In stock
LP
Sven-Åke JOHANSSON – Alexander Von SCHLIPPENBACH
“Schraubenlieder”
Unreleased songs by Sven-Ake Johansson and Alexander von Schlippenbach from 1988, recorded by Radio DRS Bern. Sven-Ake Johansson, vocals + Alexander von Schlippenbach, piano.
20,00€
In stock
LP
Peter BRÖTZMANN – Heather LEIGH
“Ears are filled with wonder”
Heather Leigh: pedal steel guitar. Peter Brötzmann: tenor saxophone, bass and b-flat-clarinet, tarogato. Recorded nov 8th, 2015 in Krakow, Poland.
A duo variation that suddenly happened in 2015 and led to thrilling performances. Both artists were very pleased with the cooperation and continue to work and tour!
“Ears Are Filled With Wonder, the debut release from the duo of pedal steel player Heather Leigh and reedist Peter Brötzmann, blows the old adage about improvised music somehow not being best appreciated via the recordings to beautiful pieces. This is a music that demands re-visiting, that seems to alter, slightly, every time it is played, with new details emerging, new relationships of tone and style, new romance, even. Recorded during a mammoth stint in Krakow, Poland where Brötzmann and Leigh played as part of big bands, trios, quartets and duos, this duo performance represents the diamond heart of the sessions, an improvised set that bears little relation to what either of the players have achieved outside of its prodigious gravity.
We mentioned romance and really Ears Are Filled With Wonder, a play on a line from the poet Kenneth Patchen, showcases the full reach of Brötzmann’s rebel lyricism, his lover man style, now smoky, seductive, late night, now roaring and vibrating with energy. Leigh plays it extremely subtly, sometimes fixing on the most suggestive detail and from there spinning luscious webs of repeat-time bliss that make for some of the most psychedelic and otherworldly settings of strings and horn. Elsewhere the two of them tear the roof off with tactile fuzz and horn ascensions.
It’s a music of organic depth, of endlessly evocative unfolding, as themes bloom and sigh and disappear and arise and it feels curiously out of time, even as both players push their instruments into futuristic configurations. As such it doesn’t sit neatly in either players’ extensive catalogues. Rather, this is a music of perpetual change, of summing up and of pushing on, a music that feels genuinely new even as it runs an umbilical deep into the tradition of getting out. Indeed, even Brötzmann’s signature artwork and sleeve design seems to have mutated in turn, forsaking the blacks and whites and reds of old, the stark iconography of previous releases, for something more subtly evocative and colourful.
Ears Are Filled With Wonder is a coming together of two of the most original voices on their respective instruments and the title reflects the joyful uncovering of a whole new way of listening and relating. Indeed, it might well be the first ever freely improvised electric pedal steel and saxophone duet ever put to tape. Either way it is one of the most startlingly beautiful combinations of players and temperaments to orbit the European jazz scene in years. And this is only the beginning. So hold tight”. Moshe Idel, Ronda, Spain, February 2016
20,00€
In stock
LP
GRAND GROUPE D’IMPROVISATION LIBÉRÉE
“Combines”
The GGRIL is an ensemble of musicians who have decided to give a space to experiment with various forms of interactions possible in an orchestra without a conductor.
The group brings together a dozen musicians from different backgrounds, but all eager to explore new territories offered by bands where the music is alive, freed from the linearity of writing.
Powered by Tour de Bras, Rimouski, this set is a way to involve a large number of musicians and composers in the region around a unifying project and exploded. The group is particularly interested in compositions that do not exhibit linear flow, but courses in which the player makes choices.
Games, constraints, canvas, graphics are all tools used by composers of the group or invited to propose new parts to the whole.
The playfulness of his work and the transparency of its processes are a set of GGRIL to see at any age for a colorful excursion into the land of contemporary music.
The GGRIL has been active since 2007, and in addition to the compositions of its members worked through workshop with musicians of the caliber of Jean Derome, René Lussier, Evan Parker and Danielle P. Roger.
Olivier D’Amours, electric guitar. Robert Bastien, electric guitar. Rémy Bélanger de Beauport, cello. Anna-Lisa Cone, double bass, voice. Tom Jacques, percussion. Antoine Létourneau-Berger, percussion, radio, clarinet. Éric Normand, electric bass. Alexandre Robichaud, trumpet. Catherine Savard Massicotte, violin, voice. Robin Servant, accordion.
Original price was: 18,50€.9,00€Current price is: 9,00€.
Out of stock
LP
WALO SHATAN GWARI
“Drumming for creation”
A new series of vinyl and download only releases, "from the archives...". Originally released on cassette in 1985, Touch
T33.3 is now available on vinyl. Walo Shatan Gwari: The ensemble, led by Malam Walo, belongs to the Gwari people of Niger State. The performances, at London’s Commonwealth Institute, also encompassed drumming sessions and instrument-making workshops.
Edition of 300 vinyl.
T33.3 is now available on vinyl. Walo Shatan Gwari: The ensemble, led by Malam Walo, belongs to the Gwari people of Niger State. The performances, at London’s Commonwealth Institute, also encompassed drumming sessions and instrument-making workshops.
Edition of 300 vinyl.
9,00€
Out of stock
LP
Hildur GUDNADOTTIR
“Saman”
Back in stock. A few copies left !
This album is about resonance: on “Saman”, which means “Together”, Hildur melts her voice with her cello, connecting the two instruments together. The result is a highly involving and moving album, recorded, mixed and mastered in Berlin. Hildur’s sylph-like vocals contrast beautifully with rich cello tones, resolving the tension between light and dark to produce a unique listening experience. Renowned bassist Skúli Sverrisson guests on “Heima”. This is Hildur’s 4th album for Touch, after “Without Sinking”, “Mount A” and "Leyfdu Ljósinu”. All tracks composed, performed and recorded by Hildur Gudnadóttir in Berlin, except Heyr Himnasmiour (track 4), composed by orkell Sigurbjörnsson, lyrics by Kolbeinn Tumason. Track 6, bass by Skúli Sverrisson. Tracks 1, 4 and 6 recorded by Francesco Donadello. All tracks mixed by Francesco Donadello and Hildur Gudnadóttir at Vox-Ton Studio, Berlin.
This album is about resonance: on “Saman”, which means “Together”, Hildur melts her voice with her cello, connecting the two instruments together. The result is a highly involving and moving album, recorded, mixed and mastered in Berlin. Hildur’s sylph-like vocals contrast beautifully with rich cello tones, resolving the tension between light and dark to produce a unique listening experience. Renowned bassist Skúli Sverrisson guests on “Heima”. This is Hildur’s 4th album for Touch, after “Without Sinking”, “Mount A” and "Leyfdu Ljósinu”. All tracks composed, performed and recorded by Hildur Gudnadóttir in Berlin, except Heyr Himnasmiour (track 4), composed by orkell Sigurbjörnsson, lyrics by Kolbeinn Tumason. Track 6, bass by Skúli Sverrisson. Tracks 1, 4 and 6 recorded by Francesco Donadello. All tracks mixed by Francesco Donadello and Hildur Gudnadóttir at Vox-Ton Studio, Berlin.
13,00€
In stock
LP
CM von HAUSSWOLFF
“Still Life – Requiem”
Conceptualised (2010–2013), composed and produced (2014–2017) by Carl Michael von Hausswolff in Palma (Majorca) and Stockholm. This musical piece consists only of sounds emitted and extracted from physical matter using emission spectroscopy as the sole basic technology. Acknowledgements to Linköping University (IFM), Sweden.
“Still Life - Requiem” consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and it’s contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called ‘emission spectroscopy’ whereby the frequencies generated from the material was analysed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalised and composed to produce the recording.
A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings - it’s a piece dedicated to promote and insert tranquility and transcendence.
This requiem also provides the listener with a certain feeling of connection - perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being.
500 copies.
“Still Life - Requiem” consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and it’s contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called ‘emission spectroscopy’ whereby the frequencies generated from the material was analysed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalised and composed to produce the recording.
A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings - it’s a piece dedicated to promote and insert tranquility and transcendence.
This requiem also provides the listener with a certain feeling of connection - perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being.
500 copies.
16,00€
In stock
LP
RUNZELSTIRN & GURGELSTOCK
“Asshole – Snail dilemma”
10 years after the first Edition on CD the most horrifying piece of music available again on Vinyl. Featuring the infamous recording ’For Stringquintet and Asstrumpet’ on one side, and a collage of studio-recordings and various live-actions in Rudolf Eb.er’s unique style on side b. Mastered & cut by Lupo at D&M, Berlin. Edition of 500 copies, 320g fullcolour cover true to the original CD, black 180g vinyl, black polylined innersleeve.
16,00€
Out of stock
LP
G*PARK
“Gour”
New works by Swiss musique concrete composer and visual artist Marc Zeier / G*Park. Active since the early 80’s Zeier was a founding member of the Schimpfluch-Gruppe. He lives and works in Zürich as a composer, installation- and video-artist and plankton fisherman. Gour presents one long composition of his highly fascinating and unique crypto electro-acoustics based solely of micro field-recordings and natural phenomena. “Musique concrete seems eternally old-fashioned and eternally modern. Marc Zeier makes you fall in love with the form all over again”. Thanks Are Due To: The Etang of Gour and its Creatures, A Singing and Cracking Chimney, Wild Bees and Wasps from Piemonte, Limnodromus griseus, Unidentified Voices from the Gemauge House, The Uwaga Squad, The Flies (Sarcophagidae), The Crows and Pigs of Chants, The People of Tiananmen, The Frozen Lakes, The Wolves. Edition of 350 copies.
12,50€
In stock
LP
Rolf JULIUS
“Lullaby for the Fishes”
Edition of 500 copies. Reissue of Rolf Julius’ first and only (and almost impossible to find) LP from 1985.
“Rolf Julius was the archetypal “sound artist”. He painted with sound, he colored with pitch, and his work demands the attention and open-mindedness of those who embrace modern art. He collected found sounds, and mixed them with prerecorded single tone notes which were then, electronically modified and filtered through tiny loudspeakers, transformed into music. Depending on the surface texture where the loudspeaker has been placed - wall, floor or outdoors - these objects resonate and “breathe” sound. His music is a mixture of all these sounds; a carefully calculated and conceived creation. He sculpted sound to define space, creating a musical environment where subtle changes occur.
Julius was born in Wilhelmshaven, West Germany, in 1939 and died in Berlin in 2011. He studied visual arts at the Academy of Fine Arts in Berlin where his first installations involved the use of photographs. Later, after being inspired by the work of John Cage, and more directly European contemporary music (eg: classical, electronic and jazz), Julius became increasingly interested in environmental acoustics and sound textures. He attempted to fuse space with sound by combining pulsating textures with the room’s acoustics, similar to the work of David Behrman, Alvin Lucier and David Tudor. Julius’ environments also contain a visual element, where the observer / participant is able to enter and leave the musical environment as one chooses.
Julius exhibited his pieces throughout Europe and the United States. Paradoxically he is internationally recognized as a visual artist, but considered himself a musician. His work embodies the truest elements of “sound art”, having the ability to create images with sound.” (Brooke Wentz)
12,50€
Out of stock
LP
Franz MON
“Stimmen Lauter Stimmen”
(Lauttexte 1962-64 + Hörspiel 1971). Franz Mon (born 1926) is a pioneer in the field of concrete, visual and phonetic poetry. He once licked the new radio play into shape like no other german-speaking playwright before him. As a sound poet and with his ’articulations’ or phonetic pieces, he conceptually renewed sound poetry in the postwar years. This LP collects some of Mon’s earliest concrete phonetic poems recorded 1962-64 as well as the radioplay ’Ich bin der ich bin die’ from 1971. Edition of 400 copies. 320g picture sleeve and 280g printed inner-sleeve, including linernotes and artist biography in english.
12,50€
In stock
LP
Dominik STEIGER
“Ad Hoc Musi 1980-84”
Dominik Steiger, born in Vienna 1940. Universty drop out. Joins the french foreign legion 1959 but was dismissed a year later for psychiatric reasons. 1961 first poems and beginning of a bohemian life. 1961-64 vagabondage through europe and asia. Published several books of poetry and prose since 1961. First drawings published 1972 by Günther Brus in his periodical ’Schastrommel’. Exhibitions of graphic works since 1975 in galleries throughout Europe. Ad hoc musician. First LP of songs ’Wiener Lieder und Gemischte Waisen’ published 1979 in Dieter Roth’s Verlag. He cooperated repeatedly with more or less renowned artists in concerts graphic team works, literary events etc. In 2004 he received the honorary literature prize of the Republic of Austria and in 2008 the fine arts prize of the City of Vienna. This LP is a collection of 29 pieces recorded 1980-84. Outsider art home-recordings using voice, acoustic guitar, accordion and bontempi organ. Edition of 400 copies. 320g picture sleeve and 280g printed inner-sleeve with linernotes and artist biography in english and german.
12,50€
Out of stock
LP
Jim O’ROURKE
“Two organs”
Back in stock. Few copies left. The second archive release following last years great ’Scend’ LP (3P8). 2 pieces for organ composed and performed in 1991 when Jim was finishing his music studies at de Paul University in Chicago. ... these pieces had almost been forgotten about as Jim’s musical interests soon took a change of direction. Only now released for the first time in any format this LP instantly draws the listener inside this recently imagined timelessness... Arik Einstein - ’Certain Music’ (LX) Edition of 1000 copies in special die-cut cover with full color innersleeve.
17,00€
In stock
LP
RAZEN
“The Xvoto Reels”
Brecht Ameel, church organ. Kim Delcour, shawm & recorders. Paul Garriau, hurdy gurdy. Pieter Lenaerts, 5string bass & sarangi. Suchet Malhotra, tabla.
“The Xvoto Reels provides additional proof (if necessary) that Razen is an audacious group. If the Belgian band led by the duo Brecht Ameel and Kim Delcour has explored different musical worlds with changing formations, the involuntary irruption of a sixth “member” has upset the content of this new album. Through these brutal and unpredictable interventions, it made an ambitious album - recording live improvisations in a church with an organ and a tabla - unique.”
The Xvoto Reels – a prayer in the halflight, a comforting sermon out of St Martin’s Church - is a version of Razen where the music played itself, and chance dictated what essence of this was allowed to be captured.
16,00€
In stock
LP
MANINKARI
“Ruins of Time”
Following Phantasmes, released in 2014, Ruins of Time is a new original motion picture soundtrack of the short film “Ruins of Time” by Mathieu Peteul.
"Ruins of Time” is an experimental short film originating from the film Limbo.
Available on vinyl, the 4 tracks mixes various human voice and strings blending spacey dark drones and strange atmospheres.
Frédéric Charlot - Viola, cello, drones, voice. Olivier Charlot - Synth, drums, drones, voice. Nicolas Boyer - Field recordings. Sofia Atman - Voice. Recorded, mixed, designed by maninkari. Mastered by Julien Grandjean at Jetlag.
12,00€
Out of stock
LP
LA TÈNE
“Vouerca – Fahy”
Alexis Degrenier, hurdy-gurdy. Cyril Bondi, percussions. D’incise, Indian harmonium, electronic. Recording : Insub.studio, Geneva, July 2015.
La Tène collect, listen and probe folk melodies and motifs of large territories, from the Jura to the mountains of Auvergne, weaving them to repetition and continuous sounds, electronics and frenzy until exhaustion. Their music, drones played with traditional and acoustic instruments is an invitation to the dance frantically, leading to euphoria or trance.
Cyril Bondi and d’incise are well-known Swiss experimental musicians. They have a huge panel of collaborative and solo records. Cyril Bondi is also known for his playing in the jazz improv trio Plaistow. They play together in Diatribes.
Alexis Degrenier is a French composer, specialist in tranditionnal and slanted music. He plays in Ensemble Minisym that perform Moondog music.
16,00€
In stock
LP
David MARANHA & Helena ESPVALL
“Sombras incendiadas”
Helena Espvall first met David Maranha in 2006 when her band Espers played a show in Lisbon. They played two gigs the following year, and Espvall contributed to Maranha’s Marches of the New World. Since then they always had the intention of working together more extensively and once Espvall moved to Lisbon two years ago they had no more excuses.
Sombras Incendiadas (“Exploding Shadows”) features Espvall on amplified cello and Maranha on electric organ and amplified violin. Espvall has an amazing cello sound, kind of Velvet Underground, while David Maranha is in the vein of La Monte Young or Tony Conrad. As a duo, they create heavy drones with delicate harmonics behind the wall of sound. The textures are raw, the compositions are minimalistic, and the riffs are heady. The repetitive patterns played very loudly create a monolithic, hypnotic, and time stopping album.
Sombras Incendiadas is available on LP (with a download coupon) and digitally.
David Maranha, violin, electric organ. Helena Espvall, cello. Recorded in Violente do Céu by David Maranha between december 2012 and march 2013.
12,00€
In stock
LP
THE THING with Thurston MOORE
“Live”
Mats Gustafsson, baritone saxophone. Ingebrigt Håker Flaten, electric bass. Paal Nilssen-Love, drums. Thurston Moore, electric guitar. On their tour for their recent album “Boot” the scandinavian freejazz monsters teamed up with Thurston Moore of Sonic Youth fame at London’s Cafe Oto to produce some heavy improvised thunder! Recorded live in concert by John Chantler and Jonathan McHugh at Cafe Oto, London, 10th february 2013. Mixed July 2014 by Martin Siewert and Mats Gustafsson at Garnison7, Vienna. Mastered by Martin Siewert. Cover by Lasse Marhaug.
17,00€
Out of stock
LP
THE THING
“Garage”
Mats Gustafsson, tenor and baritone saxophones. Ingebrigt Håker Flaten, doublebass. Paal Nilssen-Love, drums, percussion & megaphone-sampler. Finally the vinyl-version of this legendary album with great covers (White Stripes, Brötzmann, Sonics etc,) and two tracks, recorded on 3rd and 4th of January 2004 by Kai Andersen at Athletic Sound. This recording was originally released in 2014 on Smalltown Superjazzz as STS078CD. Re-mixed and mastered on 4th of March 2014 by Audun Strype at Strype Audio. Art direction and cover photos by Rune Mortensen, 2014 update by Lasse Marhaug.
20,00€
In stock
LP
David MARANHA
“Cai-Bem”
“Cai-Bem” is a splendid addition to the already extensive discography of David Maranha. It is also the first full-length vinyl LP in Tanuki Records’catalogue. There is a story behind this new album, although you would not guess what it is, unless told. Keen to explore new ways of playing, as he has done during his whole career since he began playing with his band Osso Exotico in the 1980’s, Maranha suggested that they should all play other instruments that their regular ones. He himself switched his organ for the drums, Manuel Mota is on bass, Margarida Garcia on the organ and Miguel Abras on a fostex 4 track tape recorder and voice. Crafting their music as acoustic drone compositions, Maranha and his ensemble play primarily with time. Their compositions are less about inventing new structures every time, than about the paradoxical challenge of building a stasis retaining the forcefulness of a forward motion. In this case the unusual and eerie sounds they coaxed from their newfound instruments adds new layers to the psychedelic power of this great record. (bd)
Margarida Garcia – Organ. Miguel Abras – Multitrack magnetic cassette tape deck, voice and shruti box. Manuel Mota – bass. David Maranha – Drums and shruti box. Recorded at Violante do Céu by David Maranha on the 20th of April 2017. Mixed by David Maranha in Violante do Céu, between 8th and 14th of May 2017. Mastered by Tó Pinheiro da Silva in Oeiras on the 17th of May 2017. Cover art by Allon Kaye. 250 Copies
12,00€
Out of stock
LP
NOVELLER
“No dreams”
A few copies are back in stock !
Soaring 6th solo album by American electric guitarist Sarah Lipstate. “Sarah Lipstate is Noveller. No Dreams, her 6th full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. The compositions on No Dreams explore the artist’s struggle with her blurred perception of reality and hallucination in the twilight of sleep and awakening. The songs alternate between being firmly rooted in place, like the epic beat-driven “Mannahatta” and the playful guitar melodies of “Rue de Montmorency”, and navigating the murky underworld of nightmare as in the dissonant layers of bowed guitar and manipulated piano in “The Fright”. Title track “No Dreams” is a gloriously melancholic plea from Lipstate’s overdriven electric guitar for exemption from the throes of parasomnia.” - Important Records.
Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200g virgin vinyl in an edition of 400. Housed in a heavy custom weight black paper jacket letterpress printed with silver ink, diecut and hand-assembled at Studio on Fire in Minneapolis.
Soaring 6th solo album by American electric guitarist Sarah Lipstate. “Sarah Lipstate is Noveller. No Dreams, her 6th full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. The compositions on No Dreams explore the artist’s struggle with her blurred perception of reality and hallucination in the twilight of sleep and awakening. The songs alternate between being firmly rooted in place, like the epic beat-driven “Mannahatta” and the playful guitar melodies of “Rue de Montmorency”, and navigating the murky underworld of nightmare as in the dissonant layers of bowed guitar and manipulated piano in “The Fright”. Title track “No Dreams” is a gloriously melancholic plea from Lipstate’s overdriven electric guitar for exemption from the throes of parasomnia.” - Important Records.
Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200g virgin vinyl in an edition of 400. Housed in a heavy custom weight black paper jacket letterpress printed with silver ink, diecut and hand-assembled at Studio on Fire in Minneapolis.
25,50€
In stock
LP
Tatsuya NAKATANI
“Confirmation”
Nomadic percussionist Tatsuya Nakatani travels worldwide, his performances blooming with ceaseless expanse. Although Nakatani is a valiant collaborator, joining with other musicians, dancers, filmmakers and beyond, solo percussion is the root of it all. Simply stated in Nakatani’s own words, this album is “Confirmation of all of my acoustic solo percussion performance since 1998. Recorded live at Nakatani-kobo in Easton Pennsylvania USA during snow season of beginning of 2015. No overdubbing and used the fewest effects possible on this LP.”
Confirmation is Nakatani’s third release on Taiga. We initially saw the vibrant color of his collaboration with Mary Halvorson and Reuben Radding on MAP Fever Dream. Followed by Nakatani Gong Orchestra, a woven blend of heavy vibrations from his one-off group experiments on the road. Now we have number three, solo percussion, the foundation of his practice, charged with thunders, screams, sparks and countless other ineffable sonic textures.
Mastered by James Plotkin, cut direct to copper & pressed on 200g virgin compound, Confirmation is Nakatani’s first solo percussion album to be released on LP. Housed in a custom heavyweight yellow paper jacket with silver & metallic black foil stamping made at Studio on Fire in Minneapolis. Pressing of 430 on opaque red vinyl.
23,00€
In stock
LP
Francisco LOPEZ
“Untitled #300”
Pressing of 400 on 200g virgin vinyl.
Pressing of 300 copies on crystal-clear 200-gram virgin vinyl packaged in a custom letterpress jacket printed, die-cut, and hand-assembled at Studio On Fire in Minneapolis, with particular care taken to retain the fine detail of the cover’s microscopic type.
“Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion” --Pedro Higueras, Sonom Studios.
“Untitled
300 is an LP based on multi-track field recordings I did in 2011 of a large colony of seagulls in a group of small islands right in front of the Moroccan-Algerian border, together with hydrophone and contact mic recordings of sea creatures underwater from the same location (side A and B of the LP, respectively). Being interested in going beyond a traditional 'soundscape' perspective, I've played freely with mixing and editing, in an unorthodox way, different multi-channel recordings I did. Side A ('abovewater') is the large seagull colony. In side B ('underwater') what you hear is predominantly millions of very small shrimp-like crustaceans, dolphin sonar (the beating pattern of the first section), and occasional fish (the 'frog-like' calls)" --Francisco López. Original environmental sound matter recorded in the Chafarinas Islands off the coast of Morocco, summer 2011. Edited, mixed, and mastered at mobile messor, The Hague, the Netherlands, summer 2012. Field work carried out with the collaboration and support of the SIGEIN-Chafarinas research group (Integral Ecological Management System of the Chafarinas Islands), directed by Francisco J. Acosta (Universidad Complutense de Madrid, Spain) and coordinated by Javier Zapata (Spanish National Park Service).
24,00€
Out of stock
LP
Douglas QUIN
“Fathom”
“Douglas Quin’s Fathom brings together four extended underwater soundscapes-two each from the Arctic and Antarctic. The recordings have been gathered over a period of 15 years, capturing an extraordinary palette of sonic voices, events, spaces, and textures. To the human ear, these soundscapes are haunting and otherworldly; yet they are very much of this world-out of earreach. The tracks are minimally edited and are his first field recordings to be archived in vinyl. Included with the release is a sealed envelope containing an insert with specific locations, animals, and other elements heard, giving listeners the option to absorb sound with or without association. The envelope is printed with liner notes and comments from Dutch journalist and music critic René van Peer. Mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin-vinyl, Fathom comes packaged in custom letterpressed materials and is presented as a limited edition of 1000. Douglas Quin is a sound designer, naturalist, public radio commentator, educator, and music composer. For over 20 years Quin has traveled widely, documenting the natural soundscape-from Antarctic ice to Arctic tundra and from African savannah to Amazon rainforest. His recordings of endangered and disappearing habitats represent one of the most unique and extensive collections anywhere. Quin recently created the sound design for and mixed Werner Herzog’s Academy Award® nominated film, Encounters At the End of the World. He contributed to the sound design for Spore, a game from Maxis-Electronic Art, and has also worked on exhibits for the Smithsonian Institution National Museum of Natural History, American Museum of Natural History, and the Polish Academy of Sciences, among others.” label info
Quin is an Associate Professor in the Television, Radio and Film Department at the S. I. Newhouse School of Public Communications at Syracuse University. He is currently involved as a bioacoustics researcher with the Kagu Recovery Plan and Conservation Research New Caledonia in conservation efforts to protect the critically endangered kagu bird. Quin recently collaborated with clarinetist F. Gerard Errante on his CD release, Delicate Balance, and is composing a new work for the acclaimed Kronos Quartet featuring soundscapes and interactive electronics using the K-Bow-a new bow controller by instrument builder Keith McMillen.
19,00€
In stock
LP
Asmus TIETCHENS
“Teils teils”
“I’ve been a fan of Asmus Tietchens’ music since formen letzter hausmusik came out in 1984. That LP fascinated me and I soon began acquiring anything I could by this strange musical force. I’ve learned a lot from his music over the years and we became acquainted via the post in the late 90s. As it turns out, we both have an extreme fondness for cigarette smoking and an interest in Max Nordau’s degeneration, so what better place for his first LP release in years than swill radio? The side-long teilmenge 20 starts off the lp with an odd manic ticking that never lets up. Other sounds ebb and flow throughout and the whole piece has the rare quality of sounding totally artificial and yet organic at the same time. The second side slows things down with three tracks of dripping industrial ambience. The whole lp brings to my mind an atmosphere of waiting. To quote my good friend matt krefting, “no one’s music sounds both as cold and as emotional in quite the same way as the music of asmus tietchens”. I couldn’t agree more. Excellent stuff!” label info
17,00€
Out of stock
LP
William BURROUGHS
“Call Me Burroughs”
Originally released in 1965 by The English Bookshop in Paris and later by ESP-Disk’ in New York, Call Me Burroughs marks not only the recorded debut of William Burroughs, but also for many the first encounter with his inimitable voice. While Burroughs has had pervasive influence on counterculture in the past 50 years – from the Beats to punk rock and even hip hop – no other figure today is so widely considered the epitome of cool.
Call Me Burroughs features the author reading from Naked Lunch and Nova Express, two of his best-known works that utilize the cut-up method developed by Burroughs and artist Brion Gysin. An eerie, deadpan drawl guides the listener through sci-fi innerscapes, narcotic nightmares, reports from the edge of the apocalypse. Phantasmagoric passages echo real experiences roaming the streets of Mexico, the West Village, Tangiers. Bradley the Buyer and other shadowy agents haunt our ears as Burroughs turns the page and pauses purposefully.
“Anything put out up till now is like pulling a figure out of the air – Enemy installations shattered – Personnel decimated – Board Books taken – Electric waves of resistance sweeping through mind screens of the earth – The message of Total Resistance on short wave of the world”.
20,00€
In stock
LP
Warner JEPSON
“Totentanz”
Considered as the first piece of electronic music to accompany a ballet, Totentanz is the arrestingly abstract and mightily expressive result of Warner Jepson’s experiments with tape and Don Buchla’s groundbreaking synthesizer, the Buchla 100. Totentanz, originally self-released in 1972, reveals a composer relieved of convention.
In the 1950s and 1960s, Jepson was part of an informal circle of Bay Area artists that included Pauline Oliveros, Terry Riley, La Monte Young, Morton Subotnick and Steve Reich. A fixture of the legendary San Francisco Tape Music Center, Jepson was among the performers who realized the world-premiere of Riley’s seminal minimalist composition In C and worked closely with postmodern dance figure Anna Halprin as well as the Welland Lathrop Dance Company.
Jepson’s affection for the performing arts meant that he was thrilled to be commissioned by the San Francisco Ballet Company to compose a piece to accompany Carlos Carvajal’s beguiling, danse macabre-inspired Totentanz. Jepson, who passed away in 2011, incorporated concrete sounds from his collection as well as creations on the Buchla 100, which had recently migrated to Mills College. As the composer once wrote, “Don Buchla’s box ... offered numerous sound possibilities without a map.”
First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
In the 1950s and 1960s, Jepson was part of an informal circle of Bay Area artists that included Pauline Oliveros, Terry Riley, La Monte Young, Morton Subotnick and Steve Reich. A fixture of the legendary San Francisco Tape Music Center, Jepson was among the performers who realized the world-premiere of Riley’s seminal minimalist composition In C and worked closely with postmodern dance figure Anna Halprin as well as the Welland Lathrop Dance Company.
Jepson’s affection for the performing arts meant that he was thrilled to be commissioned by the San Francisco Ballet Company to compose a piece to accompany Carlos Carvajal’s beguiling, danse macabre-inspired Totentanz. Jepson, who passed away in 2011, incorporated concrete sounds from his collection as well as creations on the Buchla 100, which had recently migrated to Mills College. As the composer once wrote, “Don Buchla’s box ... offered numerous sound possibilities without a map.”
First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
23,00€
Out of stock
LP
Tony CONRAD with FAUST
“Outside the dream syndicate”
Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theatre of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name.
Outside The Dream Syndicate, originally released in Europe only in 1973, is a stunning debut. Two side-long tracks – “The Side Of Man And Womankind” and “The Side Of The Machine” – show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier’s repetitive drum beat and Jean-Hervé Peron’s stripped-down bassline conjure a tense, ascetic groove, while Conrad’s seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone's internal pulse.
It is hard to imagine Conrad’s trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in Outside The Dream Syndicate, yet no other record captures – so completely and instantly – the intersection of avant-garde and rock forms. Outside The Dream Syndicate remains ahead of and bracingly outside of its time.
This first-time vinyl reissue has been carefully mastered from the original master tapes and includes liner notes by musician Jim O’Rourke and author Branden W. Joseph.
20,00€
Out of stock
LP
Remko SCHA
“Machine Guitars”
Gnashing, thrashing and teeming with enchanting microtones – Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn’t play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow.
Scha was a linguist and generative artist, enamored of computers’ capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman’s brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin.
Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era’s minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha’s work falls somewhere between conceptual art and avant-garde music – a total revelation for minimalists and No Wave fans alike.
First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
Scha was a linguist and generative artist, enamored of computers’ capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman’s brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin.
Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era’s minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha’s work falls somewhere between conceptual art and avant-garde music – a total revelation for minimalists and No Wave fans alike.
First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
23,00€
Out of stock
LP
John DUNCAN
“Organic”
The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art’s influential compilation Sound.
Duncan’s debut album, Organic, released in a tiny edition on the artist’s own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: “Broken Promise,” a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and “Gala,” a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio.
First-time standalone reissue.
Limited edition of 500 numbered copies on clear vinyl.
23,00€
Out of stock
LP
Joe JONES
“In Performance”
Very last copies on clear vinyl.
After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movement's first “yearbox” alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines – drawing inspiration from the calliopes, automata and orchestrions of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds – “played” through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil.
Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion – not unlike Harry Bertoia’s sounding sculptures – Jones' machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely – a cunning subversion of the fetish for virtuosity and individual genius.
Limited edition of 500 numbered copies on clear vinyl.
25,00€
Out of stock
LP
Jean DUBUFFET
“Musical Experiences”
The legendary French painter and sculptor Jean Dubuffet exalted naivety and spontaneity in visual art, and his brazenly experimental recordings on Musical Experiences evince the same spirit through sound. He once reflected, “Certain unexpected windfalls… come of improvising on an instrument one doesn’t really know how to use.”
Dubuffet, who famously founded the art brut (or outsider art) movement, began making music in the early 1960s with avant-garde figure Asger Jorn. With no training, they played a range of instruments: saxophone, bassoon, detuned piano, hurdy-gurdy, cabrette, bombarde and so on. Soon, Dubuffet reserved a room in his home for making music and bought two tape-recorders in order to manually edit the results. He wrote fondly of the recordings’ crudeness and the sense that they “had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score.”
Dubuffet’s discography begins in 1961 with the release Expériences Musicales, a six 10-inch record set produced in an edition of fifty with original artwork and lithographed sleeves. Musical Experiences, compiled by composer Ilhan Mimaroglu and released in 1973 on his Finnadar imprint, collects eight of the twenty pieces on the much sought-after Expériences Musicales.
First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
23,00€
In stock
LP
Basil KIRCHIN
“Worlds Within Worlds”
Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the '40s as a professional jazz drummer, in the ‘60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable.
Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin’s various tape manipulations – amplified insects, animals, engines, glossolalia of children – with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes.
As Brian Eno writes in the liner notes on the original release, “Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well.... So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it.”
Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.
21,00€