Out of stock
10"
PEÜR
s/t
Originally, Peür acts as a duo, armed with an electric guitar sharpened like a billhook, a saturated drumkit that hammers the sound space like a construction machine, and other sources of sound transformed by DIY devices. Sometimes, and this is the case, Fabrice Decemme and Mathieu Gratedoux, are joined by Didier Bourgoin, historical figure of the music scene from Poitiers (france) and creator of the Fanzinotheque, for the voice, the text thrown without artifice in the music, in a kind of brutal letting go to make many self-proclaimed improvisers pale.
Autobio / Motobio, between anecdotes, feelings and free digression of thought, the voice carried by the voice races like the projections of the guitar of the comrade, the sounds call sense that call others in a metonymic urgency that allows despite everything to stand above the void.
Peür is an enigma. You won't know much more, you will just find links with other french musical activists, limited edition productions, a split tape with Jean-Louis Costes... clues, therefore, signs of a state of mind frankly engaged in the margins and the « pratiques brutes de la musique ».
La Belle Brute is very proud to collaborate with Les Potagers Natures in the edition of this beautiful 10-inch silkscreen printed at 300 copies.
14,00€
In stock
LP
ORA
“Time out of Mind”
15 track album recorded by Darren Tate & Andrew Chalk, 1986 to 1996, on locations and at ICR Studios in York, engineered by Colin Potter.
Arrangements made at Impression Lointaine.
With Daisuke Suzuki as guest on two tracks.
‘Music first and foremost, with odd numbers that drift and dissolve better in the air, with nothing heavy or static about them.
Shaded tints we desire, no colour only tints and hues.
Nothing lovelier than a grey song, where uncertainty and precision meet.
Beautiful eyes veiled and dim, the quivering bright light of noon, and the blue tangle of clear stars in a mild autumn sky.
Only the shaded tint can link dream to dream and flute to horn.’ (adaptation of a poem by Verlaine)
Edition of 400 copies.
17,50€
In stock
LP
LUMINE
“Quiet Ends”
Played, recorded and mixed by Timo van Luijk & Graham Stewart at Kulta Saha, 2017-2018.
Sleeve drawing, design and text by John Whyte.
‘Quiet Ends’, the 2nd album by Lumine, draws an isolationist scenery with subtly merging halftones of twilight. The penumbra diffuses mysterious textures and a melancholic hypnotic atmosphere conductive to introspection. In the gathering darkness all troubling details of reality melt into large evocative masses and abstract surfaces.
Edition of 350 copies, with download code.
17,50€
In stock
LP
AF URSIN
“Itinera”
*** Limited re-pressing (200 copies) on transparent vinyl ***
First full electronic album, played, recorded and mixed by Timo van Luijk at Kulta Saha 2016-2017
"An imaginary one way trip through microcosmic oscillations in seven macrosonic constellations. The space of sound versus the sound of space."
16,00€
Out of stock
2 LP
David ROSENBOOM
“Brainwave music”
Black Truffle is honoured to announce the first ever vinyl reissue of David Rosenboom's legendary Brainwave Music, originally released on A.R.C. Records in 1975 and here expanded to a double LP with the addition of over 40 minutes of contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems.
Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long opening piece "Portable Gold and Philosophers' Stones", four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analysed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses to the situation. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In "Chilean Drought", three different variations of a text about a drought in Chile, each read by a different voice in a different style, are associated with the Beta, Alpha, and Theta brainwave bands. Alongside an insistent piano accompaniment, we hear a constantly shifting combination of the three vocal recordings controlled by the relative preponderance of each of the brainwave bands in the soloist whose brainwaves are being monitored. "Piano Etude I (Alpha)", the earliest piece included here, is based on research into the link between Alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands – deliberately designed to be difficult to execute without being in an alert, non-thinking state similar to that associated with strong Alpha brainwave production – two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average Alpha amplitude increases, resulting in a hypnotic, constantly shifting blur of repeated notes reflected through the shimmering, watery lights of the filters.
For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom's "On Being Invisible", in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to "Portable Gold and Philosophers' Stones" but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the 'performer's active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.' Enriched with archival images and new notes from the composer, this expanded reissue of Brainwave Music is essential listening for anyone interested in the history of live electronic music and alive to the possibilities it might still contain.
Includes archival images and new notes from the composer.
Gatefold sleeve design by Lasse Marhaug.
Mastered by David Rosenboom from the original analog tape masters. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
27,00€
Out of stock
LP
DOME
“Dome 2”
With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of “using the studio as a compositional tool” and recorded and released three Dome albums on their own label in the space of 12 months.
These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.
Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card.
G. Lewis + B.C. Gilbert. August 1980.
Engineer: Eric Radcliffe. Asst. Engineer: John Fryer.
Recorded at Blackwing Studio
Floating-point re-master by Russell Haswell, August 2011
Cut at Dubplates & Mastering by Rashad Becker, August 2011
New artwork and layout: Dave Coppenhall
19,00€
Out of stock
LP + CD
eRikm – Anthony PATERAS
“Albédo”
eRikm : CD-J, Idiosyncrasie system / Anthony Pateras : synth, sampler.
In Autumn 2017, eRikm and Anthony Pateras embarked on an acoustic encounter, a direct dialogue through their machines. Each brought their own experiences and know-how together with a shared desire to explore sound landscapes in complete freedom. From this meeting, Albédo was born. Their material was developed sometimes in the studio, sometimes in concert. This dialogue, articulated within the unpolished depths of the sound’s structure, is captured in Albédo with one side recorded live in Ljubljana and the other in the CCAM studio in Vandoeuvre.
23,00€
Out of stock
LP + CD
Anthony LAGUERRE
“Myotis”
About the release : In Myotis, Anthony Laguerre goes beyond rhythm using improvisation and a free approach as main technical support of invention. In a research based on rhythm and sound material around drums, he expresses sensitivity, softness and power thanks to expert skills and sound recording techniques. The union of these materials create songs made of multiple tones combined with percussions and occasionally harmonica.
About the artist : Anthony Laguerre is a versatile musician, composer, improviser and sound engineer. Growing up listening to modern music such as noise, rock and improvised music, developed his taste for electronics and sound techniques and compeled him to become a studio and live show recording engineer. His work as a musician is based on sound treated as music. The combination of his influences led him to work on audio forms, mixing harmonies and sound materials. His proclivity for produceing developed over the years now allows him to be autonomous in his productions and thus to deepen the research between sounds and music. Anthony collaborates with G.W. Sok, Jérome Noetinger, Isabelle Duthoit, Eric Thomas, Guigou Chenevier, Michel Deltruc and many others.
23,00€
In stock
LP
John DUNCAN & Joachim NORDWALL
“Conventional Wisdom”
Venerable avant-garde composer John Duncan follows his prized cycle of cover versions ‘Bitter Earth’ [2016] with ‘Conventional Wisdom’; a truly beguiling new suite of original, stony avant-blooz songs produced in collaboration with iDEAL boss Joachim Nordwall, and marking another high point in both of their catalogues After coming out as a vocalist to memorably striking effect in 2016, Duncan compounds the effect with ‘Conventional Wisdom’, placing his original lyrics in stark arrangements ranging from shortwave radio-streaked dark ambient settings and Mika Vainio-esque isolationism, to deathly dubs driven by Nordwall’s rugged rhythms in a style that heavily recalls Jay Glass Dubs’ recent ‘Epitaph’ LP.
An original and close associate of LAFMS co-founder Tom Recchion, and collaborator with everyone from Chris & Cosey to Asmus Tietchens, Merzbow and Andrew Mckenzie (The Hafler Trio), Duncan is well versed in the art of f*cking with music. Doing so since the ‘70s, it’s only in recent years that more “typical” song structures have crept into his style with most transfixing effect, gathering the attention of many who previously weren’t necessarily exposed to his music. Whether stemming from a perverse pleasure in twisting popular music, or a matter of changing with age (dude is 65), we’re just not sure, but either way Duncan is now coming out with some of the most broadly appealing, yet incomparable work in his 50 year-wide catalogue.
Aided by Joachim Nordwall, the pair convene a set of songs every bit as fascinating, eerie as the cover image of a birdcage mask bound in barbed wire. The title track emphasises the stark mystery with nothing more than meditative vocals, gamelan strikes and daubs of shortwave, before ‘Hard Swallow’ catches him huskily channelling Lee ‘Scratch’ Perry at a spooky distance, while the disembodied dub tropes of ’Soft Eyes’ come uncannily close to aspects of Jay Glass Dubs, and ‘Say No’ says it in the bluntest, most bluesy terms. The most desiccated, strung-out material however is saved for the B-side, with the sferic resonance and stereo-strafing vocal of ‘The Joke’ planing out into the cracked hush of ‘The Beautiful Attempt’, before he and Nordwall effectively duet in the finale ‘The Red Hot Alternative’, where Nordwall also supplies pranging percussion and Coil-esque synth abstraction.
19,00€
In stock
LP
HELM
“Chemical Flowers”
Luke Younger returns to PAN with an eight-track album of his most direct work to date.
Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sourcesto build upon 2015’s ‘Olympic Mess’. It shares a similarly inclined vision of the urban environment, but here ‘Chemical Flowers’ makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us.
Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme. Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.
The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nnothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced world-building. ‘Movement is key’..
Original price was: 20,00€.14,00€Current price is: 14,00€.
In stock
LP
BLACK ZONE MAGICK CHANT
“Voyage Sacrifice”
Black Zone Myth Chant acts as a dark interpreter for chemical elves in the steep sided, sunless psychedelia of ‘Voyage Sacrifice’ for Félicia Atkinson & Bartolomé Sanson’s faultless Shelter Press, under the slightly altered Black Zone Magick Chant alias.
Commendably, and temporarily sacrificing his consciousness for the good of your trip, on this release Maxime Primault aka BZMC has realised some of the most phantasmagoric sounds in his entire catalogue, which now stretches back over ten years and includes notable highlights in his psych drone project as High Wolf, and pulsing rhythmic noise as Iibiis Rooge. It’s perhaps testament to Shelter Press’ irrepressible vision that they have coaxed out this project’s most potent and far-out work, bar none.
Gutting out his screwed hip hop and dancehall inspirations in three durational parts embracing pitch black, miasmic abstraction, perceptions of time and rhythm become dissolved in the process, aided by a severely down pitched vocal growl that absorbs the listener into its tantric pacing on ‘Lightless Mountain’, holding the senses under as deathly bells peal for someone or something, and scattered metronomes occasionally accentuate the temporal smudge, spilling over into the seasick brownian slosh of ‘Incineration of Thoughts’.
But like the potential of any trip worth the effort, the darkness and the sublime become entwined in the 22 minute counterbalance of ‘Where will we meet when our ashes are spread in the wind’, which, thru its convincing, iridescent detail and lack of a ? in the track title, seems to describe from the inside, rather than speculate, a divine space or spirited beyond as the result of lived experience.
20,00€
Out of stock
LP
Kassel JAEGER
“Le Lisse et le Strié”
‘Le Lisse et le Strié’ is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA-GRM. He is also a writer and theoretician (The Order of Sounds, A Sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.
‘Le Lisse et le Strié’ has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.
Elaborating a dialogue between these aspects, Kassel Jaeger draws an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potential uselessness in a desert plain.
18,00€
Out of stock
LP
Mats GUSTAFSSON & Christian MARCLAY
“Link”
Christian Marclay: turntables
Mats Gustafsson: live electronics & slide, tenor and baritone saxes
Recorded and mixed April 2006 by Christoffer Roth and Olof Madsen at Studio Dubois, Stockholm
Mastered by Martin Siewert
Executive production by Joakim Haugland and Lasse Marhaug
500 copies
19,50€
In stock
LP
A HANDFUL OF DUST
“The Eightness of Adam Qadmon”
Originally released on cassette by Corpus Hermeticum (Hermes003), 1994. All sounds by Alastair Galbraith and Bruce Russell.
"New Zealand is on summer holidays all through the month of January. For some reason I had the house to myself, the wife and kids were elsewhere. Alastair Galbraith brought over some instruments and we plugged in a cassette recorder. We spent the sunny afternoon setting up combinations of instruments and seeing what happened.
We had recorded the Concord LP the year before and done two gigs at the Empire tavern that became The Philosophick Mercury. The idea of Dust was taking shape through experimental practice. Some of it worked better than other bits, but it all made sense as a collage of sound, pointing in the direction of freedom. Our collective practice was making leaps and bounds; and starting to get heard abroad. In Australia the young Jon Dale was listening:
'The Eightness Of Adam Qadmon was one of the first releases I heard from A Handful of Dust… I've always been drawn to this cassette for its utterly unique, acroamatic sensibility - it seems less interested in third-eye-rupturing … and more about a late night session, bleeding into early morning, under the influence of heady wisdom and headier substances… What we had here was very much the real deal, collective and solo eviscerations from the heart of sound itself. I love it, unconditionally.'
Jon got the time of day wrong, but not much else. Going back to this session recently, I became aware of the strange, ungainly and unrepeatable shapes our practice assumed during these first forays into total free improvisation. Re-mastered with help from Lasse Marhaug, at the request of some visionary Finns; here Adam Qadmon, the ur-Golem, comes again. Walking from the graveyard of the past, blinking in the autumn sun, and shaking twenty-five years of clay from his coat."
Bruce Russell, Lyttelton 2019
300 copies. Remastered by Lasse Marhaug.
17,00€
In stock
LP
SANDOZ LAB TECHNICIANS
“Grey Orders, Distant Trails”
Improvised soundtrack to a non-existent Western, recorded in the late ‘90s by James Kirk, Nathan Thompson and Tim Cornelius.
"Deep South kitchen-sink explorers have been circling the drain in counterclockwise fashion for at least half my life and yet I am still reduced to shameless gobsmackery in the presence of this sterling new collection of historic treasures. Committed live-to-tape in the comfy climes of a living room/recording studio/temple affectionately known as 'Canongate' (a kinda homespun CBGBs of Dunedin's out-sound universe) Sandoz here bristle with the million-ideas-per-minute glory that hovers over their finest blossoms. Unrivalled in their inventiveness and the seemingly infinite permutations of 'shouldn't work but does' instrumentation, 'Grey Orders...' creaks and rattles like ringing spurs on the empty bar floor of some unseen antipodean western. Whether this makes more sense envisioning the cactus-pronged wastes of Arizona or the deserted main streets deep in the blistering badlands of central Otago is best left to the ear of the beholder, but one things for goddamnsure... there's gold in these here hills and I'm gettin' me a mule and a pick-axe." - Campbell Kneale
James Kirk • Nathan Thompson • Tim Cornelius - Playing electric and acoustic guitars, drums, violin, autoharp, bass, reed and bamboo flutes, clarinet, vocals, ukulele, electric piano, analog synthesizer, tapes/field recordings, toys, percussion, whistling.
Recorded by James Kirk live to Sony TC-580 quarter-inch tape recorder at 8 Canongate, Dunedin, New Zealand 1997-1999. Mastered by Forbes Williams.
Edition of 250 copies.
Original price was: 17,00€.9,00€Current price is: 9,00€.
Out of stock
LP
PUCE MARY
“The Drought”
"Bringing together introspective examination with literary frameworks by writers such as Charles Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within the self towards preservation. The traumatised body serves as a dry landscape of which obscured memories and escape mechanisms fold reality into fiction, making sense of desire, loss and control. The Drought presents both danger and opportunity; through rebuilding a creative practice centred on first person narrative and a deliberate collage of field recordings and sound sources Puce Mary injects an acute urgency across the album seeking resilience"
20,50€
Out of stock
LP
KUKANGENDAI
“Palm”
Kukangendai is a kick ass rock trio from Kyoto (Tokyo transplants). When I first hear this band live I was instantly transfixed by their minimalist yet illusory primitive, polyrythmic and structural, memory evoking rock narratives. Their energy is completely and transparently palpable yet handled with restraint of the pleasure of a disciplined form dealing with time and articulation. They are a power trio of bass, drums and guitar but the music they play is as much the limbic system of a forest than it is a geode. They started in 2006. They left Tokyo to Kyoto and started the cult venue Soto (“Outside”) “to listen to music they hadn’t heard yet” a few years later. They collaborated with Ryuichi Sakamoto last year. They reminded me of James Brown on a heavy binge of Bastro, there’s a deep current of both archaic musical tastes and the human desire for articulating that archaism in there, but you shake your ass and get the shouting in… in a punk basement … 13th century version of Breadwinner, the bare soul version. I’m honoured and proud to work with this tribe, and to count them amongst friends.
-Stephen O’Malley, February 2019, Paris
16,00€
Out of stock
7"
Knud VIKTOR
“Le Petit Duc”
Le Petit Duc' [The Little Scops Owl] is a sound work by Danish artist Knud Viktor, made between 1978 and 1983. Viktor was classically trained as a painter at The Royal Danish Academy of Fine Arts in the 1950’s. In 1961 he moved to France to live and work, but was overwhelmed by the sounds of the wildlife in Provence, and instead of painting began listening to and recording his surroundings. With these recordings, he composed what he called sound images – images sonores – and throughout the rest of his career, sound was his main medium.
12,50€
In stock
LP
James RUSHFORD
“The Body’s Night”
Black Truffle is pleased to announce the release of Australian composer-performer James Rushford’s The Body’s Night. Known to many through his collaborative works with Oren Ambarchi, crys cole, Kassel Jaeger, Klaus Lang, Joe Talia and many others, this LP is Rushford’s first solo release in a decade and the very first he has composed, performed and recorded entirely alone.
Primarily recorded in Los Angeles in 2017, The Body’s Night is a single electro-acoustic suite stretching over thirty minutes, utilising field recordings, flutes, ocarina, microphones, organ, percussion, piano, tape, analogue synthesizers, viola and voice. True to its title, the record immediately ushers into a nocturnal, intimate, claustrophobic space where the hyper-amplified rustle of clothing and vocal mumbles are shadowed by uneasy synth tones, fluttering white noise and distant filigrees of ultra-high-pitched tones at the edges of aural perception. While the influence of contemporary composers such as Klaus Lang and Jakob Ullmann (both of whose music Rushford has performed extensively) makes itself felt in the music’s attention to the liminal space between sounds, Rushford also draws on the bedroom synth explorations of 80s acts like DDAA and the harmonies and production values of black metal, drawing a common thread between these influences in terms of their shared interest in atmosphere and deliberate retreat from perspicuity. Relief from this claustrophobic atmosphere comes through the episodic structure of the piece, where like an already dark shot fading to black, each sequence retreats from our ears before we feel we have properly grasped it.
Rushford uses classical electro-acoustic techniques and plays elegantly on the fundamental ambiguity of the acousmatic situation, in which we can never be sure of the source of the sound we are hearing. But rather than a tribute to the masterworks of musique concrete, this is defiantly idiosyncratic and personal music. Meticulous in production values and exploratory in timbre, tonality and form, The Body’s Night is a key work from one of the most singular young composers at work today.
Stunning artwork by O.B. De Alessi. Design by Lasse Marhaug. Mastered and cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin
Original price was: 21,50€.12,00€Current price is: 12,00€.
Out of stock
2 LP
Ernstalbrecht STIEBLER
“Zwischen den Tönen”
Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. Since the early 1960s, he has been developing a unique compositional style that draws on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music, but rather influenced by Minimalism in visual art and characterized by long static tones that slowly change and evolve over the course of a piece.
Stiebler has composed for solo instruments as well as for different chamber musical and orchestral line-ups. Many of his ensemble pieces are built around long tones coming together in specific intervals, often alternating between dissonance and harmony, sometimes involving microtonal structures. Often, the single instruments are hard to distinguish, instead the musical space opened up by the complex harmonies, disharmonies and pulses of interference becomes the focus of listening.
This double LP collects four live recordings of pieces journeying "between the tones" ("zwischen den Tönen"): "Intervall 19" and "Slow Motion", composed in 1997 and 2003, respectively, are apt examples of Stiebler's style employed for chamber ensembles, with static tones putting every tonal nuance under microscopic view, and slow movement allowing for observation of the slightest variations. The third piece, "Zwischen den Tönen" (1997) is an anomaly in his oeuvre in that it makes use of his distinct techniques but is written for women's choir. The edition is rounded off by a recent recording, "ortung" (2018), again for chamber ensemble, that displays a newfound ease and compositional intuition that has become apparent in his recent work. All recordings are previously unreleased.
"With great concentration the essence of sound becomes clear in Stiebler's late work, here in the heyday of his advanced age, and this has brought his music to the listeners and locations of the alternative avant-garde of noise, ambient and the real-time music scene, in which a culture of heartfelt dedication to sound has long existed. The fact that Stiebler's initiation of precise listening also constitutes a challenge to the cultivation of classical music (he is a great admirer of Mozart) has not yet been properly recognized." (from the liner notes by Matthias R. Entreß)
Edition of 300 in single sleeve with two printed inner sleeves. Liner notes in German and English by Matthias R. Entreß and Ernstalbrecht Stiebler.
31,00€
In stock
LP
Barbara PROKSCH
“OPTO_PHON”
Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied Lettering and Illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long lasting fascination for letters and geometrical figures, and often incorporate signs, characters and writing as well as calligraphic elements. Another thread of influence stems from her background in theatrical painting: the body language and the physical aspects of painting which come to the fore when working on huge canvas with large brushes and liters of paint.
From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing – in a linguistic sense – cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments.
This observation has led to the development of her group of works called OPTO_PHON, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper mounted like drumheads and treated with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early OPTO_PHON performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it while it is being cut and ripped.
Side A of this LP contains excerpts from OPTO_PHON performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to OPTO_PHON: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine. Edition of 300 in full-color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes.
Original price was: 21,50€.13,00€Current price is: 13,00€.
In stock
LP
NAPPE
“mmemm nolain”
Nappe is Pierre Faure and Christian Malfray (also members of La Morte Young, Sun Stabbed or pFeM). A slow and mysterious music between drone, electroacoustic and improvisation made with electric guitar, modular synth, filters, ... then reworked on analogue tape.
100 numbered copies.
28,00€
In stock
2 LP
A HANDFUL OF DUST
“Dragging her wings of rusty knives: selected recordings 1994-2016”
A Handful of Dust was founded over three decades ago by two giants of the New Zealand underground, Bruce Russell (The Dead C, Xpressway, Corpus Hermeticum) and Alastair Galbraith (Plagal Grind, The Rip).
Declaring their raison d’être in the now infamous Free Noise Manifesto the group has advanced a radical aesthetic; Rejecting any notion of structure or comfort they’ve ground music to it’s sub-elemental parts. A scraping and howling electricity, spontaneous, unrestrained, physical.
i) Being beyond “music,” it is noise.
ii) Being beyond “rules,” it is free.
Dragging Her Wings of Rusty Knives contains expanded and unreleased works spanning the group’s history including their first studio recordings since 1995 and new writings, a late coda to The Journal of Vain Erudition, Logopandocy.
Alastair Galbraith: Violin, Guitar, Clavioline, Glass Harmonica, Keyboard
Bruce Russell: Guitar, Farfisa, Clavioline
Peter Stapelton: Percussion (1i, 2iii)
Mastered by Lasse Marhaug.
34,00€
In stock
LP
François DUFRÊNE
“Cri-Rythmes”
Recital presents a reissue of François Dufrêne's Cri-Rythmes, originally issued in 1977. A remastered vinyl issue of the impossible-to-find cassette by French sound poet Dufrêne (1930-1982), this LP holds tracks not available since then. Dufrêne swallows the microphone, gargles the capsule, then vomits up the cables. Claustrophobic, verbal seizures, revealing once more that Dufrêne is king and all the pages of poetic history now have his spit on them. Includes memorial/tribute written by Bernard Heidsieck in 1983. Edition of 250.
26,00€
In stock
LP
Jean DUPUY
“All of the time”
All Of The Time is the first comprehensive album of Jean Dupuy's sound works, collecting recordings from 1969-2017. Dupuy started his artistic career as a painter but shifted his practice when he moved from France to New York in 1967. Dupuy experimented with new technologies, and soon became a prominent figure in the Art and Technology movement. In 1968 he participated with an inventive sound, light and color installation, Heart Beats Dust, in the landmark exhibition The Machine as Seen at the End of the Mechanical Age at The Museum of Modern Art in New York. In the early 1970s Dupuy started performing collectively with other New York artists, and his loft at 405 East 13th Street turned into a center for these performances. Dupuy also arranged similar events at the Whitney Museum, the Kitchen and the Judson Church. During his time in New York, which lasted until the early 1980s, Dupuy collaborated with over 200 artists, as an organizer of events and as an artist. Charlie Morrow poses the question: "But what about his sound art? Jean has a particular affinity for sound and vocalizing. The songs of his childhood, the French church tradition and the charming puzzlement of letter games and graphics. He has created an amplified heartbeat machine with blood red puffs of pigment, and short jingles, such as 'I like bananas; ain't no bone inside.'" In aligning this collection, a new piece came to be recorded specially for this LP, Concert of Seconds, a recording of a symphony of painted clocks that live in Jean's gallery in Nice, France. This LP was organized with the assistance of Christian Xatric and Charlie Morrow. 20-page insert with scores and texts, introduction sheet by Charlie Morrow. Edition of 220.
26,00€
Out of stock
LP
Robert ASHLEY
“Private parts”
Lovely Music presents a reissue of Robert Ashley's Private Parts, originally issued in 1978. This newly mastered LP release is a must-have for aficionados as well as a perfect introductory work to Ashley's oeuvre. Among Lovely Music's first six releases, it came to be known as "the yellow record". No one had ever heard anything like it; Ashley presented an unvarnished exposition of the inner workings of a man's mind. And on the other side, those of a woman. These two episodes were the foundation for Ashley's seven-part opera, Perfect Lives (LCD 4917CD, 2017), which was performed by his ensemble throughout the 1980s and was completed for television broadcast by Britain's Channel Four. New arrangements of Perfect Lives, notably Varispeed's site-specific version, continue to intrigue and enchant. Recorded at the Center for Contemporary Music, Mills College, Oakland, California, July 1977, produced by Ashley. Personnel: Robert Ashley - voice; "Blue" Gene Tyranny - keyboards; Kris - tablas. 180 gram vinyl, Stoughton Old Style sleeve, includes libretto.
25,00€
Out of stock
LP
David BEHRMAN
“On the Other Ocean”
Lovely Music present a reissue of David Behrman's On the Other Ocean, originally issued as one of Lovely Music's first six releases in 1978. This newly-mastered LP is a must-have for Behrman aficionados or a perfect introduction to his work.
"I've been engaged for many years in an exploration of ways to make music and intermedia installations in which software and electronic devices interact with human performers. I've wanted to make works that have personalities, which remain distinct and recognizable, yet are open to surprising changes that can come about when they are performed or exhibited." --David Behrman
"Remarkable achievements on a purely technological level. Behrman's carefully programmed Kim-I system listens to tones played by the live performers, instantly analyzes the situation, and responds by playing back electronic tones of its own. This is undoubtedly the first time that humans and electronic sound equipment have communicated with one another with high degrees of spontaneity and intelligence on both ends of the wire. But the music that results is perhaps even more remarkable. Subtle, sustained, serene, sophisticated, super." --Tom Johnson, The Village Voice, Dec. 18, 1978
Recorded at the Center for Contemporary Music, Mills College, Oakland, California, Sept. 18, 1977, and at the Electronic Music Studio, State University of New York at Albany, June 9, 1977. Personnel: On the Other Ocean: David Behrman - electronics; Maggi Payne - flute; Arthur Stidfole - bassoon Figure in a Clearing: David Behrman - electronics; David Gibson - cello. 180 gram vinyl, Stoughton Old Style sleeve.
22,50€
In stock
LP
Bernard PARMEGIANI
“Rock”
Back in stock.
Limited edition (500 copies) remastered from the original master tapes by Jonathan Fitoussi.
This is the first release by the French label Transversales founded by Sebastien Rosat and Jonathan Fitoussi. The never before released soundtrack of the film “Rock” (1982) directed by Michel Treguer and composed by Bernard Parmegiani (1927-2013).
Major figure of electroacoustic music and member of the historic GRM where he composed among others his masterpiece, “De Natura Sonorum”, Bernard Parmegiani produced also a large number of jingles, soundtracks, and indicatives.
On listening to Rock, one is reminded of John Carpenter or François de Roubaix: a work which mixes the sounds of the TR-808 drum-machine, Synthi AKS, Farfisa organ, and Clavinet. Remastered from the original master tapes.
Includes exclusive liner notes.
20,90€
In stock
LP
Igor WAKHEVITCH
“Kshatrya, The Eye Of The Bird”
Transversales Disques presents « KSHATRYA, The Eye Of The Bird », never released before recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of major experimental albums in the 70’s such as « Logos », « Docteur Faust » , « Hathor » "Les Fous d'Or", "Nagual" and "Let's Start"
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft-Machine, and legendary choreographer Maurice Bejart having with him many conversations around dance and music, human body and soul, spiritual path, collective life, new society, human evolution. As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to name a few. He's considered as one of the first french composer using synthesizers like Synthi AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch digged in his archives this unreleased work recorded in 1999 on his « Mysterious Island 88 » system. Esotheric, sacred and cosmic , « KSHATRYA, The Eye Of The Bird » is the logical follow up of Igor’s early works and a monumental piece of electronic music. A must!
22,50€
In stock
LP
Massimo PUPILLO & Tony BUCK
“Time Being”
Italian composer and bassplayer Massimo Pupillo (ZU) and Australian drummer Tony Buck (The Necks) colloborate in a beautifully haunting, absorbing ambient set, taking in electronic abstraction and free improvisation.
Pupillo and Buck are well known for their work with their long-running bands, as well as for their collaborations with musicians of the current international avantgarde scene - Pupillo released for instance with Cindytalk, FM Einheit, Ambarchi, Corsano; Buck with Fennesz, Branford Marsalis and Magda Mayas.
In TIME BEING / UNSEEN we see the duo turn toward experimentation which floats between uncanny percussion sounds underlined with heaving subs, sealed in deep and noisy atmospheres.
20,00€
In stock
LP
Régis RENOUARD LARIVIÈRE
“Contrée”
SIDE A
Contrée (2013), 20’
SIDE B
Allégeance volatile (2002), 8’46
Esquive (2010), 10’10
Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.
Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.
This is, indeed, a ‘volatile allegiance’ and ‘avoidance’ from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.
He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. “Something” rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).
The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l’air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.
Contrée is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years.
26,00€
Out of stock
4 LP
Daphne ORAM
“Oramics”
Throughout her life, Oram was a wildly original musician, inventor and theorist who refused to bow to convention. While Delia Derbyshire had more or less become a household name, it was only when Clive Graham compiled ‘Oramics' for a CD release in 2007 that Daphne's legacy started to extend beyond the fringes. In the intervening years (aided by the work of the Daphne Oram Trust and Oram’s archive at Goldsmith’s in London) there have been countless articles, features, a play, an exhibition at the science museum and even a creative arts building and several record labels and arts awards named in Daphne’s honour - going some way to restore her place as a recognised pioneer of electronic music.
To recap, Oram was the founder of the BBC Radiophonic Workshop, a department she more or less single-handedly created in 1958 camping out at the BBC studios for nights on end splicing tapes and working with various modified machines to carefully arrange her abstract soundscapes. Eventually the BBC bent under her pressure and, in studio 13, created the soon-to-be-legendary Radiophonic Workshop - with Oram its first director.
Among her countless other achievements, Oram is also cited as the first woman to design and build an electronic musical instrument, one that worked around the 'drawn-sound' technique whereby strips of 35mm film would be manipulated before being fed into her home-made 'Oramics' machine which would convert and 'read' the film into sound. She was also a prolific writer and lecturer on electronic music and studio techniques, developing concepts of spatial sound years before terms like "spatial sound” were even used.
Despite her considerable and historic list of achievements, Oram's life and work remained largely unknown by the wider public for many years until Clive Graham compiled this set. Spanning 44 tracks, it demonstrates Oram's work as some of the most varied and groundbreaking electronic music ever made. As opposed to so much of the Radiophonic-era material that has surfaced over the last few decades, Oram's work is often characterised by a much more layered and introspective quality, offsetting playful interludes and commercial recordings with beautiful, immersive pieces like the breathtaking "Pulse Persephone" and "Bird of Parallax” - highly atmospheric and experimental variants of musique concrète and tape music that still take our breath away 45 years later.
45,00€