jaap Vink) and the studios of Finnish Radio (Yleisradio) Helsinki with a finely honed improvisational intuition at his home studio in Malahide, Dublin, the record yields a poetic diffusion of electro-acoustic phantasms meshed with politicised and unsettling field recordings, alongside a mad, experimental solo piano piece.
The 3-part title track is the biggest attraction on ‘Thalia.’ Acting as a sort of shamanic extension of Gaelic bardic traditions, Doyle guides the listener through labyrinthine dimensions, vacillating tape FX with stark synth pulses, fragments of ‘Danny Boy’ and the unsettling sound of a woman wailing or even keening (a lament for the dead) in only the first minutes, the piece spirals over two sides between obtuse electronics and jump-cuts to melancholy strums, airborne melody and rabid dissonance with the natural quality of Ireland’s ever-shifting interplay of sun, rain and clouds. The relatively brief ‘Baby Grand’ follows as a sort of playful solo piano palate cleanser for the LP’s purest electronic piece ‘Solar Eyes’, which surely recalls the iridescent expanses of Roland Kayn or Jaap Vink.
24,00€
In stock
LP
Louise LANDES LEVI – Timo van LUIJK – Bart de PAEPE
“Kami”
Like the ever changing shapeshifting nature of Kami in Japanese Shinto faith, the music on this new collaborative lp is itself a mirror reflecting, obscuring or modifying the ever changing rivers of sounds.
Louise Landes Levi has a long history in music from studying sarangi with Annapurna Devi and La Monte Young to performing with like minded poets as Ira Cohen and Simon Vinkenoog. As on the previous Ikiru lp she collaborates with Timo van Luijk (Af Ursin, Elodie, Asra, In Camera etc) and Bart De Paepe (Ilta Hämärä, Bombay Lunatic Ensemble etc). The trio weaves several delicate threads together into a surrealist, organic and overall poetic language.
Includes a postcard. Limited to 500 copies.
18,50€
In stock
LP
ELODIE
“Le nid d’ivoire”
Seven track studio album by Andrew Chalk & Timo van Luijk, recorded and mixed at Kulta Saha and Impression Lointaine, 2016-2018.
Edition of 500 copies on transparent vinyl, including reproduction of art-print and postcard.
19,00€
In stock
LP
Timo van LUIJK & Frederik CROENE
“Ipnopedion”
On the frigid moonless night of December 6th, 1978, a 26 year-old night watchman named Pier Zanfretta was on a routine patrol in the village of Torriglia, where he stumbled into a horrifying encounter with aliens from Taetonia. In order to get more clarity about what happened that night Pier Zanfretta agreed to undergo hypnosis, to let his subconscious speak about his abduction by these aliens.
As his discours under hypnosis sounded uncannily musical and mesmerizing, even without understanding the words, it became the basis of this Ipnopedion album.
For the recording of the title track ‘Ipnopedion’ (side 1) Zanfretta’s speech was played back on headphones, then phonetically reproduced by FC and TVL, lying down in darkness as being hypnotised. Apart from this transposed text only piano and a few hypnosis inducing atmospherics and spatialisations were added.
The ‘Taetonia’ track (side 2) opens with a naieve and enticing piano play slowly being beamed into a vacuum void towards Taetonia. As Zanfretta’s words were vague it remained unclear what happened in Taetonia but things certainly had changed…
Ipnopedion became a ritual invitation to withdraw from the concrete world, returning to it as uncanonical aliens from Taetonia.
Edition of 300 copies on transparent vinyl, with printed insert.
19,00€
In stock
LP
Abul MOGARD
“Kimberlin (Original Soundtrack)” (clear)
Clear vinyl edition.
Visionary synthesist Abul Mogard renders a darkly sublime soundtrack for ‘Kimberlin’ , an experimental film about the Isle of Portland on the English south coast, which coincidentally doubles up as metaphor for the mood of an increasingly inward-looking UK.
Taking its name from the local word for an outsider or “foreigner”, the short film ‘Kimberlin’ was filmed on location during the months following the advisory referendum of 2016 which lead to the current, purgatory state of “Brexit”. Combining mostly wordless, lingering shots of the Isle of Portland’s bleak and rugged landscape with Abul Mogard’s washed out but richly evocative music, made with manipulated field recordings, modular synth and layered Farfisa organ, the project came to reflect a sense of (be)longing, loneliness and outsiderness that also perhaps uncannily mirrors the putative collective feeling since that darkly historic vote, over three years ago.
Taking cues from the evocative poetry of lifelong islander, stonemason and poet Cecil “Skylark” Durston (1910-1996), as well as a news report on the discovery of a mysterious cinema found interred by foliage in the Isle’s cave systems, the merging of image and sound speak to their subject in an organic, impressionistic manner that leaves billowing room for imagination.
Mogard’s soundtrack opens out with a slow-burning, greyscale iridescence, tenderly manipulating the sound of fog horns and bird calls in briny modular spray and gloaming Farfisa organ swells that, when combined with song titles such as ‘Flooding Tide’ and ‘Playing On The Stones’, serve to evocatively connote the film’s subject matter.
The results can be heard as echoes in the digital future of an England that’s now difficult to grasp, most hauntingly transposing the meaning of Cecil “Skylark” Durston’s description of the Isle of Portland as a place where “quarry bells no longer ring, except in old men’s dreams” to the ever-present, never-ending riddle of Brexit and its generationally devastating bleakness.
23,00€
In stock
LP
Abul MOGARD
“Kimberlin (Original Soundtrack)” (black)
Black vinyl.
Visionary synthesist Abul Mogard renders a darkly sublime soundtrack for ‘Kimberlin’ , an experimental film about the Isle of Portland on the English south coast, which coincidentally doubles up as metaphor for the mood of an increasingly inward-looking UK.
Taking its name from the local word for an outsider or “foreigner”, the short film ‘Kimberlin’ was filmed on location during the months following the advisory referendum of 2016 which lead to the current, purgatory state of “Brexit”. Combining mostly wordless, lingering shots of the Isle of Portland’s bleak and rugged landscape with Abul Mogard’s washed out but richly evocative music, made with manipulated field recordings, modular synth and layered Farfisa organ, the project came to reflect a sense of (be)longing, loneliness and outsiderness that also perhaps uncannily mirrors the putative collective feeling since that darkly historic vote, over three years ago.
Taking cues from the evocative poetry of lifelong islander, stonemason and poet Cecil “Skylark” Durston (1910-1996), as well as a news report on the discovery of a mysterious cinema found interred by foliage in the Isle’s cave systems, the merging of image and sound speak to their subject in an organic, impressionistic manner that leaves billowing room for imagination.
Mogard’s soundtrack opens out with a slow-burning, greyscale iridescence, tenderly manipulating the sound of fog horns and bird calls in briny modular spray and gloaming Farfisa organ swells that, when combined with song titles such as ‘Flooding Tide’ and ‘Playing On The Stones’, serve to evocatively connote the film’s subject matter.
The results can be heard as echoes in the digital future of an England that’s now difficult to grasp, most hauntingly transposing the meaning of Cecil “Skylark” Durston’s description of the Isle of Portland as a place where “quarry bells no longer ring, except in old men’s dreams” to the ever-present, never-ending riddle of Brexit and its generationally devastating bleakness.
20,50€
In stock
LP
FRANCE SAUVAGE
“L’homme à zéro”
Genre defying, post-industrial adventures from France Sauvage, a DIY trio mixing outsider art, collage and darkwave influences in their own style of “Free Rural” and “Bruit Concret” music for Paris-based label; In Paradisum
France Sauvage play their own custom-built instruments in a way that shirks showing-off and doesn’t pay heed to trend, while fully entrusting in the power of their collective instinct. ‘L’Homme À Zero’ is the band’s cyborganically diverse debut LP for In Paradisum and their first record since 2015’s ‘Jeux vocaux des bords de Dronne.’ It yields a half-true image of the band in action, using edited recordings to construct an album that demonstrates their tastes for off-kilter, hypnotic sounds and rhythms between the piercing folk rituals of ‘La folie chez les animaux’, the black metal techno grind of ‘Parle-toi de nous’, and the Ghédalia Tazartès-like avant-chanson of ‘Je suis sorti de ma maison.’
Essentially the band specialise in avant-garde music without pretension. There are no grand concepts or to fall back on or mask a lack of original music. On the contrary, ‘L’Homme À Zero’ is fizzing with effortlessly tight and playful invention and tonal contrasts. From the cyber-folk fanfare of their puckered intro, the album saddles up a trip of Jodorowskian dimensions; traversing from desert-at-night scenes in ‘Brex me down’ to passages of psycho-cinematic harps and something like trembling R&B emoted by John Duncan, and sideways, ever sideways into chunks of Pan Sonic-like gristle and disorienting field recordings that recall a 4.1 world parallel to David Toop’s General Strike.
While narrative form surely emerges from the album’s mazy structure, it was never intended as such. It’s more testament to the band’s loose yet focussed intuition and naturally sprawling, explorative tendencies that a surreal tale emerges which will have different meanings for every listener
18,00€
In stock
LP
DRØNE
“The Stilling”
The 4th album by drøne, (Mark Van Hoen & Mike Harding), is the 3rd for Anna von Hausswolff's label, Pomperipossa Records. Featuring Zachary Paul on violins, Charlie Campagna (bass and ‘cello) and Katt Newlon on ‘cello, the strings add lush, warm layers to a darker, edgier sound. Gabi Strong debuts on guitar and the voices of a host of vocalists inc. Claire Belhassine, Celia Eydeland, Bana Haffar, Pepa Ivanova, Nour Mobarak & Brisa Romero.
With the trademark drøne sounds of static, radio voices, field recordings, modular synthesizer and found sounds, recording chance sounds right up to the final mix add to the dynamism and energy of the album.
16,00€
In stock
LP
Brunhild FERRARI & Jim O’ROURKE
“Le piano englouti”
Black Truffle announce the release of Le Piano Englouti (The Sunken Piano), the first collaboration between Brunhild Ferrari and Jim O'Rourke, offering up two side-long realisations of Ferrari's tape compositions recorded in concert at Tokyo's SuperDeluxe in 2014, revised and mixed by O'Rourke in 2019.
The title piece weaves an immersive web of electronics, pre-recorded piano, and field-recorded sounds, including the raging Aegean sea, the tranquil atmospherics of a Japanese island, and the roar of a pachinko parlour. Far from a slice of audio vérité, these geographically distant sites intermingle in an unreal space where they often become indistinguishable. Shadowed by electronics and reverberant snatches of piano, the field recordings rise up and recede like ocean waves, creating a constantly shifting texture that is nonetheless warmly inviting. Chirping birds are confused with their electronic doubles; snatches of footsteps and voices are engulfed by ambience of unclear origin. Increasingly present throughout the piece, the piano rises up one last time before being swallowed up for good by the pachinko parlour.
Tranquilles Impatiences (Quiet Impatiences) takes as its source material the electronic sounds produced by Luc Ferrari for his 1977 Exercises d'Improvisation, seven tapes intended to be heard alongside instrumental improvisation. Brunhild Ferrari's piece layers Luc Ferrari's sounds into a dense new work that emphasises the insistently pulsing rhythms of the source material. In this realisation with O'Rourke, the piece becomes a monumental sound-object, a slowly shifting mass of skittering electronic tones, shimmering reverb, and growling bass from which field-recorded events occasionally arise. At times, the placement of these fragments of real life in a pulsing, insistent musical landscape calls up Luc Ferrari's classic Petit Symphonie; at other points, the swarming electronics bring to mind O'Rourke's Steamroom work or even the vast expanses of Roland Kayn.
Presented in a deluxe gatefold sleeve with liner notes from Brunhild Ferrari.
23,50€
Out of stock
LP
Luc FERRARI
“Dialogue ordinaire avec la machine – Sexolidad”
Edition of 300 copies in gatefold cover. Comes with a 30x30cm 4-page booklet with bilingual (French-English) versions of the integrated text from "Sexolidad" and the lyrics to "Love Song with the Machine".
“Dialogue ordinaire avec la machine, ou trois fables pour bande doucement philosophiques” (1984). Ordinary dialogue with the machine or three gently philosophical tales for tape. Luc Ferrari in conversation with the machine and Yannick Gornet (stereo magnetic tape). Song: Michel Musseau. “Sexolidad” (1982-83). in six parts: eyes, hands, sight, mouth and tongue, sex and ears and for 15 instruments: flute, oboe, bass clarinet, bassoon, trumpet, trombone, violin, viola, cello, doublebass, piano, 2 percussion, celesta-glockenspiel. Live recording by the Ives Ensemble.
"Dialogue Ordinaire Avec la Machine" describes the not so chance meeting between the artists (Ferrari helped by Yannick Gornet) and the mysteriously working machine (a sampler), between the curiosity, amusement, surprise, ineptitude and excitement of the musicians and the machine with its appeal, complexity, stubbornness and synthetic eruptions. A rollercoaster through exploration, seduction, observations, misunderstandings, purrs, moans, gurgles, whooshes, loops and mechanical rhythms from which Ferrari builds his own synthesized folklore, ending with one of the most unusual episodes in the composer's production, the rather graphically explicit and apocalyptic "Love Song With the Machine" (which, to make an unlikely comparison with younger artists, one could imagine the music of the New York duo Suicide mixed by Nurse With Wound's Steven Stapleton).
"Sexolidad" is one of Ferrari's most seductive instrumental pieces, representing a journey over the body, in which tonalities and their mix create "a particular harmonic climate [...]. What is important is the expression this pseudo-tonal atmosphere should bring out, as a sort of sensual, and even carnal, satisfaction". The curious concept and its musical composition result in an extremely enjoyable piece which is continuously intriguing, evocative, dauntless, persuasive and highly satisfying, exquisitely performed here by the Ives Ensemble.
24,00€
Out of stock
LP
Will GUTHRIE
“Nist-Nah”
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT027), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat.
However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal
percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.
Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’. On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.
Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at D&M, Berlin. Images by Sylvie Meunier.
18,00€