In stock
LP
BJ NILSEN & STILLUPPSTEYPA – Anla COURTIS
“Golden circle afternoon”
Recorded and mixed in Berlin, Reykjavík, Buenos Aires, 2013. Artwork by Helgi Thorsson, Bj Nilsen & Sigtryggur Berg Sigmarsson.
“Here back in Buenos Aires after more than three months touring… so nice to slow down and relax a bit.”
Those were the first words coming from an email from Anla after another long tour around Europe but there had been many other tours.
Day 10.
After a long train delay in Mannheim we were confused and exhausted and not remembering where the next destination would be. Mannheim had only offered a hard floor as bed and no sheets, and this is in the middle of winter time. Of course this experience gave us the idea that we should or more precisely MOST do a record together which concept would be: Travelling. Like an audio travel guide. Plus we are all big fans of the Travelling Wilburys. We thought this idea
to be one of the best one on this tour so far. In the train we were listening to Future Days by CAN.
Day 4.
Moving backwards a bit here. We caught Anla working on recordings in his hotel room. This was in Stockholm and one of the better paid gigs, with hotel rooms for all of us. Anla was interested in the sound coming from the heater in the bathroom. So he started recording it’s sound using a dictaphone. It sounded really interesting and was made into a long fade at the nights gig in Stockholm.
That same sound you can hear on the record.
Day 6.
Copenhagen: Here traditional town flavors, located bookstores can be found all around. Beer capital town some might say. Weather was not on our side and the trip took close to 12 hours but was all worth it. I think it was Siggi saying something along the lines of: “Expensive but worth it!” Helgi also remembering that time in the late 90s when touring with Reynols. Back then we did gigs with small card paper boxes as main sound source.
Day 8.
The Keukenhof Gardens, Leiden, Holland. We decided to invite some local musicians to the bar, as we had a few days off we took advantage of doing a few outtakes. Some of it appears on this record but we can't tell you where as the track listing got mixed-up by the recording engineers.
“Here back in Buenos Aires after more than three months touring… so nice to slow down and relax a bit.”
Those were the first words coming from an email from Anla after another long tour around Europe but there had been many other tours.
Day 10.
After a long train delay in Mannheim we were confused and exhausted and not remembering where the next destination would be. Mannheim had only offered a hard floor as bed and no sheets, and this is in the middle of winter time. Of course this experience gave us the idea that we should or more precisely MOST do a record together which concept would be: Travelling. Like an audio travel guide. Plus we are all big fans of the Travelling Wilburys. We thought this idea
to be one of the best one on this tour so far. In the train we were listening to Future Days by CAN.
Day 4.
Moving backwards a bit here. We caught Anla working on recordings in his hotel room. This was in Stockholm and one of the better paid gigs, with hotel rooms for all of us. Anla was interested in the sound coming from the heater in the bathroom. So he started recording it’s sound using a dictaphone. It sounded really interesting and was made into a long fade at the nights gig in Stockholm.
That same sound you can hear on the record.
Day 6.
Copenhagen: Here traditional town flavors, located bookstores can be found all around. Beer capital town some might say. Weather was not on our side and the trip took close to 12 hours but was all worth it. I think it was Siggi saying something along the lines of: “Expensive but worth it!” Helgi also remembering that time in the late 90s when touring with Reynols. Back then we did gigs with small card paper boxes as main sound source.
Day 8.
The Keukenhof Gardens, Leiden, Holland. We decided to invite some local musicians to the bar, as we had a few days off we took advantage of doing a few outtakes. Some of it appears on this record but we can't tell you where as the track listing got mixed-up by the recording engineers.
15,00€
In stock
LP
Alan LICHT
“Four years older”
Alan Licht, solo electric guitar. Four Years Later recorded December 14, 2012 at Echo Canyon West engineering: Ted Young technical assistance: Bentley Anderson. Four Years Earlier recorded live December 7, 2008 at the Electric Possible, Washington, D.C. All selections played as heard, no overdubs. A new set by the coolest chap in New York City documenting the development process of a solo electric guitar piece that Alan Licht has been playing out for last four years. Revered for his work in the Blue Humans and Text of Light, and a key figure in the pantheon of experimental solo guitar players born in the late sixties such Jim O’Rourke and Oren Ambarchi, ‘Four Years Older’ is his debut Editions Mego release, representing another peak in a career of mining the rich seams of minimalism, noise and avant-garde in general that stretches back more than two
decades. As it says on the box side A was recorded four years later than the side B (and vice versa). If that wasn’t enough it’s been four years since his last solo LP, YMCA, on Family Vineyard. Four Years Older sees a move away from the loop-based pieces of recent releases. On Four Years Later in particular the guitar’s fingerboard is actually touched more than on any other solo piece of the last ten years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet’s nest, and a malfunctioning PlayStation than a guitar per se. As Alan points out: “Four Years Earlier was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of Four Years Later. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven part piece in this studio version. In concert the piece lasts at least 30 minutes, I’ve shortened it on Four Years Later with an eye towards top 40 radio play. :)” The initial ‘Four Years Earlier’ session is a blistering electronic nailstorm that would not feel out of place on one of Russell Haswell’s legendary ‘Live Salvage’ sets. ‘Four Years Later’ is equally relentless but lets in some light with an ecstatic mid section that ascends toward the spiritual.
At the end of the day the final result is music which is both corrosive and lyrical, a feeling which is reflected in Stephen O’Malley’s eye melting artwork.
decades. As it says on the box side A was recorded four years later than the side B (and vice versa). If that wasn’t enough it’s been four years since his last solo LP, YMCA, on Family Vineyard. Four Years Older sees a move away from the loop-based pieces of recent releases. On Four Years Later in particular the guitar’s fingerboard is actually touched more than on any other solo piece of the last ten years, although the guitar is pushed to sound more like a suitcase synth, a church organ, a hornet’s nest, and a malfunctioning PlayStation than a guitar per se. As Alan points out: “Four Years Earlier was the debut of the piece; it was in three sections, the latter two of which appear here. The first section was identical to the first section of Four Years Later. I scrapped the second two parts after a couple of subsequent performances and developed it into a six-part piece, and then a seven part piece in this studio version. In concert the piece lasts at least 30 minutes, I’ve shortened it on Four Years Later with an eye towards top 40 radio play. :)” The initial ‘Four Years Earlier’ session is a blistering electronic nailstorm that would not feel out of place on one of Russell Haswell’s legendary ‘Live Salvage’ sets. ‘Four Years Later’ is equally relentless but lets in some light with an ecstatic mid section that ascends toward the spiritual.
At the end of the day the final result is music which is both corrosive and lyrical, a feeling which is reflected in Stephen O’Malley’s eye melting artwork.
9,00€
In stock
LP + DVD audio
Russell HASWELL & Florian HECKER
“Kanal Gendyn”
“Editions Mego is happy to announce the release of “Kanal Gendyn”, a Vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full length release by the artists following their highly acclaimed albums, ’Blackest Ever Black (Electroacoustic UPIC Recordings)’ (Warner Classics, 2007), and ’UPIC Warp Tracks’ (Warp, 2008), in addition to their remix’s of Popol Vuh, and Voice Crack. In the late 90s, early 2000s, it became common for bands, or solo artists to perform live - often alternative - soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell & Florian Hecker chose to create a real-time soundtrack, to an unscored film, ’Kanal Video’ (1992, 60 min) by the Swiss artist duo Peter Fischli & David Weiss. Core to Kanal Gendyn is Haswell & Hecker’s ongoing research on the legacies of polymath Iannis Xenakis (1922-2001) and in particular his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates ‘sound out of nothing’. In an interview with Peter Hoffmann, the artists recall: “This video, which consists of an hour long ‘ride’ through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects - struck us both as an ideal piece to be projected in a ‘nightclub’ or music venue with a Gendyn only performance. We found twisted relations with such an hour long ‘tunnel vision’. Once with the seemingly endless amount of computer generated video projections used as visuals accompanying raves and techno parties during the 1990’s - and also to the accounts of visual hallucinations induced by Mescaline as described by Heinrich Klüver in the 1920’s - with the so called ‘form constants’ - where he mentions amongst others, ‘tunnel like’ patterns. The particularities of Gendyn, with its ever changing and meandering waveforms appeared to us as an ideal counterpart.” Kanal Gendyn was performed on the occasion of the event ‘Musterraum 9. Dual Presentation - Peter Fischli & David Weiss - Russell Haswell & Florian Hecker’ at Musterraum, Munich, 30.01.2004. Originally constructed as an experimental building, ‘Musterraum’ - German for sample or reference room - was a freestanding cube with a base area of 10 12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne. Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12 / B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, ‘Kanal Video’ (1992, 60 min.) screened on three facing walls. Kanal Gendyn is released as stereo vinyl LP + 4.0 DTS 24 Bit / 48 KHz DVD (audio only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30 x 30 cm 170 gramm paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich. Its also worth noting that, with a running time of over a hour, this is one of the longest single LP releases you will come across ! Cut by Rashad ’the Master’ Becker at Dubplates & Mastering, Berlin, September 2011.”
22,00€
Out of stock
LP + 7"
RAGLANI
“Real Colors Of The Physical World”
Sounds : Joseph Raglani. Speech : Melissa Meinzer. Mastered & Cut by Rashad Becker. Art: Jeremy Kanappell. “Real Colors of the Physical World” is a title whose parameters of reference may at first seem obvious, but a moment’s consideration renders it strange. The physical world, as opposed to the phenomenal, is, as we are able to suppose through the insights of science, an invisible place, if it is even enough to count as a place. What, then, are the qualities being named here? By way of an answer, it is worth recalling that musique concrete has not only an historical but a conceptual priority over kosmiche musik. The concrete in the cosmic: electronic music concerned itself from the beginning with getting past the emotional, historical, and religious themes that had defined traditional composition in order to head straight into the very matter of sound. For the concrete composers, this meant literal experimentation, stretching, analyzing, and recombining the properties and limits of auditory material and its perception. The kosmiche musicians conserved those approaches through metaphor as much as technique. The continuity between them involves a vocabulary of fundamental concerns: space, time, shapes, speed.... Electronic music arguably allowed for music to become actively self-reflexive, even ontological, for the first time. Its natural epic form has always been the cosmogony. The kosmiche focus on space travel and cybernetic futures has its roots in the earlier electro-acoustic renderings of a universe whose deepest origins are electrical and sonic. Two tacit, convergent metaphors structure the conceptual explorations of both approaches: that "electronic composition" accurately describes the activity of the human nervous system; and that cosmic evolution may be legitimately qualified as an act of modular synthesis. But much electronic music today has lost sight of the ambition to map that convergence, giving way instead to an emphasis on superficial prettiness, period nostalgia, the merely pleasant stupor of the New Age; or else to a vacuous static of technical fiddling. Raglani has never abandoned the grand vision that distinguished his ancestors, and this is his most determinedly comprehensive piece of work. It revisits the promise in the electronic synthesis of sound, implicit from its beginning, to construct a plastic image of the imperceptible dynamics beneath the surface of the world. This is a drama realized at constantly telescoping scales, in all directions. If the disintegration of a divine voice into the skittering communications of machines, or the transformation of a densely alien jungle into the promise of personal redemption, can count as objects of experience, they can do so only here, through the condensation of sound. But this hectic, exotically diffuse rendering has more in common with the world as we know it than does the placid stability of actual things; inner life has its own geometry, its own physics. The cosmic in the concrete: real colors remain within. Raglani has been making electronic music since he saw Otomo Yoshihide perform while under the influence of severe fever. This is his first full length album under his own name since 2006’s Of Sirens Born.” Michael Ferrer
9,00€
In stock
LP
HOX
“Duke of York”
Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following on from the highly acclaimed ‘it-ness’ in 1999. Duke of York a bittersweet contemporary electronic pop record which could only exist as a result of the unison of these particular, peculiar souls.
At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content.
The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis’ distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms.
At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content.
The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis’ distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms.
15,00€
In stock
LP + DVD
ETANT DONNES
“Le paradis blanc”
This album, recorded in 1983, is also the music of a movie directed by Etant Donnés the same yearand titled “Le paradis blanc”. Mastering Norscq.
The album Le Paradis Blanc was recorded in 1983. This unreleased album until today is also the music of a film directed by Etant Donnés the same year.
The film and music were part of a three days installation and performance of Etant Donnés in the ELAC (Espace Lyonnais d’Art Contemporain) at the Fifth Symposium of Art Performance in Lyon in 1983 : one day for the construction of the installation, one day with a performance and one day for the destruction.
The film on the DVD is an edit made with the movies of the construction and the destruction of the installation.
This music like all first works of Etant Donnés was made without any instrument or effect but is the fruit of a long work on a raw sound material coming from nature field recordings and other source like TV, films, radio, streets, factorys, etc.
In 1977, Eric and Marc Hurtado founded Etant Donnés that quickly became essential in the field of experimental films, performance and experimental and industrial music, recording approximately 30 albums and counting numerous collaborations with major artists of the international music scene and cinema : Alan Vega, Genesis P.Orridge, Michael Gira, Lydia Lunch, Philippe Grandrieux, Mark Cunningham, Bachir Attar and the Master Musicians of Jajouka, etc.
23,00€
In stock
2 LP
GOODIEPAL
“Red Man K’s Bedrifter – Goodiepal Live, Chapel Hill 2002”
In 2001, Peter Rehberg (then of Mego) asked Parl Kristian Bjørn Vester aka Goodiepal while visiting Austria, if he would be interested in “doing something” for the label. Despite meeting on numerous occasions at various events and happenings around Europe nothing was delivered. One hot August day in 2013, a large package arrived containing lacquers for a double vinyl LP. Here it was! The Goodipal Mego album delivered as lacquers and not a wetransfer link.
To actually hear the audio the lacquers were sent to plant and made into test pressings, which revealed 3 looong sides of audio from a concert in Chapel Hill, NC in 2002. Not exactly 11 in years in the making but more like 11 years in the waiting. The fourth side is made up of a letter to Peter Rehberg etched onto the vinyl explaining amongts other things ’the longer a message have to travel over time the more importance you can add to it’. With this in mind this release has no ’digital footprint’ and is made available only as a physical vinyl LP in gatefold cover.
“And it came to my mind like a flashlight: Goodiepal is not an artist. He is an art critic. Or to be more precise: an art art critic, for he is using his art criticism as an art form. But of course, he would criticise this definition. Ahoi!”
Felix Kubin
To actually hear the audio the lacquers were sent to plant and made into test pressings, which revealed 3 looong sides of audio from a concert in Chapel Hill, NC in 2002. Not exactly 11 in years in the making but more like 11 years in the waiting. The fourth side is made up of a letter to Peter Rehberg etched onto the vinyl explaining amongts other things ’the longer a message have to travel over time the more importance you can add to it’. With this in mind this release has no ’digital footprint’ and is made available only as a physical vinyl LP in gatefold cover.
“And it came to my mind like a flashlight: Goodiepal is not an artist. He is an art critic. Or to be more precise: an art art critic, for he is using his art criticism as an art form. But of course, he would criticise this definition. Ahoi!”
Felix Kubin
19,00€
In stock
12"
Valentina VUKSIC
“Harddisko”
“About the record : Live-recordings of Harddisko: 16 computer harddrives on power. Superreal computer music. Upon powering, each harddrive moves with its own speed and pattern, as directed by the firmware and mechanical constitution. Electromagnetic emissions picked up as acoustic signal reveal the specific tone of a drive. In various formations, the harddrives perform according to their past usage and current state.
About the artist : Valentina Vuksic (CH - 1974) is a computer artist and programmer living and working in Zürich. She explores an individual articulation of hard- and software mediation. The processes in such intermediate space imply actors rendered audible.
Vynil 12” - Maxi 45rpm - Limited Edition 512 copies. Each record is hand packed with an antistatic bag, sealed by a sticker and numbered.” label info
21,00€
In stock
12"
d_T
“Wire Drawing”
Working at once on site-specific field recordings, using the microphone as an instrument, and in-studio composition, it took several months of labour for the artist to reach the essential: a thirty-minute piece depicting a typical worker's day, from beginning to end.
Enter and Shelter both reflect the artist's chosen standpoint: in recording the factory's sounds, he gives voice to the voiceless, without having them speak.
The resulting physical displacement conveys political meaning, with the immersion weaving the work into a historicity.
limited to 150 copies.
all sounds recorded in a tyre factory by d_T
mastered and cut by rashad becker
15,00€
In stock
10"
Pascal LE GALL
“Landscapes’
Pascal Le Gall, electrophon Philips (6rpm), laptop. Landscapes was mixed and recorded in the home-studio of Pascal Le Gall in Tours March 2016.
A carefully thought out, simple, clean but rich performance using really almost nothing, just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
With the intense focus of a scientist fed up with pointless repetition, Pascal takes a scalpel to composition, improvisation and performance, and (with the most basic means) examines their sameness, and their miniscule but important differences. A riveting public dissection, his performances are, maybe you could say, allegories, in that an allegory (a symbolic representation of something else) builds away from itself, outwards, towards an idea. Totally non-literal, Pascal’s performances communicate the idea that improvisation and composition are harder to tell apart than you might think.
Pascal Le Gall, Curious French percussionist of jazz and musical thinker. Composer of electroacoustic musique for himself and the choregrapher Bernardo Montet, he performed alone or with the musician Marc Baron.
16,00€
In stock
10"
DDAA
“Electrification”
This 10inch offers 3 tracks where the DDAA plays with songs and world music. Another musical hit from these French underground legends.
17,50€
Out of stock
10"
Ghédalia TAZARTÈS
“5 Rimbaud 1 Verlaine”
Vinyl reissue of this great tribute to the poetry of Rimbaud and Verlaine made by our favorite French sorcerer, who exceptionally abandones his typical imaginary language to reinterpret six small poems in his own way, jumping from one musical genre to the other and happily letting them crunch together in a childish, enthusiastic play. Recorded in Paris in his flatelier around the same time he recorded the wonderful Hystérie Off Music and previously available in an almost unnoticed mini CD edition published by the French label Jardin au Fou, it’s now available in a remastered vinyl version - with an excellent 45 rpm cut made by SST in Frankfurt.
Pressing info: 350 copies on black.
15,50€
In stock
10"
ASTATINE – OGROB
“œil céleste”
This record is the result of a collaboration between Astatine aka Stéphane Récrosio, head of the Orgasm label since 1994 and Ogrob aka Sébastien Borgo, member of Micro_pénis and L’Autopsie A Révélé Que La Mort Etait Due A L’Autopsie. 6 compositions, created in 2014, mixing Astatine’s noise experimentations in Paris and Ogrob’s field recordings and short waves in Sydney, Australia and Tasmania.
Astagrob.
Astatine / Ogrob.
Digital precision / Lo-fi fog.
Junk sounds / Clean noise.
Field recordings / Kitchen utensils.
Collect / Rubbish tip.
Northern hemisphere / Souther hemisphere.
Astral / Holocaust.
Table of the elements / Elements on the table.
Postal card / Stamped cardboard.
Oeil Céleste.
Mastered by Nicolas Marmin. Transparent 10”. 200 numbered copies. Cardboard cover by Ogrob. Postcard by Astatine.
Astagrob.
Astatine / Ogrob.
Digital precision / Lo-fi fog.
Junk sounds / Clean noise.
Field recordings / Kitchen utensils.
Collect / Rubbish tip.
Northern hemisphere / Souther hemisphere.
Astral / Holocaust.
Table of the elements / Elements on the table.
Postal card / Stamped cardboard.
Oeil Céleste.
Mastered by Nicolas Marmin. Transparent 10”. 200 numbered copies. Cardboard cover by Ogrob. Postcard by Astatine.
13,50€
Out of stock
10"
Francisco LÓPEZ
“Untitled #205”
“Francisco López states: “Based exclusively on end grooves from vintage
records, ‘untitled
205’ is a straightforward and joyful exploration of the potential for reincarnation of these unintended sonic structures into new life. More a tool than a final product, it delves into static, noise and rhythm with a hopeful perspective.” The untitled
205 mix on the a-side brings us 18 minutes of hissy, textural sound in dissolution, ranging from ryhthm to noise. The b-side has the 20 original loops López constructed out of old vintage 78s so if you buy 20 copies of this 10” you might be able to recreate the track… Clear vinyl in clear plastic sleeve, with 20 locked grooves for DJs on B-side. Limited to 300 copies.” Attention: it’s delivered in a white inner sleeve for protection reasons during transport. Please throw it away and put the record itself in the clear plastic sleeve.
15,00€
In stock
10"
Yann LEGUAY
“Drift-02”
Drift is a record series that uses non conventional technics of vinyl cutting. For its second issue, Drift-02, a strict protocol was set, cutting 12 grooves of silence on each side, superimposed on top of each other and progressively cut on the surface of the record.
Playing the record produces a randomized path into the different silent grooves. The listener concretely enters the vinyl materiality, experiences the shapes of the empty grooves, the disturbances and the crossings.
Hearing a sound from passing through the stereo panning indicates the pickup is physically drifting on the surface. The same applies to the cracks and drifts, that manifest that the needle has leaped, as the pickup continually drifts grooves throughout its progression. And even if there is no sound cut on the record, singular sounds arise, producing a complex soundscape.
The settings of the turntable, the quality and wear of its needle, its different parameters (consweight, anti-skating…) affect the reading path, unveil the non deterministic nature of the record : the duration is not stable, the reading becomes chaotic, punctuated with accidents, looping or backward phenomena may occur.
DRIFT-02 is the second opus released on the collection DRIFT, after the famous DRIFT-01, released in 2012, with 4 grooves per side, reuniting Martin Tétreault, eRikm, DJ Sniff and Arnaud Rivière.
Cut by Yann Leguay at DK Mastering
Texts by Samon Takahashi « Drift-02 introduction » & « Grooving in Silence ».
Brussels based sound artist Yann Leguay, defined as a media saboteur by the Consumer Waste label, he seeks to fold materiality in on itself using basic means in the form of objects and videos or during installations and performances.
His flagrant disregard for the accepted norms of audio behaviour appropriates unusual machinery for the playback of audio media: using an angle grinder to perform the live destruction of a microphone or using opened hard-drives as turntables. His release activity is equally deviant, releasing silkscreen records or a 7” single without a central hole and a record composed from recordings of vinyl being scratched by scalpel.
His Phonotopy label proposes a conceptual approach to recording media and he also curates the DRIFT series on the Artkillart label which overlays several grooves onto a single record, causing randomised playback.
Comes with an English text from Samon Takahashi. Limited to 222 copies.
Playing the record produces a randomized path into the different silent grooves. The listener concretely enters the vinyl materiality, experiences the shapes of the empty grooves, the disturbances and the crossings.
Hearing a sound from passing through the stereo panning indicates the pickup is physically drifting on the surface. The same applies to the cracks and drifts, that manifest that the needle has leaped, as the pickup continually drifts grooves throughout its progression. And even if there is no sound cut on the record, singular sounds arise, producing a complex soundscape.
The settings of the turntable, the quality and wear of its needle, its different parameters (consweight, anti-skating…) affect the reading path, unveil the non deterministic nature of the record : the duration is not stable, the reading becomes chaotic, punctuated with accidents, looping or backward phenomena may occur.
DRIFT-02 is the second opus released on the collection DRIFT, after the famous DRIFT-01, released in 2012, with 4 grooves per side, reuniting Martin Tétreault, eRikm, DJ Sniff and Arnaud Rivière.
Cut by Yann Leguay at DK Mastering
Texts by Samon Takahashi « Drift-02 introduction » & « Grooving in Silence ».
Brussels based sound artist Yann Leguay, defined as a media saboteur by the Consumer Waste label, he seeks to fold materiality in on itself using basic means in the form of objects and videos or during installations and performances.
His flagrant disregard for the accepted norms of audio behaviour appropriates unusual machinery for the playback of audio media: using an angle grinder to perform the live destruction of a microphone or using opened hard-drives as turntables. His release activity is equally deviant, releasing silkscreen records or a 7” single without a central hole and a record composed from recordings of vinyl being scratched by scalpel.
His Phonotopy label proposes a conceptual approach to recording media and he also curates the DRIFT series on the Artkillart label which overlays several grooves onto a single record, causing randomised playback.
Comes with an English text from Samon Takahashi. Limited to 222 copies.
14,50€
In stock
10" monoface
Henning CHRISTIANSEN
“Hesteofringen”
On January 30, 1970 Henning Christiansen and Bjørn Nørgaard - a figure nearly radical as Christiansen himself - hit the Danish national consciousness when a large portion of the Danish population watched a TV broadcast performance piece in protest to the Vietnam War. “Hesteofringen” (The Horse Sacrifice, 1970) features the work Min døde hest (My Dead Horse, 1970) OPUS 55 for piano, voice and violin (green), a beautiful haunting fragile song featuring a poem written by Bjørn Nørgaard and performed by Lene Adler Pedersen, accompanied by Nørgaard and Christiansen on piano and (green) violin. Laden with metaphor, this beautiful, sad lullaby, is as simple and unusual as anything in Christiansen’s output. Previously unreleased.
Pressing info: 350 copies on black, embossed lettering. 10”, Single Sided.
17,00€
Out of stock
10"
Pali MEURSAULT
“Mécanes”
Commissioned by GRM, < Mécanes > brings further the “machinic” research pali meursault had started with Offset. This time, sound matter was recorded in a letter-pressing workshop. With the help of the artisans, and on the pretext of printing the text insert of the record, it as possible to bring the microphones even closer to the mechanics, to the machines as a musical instrument.
Side A focuses on the delicate handcrafting, while on side B it's the energy of the presses that is setting the pace.
Sounds were collected with the welcome and support of atelier m.u.r.r., the piece was first created in january of 2016 at GR’'s “Festival Multiphonies”.
12,00€
In stock
10"
PUMICE
“Some time ago, I got a message from Stefan Neville about this record: "I been working on some recording for you. some dumb punk slop and some tape loop soup and a pretty love song." I couldn’t describe the record better. It’s maybe the end of an era for Pumice with his 8 track pushed to its maximum limits and dying soon after these recordings were finished. So the result is maybe one of the noisier Pumice records to date... with a pretty love song. Recorded in june 2009 in Sandringham, Auckland, NZ. And mixed in January 2010 at Mainz. Black vinyl packed in black paper silkscreened by Cotoreich, with 2 postcards. Artwork by Stefan Neville. Mastering by Aigle noir. Limited to 500 copies.
10,00€
In stock
LP + 7"
Tom RECCHION
“Proscenium”
“Proscenium” is a subtle and remarkably controlled collection of atmospheres. The air of mystery, deliberate pacing, the deep tones and unidentified sounds of Recchion’s 2006 album “Sweetly Doing Nothing” have been explored even further here. It’s a logical development but the results are unexpected and strikingly original, sounding wholly unfamiliar and yet like no one’s but Tom Recchion’s. Proscenium’s six pieces mostly began life as music for puppeteer Janie Geiser’s play “Invisible Glass,” an adaptation of Poe’s “William Wilson”. The play’s intricate beauty and the story’s moody confusion have been perfectly mirrored and expanded on by Recchion who used that inspiration as a leaping off point for Proscenium’s rich and surprising compositions.
Tom Recchion has been a sound and visual artist - composer - art director and graphic designer in California since the 1970s. He is the co-creator of the legendary Los Angeles Free Music Society (LAFMS) and has collaborated with David Toop, Christian Marclay, Oren Ambarchi, Keiji Haino, and Max Eastley, among many others. Though Proscenium’ is only his fourth proper album as a solo artist, Recchion has had many recordings released by labels such as Birdman, Touch, PSF, RRR, Idea, Staubgold, and the Cortical Foundation. He also occasionally writes for The Wire magazine. Tom Recchion lives in California.
“Proscenium” consists of one 180-gram virgin vinyl LP inside a black poly-lined sleeve, plus 7” record, each with five-color labels, housed in a full-color gatefold jacket. Included with each copy of this set is a full-color download card featuring access to high-quality MP3s of the complete contents of the vinyl records. This package has been issued in an edition of 500 copies.
25,00€
In stock
LP single-sided
Adam ASNAN – Giuseppe IELASI
“Quarry”
Quarry is the latest chapter in the ongoing collaboration between the London-based composer-performer of musique concrète Adam Asnan and the Italian sound artist and mastering engineer Giuseppe Ielasi. As the title may suggests, this encounter produced a dusty sculpture whose shape was only drafted immediately after the stone has been excavated from the ground, and where it is hard to distinguish the acousmatic touch of Asnan from the rhythmic textures of Ielasi. Pressing info: 200 copies on black.
15,00€
In stock
LP monoface
COMPILATION
FYLOOP
One-sided LP in white vinyl with 360 locked grooves by Fylkingen artists!
Irina Anufrieva, Jan Carleklev, David Linnros, Henrik Rylander, Fredrik Olofsson,
Dr. Robin McGinley, Jacek Smolicki, Christian Bock, Girilal Baars, Jan Carleklev,
Ida Lundén, Jocke Roséen, Daniel Borgegård Älgå, Daniel Rozenhall, Jan Liljekvist, Dinka Pignon, Iwo Myrin, Johan Boberg, Hanna Hartman, David Bremer, Gunnel Pettersson & Amit Sen, Ingrid Engarås in collaboration with Karl Ture Rydby, Joel Dittrich, Charlotte Engelkes, Bo Leth, Adrian Knigth, Johan Lindvall, Helene Hedsund, Daniel Wiklander.
17,00€
Out of stock
LP monoface
Philip CORNER
“Coldwater Basin No.2”
“Re-emerging from deep Fluxus celebrations in this 2012 summer, alga marghen realized that Philip Corner “Coldwater Basin” LP was instantly sold out. Could there be a better decision than issuing an alternative version of this masterpieces from the glorious 60s, by master of ecstatic music Philip Corner? If you fluctuated over sonic landscapes with the first version, then “Coldwater Basin No.2” will knock your socks off! More intense than Whitehouse, more liquid than your wildest dreams. “Remember? When you made these things at home, on the best equipment you or your other poor friends could find? And you had that Japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961”. Coldwater Basin No.2” by Philip Corner. Again, a home recording of water running from a faucet into a sink. New York City, the Lower East Side, sometime in the 60s. With Bill Fontana still on microphone. “And I always dreamd of passing an entire night bathed in this… It was never long enough”. Edition limited to 310 copies with front sleeve design and calligraphies by Philip Corner.”
19,00€
Out of stock
LP monoface
Luc FERRARI
“Labyrinthe de violence – DANSE”
“Danse” was part of a sound & visual installation called "Labyrinthe de violence". Previously unpublished, this radical experimental work has now been released on LP record in collaboration with the New Media Dept of Centre Pompidou (National Museum of Modern Art) in Paris for “Œuvres sonores 2”, a 2-day-event organised by Emanuele Carcano at Beaubourg on April 5th & 6th, 2009. "Labyrinthe de violence" was an installation for tape sounds and 2 slide projectors conceived in 1975 by Luc Ferrari. The installation was a visual and sound metaphore of violence within contemporary civilised society. Four different rooms with a central space created the spacial context of this work. The specific environmental sonority (1. "Violence"; 2. "Pollution"; 3. "Profit"; 4. "Mechanism" / "Paysage" / "Danse") created for each of the four rooms naturally superposed themselves in the central space. "Danse" was one of those sonorities minimally constructed using 2 different sounds: a very low electronic drone deeply resonating for the whole duration with, in the end, the accumulation of deconstructed sequences played by Luc Ferrari on an electric organ. Documenting one of Luc Ferrari most beautiful and mysterious sonic works, this LP edition will be the first in a series of alga marghen projects presenting a still undiscovered side of the poetical universe of this foundamental composer. This 1-sided LP, issued in an edition limited to 500 copies only, will first be presented at Centre Pompidou in Paris and offered to the audience participating to the second “Œuvres sonores” event.
19,00€
Out of stock
LP monoface
Brunhild FERRARI
“Tranquilles impatiences”
“alga marghen proudly presents the first record edition ever by Brunhild Meyer-Ferrari, a very refined and talented german composer, wife of Luc Ferrari with whom she collaborated for over 40 years in creating some of the most beautiful sound works ever created in the past decades. First there was "Et tournent les sons dans la Garrigue" that Luc Ferrari composed in 1977 before "Exercises d’Improvisation" in the same year (a previous unreleased work, soon to be issued on the PLANAM label). These two pieces "...conceived for individual or collective improvisation for any instrument or instrumental group..." are based on identical sound elements. "Exercises d’Improvisation" consists of a sequence of 7 separate tapes, while for "Et tournent les sons dans la Garrigue" Luc Ferrari mixed these tapes into one. Listening to the separate tapes Brunhild Meyer-Ferrari felt the irresistible desire to compose a new piece using ad libitum five of these seven tapes. As she remarked: "Impatiences represents for me those high-pitched rhythmic sounds, those imperturbable wriggling interfering with the low rhythms which are falsely quiet, because each of them is submitted to different and contradictory rhythms. I wished these to be perturbing enough to make the physical balance stagger by fractions of seconds". Edition limited to 300 copies, issued by alga marghen to celebrate the "Oeuvres sonores 3" event conceived in collaboration with the New Media Department of Centre Pompidou and La maison rouge, Fondation Antoine de Galbert in Paris. This LP is the third in the "Oeuvres sonores" series after the now sold out Charlemagne Palestine "Sound I" LP and Luc Ferrari "Danse" LP.” label info
19,00€
In stock
LP
The WHIPSMEN
“Sounds of discipline”
Crazy limited to 100 RE: of 70’s gay SMBD LP on Zorro. Just the sounds of men being whipped and moaning. For two whole sides!
Original notes: “Whipsmen, What did it take? Well we took a leather strap, two riding crops, a cat whip, two lengths of heavy rubber hose, a buggy whip, and a torture rack. We put them in a dungeon alive with swingers. From there came the sounds of pain and pleasure. So here it is: You will have fun with it.”
22,00€
In stock
LP
AMOS & CREW
“True Tears”
Edition limited to 365 copies.
A mysterious 1982 cassette masterpiece by Amos and Crew from the It’s War Boys catalogue available now on LP. Remastered from the original tapes by Amos himself! Recorded in Tokyo, Japan on Mr Shiota’s old four track cassette in Mr Kitamura’s kitchen in sporadic three day binge. Recorded by Amos whilst on tour with The Work in Japan.
Not on the NWW list!
Existing exactly mid-way between the dropping of the atomic bomb and the moment ago when you opened this insensibly incendiary package, the throwaway aesthetic of True Tears now glows like a malevolent object in an ever expanding universe. It's an emetic emissary from the senseless empire of the incredible shrinking man, an attack of a fifty foot pylon into which The Three Stooges recklessly bang nails in the hope of a hereafter. It's above all an invocation of a truly plastic world. Nails are forced into each other's heads. Heels clatter on new vinyl steps, the apartment rents out at only slightly more than average and this is a good neighbourhood. We watch the traffic as if alert to the nuances of a symphony, the choreography at midnight might as well be some modernist masterpiece; and the descent of the planes in the darkness, tubes of incandescent cells, strikes terror into all the denizens of the deep. So when I say plastic, Douglas, I mean consider the landmarks that emerge from the fog in the landscape of the last two centuries. Ruin. Cot. Window. Corpse. Airplane. Aerial Photograph. Fossil. Groove. Pine grove. Hoover. Hoe. And so on. And then consider too the tools that allow for the forensic examination of all that matters in the last one hundred years or so, the age of relativity that has thrown up parallel universes, murder mysteries, musique concrete, detail, childhood, The Other, and a dismissal even by savants of consensus reality.
Sailored, Dutchwifed and highly-refinedly laid-out by Studio Shitless. Art by Err o’. Large four-page full color insert with an essay by Ed Baxter and a text translated by Derek Bentley from the original Japanese (1982).
A quintessentially sinister masterpiece issued in an edition limited to 365 private copies.
19,00€
Out of stock
LP
Yann LEGUAY
“Headcrash”
Headcrash is the final result of a series of live performances called “Quad Core”, brought to audiences all around Europe and further, and finally recorded at Les Ateliers Claus (Brussels) in the summer of 2016. This project interacts with computer data storage devices as a raw material to produce unpredictable instruments. Four hard-drives are used as turntables, hacked in many different ways and picked up with several magnetic sensors. Technically, the computer is controlling the hard-drives via open source software and Arduino, speed and movements of the arms are triggered by electricity, and the sound is picked up directly from the sources, without any audio treatment but EQ. This produces a massive sound crossing the entire range from analog to digital and reverse, creating physical feedbacks, electrical rhythms and deviant behavior making it appear as radical minimal noise techno.
Yann Leguay is a Brussels-based French Artist. His approach to sound design for installation, performance and film centers on the materiality of sound. Both as visual artist, sound maker and reverse, he has participated in numerous exhibitions and festival in Europe and beyond. He also composes sound tracks for artist’s films and participates in choreographic projects (with Ula Sickle, Studio Kabako…).
Yann Leguay s work focuses on everything around sound. Materiality, diversion and tautology are the main ingredients of his work. By modifying the reality of the material (as sounds or real objects) he affects the sensibility of the viewer, changing the perception and relation with materiality. His interest on media and the players that work with it is a clear position on what we are making as utopian, wanting to produce perpetual and solid memory. By deconstructing the elements of this human need, he gives an overview and a distance on the global relation we have with objects and memory.
Recorded at Les Ateliers Claus (Brussels) by Yann Leguay & Etienne Foyer. Mastered by Fred Alstadt – Angström. 300 clear vinyl – custom typeprinted cover. Design by Dimitri Runkkari & Yann Leguay. Sleeve printed on polystyrene tracing paper. Inserts are building plans found in a cellar at HS63 / Zennestraat (Brussels).
Yann Leguay is a Brussels-based French Artist. His approach to sound design for installation, performance and film centers on the materiality of sound. Both as visual artist, sound maker and reverse, he has participated in numerous exhibitions and festival in Europe and beyond. He also composes sound tracks for artist’s films and participates in choreographic projects (with Ula Sickle, Studio Kabako…).
Yann Leguay s work focuses on everything around sound. Materiality, diversion and tautology are the main ingredients of his work. By modifying the reality of the material (as sounds or real objects) he affects the sensibility of the viewer, changing the perception and relation with materiality. His interest on media and the players that work with it is a clear position on what we are making as utopian, wanting to produce perpetual and solid memory. By deconstructing the elements of this human need, he gives an overview and a distance on the global relation we have with objects and memory.
Recorded at Les Ateliers Claus (Brussels) by Yann Leguay & Etienne Foyer. Mastered by Fred Alstadt – Angström. 300 clear vinyl – custom typeprinted cover. Design by Dimitri Runkkari & Yann Leguay. Sleeve printed on polystyrene tracing paper. Inserts are building plans found in a cellar at HS63 / Zennestraat (Brussels).
9,00€
In stock
LP
Mei ZHIYONG – Dave PHILLIPS
Mei Zhiyong had been instrumental in arranging dp’s tour of China. When Mei Zhiyong and Dave Phillips first met in Beijing in July 2014, Mei spoke not a word of English and dp not a word of Chinese. And they we were to embark on an 18 city tour together. Verbal communication between Mei and dp was obviously difficult to say the least. It would often result in comical misunderstandings, total puzzlement or bewilderment, but it would also be a source of constant amusement with wonderful moments of instinctive trust. But then there is sound, the ultimate language…
To return the favor, dp arranged a tour for Mei and himself in October 2015 through 20 European cities. Which is where the source material was recorded. dp then selected, dissected and transformed those recordings to work out something different, not just a collaboration, not just an amalgam of two styles, but something new for both. The compositions on this LP are the result.
All sounds by Mei Zhiyong, recorded live on tour in Europe 2015 by Dave Phillips.
Composition by Dave Phillips, April 2016 – January 2017.
Mastering by Riccardo Mazza.
Cover by Mei Zhiyong, with photos by Mei Zhiyong and Tom Smith.
Released by Urbsounds, Bratislava, in an edition of vinyl 300 copies and digital download.
14,00€
In stock
LP
TROPHIES
“A Family of Three (Band Photo)”
Alessandro Bosetti, lyrics, voice. Kenta Nagai, fret-less electric guitar. Tony Buck, drums.
“A Family of Three (Band Photo)” is the fruit of urgency and sediment – a vibrant story bringing together sounds, images and texts that have emerged over time in Alessandro Bosetti’s imagination, in his life experience and through live concerts.
Tangents, ideas and themes revolve around cautiousness, desire, Italy, ways of doing, uncertainty and longing. Without definite focus on one subject, these all feel like universal aspects of humanity falling into the vortex that is the whole of this Gesamtkunstwerk.
This new LP by Trophies projects a free flowing vision of urbanized living; lives lived speeded up and slowed down in unequal measures, where one grasps at straws of control and holds on what is dear.
The Bosetti-Nagai-Buck trio continuously aims to keep the threefold dialog open and inviting, breaking the repetition of loops - speaking, instead: volumes in shared exchanges. Like a constant flux questioning of the bonds of habitual versus the pull of the unfamiliar: like a chance meeting on the dissecting table of the everyday street, with open ears and eyes.
Differently from other records by the band (consisting of Alessandro Bosetti on voice and electronics, fret-less electric guitar player Kenta Nagai and Tony Buck on drums) Family of Three was not recorded in one shot or just a few studio days. The recording came together as a constructed object over almost three years of separate recordings and montages.
Family of Three (Band Photo) is also the latest volume in the Stories series on Unsounds. On the label’s invitation, Michela di Savino shot portrait photographs of random trios – common people and colorful backgrounds, three individuals who do or do not know each other. Snap shot portraits of teams of three; families, bands, co-workers, fellow travelers? Her pictures explore and explode the tripartite identity of the trio by operation of more (or less) chance, aiming to explode the ‘family of three’ (the band) into a larger community. The images feed back on the music on record; the sounds informs the photographs – oscillating in an interactive narrative moving between juxtaposed poetics and aural-visual collage, furthermore enhanced by the lyrics and Bosetti’s prose.
15,00€
In stock
LP
Eddie LADOIRE & Pierre BASTIEN
“Phantoms”
The composer and visual artist Pierre Bastien celebrated for more of 40 years of musical and poetic inventions teamed up in 2013 with Eddie Ladoire, a musician and artist working on sound installations and soundscapes to create a show around Dance : “Phantoms”.
The aim with “Phantoms” was to edit and loop old movies of dancers from all times and spaces (from African tribal dances to Frères Lumières experiments) to create an original choregraphy accompanying the music played live by the two musicians.
Here is the original soundtrack of Phantoms.
Pierre Bastien’s distinctive sound made of motors, meccano sculptures, home-made cylinder synth, hijacked turntable and unlikely trumpet meets the keyboards and electronics of Eddie Ladoire playing alternately hectic improvisations, dark drones and light melodies. They offer us the perfect soundtrack of a Phantoms choregraphy featuring limping dancers, looped skeletons, flying Russians, ancestral rituals...
12”, 33rpm, ltd edition of 500 copies.
13,00€
Out of stock
LP
KOMMISSAR HJULER und MAMA BAER & Ninni MORGIA and Silvia KASTEL
“Two couples”
“Two Couples” is the collaboration between German artists/performers Kommissar Hjuler and Mama Baer and the Italian musicians Ninni Morgia (guitar) and Silvia Kastel (synth and voice).
Kommissar Hjuler and Mama Baer are known for their provocatice, neo-dadaesque, often extreme art and performances and have previously worked with Smegma, Thurston Moore, John Wiese and many others. They have performed and exhibited all around the world and are part of the NY collective NO!Art Movement.
Ninni Morgia has become well-known in the NYC improv-free jazz scene, has played among others with William Parker, Daniel Carter, Peter Evans, Kevin Shea, Quivers, the psychedelic rock outfit La Otracina and back in the 90’s, started the noise rock band White Tornado. Silvia Kastel greaduated in sound engineering and electronic music in NYC, studied singing with Lee Torchia and attended workshops with Joan La Barbara. She also runs the Ultramarine record label.
The music on “Two Couples” is a fusion of musique concrete, avant-garde, tropical psychedelia, moaning, screaming, free jazz and lots of raw synths. The two pairs have recently come back from a successful tour all over the UK, where they have played and recorded at the historical sound poetry venue The Morden Tower in Newcastle. The cover features a special portrait of the two couples by Mama Baer and exclusive pictures in the back. Edition of 300 copies.Edition of 300 copies.” label info
Kommissar Hjuler and Mama Baer are known for their provocatice, neo-dadaesque, often extreme art and performances and have previously worked with Smegma, Thurston Moore, John Wiese and many others. They have performed and exhibited all around the world and are part of the NY collective NO!Art Movement.
Ninni Morgia has become well-known in the NYC improv-free jazz scene, has played among others with William Parker, Daniel Carter, Peter Evans, Kevin Shea, Quivers, the psychedelic rock outfit La Otracina and back in the 90’s, started the noise rock band White Tornado. Silvia Kastel greaduated in sound engineering and electronic music in NYC, studied singing with Lee Torchia and attended workshops with Joan La Barbara. She also runs the Ultramarine record label.
The music on “Two Couples” is a fusion of musique concrete, avant-garde, tropical psychedelia, moaning, screaming, free jazz and lots of raw synths. The two pairs have recently come back from a successful tour all over the UK, where they have played and recorded at the historical sound poetry venue The Morden Tower in Newcastle. The cover features a special portrait of the two couples by Mama Baer and exclusive pictures in the back. Edition of 300 copies.Edition of 300 copies.” label info
5,00€
In stock
LP
SCHLIPPENBACH TRIO
“First Recordings”
Found in the archives of FMP! The very first - never released - recordings of the Schlippenbach Trio ! Alexander von - piano. Evan Parker - tenor and soprano saxophone. Paul Lovens - drums. Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts,
Berlin. All music by Parker/Von Schlippenbach/Lovens. Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers.
Berlin. All music by Parker/Von Schlippenbach/Lovens. Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers.
20,00€