VINYL - Page 32 of 46

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Derek BARON
“Crooked Dances”

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

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Joe MCPHEE & Bryan EUBANKS
“My Undocumented Alien Clarinet”

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

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ORA CLEMENTI
“Cover you will softer me”

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

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Daniel HIGGS
“The Fools Sermon, part 1”

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

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2 LP

Mark VAN HOEN
“The Revenant Diary”

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

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Jacob KIRKEGAARD & Niels Lyhne LOKKEGAARD
“Descending”

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

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Radboud MENS
“sine~plus”

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

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William ENGELEN
“Gebrauchsspuren”

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William ENGELEN
“Verstrijken”

After "Today, the organ has played beautifully again" and "32 bpm" from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken and Gebrauchsspuren. The Dutch word "verstrijken" means the same as its German counterpart "verstreichen": the time that passes. It is the name of a compositional method that William Engelen has been using since 2005. For a Verstrijken piece, he asks one or more musicians to keep a diary for a defined time period, usually a week. He then transforms each diary into a graphical score for the particular instrument played by each musician, where every hour is translated into eight seconds of sound. For the purposes of the composition, every activity described in the journal must belong to one of four general categories: sleeping, eating, working and free time. These will be represented by different colors in the score and later by different types of sounds. The quality of each individual sound is influenced by the quality of the particular activity, e.g. if the player slept well or not, how a particular meal tasted, etc. In this way, the musician performs a kind of self-portrait. Due to the nature of the composition, every score belongs to the particular player who has written the underlying journal and must only be performed by themselves. It is possible to perform Verstrijken in ensembles, though in this case each musician essentially performs solo and must not listen to the other players. Verstrijken has been realized for a large number of musicians and instruments. Some recordings have been released in 2008 on CD as part of the catalogue "Verstrijken (Audio Works 1999–2008)" by Verlag für Moderne Kunst Nürnberg. This LP pairs two unreleased solo recordings: "Verstrijken for Ko Ishikawa" (2010, played on shō) and "Verstrijken for Luc Döbereiner" (2007, for computer). Edition of 300.

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William ENGELEN
“Falten”

After "Today, the organ has played beautifully again" and "32 bpm" from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken and Gebrauchsspuren. In Falten (folds), Engelen asks musicians to play and interpret pieces of folded paper. Falten scores exist in different sizes, ranging from about 60cm x 30cm up to works that are 10 meters long. They consist of a piece of paper with stave-like lines drawn on it. The paper has been folded – sometimes with origami-like proficiency that adds a sculptural element to each Falten score – so that the lines collide, intersect, crisscross, disappear into folds, etc. The staves then represent sound, the parts of the paper that have disappeared represent pauses. The musician should interpret this paper environment like a choreography for their movements on their instruments. The actual notes don't count, but rather their parameters like intensity, timbre, vibration, etc. While this seems like total freedom at first sight, the staves and folds in fact give each performance a time structure that even allows for Falten to be played by ensembles. Falten scores have been realized on numerous occasions, from performances for orchestra to solo electric guitar. This LP contains "Falten for string quartet", performed in 2012 by Sonar Quartett, and "Falten for percussion", performed in 2013 by Talujon Percussion Quartet. Edition of 300 with photos of Falten scores and liner notes by Dagmara Genda.

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INTERSYSTEMS
“# IV”

Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly. When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records. Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision. The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years. Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree. While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

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John HUBBARD – Christoph HEEMANN – Andreas MARTIN
“Vogelscheiß Und Seine Verrückten Kröten”

John Hubbard, who is also a book designer and based in Finland, had released the sole recordings of the legendary project "Vogelscheiß Und Seine Verrückten Kröten" in 1989 in a limited edition of just 50 copies on his Strength Through Joy label. Now these rare recordings are re-issued for the first time by Art Into Life. In 1988, upon meeting Steve Stapleton while on vacation in Europe, John then went to Aachen and visited Christoph Heemann & Andreas Martin, and the enigmatic sessions they recorded are revealed here. Remastered by Jos Smolders, who has worked on projects by Takehisa Kosugi, Pierre Henry, and titles on the Come Organisation label. The LP issue comes with a download code and an insert and is limited to 300 copies. *** Born at the intersection of space, time and absurdity... After years correspondence with various musicians in UK and Europe (resulting from fandom and the process of co-publishing the BirthDeath compendium about Come Organisation), the opportunity arose for me to spend three months traveling in the Fall/Winter of 1988. UK travels included a brief but impressionable stay with Steve Stapleton and Diane Rogerson in London, with with visits to John Smith (Interchange magazine) in Newcastle, and Mark Durgan (Birthbiter, Putrifier) in Oxford. Following this, a lengthy stay with Christoph Heemann (HNAS, DOM Records) in Aachen, Germany, with a side trip to Ivrea, Italy to stay with Andrea Cernotto (The Sodality). Christoph and I whiled away our time listening to records, talking of records, shopping for records, and discussing the process of making a record together. While dining in a local Thai restaurant in Aachen we heard a warbly, distorted background music tape that had likely been playing for ages, thinking, "we can do this..." and took it as inspiration for the opening track on the LP. We invited Christoph's brother, Andreas Martin, to join us in the fun, to which he graciously agreed. We booked the studio and rehearsed at their parent's house the night before with violin, banjo and recorder. We transferred a piano piece I had recorded in Seattle, a field recording of toads, created the radio/sound collage for Jolly Jumble from the tapes I brought, and completed the album with an ambient piece. We took our master tape to Belgium to have the lacquer cut and shipped it off to the pressing plant in Germany. I flew back to Seattle and patiently waited for my copies from the "test pressing" ... 50 copies. Christoph kept 8-9 copies for himself, Andreas, and friends. (John Hubbard)

Art into Life · Vogelscheiß Und Seine Verrückten Kröten "Track.1"(excerpt)

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MUTAMASSIK
“Symbols follow”

New album from Mutamassik a.k.a. Giulia Loli.
From liner notes :
“There born the excitement, from the loins of broken gear and deft midwife.
Music for disinfection, in order to heal. To build a dream on.
Because before we or they or us learned to ignite and harness fire existed. It only let us.
Aggressive Atheists are being used to show how inevitable structured reverence is by inadvertently establishing their own religion by way of dogma, righteous conviction, intellectual punishment, headed by scientists as the new priests, technology as the ritual tool of salvation.
with or without their knowing it
Religious Zealots are being used to martyr their own religions on altars of utter faithlessness by carrying out just icing, consequentially projecting an image of a weak, untrustworthy god.
with or without their knowing it”

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Yandsen YONG
“Disillusion”

Yong Yandsen is a musician from Kuala Lumpur, Malaysia. He’s a member of Emacm / SiCKL, collectives promoting avant-garde and experimental music and expressions in Malaysia. Some may know his name from the Shang compilation, released on Xing-Wu, with two other artists from Malaysia. He did compose a piece for guitar, which was his first instrument that he drop for tenor saxophone some years ago. With his tenor you can find him on various recordings from the band Klangmutationen, but this is his first solo. 7 improvisations recorded over a period of two years in Cheras, KL. Free tenor sax with strong breath and playing with pitch in a lyrical style that make Yandsen related to Albert Ayler, Kaoru Abe or Masayoshi Urabe. Black vinyl limited to 300 copies. Mastering by Giuseppe Ielasi. Artwork by Loïc Verdillon.

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PALM –
HIGHWAY CHASE
“Escape From New York”

Flashback to 2009, maybe late winter or something like that. The Road Chief comes back from his extended stay in Belgium all laced up with new jams from the underground. We’re blazing the trails of the NE Ohio streets and valleys and on his stereo he’s got this "Palm - Escape From New York" disc. I become immediately intrigued and bewildered - so many questions to ask. "Who is this?" "When was this made?" "HOW was it made?" Feeling pert, we moved forward to pursue a vinyl release for the now deceased Wagon imprint, in high hopes we could deliver this platter immediately, being the non-stop jam that it is. Many emails, dead ends, events, tours, records, other releases, projects later the record seemed like it would never happen. We couldn’t get anything lined up, we didn’t have the time to get the ball rolling, and years had started passing by quickly. Flash forward to two months ago, loading up my iPod shuffle to take to work, and I see "Palm - Escape from New York" in the "tunez" folder. A few cups off coffee into work and jamming the "Escape From New York" at maximum volume, work became very productive all of a sudden - but I became so bothered by the mystery of this album that I had to go home and do some research. I tried some various contacts and shot a few emails without any expectation. Only days later I received word back from the Palm mastermind. He says "yes". So here we are, four years later, and this album will finally be pressed. This record was downloaded over 5,000 times from the Palm myspace and bandcamp pages; and now it will finally become a tangible artifact. "Escape From New York" is an enigmatic blast of fully focused, high-speed pursuit tunes
channeling the 1984 tropical shoreline highway. The imaginary soundtrack to the escape from your most intense predicament. The album exists in it’s own universe, completely belonging to the Highway Chase vision. "Escape from New York" was made in January of 2009, and it still slams just as hard as it did the first time I heard it. The album unfolds in a linear way where every track is essential to the whole - the album IS the movie. "Street Stallion" kicks off the record proper, with a dead serious synth lead, a seriously reverbed out rainbow arcing sequence, and a kick drum that will fill your entire room up. This track sees reprise in the varied form of "Street Hawk" later on. Tracks like "Dark Movie Screens" and "Desert Driver" pound relentlessly hard and will have you all wrapped up in hypnotic drum machine patterns and overlapping melody with driving electro vibes, somewhat reminiscent of the legendary "Nature Makes a Mistake" track (that Running Back did a killer 12" of) except completely off the hook, with the same forward driving sense of rhythm and drive. Meanwhile
tracks like "Ghost Cars" and "Invisible Beach" keep the wheels turning with complex structures and polyrhythms that will have you asking yourself how something could possibly be so catchy. "Space Again", closes the album leaving you wanting to flip the record and hear more Palm jams. An honor, a pleasure, and a relief with some closure to this mystery to finally have this in a physical form.

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Brett NAUCKE
“Seeds”

Written & recorded using ritual variations of of a singular patch for Modular Synthesiser in Chicago, IL & field recordings made in Miami, FL November 2012-July 2013. Mastered at D+M, Berlin by CGB, January 2014. Artwork by Nina Hartmann. Layout by Brett Naucke. If previous releases for Nihilist, Arbor and his own Catholic Tapes established Chicago's Brett Naucke as one of the more accomplished practitioners in the American synth underground, Seed, his debut LP for Spectrum Spools, is a veritable career apex, brimming with sonic ingenuity, detail, and mastery over both instrument and musical form. It is hard to fathom due to the sheer diversity of sound and affectations of the eight individualpieces on the album, but Seed was recorded - almost impossibly - with the same synth patch, slightly modified for the unveiling of each track. This testifies to the intensity of Naucke's macroscopic conceptual vision for Seed. Each track's complex arc points towards a mind rooted in academic electronic processes, keenly trying to surprise and disarm by prying open new textures, rhythms and structures. But Naucke has struck a perfect balance that unites this avant-garde intuition with a compositional sophistication - bringing each unique molecule of sound into cohesive songs and further still into a supremely listenable and closed album that operates entirely on its own logic. Recorded at home, as well as an isolated environment in Miami, Florida, and then mixed tediously over a six month period, Seed is a record displaying Naucke's instrumental proficiency as much as it points to his painstaking studio dedication. The results are nothing short of startling. Naucke achieves a perfect synchronicity between the intrigue of each shimmering, crystalline soundthat seems to exist infinitely within its own micro-habitat, and the larger organic whole to which it contributes. Combining delicate ambient synthscapes, snarled electronic pulses and subtle and beautiful melodic phrasings Seed hovers in an emotional sphere very much of its own. Each piece stitches together resplendent widescreen atmosphere with an intricate coldness and mournful elegance. Over the course of this album, Naucke has come as close as any to making the machines he has used sprout from the same soil as the organic landscapes he so perfectly renders on this album.

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Hermann SCHERCHEN
“Orchesterproben Ludwig van Beethoven 6. Sinfonie F-Dur, Op.68 “Pastorale””

Rehearsal with the RTSI Orchestra: 6.Symphony by Ludwig van Beethoven (Historical recording from 1965)

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Brett NAUCKE
“The Mansion”

Brett Naucke returns to Spectrum Spools with his sophomore LP for Spectrum
Spools following the “Seed” LP (SP-034) as well as a string of exceptional cassette releases on Umor Rex and Hausu Mountain.
“The Mansion” finds Naucke at the peak of his powers with a fresh array of meticulously composed psychotropic tapestries. Themes based on a childhood home, now a distant memory, reveal a mysterious narrative in mind-bending sonic detail. These complex ideas fuse conflicting states of tension and beauty with an organic acumen, each track a piece of the greater whole.
“The Mansion” is a fine mixture of contemporary concrète structure interlaced with tightly crafted melodic arrangement and hi-fidelity electronic exploration. In addition to his stalwart synthesis, Naucke employs additional personnel featuring vocal duties from Natalie Chami (of Goodwill Smith and TALsounds) and Viola sounds from Whitney Johnson (of Matchess). Field recording, piano and other various instrumentation are also carefully implemented adding a new, deeper dimension to the Naucke oeuvre.
With his most realized set of compositions yet, “The Mansion” finds Naucke at the paragon of his conceptual and sonic ethos with a work that’s at once deeply meaningful and profound in it’s auditory breadth.

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QUICKSAILS
“Mayville Dream”

Ben Billington is a resident Chicago staple and multi-instrumentalist crucial to the Metro area experimental landscape. He can morph his styles seamlessly and is fluent in many musical languages, wether he’s playing in Moonrises, Circuit de Yeux (as a touring drummer) or in the legendary underground free-jazz unit Tiger Hatchery. "Mayville" is the sophmore LP following his Silver Balloons in Clusters" LP on Under the Spire (while originally released as a cassette on Deception Island some time ago.) With "Mayville Dream", it’s all Billington and the results are outstanding. Taking from every direction and experience his knowledge and songcraft, Billington has crafted a well-varied album of instrumental suites that are as eclectic as they are eccentric. Being primarily trained as a drummer, various kinds of percussion appear throughout with many rhythmic angles that the intricate melodies and structures to make them truly unique. The opener "The Many Roads to Mayville" opens with a concrete flutter before doing a complete 180 into a total color storm of melody and syncopated percussion. "Institutes Innards" flips the mood right away with its deep urgency and melodies that demand introspect. Tracks like "Bemus Has Wings to Fly" and and “Closer to Towanda" display an ability to thickly layer pieces and parts to make a logical whole while displaying elements of early psychedelic rock and with the knowledge of early private sides in tow. "Mayville Dream" has a special impact because you hear Billington stretch himself out over every playing style he knows and beyond to create something that’s all his own. Spectrum Spools released in association with Editions Mego.

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BOLDER
“Hostile environment”

Recorded by Bolder. Mastering: Rashad Becker. Cover Art: serious drifting. Artwork: sansculotte. Bolder is Martin Maischein who used to record as Heinrich at Hart on Position Chrome and Peter Votava also known as Pure who has recorded previously for Mego and was half of Ilsa Gold. With their combined background in electronic music of all angles Bolder introduces a significant
proposition to the current experimental electronic boom. Blurring the lines between industrial, techno, dub, ambient and narrative forms, the work on Bolder’s debut presents a dance amongst the abyss, a world where organic rhythms provide the path amongst a swarm of foreboding electronics.
Herein lurks an atmosphere where hostile electronics weigh the hope and paranoia of today’s climate. One humans listen is another humans challenge.

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THOUGHT BROADCAST
“Emergency Stairway”

All tracks: Ravi Binning, 03-04, 2012, Northern California, USA. Mastered and cut 06, 2012 by Rashad Becker at D&M, Berlin. Emergency Stairway could have been Thought Broadcast's debut vinyl full length. In fact, when commissioned in early 2012, only one 7 inch and two super limited tapes were in existence, until some other label snapped to the finish with an even older commission. So, lets say an almost debut. Confused? Well, yes, that's probably the point. Ravi Binning's Thought Broadcast project oozes out a dank and confused audio experience isolated way beyond the city limits. A glance at the titles suggest a routing in the primeval Real Industrial mind set, hooked up to classic dub sensibility. Listening to these fascinating recordings one gets the impression something happened in the room that you are probably not supposed to know about, hinting to a twisted form of Aktionism. Beyond the analogue grime (these tracks were delivered to label as cassettes, then carefully transferred and mastered at Dubplates and Mastering in Berlin) lays some real treats with Orgone Theater and Portrait Heads fitting neatly beside V.O.A. era Cabs in your local Disko. Simply put, a beautiful record.

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PLVS VLTRA
“Parthenon”

Spectrum Spools is pleased to release the debut album by veteran musician Toko Yasuda’s PLVS VLTRA project. Toko has been working for years already in established pop acts such as Enon, Blonde Redhead and now touring with St. Vincent handling synthesizer duties for live events. In all her years of songcraft there have been sparse, if any solo output, until now. And now for something different..." as we say here at the Spectrum Spools headquarters. Parthenon" is a sugar-sweet album of catchy pop songs, crafted with expert precision and outstanding composition logic. Everything is locked in in a way that seems at once like clockwork, and also somehow very free. As if Alice Coltrane’s "Universal Consciousness" was reimagined and sent into the future to be reimagined as an electronic pop record.. Most of the album’s focus lies on the glowing, ethereal voice that is unmistakably exclusive to Yasuda. Swirling, fine tuned electronic washes and collaged clouds of ambiance swirl and hover around these mega catchy tunes giving them a fantastic depth which commands attention and repeat visits. Yasuda’s songcraft here is in peak form as well, with ultra catchy hooks and addictive melodies that have been dialed in to perfection over the many years of making music. One of the most brilliant facets of "Parthenon" is the anti-genre omniverse vibe, where all borders and boundries set to confine music to a general one word descriptor are shattered. “Pop” is a word abused to catch-all, and like any great, well-thought album, “Parthenon” refuses to be pinned down. Here is your summer jam! Enjoy! Lovingly mastered and cut by Rashad Becker at Dubplates and Mastering.”

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OUTER SPACE
“Phantom Center”

Recorded and mixed in Cleveland, Ohio and Cashiers, North Carolina 2013-2014. Mastered by Giuseppe Tillieci aka Neel at Enisslab Rome. Album photos by alecia toggle. Layout and label design by Jen Gómez. John Elliott and Andrew Veres have been refining their creative powers as Outer Space since 2010 with “Akashic Record” (Spectrum Spools) and “II” (Blast First Petite). The pair now release their first new material since 2012, Elliott’s first since Emeralds ceased and the first as a duo. Editions Mego are well chuffed to release 'Phantom Center’, a stunning 2 track EP to kick the spring season off. “Arrival and Assessment” confidently sets the tone with multi levels of bass lines weaving around complex rhythms and those vast atmospheres we come to expect from this project. Flip it over and we encounter the earth shattering “Crixa / 5925”, the perfect soundtrack to staring into an endless void with bottomless sub-bass and Raicevic-informed synthesizer disarray.

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FABRIC
“A sort of radiance”

“A new and exciting label manufactured and distributed in association with Editions Mego focusing on current, past and future electronic music works of the highest quality.” “Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2011. Matthew Mullane is a Chicago multi-instrumentalist performing under the guise of Fabric. Here we have a fine suite of compositions which embark on a voyage through darkness of night and the brightness of day. Washed out dark colors and static pulses sweep across your stereo painting a portrait of intense yearning and determination. Recorded over the course of a year, Matthew has constructed a multi dimensional organism of sound that has perplexing depth and astounding detail. The album reveals new shapes and sizes with repeat listens and is truly a work which you can submerge yourself in to get lost. “Leaving the House” is an energetic workout with it’s dense, ultraviolet fog and stream-like melodies. Then there’s the vignettes such as “Orange and Red” or “Containers”, that branch out into unfamiliar territory in their own special ways synthesizing a journey far from home. So far, Fabric releases have appeared in very small editions including a split with Sparkling Wide Pressure and a practically non-existent cassette on Fairchild Tapes. Spectrum Spools is proud to kick off the label by presenting the debut Fabric album.Released in association with Editions Mego.” label info

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Armando SANTIAGO
“Música Intuitiva”

Twelve immediate listening modes for a virtual orchestra (unique MIDI sounds); Created: 2003. Québec (Québec, Canada), Armando Santiago (conception-achievement). Born in Lisbon (1932), he studied singing, piano and cello at the National Conservatory of Lisbon. In Italy he studied conducting with Hans Münch and Franco Ferrara, and in Paris he studied with Pierre Schaeffer at the ORTF Research Service. Fellow of the Governments of Portugal and Italy, he worked in Rome with Boris Porena and followed the course of Goffredo Petrassi in the Academy of Santa Cecília, obtaining the diploma of studies of Composition. In 1968 he settled in Canada, where he began teaching in Composition and directed the orchestra class at the Conservatoire de Musique de Trois-Rivières, institution of which he was director. He was also appointed director of the Conservatory of Music of Quebec and responsible for the reforms of the educational programs. With a catalog that covers the solos genres, chamber, orchestral, vocal and electronic, its activity of composition emerges as a way to respond to a personal need, seeking the fulfillment of the detail and the correctness of each attitude. Without losing sight of the teaching of History, for Armando Santiago, composing is not an isolated act of the general problematic of artistic creation. The musical score is thus no more than an 'adjustment', by means of specific codes, and the composer is a filter-maker, sensitive and eclectic. The transformations of language and symbols, the hallmark of dialogue, will then implicitly penetrate by osmosis into the deep structure of the work, and this, apart from the active adoption of immediate last-minute solutions, the systematic refuge of the trajectory of the inheritance, or the modesty of human values. Composer’s text : “The principle of the principle, the darkness and the light, the life and death of all that exists, the phenomenal energy of the sidereal nuclei, the cannibalism between galaxies, the abysses of infinity, the gravitational whirlwinds, the fate of cosmic reality, everything Huddles and clashes before an imaginary, audacious and privileged witness. Seduction of the unfathomable, twelve states of immediate listening, independent or juxtaposed, escape the solutions of continuity. Conceived as if it were intended for an orchestra – MIDI sound sources, instrumental freedom, dogmatic neutrality, then becoming a giant and virtual orchestra – the work advances as a long poem of static stanzas where microorganisms, multiplied to infinity, spreads themselves on curvilinear objects with almost incantatory gifts.” 200 copies.

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DRIPHOUSE
“Spectrum 008”

All tracks by Daren Ho. Originally released on cassette in an edition of 100 by Root Strata as Root 91. Mastered and cut at D+M, Berlin, August 2011.
Popular tags : Ambient, Analog, Baroque, Beautiful, Bizarre, Boring, Cold,
“Daren Ho”, Digital, Driphouse, Drone, Electronic, Electronica, Experimental, Floating, Harpsichord, Library Electronics, Modular, Mysterious, Piano, Psychedelic, Puzzling, Satie, “Spectrum 008”, “Spectrum Spools”, Sterilized,
Synthesizers, Ugly, Wendy Carlos, Wobbly, WTF, Zig-Zag.

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NPVR
“33 33”

All tracks by Nik Void & Peter Rehberg. Recorded and edited at The Premises, London, July 2017. Mastered by Russell Haswell at Haswell Studio, London, August 2017. Cut by CGB at Dubplates & Mastering, Berlin, September 2017.
NPVR is moniker taken on board by Pita aka Peter Rehberg and Factory Floor’s Nik Void. Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.

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Gary WAR
“Jared’s lot”

“It’s been nearly two years since we’ve heard new music from Gary War and we are excited to announce the release of his inevitable breakthrough “Jared’s Lot”.
Through the years we have heard the developments from the D.I.Y. psychedelia of "New Raytheonport" to the more current electronic acid-prog tracks we heard from "Horribles Parade" and the most recent "Police Water" EP. "Jared’s Lot" brings the years of laboring and hard work full circle, with every facet of the project dialed into perfection. These tight and intelligently arranged pieces are the most concise and mind-blowing set of songs presented yet and we’re sure you’ll have a hard time taking this off your turntable. The album kicks off with the incredibly anthemic "Thousand Yard Stare", which asserts immediately that the album is very different than previous efforts, crafted with hind-sight in mind and glowing with ambition. We can hear the melancholy voice of a man lost in the cosmos with nothing to lose going for broke, it’s all or nothing. Tracks like "Superlifer" and "Pleading for Annihilation" contain such a powerful energy and pack such a wallop that you won’t possibly be able to stand still. There is a great juxtaposition however, with songs like "Advancements in Disgust" and "World After" experimenting with new styles of pop/rock structure and incorporation of odd rhythm and melody. Gary has a masterful control of his machines, and you can tell that countless hours were spent making sure that the vision came direct and absolutely pure, from his mind to the record you will hold in your hands. Even though we have a more synthetic based set of tracks, it’s apparent that these transmissions are messages that are based in our reality, evoking a boundless range of emotions throughout. The hectic fidelity of Gary War’s previous recordings have morphed into a unique production style which rewards with it’s rich tone and multi-layered tiers of sound and melody. We are witnessing a huge leap forward in both sound and vision, respectively. Meanwhile, the alienated code hardly discernible to the listener and clever pop structure remains, and in top form, making this album a warmly received gift to the Spectrum Spools catalog. Fear that man who has nothing to lose.” Mastered by James Plotkin.

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Derek BAILEY / Evan PARKER
“The London Concert”

Following on from the re-issue of Topography of the Lungs, Otoroku is proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975. The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other. - Stuart BroomerThe London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer.

21,00€

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MP HOPKINS
“G.R/S.S”

A full length LP by the eminent Australian sound artist MP Hopkins. The first side “The Gallery Rounds” consists of three pieces which were assembled from field recordings made at various art galleries, museums, and other institutional buildings. The raw materials captured at these sites was not focused on particular artists, or kinds of artwork, but rather, on various unintentional combinations: outside traffic and construction work blending with the sounds of videos and kinetic sculptures; human activity and the sounds of the buildings themselves merging with performances, artist talks and lectures, and various other exterior intrusions into designated spaces of culture. The idea was to present an audio diary from the perspective of the listener/viewer, the consumer of culture, that hopefully reflects something about the nature of this consumption: sometimes engaging, occasionally confusing, and often tedious. “Scratchy Sentence” is a piece that was arranged from recordings made at Melbourne Electronic Sound Studio (MESS) over several sessions throughout 2016. Some sort of electronic, scratchy dialogue between human and non-human.

14,00€

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BIBLIOTEQ MDULAIR
“Primitive electronics brain dance”

In collaboration with copypasta editions.Biblioteq Mdulair is an orchestra made of some 15 analogue function generators played by Swiss based artists Emma Souharce and Daniel Maszkowicz. In their concerts they often collaborate with the analogue modular video synthesizer SYNKIE creating a total audiovisual symbiosis with dozens of CTR televisions. This first release is a live performance recorded at Cinéma Nova in Brussels (Belgium): a hypnotic ambient noise evolving towards a magma of colliding frequencies growing in intensity with an acid beat climax. The music constructs itself before a dripping decomposition from a telluric harsh noise landing down to a soft stroll under a light rain.

14,00€

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Marino ZUCCHERI
“Parete 67”

The regular LP only edition: Deluxe silver cover + foil stamping, insert (Features only the piece “Parete ‘67”.In the world of artifacts, there are the known, the unknown, the forgotten, and the lost. An artefact may pass easily between the four, entirely at the mercy of the care it is offered, or which finds along the way. The music in question - Marino Zuccheri’s Parete 1967 Per Emilio Vedova, an massive electronic composition created by the multi-talented engineer of the famous Milan RAI Studio of Phonology for the Italian Pavillion at the Montreal Expo ’67, is one such case.It began as part of something known - a wild, sonic public event, was almost entirely forgotten, becoming lost and then unknown. It wasn’t until 2005, when these recordings entered the orbit of Die Schachtel, that anyone had been able to hear them since they were made in 1967, offering their world premiere. As is often the case, the limited edition LP quickly sold out and drifted from view. Finally, after more than a decade long wait, Die Schachtel has wondrously pressed it again, allowing its beautiful challenges to reenter the world.Parete 1967 Per Emilio Vedova is one of the great artifacts of 1960’s Italian avant-garde - a wild, grinding metallic expose which sucks the ear into its depths, made, like so much of the best work of the era, in the spirit of collaboration and the meeting of two minds. Die Schachtel’s edition is the realisation of a life long dream of Marino Zuccheri’s to see this recordings issued. Pulled from the original tapes in his archive, and working closely with him before his death in 2005. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde.

24,00€

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