Out of stock
LP
John DUNCAN
“Klaar”
“Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan’s forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan’s earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with ‘Delta’, which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding ‘The Immense Room’, where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan’s friends and collaborators Jim O’Rourke and Christoph Heemann and is a must for anyone interested in their work.” - Francis Plagne
Opening with ‘Delta’, which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding ‘The Immense Room’, where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan’s friends and collaborators Jim O’Rourke and Christoph Heemann and is a must for anyone interested in their work.” - Francis Plagne
17,00€
In stock
LP
Eyvind KANG & Jessica KENNEY
“Reverse tree”
Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney’s voice and Kang’s viola alongside a multitude of other instrumentalists. Kang’s Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T’ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi and Stephen O’Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney’s voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama’s classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney’s ‘Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle’s Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan’s instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney’s words,
‘scouring the edges of each syllable, each vocalist is kneeling on a sheep hide, searching for the possibilities of what this knowledge might be, shared and private, through layers of history, culture, colonialism, distance, desire’.
Features an all-star international ensemble with Kang and Kenney alongside maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi, Stephen O’Malley, vocalist Nova Ruth and Seattle’s Gamelan Pacifica.
Presented in a deluxe sleeve designed by Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016. Cut at 45rpm for maximum fidelity.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney’s voice and Kang’s viola alongside a multitude of other instrumentalists. Kang’s Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T’ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi and Stephen O’Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney’s voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama’s classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney’s ‘Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle’s Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan’s instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney’s words,
‘scouring the edges of each syllable, each vocalist is kneeling on a sheep hide, searching for the possibilities of what this knowledge might be, shared and private, through layers of history, culture, colonialism, distance, desire’.
Features an all-star international ensemble with Kang and Kenney alongside maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi, Stephen O’Malley, vocalist Nova Ruth and Seattle’s Gamelan Pacifica.
Presented in a deluxe sleeve designed by Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016. Cut at 45rpm for maximum fidelity.
15,00€
Out of stock
LP
Crys COLE
“Sand – Layna”
Limited edition LP of Canadian sound artist crys cole’s first full-length solo release.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
19,00€
Out of stock
LP
Charlemagne PALESTINE
“Godbear”
Reissue.
Black Truffle is pleased to present the first vinyl release of Charlemagne Palestine’s Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca’s Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the ‘golden sound’. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the ‘Rolls Royce’ of pianos. With the piano’s sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature.
Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, “The Lower Depths” stages a slow descent from the piano’s mid-range to the Bösendorfer’s cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine’s journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of “Strumming Music” performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine’s enthusiasm for Debussy and Ravel. “Timbral Assault” is like an evil twin of “Strumming Music”, transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine’s later collaborations with Christoph Heemann.
A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine’s ecstatic and mysterious sound world.” - Francis Plagne
Godbear is presented in a deluxe gatefold sleeve designed by Stephen O’Malley and has been remastered and cut by Rashad Becker at D&M, Berlin.
Black Truffle is pleased to present the first vinyl release of Charlemagne Palestine’s Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca’s Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the ‘golden sound’. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the ‘Rolls Royce’ of pianos. With the piano’s sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature.
Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, “The Lower Depths” stages a slow descent from the piano’s mid-range to the Bösendorfer’s cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine’s journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of “Strumming Music” performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine’s enthusiasm for Debussy and Ravel. “Timbral Assault” is like an evil twin of “Strumming Music”, transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine’s later collaborations with Christoph Heemann.
A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine’s ecstatic and mysterious sound world.” - Francis Plagne
Godbear is presented in a deluxe gatefold sleeve designed by Stephen O’Malley and has been remastered and cut by Rashad Becker at D&M, Berlin.
15,00€
Out of stock
LP
Annea LOCKWOOD
“Tiger Balm”
“Black Truffle is honored to present a new issue of Annea Lockwood’s classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman’s breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood’s belief in the complexity that deep listening can reveal within seemingly simple sounds.” Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming. LP design via Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin February 2017.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman’s breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood’s belief in the complexity that deep listening can reveal within seemingly simple sounds.” Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming. LP design via Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin February 2017.
24,00€
In stock
LP
Edward KASPEL + Steven STAPLETON – Colin POTTER + Quentin ROLLET
“The Man Who Floated Away – The Closer You Are To The Center, The Further You Are From The Edge”
This record reveals two new musical encounters.
For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano.
For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano.
18,00€
In stock
LP
L’OCELLE MARE
“Serpentement”
“The very old catfish, covered in moss, that live in the depths of the lake, never go up towards daylight and disdain any bait that nature offers them.They are only attracted by the oddest shapes that fishermen can invent, shiny and silvery blades in the shape of a human hand that, attached to their line, dance a jig; or also a bat made of red glass with hooks treacherously sewn inside their wings”. G.Meyrink. Instruments: mechanical metronome with bell, harmonica reeds, six string banjo, amps, microphones, feet tapping, hand clapping, six string ukulele, tuning forks, timer, mouth organ, Harmonicas, concertina, dry poppy pods,whistlings,... The solitary project of Thomas Bonvalet initially focused on the nylon string guitar, taking short, dynamic and abrupt forms and limiting itself exclusively to the acoustic possibilities of the instrument. A radical posture, it constantly threatened to put itself at an impasse, seeing itself forced into metamorphosis and movement. The instrument thus became less and less identifiable. At the periphery it absorbed the sound of objects (metronome, tuning forks...) deviating from their common usage, integrating the breath and the sounds rising from the instrumental gesture, splitting up to reveal a new fleeting form. Amplification has also progressively taken an essential part in this new instrumentarium/organism. However, there remains this same subterranean voice, the consideration of detail and tension, the seeking of possible points of sudden revelation. “Serpentement” is the fourth recording of “L’ocelle mare” and was recorded by Adrian Riffo, in the Protestant temple of Bergerac (France), in november 2011. Thomas Bonvalet, (born October, 1977) lives in Alpedrete, Spain. Guitar player of the band Cheval de frise between 1998 and 2004, he made is first solo show under the name of l’ocelle mare in September 2005. He toured Europe, Scandinavia, Israel, USA and China.
14,50€
In stock
LP
LA BARACANDE
CD and LP contains different material.
Basile Brémaud : voice, violin. Guilhem Lacroux : guitar, lap steel, bass. Pierre-Vincent Fortunier : bagpipe, violin. Yann Gourdon : hurdy gurdy, drone box. Recorded in 2016.
La Baracande is the meeting of musicians from TOAD with the singer Basile Brémaud around the songs from Virginie Granouillet “La Baracande”. Her songs have been collected by Jean Dumas in the 50 and 60’s.
13,00€
Out of stock
LP
GATE
“A republic of sadness”
“The first new Gate record in over a decade, A Republic of Sadness is as much a reason for celebration as indoctrination into the creative genius of Michael Morley. Known primarily for his work in The Dead C, Morley simultaneously has been doing Gate since he’s started playing. A Republic of Sadness comprises the apex of Morley’s various interests in one collection. His guitar and vocal drones permeate through looped beats and sounds, arriving at a sound that is not quite dance, not quite noise, not quite electronica and never, ever ambient.” INCLUDES FREE DOWNLOAD COUPON!!!
17,50€
In stock
LP
The DEAD C vs RANGDA
“s-t”
Two of the greatest bands of the present day, each composed of two guitarists and a drummer. Every member’s name carries its own legendary status. Richard Bishop. Ben Chasny. Chris Corsano. Michael Morley. Bruce Russell. Robbie Yeats. Fabricated empires have risen and been destroyed by the vast output of any one of these guys. Finally, they come together on one release: a split LP between two supergroups. The Dead C’s tracks are a gem of a find. The band uncovered recordings nestled in the back corner of their archives that they completely forgot existed. These tracks were under consideration for their seminal album Eusa Kills. The loose majesty found on that album comes to the fore here, with a group finding their wings right as they are set aflame. Rangda recorded their two compositions at Russian Recording in Bloomington, Indiana. Everything that brings these musicians together uncoils and commands. Beats of silence underscore tangents that lead back to main themes and out again. It’s as though the years and years of playing under their collective belts has culminated in these glorious moments.
18,00€
In stock
LP
The DEAD C
“Patience”
LP version with free downloadable MP3s. “Patience is both appropriate and inappropriate as a title for the latest release by The Dead C. Inappropriate because its been only two years since the last album, which in Dead C Time is but the flicker of a candle; appropriate since the key to enjoying the Dead C is willingness to sit down, listen and let the music take over your mind. With an unforgiving and intense four tracks, Patience will not be confused with the work of any other band.” label info
17,00€
In stock
LP
The DEAD C
“Max Harris”
“Max Harris captures the first recordings The Dead C ever made, back in January 1987. Each side displays a different and uniquely raw version of “Max Harris”-reinterpreted both times by a group who can truly say they have never played the same song in any form the same way twice. Anyone who doesn’t own one of the original 21 cassette tapes made of these recordings will be hearing them together for the first time. Yes, they’ve never been on vinyl before, so maybe one can even say this is the tracks first “real” release. You will be able to feel the slicing tension and drive right through your bones.” label info
15,00€
In stock
LP
The DEAD C
“Secret Earth”
LP version. “The elegance of howling guitar noise was fully realized when The Dead C appeared. For over twenty years now, the trio has continually redefined what rock music is and can sound like, and have inspired Sonic Youth, Yo La Tengo, Wolf Eyes, and Comets On Fire, not to mention the current fertile underground noise scene. The Dead C is the ultimate blues band. But rather than departing from the heartfelt singing of the African-American South, they express the tenets of alienation in society with unrelenting force - a focused soundtrack to accompany Knut Hamsun novels, Samuel Beckett plays, and Ingmar Bergman films. Michael Morley’s monotonic vocal moan anchors the inherent isolation of our modern world - nothing is more earnest, nothing sounds so lost. In its career, The Dead C has oscillated between two poles. Recent albums explore drones, electronic loops, and musique concrete. However, their new album, Secret Earth, proselytizes oceanic feedback, catastrophic drumming, and a return to the cripple rock blasts of their early material. Along the axis of The Dead C’s recordings, Secret Earth sounds like it was created between Eusa Kills and Harsh ’70s Reality. It contains a straightforward (for them) expression of sound, while continually pushing their vast improvisational techniques into a realm of subconscious genius.”
19,00€
Out of stock
LP
OPÉRA MORT
“Film Works”
Edition of 300.
These tracks were recorded /composed between the 2nd and the 4th of April 2016 as exclusive soundtracks for ‘The Potted Psalm’ by James Broughton & Sidney Peterson and ‘Dream Work’ by Peter Tscherkassky. Both were initially broadcasted / played on the 15th of April 2016 at Night of The Experimental Film in Gent, Belgium. The Potted Work is an outtake from the same sessions. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Album design by Mathieu Serruys & Joris Verdoodt.
As part of the 2016 festival Night of the Experimental Film, French duo Opéra Mort (= Èlg + Fusiller) performed a live soundtrack for two films that centre on the paradoxical symbiosis of love and death: ‘The Potted Psalm’ by Sidney Peterson and James Broughton, and ‘Dream Work’ by Peter Tscherkassky. Both films convey love and death as both direct opposites and kindred concepts, turning to cryptic surrealism, poetic hallucinations and flickering alternations between flesh and ecstatic abstraction. Opéra Mort’s sonic accompaniment is a squirming contradiction, fraught with micro-harmonic friction and bleeps of electronic alarm. Is the soundscape melding into a solitary whole or blowing itself apart?
With ‘Film Works’, the duo have adapted their soundtrack into a standalone recorded work. Synthesisers flicker like computers trapped inside calculative loops. Flailing organs knot into tendrils of microphone feedback. Occasionally it’s possible to identify traces of body and voice within the wretched lattice – resting-state heartbeats, regulatory beeps of life support – which are only ever faintly present within Opéra Mort’s transcendent elsewhere, like echoes humming through the membrane between the corporeal world and the heights of ecstasy. Just like the films that inspired it, ‘Film Works’ enacts the strange disputation that defines the climactic extremes of human experience: to love and death, the body is both the fundamental vessel and the husk that is left behind.
These tracks were recorded /composed between the 2nd and the 4th of April 2016 as exclusive soundtracks for ‘The Potted Psalm’ by James Broughton & Sidney Peterson and ‘Dream Work’ by Peter Tscherkassky. Both were initially broadcasted / played on the 15th of April 2016 at Night of The Experimental Film in Gent, Belgium. The Potted Work is an outtake from the same sessions. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Album design by Mathieu Serruys & Joris Verdoodt.
As part of the 2016 festival Night of the Experimental Film, French duo Opéra Mort (= Èlg + Fusiller) performed a live soundtrack for two films that centre on the paradoxical symbiosis of love and death: ‘The Potted Psalm’ by Sidney Peterson and James Broughton, and ‘Dream Work’ by Peter Tscherkassky. Both films convey love and death as both direct opposites and kindred concepts, turning to cryptic surrealism, poetic hallucinations and flickering alternations between flesh and ecstatic abstraction. Opéra Mort’s sonic accompaniment is a squirming contradiction, fraught with micro-harmonic friction and bleeps of electronic alarm. Is the soundscape melding into a solitary whole or blowing itself apart?
With ‘Film Works’, the duo have adapted their soundtrack into a standalone recorded work. Synthesisers flicker like computers trapped inside calculative loops. Flailing organs knot into tendrils of microphone feedback. Occasionally it’s possible to identify traces of body and voice within the wretched lattice – resting-state heartbeats, regulatory beeps of life support – which are only ever faintly present within Opéra Mort’s transcendent elsewhere, like echoes humming through the membrane between the corporeal world and the heights of ecstasy. Just like the films that inspired it, ‘Film Works’ enacts the strange disputation that defines the climactic extremes of human experience: to love and death, the body is both the fundamental vessel and the husk that is left behind.
18,00€
Out of stock
LP
DIATRIBES
“Great stone – Blood dunza”
d’incise & Cyril Bondi: melodica & bass melodica, louspeakers, objects, electronic, microphones.
“In the 70’s, a few adventurous jamaican sound engineers developed a revolutionary approach to the deconstruction of their mixes with a very playful use of, at that time, new technological effects, the dub, that would become a major influence on every beat based dance music.
Amongst them, Osbourne Ruddock aka King Tubby added his unique touch to hundred of productions, recognizable by his trademark colors, spring reverbs, filters and tape delays. Already in “Augustus” the diatribes duo tried to invoke some of these dub characters, the presence of heavy subs, the melodicas, repetitive percussive elements, but those ended-up buried in a post-improv attitude and form.
On this latest record, the attempt continues with the deconstruction of two classical roots reggae tunes from the 70’s that passed by the dub master King Tubby’s genius’ hands. Obviously once again the sources are extented to an electroacoustic approach. The bass lines and melodic themes are stretched, the “effects” themselves treated as sound material.
“Great Stone” focuses more on the melodic aspects, with an echo/delay/tape ghost reference as d'incise and Cyril Bondi overdub the piece on its previous rehearsal recordings, while basses evoke the trembling walls at sound system parties.
“Blood dunza” is perhaps more “dub” the subtraction of “tracks” leads to silences, the basses act as a central pillar. Spring reverbs/noises, “chords” and even rhythm fragments appear and disappear.
As far as these two Diatribes pieces are from their supposed sources, the working process behind them, the circulation between conceptual or sometimes metaphorical elements, allows things to happen that in an other context would perhaps not have been dared.
300 copies on 180g vinyl, cut by Flo Kaufmann.
12,00€
Out of stock
LP
Thomas TILLY
“Le Cébron – Statics and sowers”
French sound artist Thomas Tilly uses unique field recordings as material for compositions. This LP presents two pieces: Le Cébron is based on recordings done on a frozen lake. Statics and sowers uses recordings from beehives as well as feedback from a mixing board. Edition limited to 300 copies on transparent 180g Vinyl. Drawings by Jean-Luc Guionnet. Mastered by Giuseppe Ielasi. Cut by Flo Kaufmann.
12,00€
In stock
LP
Kasper T. TOEPLITZ & Anna ZARADNY
“Stacja nigdy w zyciu”
NEVER-NEVER-NEVER: The ultimate cry for freedom, not a revindication, not a position, but the fullness of dreams: the will to do it, do whatever, the way I want. Not even do, no hopes, no future, just the state of “NOW” will not change will not move, you can do whatever you want I NEVER - JAMAIS! - will and not even shall I listen to you. You can torture me, don’t feel the pain, don't even care. NEVER never even was a close cousin to “NO”, NO is statement NO is rebellion, NO is a position, against, not good, try something else, no good, a proposition, when NEVER is just pure dreaming, alone in space, no past, no nothing - NEVER lets you change your mind as often you only want, no consequences, since NEVER made it happened, I NEVER said anything like this and who are you and what are you talking about? NEVER puts this sound, any sound, in front of that one, or follows it, just because, no rules, no esthetics, concerts for empty rooms - JAMAIS de la vie! - you have not seen it and maybe there was nothing to see and when was it after all. NIGDY w zyciu, and you can't prove it anyhow. You can't argue with a dream. Never, never in (your) life.
Two pieces, seemingly appearing out of the void, culminate - and fade away. It’s at “Station Never in Life” (“Stacja Nigdy w Zyciu” in Polish) where Kasper T. Toeplitz and Anna Zaradny meet for their first duo LP. At the station we experience their music like giant wagon trains slowly passing by. Incredible rich textures emerge and disappear again - a permanent reconstruction, an architecture of loss. The recording features Anna Zaradny on saxophone, playing the instrument in her unique way emanating sounds you might have never heard before and Kasper T. Toeplitz on bass as well as both of them using computers. This is at the same time and old project and a brand new one, or perhaps one in perpetual becoming: the two artists have already played together in many occasions in the past, but this time it is a project for a long-term collaboration, a way to explore the passing of time, trying new forms each time, working on the architecture of the proposed music but also the one of the venue in which the sounds will exist: a perpetual reconstruction of a crushed architecture.
300 copies on 180g vinyl, cut by Flo Kaufmann, cover by Coste-nine.
12,00€
Out of stock
LP
Jim HAYNES
“Electrical injuries”
Jim Haynes on the album: “electrical injuries was designed as an intense record. Something akin to a sustained self-immolation. The themes of corrosion and dislocation central to the research. Similarly, the source material and the means of production also maintains a lineage that dates back to my earlier compositions and designs. I still use shortwave radio, electric disruptions and varispeed motors along with a smattering of synthesized sound that have recently blossomed from a long-term residency at the recombinant media labs. I find myself deliberately pushing these tools to engage with more volatile frequencies and to pursue more aggressive strategies for upheaval. The ruptures are more acute. The harmonic dissonance is more pronounced. In this context, the concepts mentioned above become more existentially stark, eschewing the poetics of residues in favor of an accelerated disintegration. Torn, ripped, blown apart, dissolved in acid, left to rot, atomized, electrocuted.”
200 copies on 180g vinyl, cut by Flo Kaufmann, mastered by Giuseppe Ielasi.
12,00€
Out of stock
LP
Francisco MEIRINO and Kiko C. ESSEIVA
“Focus on nothing on focus”
A unique work stemming from a studio collaboration between Francisco Meirino and Kiko C. Esseiva. Using the same source material each artist composed one side of the LP. Assembled in 2012 and 2013 from hours of multitrackrecordings using reel-to-reel tape recorders, emf detectors, piezo transducers, analogue synths and various homemade sound objects. Discover, compare, enjoy the work of these two sound artists ! High Quality 180g Vinyl with excellent sound - not at least due to the cut done by Flo Kaufmann. Numbered edition of 300 copies.
12,00€
Out of stock
LP
Bruno DUPLANT
“Fictions”
Two major nuclear disasters, Tchernobyl and Fukushima, left its traces in our collective memory. Their devastating impact on the immediate environment left behind the ghost towns of Prypiat and Futaba. French sound artist Bruno Duplant never visited these exclusion zones. He took their existence as a starting point for an electroacoustic composition to investigate the relationship between fiction and reality. Sonic journalism like Peter Cusack’s “Sounds from dangerous places” documents the reality of exclusion zones. Bruno Duplant tries to translate the reality of such zones into fiction by using sounds which originally had no relation with these places. Two compositions of same length, one on Prypiat, the other on Futaba. Fiction as testimony of a reality easily forgotten, buried in silence. Fiction as recollection. Cover by Walter Methlagl, mastered by Giuseppe Ielasi. 300 copies on 180g vinyl.
12,00€
Out of stock
LP
Jóhann JOHANNSSON & BJNILSEN
“I am here”
Based on the original score for the film “I Am Here” (2014), written and directed by Anders Morgenthaler, starring Kim Basinger, Jordan Prentice and Sebastian Schipper. This is the first collaboration between Jóhann Jóhannsson and BJ Nilsen… very much a mix between their two worlds, you can hear both their signatures, and with the help of additional musicians, including Hildur Gu nadóttir on cello and the remarkable voices of Elfa Margrét Ingvadóttir and Gu mundur Vignir Karlsson, they together create a world of great beauty and
mystery.
Recording information: Cello: Hildur Gu nadóttir. Violin and viola: Daniella
Strasfogel. Vocals: Elfa Margrét Ingvadóttir and Gu mundur Vignir Karlsson. Piano, guitar and ;electronics: Jóhann Jóhannsson. Electronics: BJNilsen. Recorded and mixed by Jóhann Jóhannsson and BJNilsen in Berlin, December
2013/January 2014. Mastered and cut by Jason at Transition
mystery.
Recording information: Cello: Hildur Gu nadóttir. Violin and viola: Daniella
Strasfogel. Vocals: Elfa Margrét Ingvadóttir and Gu mundur Vignir Karlsson. Piano, guitar and ;electronics: Jóhann Jóhannsson. Electronics: BJNilsen. Recorded and mixed by Jóhann Jóhannsson and BJNilsen in Berlin, December
2013/January 2014. Mastered and cut by Jason at Transition
13,00€
In stock
LP
Vincent EPPLAY
“Brève Retraite au Couvent Sainte-Marie de la Tourette”
“This recording documents a sound-performance curated by Franck Ancel in homage to Varese’s “Poème Electronique”. This musical milestone was commissioned for the Philips Pavilion created by Le Corbusier and Xenakis on the occasion of Expo’58, the Brussels World’s Fair that was held from 17 April to 19 October 1958. Le Corbusier envisioned an “art total” utopia involving space, music and images all at once. As soon as he was hired by the dutch company, he announced his intent to create an “electronic poem” in a bottle. That bottle would be the Pavilion. While Xenakis’ piece Concrèt PH could be heard at the entrance and the exit of the Pavilion, Varese’s composition, based on a complex spatialization scheme, was displaid through hundreds of speakers, prefiguring the concept of acousmonium. Xenakis and Le Corbusier collaborated again on Tourette’s Convent, a dominican community located in the suburbs of Lyon. Both Philips’ Pavilion and Tourette’s Convent opened universal and meditative gates, linking musical composition and architecture with a scientific precision. From Varese’s audiovisual journey through space and time to Xenakis architecture of sound builded in wave-like glass, those avant-gardist creations were among the first attempts to interlink artistic disciplines within a building specifically designed by Le Corbusier for this purpose. Sound as architecture, sound as environment, sound as timeless meditation.
At Franck Ancel’s invitation, Vincent Epplay restored the acoustic properties of this one-of-a-kind church. The featured recording is the edit of a 24-hours live session inside the big nave of its chapel. The sound is determined and guided by the whole shape of the building, especially the pieces of undulatory glass that were builded under the directive of Xenakis’ architectural score. Epplay’s musical equipment (mixing desk, EMS synthi AKS suitcase synthetizer, effects and electronic filters) was settled in the center of the nave and “tuned” in order to reveal the specific resonance of this geometrical building made out of glass and concrete.” White vinyl limited to 300 copies.
At Franck Ancel’s invitation, Vincent Epplay restored the acoustic properties of this one-of-a-kind church. The featured recording is the edit of a 24-hours live session inside the big nave of its chapel. The sound is determined and guided by the whole shape of the building, especially the pieces of undulatory glass that were builded under the directive of Xenakis’ architectural score. Epplay’s musical equipment (mixing desk, EMS synthi AKS suitcase synthetizer, effects and electronic filters) was settled in the center of the nave and “tuned” in order to reveal the specific resonance of this geometrical building made out of glass and concrete.” White vinyl limited to 300 copies.
17,00€
Out of stock
LP
Nicolas MONTGERMONT
“Radioscapes”
Picture disc 12”, booklet, insert.
Radio recordings from 3 GHz to 30 kHz.
Radioscapes is a disc that invites to discover the electromagnetic landscapes that surround us. The two sides of the vinyl propose to listen and to observe two very different radio contexts: the Paris ring road (side A) and a farm isolated in the French countryside (side B). In each location, the whole radio spectrum was methodically recorded during two weeks and then transcribed into a single audio track. On each side, an image representing the levels of the received frequencies is printed under the groove in synchronization with the sound.
Radioscapes is an exploration of existing artificial and natural signals. As the disk rotates, the frequencies follow one another, as on a radio whose button would slowly rotated: one successively travels across Wi-Fi waves, mobile phones, hydrogen lines observed in astronomy, satellites exchanges, military and aeronautical communications, FM and AM radios, thunderstorm residues …
The disc is accompanied by a silk-screened booklet that brings together a text by astrophysicist Eric Chassefière detailing the physical properties of radio waves and their utility in radio astronomy and the protocol used to carry out the recording of waves.
Radio recordings from 3 GHz to 30 kHz.
Radioscapes is a disc that invites to discover the electromagnetic landscapes that surround us. The two sides of the vinyl propose to listen and to observe two very different radio contexts: the Paris ring road (side A) and a farm isolated in the French countryside (side B). In each location, the whole radio spectrum was methodically recorded during two weeks and then transcribed into a single audio track. On each side, an image representing the levels of the received frequencies is printed under the groove in synchronization with the sound.
Radioscapes is an exploration of existing artificial and natural signals. As the disk rotates, the frequencies follow one another, as on a radio whose button would slowly rotated: one successively travels across Wi-Fi waves, mobile phones, hydrogen lines observed in astronomy, satellites exchanges, military and aeronautical communications, FM and AM radios, thunderstorm residues …
The disc is accompanied by a silk-screened booklet that brings together a text by astrophysicist Eric Chassefière detailing the physical properties of radio waves and their utility in radio astronomy and the protocol used to carry out the recording of waves.
21,00€
In stock
LP
Richard RUPENUS & Nobuo YAMADA
“81-44”
Side A: 20% heavily armed with random discharges of radio-wave theatre and metal noise. Multiple blows with a heavy hatchet along the time axis, but no blood flows. From the speakers, the right and left wing exchange blows but reconciliation remains eternally unreachable. Steeped in idle repetition in a comfortably heated secret chamber. With several random passers-by, sounds like those made by slapping a wet towel alternate between life and death but in a continual state of existence. However, it was all meaningless.
Side B: Misshapen metal objects roll around randomly, 100% liberated in their movement. Junk noise flies about in every direction, howling at distant objects, wildly spasming, rolling around on the floor, having sudden heart failures, and constantly apologizing for its own violent impulses. Yes, finally the expression of those capricious modulations begins to show its charm, and losing none of its freshness rusted fragments fly up into the air in Japan and the UK.
Handmade jacket consisting of a decorated transparent acrylic sheet (each one is different). The background color changes according to the light conditions. Limited edition of 150. Mastered by Lily Vice at Sacred Lust Studio.
26,00€
In stock
LP
TARAB
“An incomplete yet fixed idea”
Tarab explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees.
More than simply documenting a given site, tarab is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
Edition of 300. Includes download code. Composed and recorded by Tarab / Eamon Sprod. Sounds collected 2011-16 arranged 2016. Mastered by Giuseppe Ielasi. Cut by CGB at D&M.
More than simply documenting a given site, tarab is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
Edition of 300. Includes download code. Composed and recorded by Tarab / Eamon Sprod. Sounds collected 2011-16 arranged 2016. Mastered by Giuseppe Ielasi. Cut by CGB at D&M.
20,00€
Out of stock
LP
Tomoko SAUVAGE
“Ombrophilia”
Ombrophilia is a collection of sound experiments I made with porcelain bowls filled with water between 2006 and 2008. Inspired by Jalatarangam, traditional Indian instrument, I started to play the ‘waterbowls’ with wooden spoons and metal wire (Mylapore, Jalatarangam Revisited). Since I immersed hydrophones in them, I have tried various ways of resonating the bowls without touching their surface : flicking, stirring, waving and dripping water… All the compositions here are multitracked and edited on computer. I also inserted thin layers of field recordings I made in South India, notably in beautiful Mylapore of Chennai, where I met one of the last masters of Jalatarangam, Aanayampatti Ganesan. (Tomoko Sauvage. 2011). Vinyl re-issue of “Ombrophilia”. Aposiopèse 2012. Tomoko sauvage Ombrophilia, previously released by and/OAR cd 2009.
17,00€
In stock
LP
MOHAMMAD
“Zo Rel Do”
Zo Rèl Do is the first volume of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29° . In this new adventure Mohammad further enrich their monolithic, resonant and deep-dark melodic sound with rhythmic shreds, seismic vibrations that echoes past and future rituals. Volume 2 entitled Lamnè Gastama and Volume 3 Segondè Saleco will be released later in 2014 - early 2015. Edition of 450 copies.
17,00€
In stock
LP
MOHAMMAD
“Segondè Saleco”
34°N - 42°N / 19°E - 29°E study vol.3
Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes “Sagaraki” featuring Erifili Giannakopoulou on vocals. The first and second volumes, Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad’s music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009.
Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes “Sagaraki” featuring Erifili Giannakopoulou on vocals. The first and second volumes, Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad’s music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009.
17,00€
In stock
LP
MOHAMMAD
“Lamne gastama”
Lamnè Gastama is the second volume of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29° .
In this second volume Mohammad descend further down into the bowels of darkness unleashing sonic monoliths and Promethean melodies and rhythms. Lamnè Gastama, a veritable tour de force including Hapsía the first ever vocal track by the trio so far featuring Sakis Tolis of Rotting Christ.
Segondè Saleco, the third volume and final catharsis is expected in spring 2015. Tirage limité de 450 copies.
In this second volume Mohammad descend further down into the bowels of darkness unleashing sonic monoliths and Promethean melodies and rhythms. Lamnè Gastama, a veritable tour de force including Hapsía the first ever vocal track by the trio so far featuring Sakis Tolis of Rotting Christ.
Segondè Saleco, the third volume and final catharsis is expected in spring 2015. Tirage limité de 450 copies.
17,00€
In stock
LP
OPERA MORT
“Dédales”
Dédales is the second LP from Opera Mort following a debut for the inhouse label of the sadly defunct Parisian record shop Bimbo Tower. The project is an ongoing collaboration between Jo Tanz and Laurent Gerard, two figures from France’s contemporary avant garde underground; Jo with his Tanzprocesz label and Laurent with his Élg project (Élg’s ‘Mil Pluton’ album appeared on Alter in 2012). They also form two thirds of the trio Reines D’Angleterre with the legendary French artist Ghedalia Tazartés who will be returning to live performance later in 2014. The 8 tracks on Dédales were edited down from a series of improvised live takes of abstract and other-worldy electronics, shifting the Opera Mort sound into more focussed territory and creating a musical language that’s uniquely singular and a direct result of their close collaborative relationship.
18,00€
In stock
LP
SMEGMA
“Look’n for Ya”
In 1973 when Smegma (The Band) was born they had only one rule… NO MUSICIANS! That way they could re-invent the musical wheel with a new Primitive, suburban, anti-hippie approach. 44 years later perhaps the world is ready for their previously unpublished first full LP of original and uncompromising sounds.
At the time we they thought they were on a solitary journey, but shortly after these recordings it was discovered that there was another local group, the Los Angeles Free Music Society, that we shared that we shortly became a part of to this day.
Originally recorded in 1973-75 at the house in Pasadena they all lived in by Ju Suk Reet Meate and Dr. Id. These previously unreleased tracks feature vocals of a different kind with no overdubs or mixing. Including the 1960’s L.A. Freak and street singer Wild Man Fischer reprising his dance tune “The Taster”, a straightforward Memphis/rockabilly slow dance ballad “Red Cadillac and a Black Moustache” and examples of their unique “Group-singing-style” that has to be heard to be believed. Opening and closing their first LP are vocals by someone they had never met, a local C.B. Radio operator who’s handle was Turkey Mon who had such a hi power transmitter that his signal was picked-up by the Tape-head as they recorded!
On this record Smegma is: Ace Farren Ford, Ju Suk Reet Meate, Cheez-it-Ritz, Chuck-O-Fats (D.K.), Amazon Bambi, Dennis Duck, the Rev. Toad-Eater, Paul Rioux, Cheezbro, Reed Burns, Binky Brown, Craig, Jason, Peter, Bev, Turkey Mon, and few others…
Smegma as you never heard them before!
White silkscreened sleeve on black cardboard paper reproducing the original artwork from 1973. This previously unpublished Smegma first LP classic is available now in an edition of 200 numbered copies!
At the time we they thought they were on a solitary journey, but shortly after these recordings it was discovered that there was another local group, the Los Angeles Free Music Society, that we shared that we shortly became a part of to this day.
Originally recorded in 1973-75 at the house in Pasadena they all lived in by Ju Suk Reet Meate and Dr. Id. These previously unreleased tracks feature vocals of a different kind with no overdubs or mixing. Including the 1960’s L.A. Freak and street singer Wild Man Fischer reprising his dance tune “The Taster”, a straightforward Memphis/rockabilly slow dance ballad “Red Cadillac and a Black Moustache” and examples of their unique “Group-singing-style” that has to be heard to be believed. Opening and closing their first LP are vocals by someone they had never met, a local C.B. Radio operator who’s handle was Turkey Mon who had such a hi power transmitter that his signal was picked-up by the Tape-head as they recorded!
On this record Smegma is: Ace Farren Ford, Ju Suk Reet Meate, Cheez-it-Ritz, Chuck-O-Fats (D.K.), Amazon Bambi, Dennis Duck, the Rev. Toad-Eater, Paul Rioux, Cheezbro, Reed Burns, Binky Brown, Craig, Jason, Peter, Bev, Turkey Mon, and few others…
Smegma as you never heard them before!
White silkscreened sleeve on black cardboard paper reproducing the original artwork from 1973. This previously unpublished Smegma first LP classic is available now in an edition of 200 numbered copies!
23,00€
In stock
LP
TAKIS
“Pendules magnétiques-Le siècle de Kafka”
“alga marghen proudly presents one of the highlights of his catalogue, an exclusive LP edition with the recordings of Takis electro-magnetic sculptures. Takis is the originator of this new approach to the musicality of sound, which consists in laying bare the repetitious structure of musical form and its functional derivation, thus rejecting the symbolism of representation. Takis was born in 1925 in Athens. Preferring, as a matter of principle, to teach himself rather study in a institution, he left Greece in 1954 and lived as a citizen of the world, traveling through Europe and the USA. Some of his earliest manifestations in the 1940s consisted of explosions carried out in open places. His first “Signals” date from 1954: they were rods consisting of piano wires which created musical vibrations as they stuck against each other in the wind. In fact they constituted the first appearance in his work and in contemporary art history of a form of musical expression in which sounds are called forth in an un-programmed way, owing to the action of natural forces. In 1961 Takis meets Marcel Duchamp in New York. Duchamp’s perpetual moving bicycle wheels inspired Takis’ hydromagnetic sculptures. In the period between 1964 and 1965 Takis conceives his “Pendules magnètiques” and constructs his first Sound Sculptures. After the exhibition of Takis titled “Electro-musical relief” at Indica Gallery in London in 1966, the New Scientist magazine in an article entitled "The sounds of tomorrow" commented that Takis, Iannis Xenakis and John Cage are the most promising musicians of the century. Takis’ “Pendules magnétiques” are based on the simple concept of using magnetic waves caused by electricity as a means to activate repeated musical sounds: the latter are to be heard every time a needle strikes a string, when attracted by a magnet. The sounds reproduced in this edition were recorded in 1993 by Samon Takahashi at Takis’ retrospective at Jeu de Paume in Paris. Takis participates in 1984 at the exhibition titled “The Century of Kafka” at Centre Pompidou in Paris and sound work with the same title is also reproduced on this LP edition. As an artist he seeks a natural origin for the construction of sound, and in particular that origin which is furthest removed from the artist’s arbitrary decision. For about forty years now, it has been Takis’s purpose to investigate language as a natural function, conceiving function as a form of work. Furthermore, he has broken down the frontiers between sculpture and music in a number of pieces which can only be read by identifying their functionalism as structured units, with their morphological, visual and acoustic aspects.Edition limited to 380 copies with full-color sleeve, printed inner-sleeve reproducing a testimony by Marcel Duchamp and insert with photos of the “Pendules magnètiques” and a testimony by William Burroughs.”
22,00€