In stock
3 CD
Toshiya TSUNODA – Taku UNAMI
“Wovenland 3”
Wovenland became a band. But we never do live shows. Our band activities are mainly editing in a studio. Our goal is to focus on acoustic experiments. No more and no less. We have been active for a total of about 10 days, including meetings, in 7 years. We are now disbanding.
28,00€
Out of stock
3 CD
Jürg FREY (Reinier van HOUDT)
“Composer, alone”
‘Composer, alone’ is a collection of twelve solo piano pieces by Swiss composer Jürg Frey, performed by Dutch pianist/composer Reinier van Houdt. It is the sequel to the 2022 triple album 'lieues d'ombres' (elsewhere 020-3) and the third collaboration between Frey and van Houdt on elsewhere music. The two have cultivated a close rapport, first documented on 'l'air, l'instant - deux pianos' (elsewhere 014) in 2020.
This three-disc set features a wide range of Frey's solo piano compositions from 1990 to 2024, including his latest piano pieces 'Composer, alone (1)' and 'Composer, alone (2)'. This three-disc album traces Frey's journey over the past 30 years as he explores his voice as a composer through piano works. It reveals how his compositional style has evolved, while also demonstrating that the underlying essence of his compositions remains consistent.
As a pianist who has a deep connection to the music of Frey, van Houdt skillfully reveals the subtleties hidden in Frey's compositions, as he did in 'lieues d'ombres'. Staying true to the composer's vision, van Houdt captures the essence of Frey's diverse piano pieces from the past 34 years while achieving a perfect balance between fragility, warmth, and clarity.
All twelve pieces were recorded by Micha de Kanter at the Muziekcentrum van de Omroep (MCO) in Hilversum over three days in September 2024, in the presence of the composer, and mastered by Taku Unami.
28,00€
In stock
3 CD
Taku UNAMI
“Bot box boxes”
"After several years of not doing anything since Erstwhile first asked me to do a solo album, I suddenly had the idea to record it last week and it was released within a week or so.
I know some of you are thinking "Anyone can do this...", but in the DIY spirit of doing what anyone can do with what anyone can get, and without any special skills or funds, I tackled improvisation head on, using mostly newspapers and cardboard boxes, which turned out to be this triple CD set."
-- Taku Unami
28,00€
Out of stock
3 CD
COPPICE
“Draw Agreement”
A spatiotemporal synthesis of Coppice's auditory and musical experiments (2009-2022) with custom, prepared, and modified musical instruments.
This 3CD set abridges Coppice's first three studies, artificially inserts them into the Yerkes Observatory in Williams Bay, WI, and binaurally captures their diffusion across Elastic's CLEAT (Chicago Laboratory for Electroacoustic Theatre), a 16-channel 96-speaker sound system.
21,00€
Out of stock
3 CD
Léo KUPPER
“Complete Electronic & Voices Works 1961-1987”
The complete works of one of the pioneers of Belgian early electronics. This three-CD set highlights Leo Kupper's earliest unique compositions produced during the '60s to '90s when he was ardently seeking out structures distinctly applicable to purely electronic sounds. His GAME machine -- Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) was constructed during such period and spirit of renewal and technical explorations. Released in Sub Rosa's Early Electronic series. Includes 20-page booklet.
Leo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on April 16th, 1935. He studied musicology at the Liège Conservatory, then became the assistant of Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (Studio Of Audio Electronic Research And Structuring). That is where he would compose, to this day, over forty works, most of them on instruments of his own design. In the '70s and '80s, he built a series of Sound Domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phoneme uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space and time: something said could be morphed into another sound hours, days, perhaps years later. Leo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur. His first pieces were released by Deutsche Grammophon and, later, Igloo. His latest works have been released by the New York-based label Pogus.
The GAME machine: In 1961, having terminated his musicology studies, Leo Kupper left Liège for Brussels. By that time, centers for music research such as those in Cologne, Paris, and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, "musique concrete", and electro-vocal music. The GAME machine was constructed during such period and spirit of renewal and technical exploration. The GAME consisted of a collection of variable "sonic cells" sensitive to modulations of positive and negative voltages and programmable manually through the aid of color-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers.
18,00€
In stock
3 CD
Robert CURGENVEN
“Beyond Enclosures”
The 3 albums that comprise this set all, at their heart, concern air and the attendant inter-permeability and fluidity of volumes – be they discretionary or open volumes, architectural or spatiotemporal. Each volume is subject to the specificities of: their resonance; concomitant movements of volumes of air; their locational context and adjacent spaces. The 3 albums present different harmonic, gestural and durational possibilities to encourage us to step out of the perceptual frameworks that enclose us. Each album offers a unique instrumental foundation: experimental turntable techniques inter-woven with piano & pipe organ harmonics (Bardo); resonant architectural interventions in post-Communist architectures and their locational context via custom-made oscillators (SPECTRES); extended pipe organ techniques with an accompanying soundsystem that plumb architectural harmonics and corporeal resonances (Bronze Lands). These works entreat us to think and hear beyond the structures enclosing each instrumental- and performance- approach – the turntable body, the architectural, the pipe organ, the speaker enclosure itself, even the confines of an audience as a gathering – and also to consider these longform works as an inter-related suite of aural and conceptual worlds.
24,00€
Out of stock
3 CD
David FIRST & THE WESTERN ENISPHERE
“The Consummation of Right and Wrong”
David First likes to use the phrase "the virtuosity of slowness" to describe his musical philosophy. In The Consummation of Right and Wrong, he and his eight-piece ensemble, The Western Enisphere, practice this virtuosity to great effect in closely examining the universes that fall between the cracks of convention, reflecting a wide continuum of complex relationships, all the while creating music that is simply ravishing to listen to. This is "drone music" as dynamic organism, moving from compact and ruminative to spacious and serene and back. In this triple-CD, two-and-half-hours of sonic tessellation, First has alchemized his own personal opposites like never before, combining and transmuting his free-jazz experience with avant-legend Cecil Taylor, his influential noise-rock n' roll band Notekillers, his long-abiding love for minimalist, mathematical excavation on dozens of instruments, and a highly refined ear for pop-melodic architectures into a singular, epic set of vibrational possibilities that leaves very few stones unturned in his ongoing quest for the resolution of all extremes.
18,00€
Out of stock
3 CD
Kali MALONE
“The Sacrificial Code”
*** Repress ***
Kali Malone presents a quietly subversive new album featuring almost two hours of concentrated, creeping organ pieces governed by a strict acoustic and compositional code. It’s a major new work with ultimately profound emotional resonance.
‘The Sacrificial Code’ takes a more detailed approach to ideas first sketched out on last year’s ‘Organ Dirges’, which featured canon exercises spontaneously captured without much prior technical planning. By contrast, the recording of ‘The Sacrificial Code’ involved the more careful micing up of several organs in such a way as to eliminate acoustic impurities as far as possible - essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then performed free of gestural adornments and without expressive impulse - an approach that flows against the grain of the prevailing musical hegemony, where sound is so often manipulated, and composition often steeped in self indulgence. The question posed; can this strict methodology still speak to the listener in meaningful terms?
The answer is both obvious and entirely surprising; with its slow, purified and seemingly austere qualities ‘The Sacrificial Code’ guides us through an almost trance-inducing process where we become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness.
As such, it’s a uniquely satisfying exercise in transcendence through self restraint - a stunning realisation of ideas borne out of academic and conceptual rigour which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self exploration free of signposts and without a preordained endpoint - the antithesis to the language of colourless musical platitudes weíve become so accustomed to.
25,00€
Out of stock
3 CD
Charles CURTIS
“Performances and recordings 1998-2018”
Saltern presents its fifth release, Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; Edition of 500.
27,00€
Out of stock
3 CD
Rudolf EB.ER
“Om Kult : Ritual Practice of Conscious Dying – Vol I-III”
"Om Kult 1-3 - the complete Om Kult 3CD triptych, recorded and processed at Om Kult Osaka between 2016 and 2018. Evolving from his extended “Brainnectar” studies on psycho-spiritual cleansing rituals derived from various shamanic and yogatantric traditions - and his examinations of aural hallucinations and paranormal perceptions - Eb.er focuses now on the occult knowledge and techniques for the transition from life to death, on the ejecting mind as well as on the decomposing human body.Field recordings of Japanese forests, creeks and waterfalls, haystacks and dirt piles, maggots and flies feeding on carcasses, monks chanting and obscured voices from occult activities meet complex structures of seemingly minimalist sine wave and noise compounds, moldy tape hiss, rattling and drumming at absurd covens, digging in dirt and scraping on wood, decaying drones, abrupt bewildering noises and blackmetalesque grunts. And the mind leaks into non-dual awareness."
38,00€
In stock
3 CD
COMPILATION
“Changez Retravaillé”
Changez Les Blockeurs has attained a somewhat mythical / legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited some of their favourite artists to compose a reworking which have been issued collectively as Changez Retravaillé (Changez Reworked.)
Nurse With Wound, Philip Sanderson (Storm Bugs), Mark Durgan (Putrefier), Phil Julian (Cheapmachines), The Prestidigitators, Anomali, Spoils & Relics, Asmus Tietchens, Ralf Wehowsky (a.k.a. RLW), Das Synthetische Mischgewebe, Kommissar Hjuler, Rudolf Eb.er (Schimphluch Gruppe), Frans de Waard (QST), Jerome Noetinger, Giancarlo / Massimo Toniutti, Alexei Borisov, TNM, Thurston Moore, Jim O'Rourke, GX Jupitter-Larsen (The Haters), John Wiese, Idea Fire Company, Irr. App. (Ext.), Merzbow, K2, Toshiji Mikawa (Incapacitants), Kazumoto Endo, Nobuo Yamada, Daisuke Suzuki, Veltz.
Nurse With Wound open the Changez Retravaillé compilation, 30 tracks over three CDs. Consistent with their efforts to forge links with the global Noise community, and indeed a strong influence on it, it’s fair to think of this as a gathering of TNB’s peers. Most people in the market for this could have predicted the appearance of Mark Durgan (Putrefier), Rudolf Eb.er (Schimpfluch Gruppe), GX Jupitter-Larsen (The Haters), Merzbow et al. Durgan submits a rather invigorating aural firework display; Anomali and QST (Frans de Waard)’s Techno leanings feel considerably bolder than noise remixed as noise. With that said, harsh noise tornados like that served up by K2 can still rattle your senses. The Wire
30,00€
Out of stock
3 CD
Éliane RADIGUE
“Adnos I-III”
*** Back in stock, new edition ***
Initially produced by Table of the Elements in 2002. Eliane Radigue’s Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3CD jacket much like the recent Eleh releases and containing extensive archival materials.
31,00€
Out of stock
3 CD
Charlie MORROW
“Toot!”
“CD 1: Central Park 1850; Breath Chant; Windsong; Very Slow Gabrieli; Marilyn Monroe Collage; Late Afternoon Chant. CD 2: Central Park 2007; Chorale Bounce 1; Chorale Bounce 2; Wave Music for 30 Harps; Wave Music for 40 Cellos; Toot ’n’ Blink Chicago; A Future Harvest. CD 3: Book of Hours of Catherine of Cleves; Feather. Charlie Morrow (b 1942) is a sound artist, composer, sound poet, eventmaker. Charlie Morrow is a conceptualist whose music and sound work explores many styles and forms, from events for media and public spaces to commercial soundtracks, new media productions, museum installations and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Charlie Morrow, for an artist who has been making music for over 50 years, has been vastly underrepresented on recordings. This 3 CD retrospective set attempts to rectify that situation to some degree. The 15 works on these discs span the years from 1957-2007 and include : Morrow’s first major work, Very Slow Gabrieli, a super slow motion performance of G. Gabrieli’s Sonata Pian e Forte for double brass ensemble; Book of Hours of Catherine of Cleves, a beautiful polychromatic, almost tactile collage where chattering sparrows and mellifluous songbirds join the measured undulations of devotional voices. Brass rings out over cradles of bells, doves coo, gulls mew and the wash of the tide ushers in the late Medieval intricacies of dulcimer, recorder and viol. You can experience the sound made by herds of instruments through the two instances of Wave Music included in this set. As well as environmental works, chanting pieces, audio collages, and so much more.” label info
Original price was: 22,00€.12,00€Current price is: 12,00€.
Out of stock
3 CD
ELEH
“Retreat. Return. Repose”
Only 10 copies available and it’s already sold out ! This deluxe 3 CD set presents Eleh’s Retreat, Return & Repose together for the first time. The LPs were originally only available via Important Records mailorder. Retreat is a collection of exploratory sound assemblages put together during a cabin sojourn. New timbral richness, tonal expansion and deep synthesis make these pieces rather different from previous work. Return reflects on time away. Repose contains only one piece, the final recording of Circle Two: Coastal Rotation For Dune Loop which was debuted at 2010’s Mutek festival in Montreal. This piece completes the Retreat/Return trilogy with Repose and is intended to stand very much on its own. Rain on your hood. Your heart beats. A beach break roaring in the distance. Isolated pines are played by the wind. A fine spot for repose. You turn around and head home.
Original price was: 36,00€.18,00€Current price is: 18,00€.
Out of stock
3 CD
Éliane RADIGUE
“Naldjorlak I, II, III”
Back in stock, warehouse find, few copies available.
The Naldjorlak trilogy composed between 2004 and 2009. "Naldjorlak I" for cello. Charles Curtis. "Naldjorlak II" for two basset horn. Carol Robinson and Bruno Martinez. "Naldjorlak III" for two basset horn and cello. Carol Robinson, Bruno Martinez and Charles Curtis. Recorded in Paris, June and September 2011 by Daniel Deshays. The recording of "Naldjorlak I" is different from the first one issued by the label.
"There is no score of Naldjorak and never will be. It was a mutual friend of Charles Curtis and Eliane Radigue who gave her the idea of composing a piece for cello. The work came into being, little by little, during sessions between the composer and the instrumentalist. Radigue speaks of choosing from among sounds proposed by the musicians, whereas Charles Curtis explains having learned to listen like Radigue, that she led him "to be sensitive to sonic details that normally pass by us, unnoticed". When seated in front of her ARP 2500, Eliane Radigue was in the position of a listener: she would listen to her own music as it unfolded beneath her fingertips. What she does today is rather similar, which explains why her music has not been radically transformed in passing it to acoustic instruments: she continues conversing with her instrumentalists in the same way she had lived for years with her "Jules" (the French nickname for boyfriend that she gave to her synthesizer), dialoguing and listening on a one-to one basis.
I like the idea that Eliane Radigue is a composer totally unhindered by scores and thus a part of the great historical lineage of the avant- gardes. Yves Klein practised Judo as a performance art and sold "immaterial sensitivity" at the price of gold. John Cage appreciated Zen and taught us to listen to what is found in silence. Eliane Radigue, with a perfect grasp of Tibetan thought, invites us to apprehend space and time in another way. This is perhaps the true lesson of Naldjorak (the title, invented by the composer to approximate Tibetan, evokes the concept of union): a spirituality liberated from all mysticism and from texts (or scores) too heavy to bear. Simply learn to listen to the "almost nothing", without having any need for a visual trace." Thibaut de Ruyter, translated by Jeffrey Grice.
40,00€
In stock
3 CD
Biliana VOUTCHKOVA / Michael THIEKE
“Blurred Music”
The Berlin-based Bulgarian violinist Biliana Voutchkova and German clarinetist Michael Thieke have worked together intensely within both compositional and improvisational duo and group projects in Berlin since 2011.
In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches. The triple CD “Blurred Music” features three of the duo’s live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era. Co-produced by David Sylvian and Yuko Zama, artwork by David Sylvian. The three CD set is a limited edition of 500.
In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches. The triple CD “Blurred Music” features three of the duo’s live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era. Co-produced by David Sylvian and Yuko Zama, artwork by David Sylvian. The three CD set is a limited edition of 500.
28,00€
3 CD
Pierre SCHAEFFER
“L’œuvre musicale”
This is a new and final edition of this 3CD box. All the musical work from Pierre Schaeffer (1910-1995). From the first studies in 1948 to his electronic piece “Le trièdre fertile” in 1975, and of course the ones composed with Pierre Henry like “Symphonie pour un homme seul” (1950). + a booklet of text and photos 114 pages in French and English.
CD 1: Pierre Schaeffer : Les incunables 1948-1952 with “Cinq études de bruits”, “Diapason Concertino”, “Variations sur une flûte mexicaine”, “Suite pour 14 instruments”, “L’oiseau RAI”, “Masquerage”, “Les paroles dégelées”. CD 2: Pierre Schaeffer - Pierre Henry, les oeuvres communes 1950-1953 with “Symphonie pour un homme seul”, “Bidule en ut”, “Orphée 53, Suite de concerts”. CD 3: Pierre Schaeffer, les révisions 1958-1979 with “Etude aux allures”, “Etude aux sons animés”, “Etude aux objets”, “Continuo (with Luc Ferrari)”, “Musique de scène pour Phèdre”, “Trièdre fertile”, “Bidule”.
40,00€
In stock
3 CD
Eliane RADIGUE
“Trilogie de la mort”
Trilogie de la Mort is a work in three parts for analogue Arp synthesizer. The first third of the work, Kyema is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé, makes up the last part of the trilogy and emphasizes the transcendence of death.
28,00€
Out of stock
3 CD
AMM
“Laminal”
“A three CD set marking thirty years in the making of AMMmusic. Three concert performances: Aarhus, Denmark, 1969. London, 1982. New York, 1994. Featuring variously: Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost, Keith Rowe and John Tilbury. Includes an illustrated booklet with commentaries by Jim O’Rourke, Victor Schonfield, Malcolm LeGrice and John Tilbury”. Tremendous historical document of all exclusive material to this box, perfectly packaged, desperately awaited. “AMM moves on or comes together on any plane: it could be volume, speed or density as much as pitch. The most peaceful and united parts might be the ones which are the busiest and most crowded. AMM uses all the dimensions of musical space to create the feeling that sound is a solid object in solid space -- complete with size, shape, performance. It depends where they are sitting, what they are focussing on, how long and at what stage they can concentrate, and how widely or narrowly. There is no whole or centre, only parts. AMM reveals the behaviour of sound, and its anomalies. Low sounds absorb high ones, loud sounds blot out soft ones, but most sounds placed side by side either co-exist, reach out to each other or merge. Sometimes you can hear one sound being squeezed until it splits into two or more. The melody need not be sound changing: it could simply be sound being”.
30,00€
Out of stock
3 CD
Keith ROWE – Sachiko M – Toshimaru NAKAMURA – Otomo YOSHIHIDE
Keith Rowe guitar, electronics ; Sachiko M, sine waves, contact microphone on objects ; Toshimaru Nakamura no-input mixing board ; Otomo Yoshihide electric guitar, turntables. “ErstLive 005 is from the quartet of Keith Rowe, Sachiko M, Toshimaru Nakamura, and Otomo Yoshihide, the centerpiece show of AMPLIFY 2004: addition, the "four hour quartet". ErstLive 005 contains three individually packaged slimline CDs in a slipcase with original artwork by Keith Rowe, which wraps around the entire box, front, side, and back, as well as liner notes from all four musicians and numerous pictures from Yuko Zama. ErstLive 005 documents only the second performance of this quartet, after a brief set in Cologne the week before.” “One thing I can say for sure is that the boundary between listening to this CD and playing this music is totally dissolved, and there is only a difference of time and space where the sounds are heard.” -Otomo Yoshihide
32,00€
Out of stock
3 CD
Henri POUSSEUR – Michel BUTOR
“Paysages planétaires”
In year 2000 Henri Pousseur was asked by Philippe Samyn, architect of Brussels who likes to work in association with other arts, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus making the hours between 6 a.m. and 10 p.m.
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
55,00€
Out of stock
3 CD
Giuseppe IELASI
“3 pauses”
After a pause which lasted two years, senufo editions starts again.
Electronic music realised between 2014 and 2016, to be played at low volume.
25,50€
In stock
3 CD
ELEH
“Floating frequencies – Intuitive synthesis”
“Edition of 1000. This deluxe 3 CD set presents Floating Frequencies/Intuitive Synthesis in its completed 3 part entirety. Metallic silver print on a heavy duty matte black jacket. Intuitive Synthesis/Floating Frequencies takes full advantage of the low noise floor and clarity provided by the digital medium. Mastered by Eleh specifically for the digital environment. This box is not intended to be a replacement of the analog records but an entirely different experience.”
30,00€
Out of stock
3 CD
Phill NIBLOCK
“Touch three”
“Sethwork” (2003) Seth Josel, acoustic unamplified guitars played with e-bow. “Harm” ( 2003) Arne Deforce, cello. “Lucid Sea” (2003) Lucia Mense, recorders. “Parker’s Altered Mood, aka, Owed to Bird” (2004) Ulrich Krieger, alto saxophone. “Zrost” (2004) Martin Zrost, soprano saxophone. “Not Yet Titled” (2003) Franz Hautzinger, trumpet. “Valence” (2005) Julia Eckhardt, viola. “Alto Tune” (2004) Ulrich Krieger, alto saxophone. “Sax Mix” (2004) Ulrich Krieger, alto, tenor and baritone saxo. These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer-hard disk, most of them using my Powerbook G4, Protools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Protools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks. The recording environment varied from a simple apartment in Berlin (Ulrich Krieger’s) to a very large hall used for symphony orchestra performances and recordings, with a sizable audience space (Deutschland Radio, Cologne). The recordings were generally done quite closely miked. One hears only the sound of the instrument. There is no electronic manipulation in the recording, the editing of the tones, or in the mix. The only changes to the recorded tones are the pitch shifts to create microtones. The microtones are doing the work.
20,00€
In stock
3 CD
MURAL
“Tempo”
Jim Denley, wind instruments. Kim Myhr, twelve-string guitar, zither. Ingar Zach, gran cassa, percussion.
“Tempo” is a 3CD box set recorded live during a 4-hour performance at the Rothko Chapel in 2013. Following up on the group’s Live at the Rothko Chapel from 2011, this release shows the group expanding into a much longer form. Mural consists of Australian windplayer Jim Denley, with Norwegians Kim Myhr (guitar) and Ingar Zach (percussion). They first performed in 2007 in Madrid, and have made concerts around the world since. The trio has released two critically acclaimed records.
After two successful concerts at the Rothko Chapel and a CD-release on the Chapel’s own publications, the trio visited the chapel in Houston, Texas for the third time in April 2013. Wishing to challenge traditional concert formats, they decided to play a four hour long performance in the chapel. The result was so satisfying to them that they decided to release the music as a 3CD-box set.
The music that was played in the chapel is an expansive and patient form of music, far beyond any traditional entertainment formats. In an abyss of time, Mural’s music was not only elevated to another level; one could say that in these long durations, it finally came to its own right.
Rothko’s paintings from the Rothko Chapel can be seen on the front cover of the release.
20,00€
Out of stock
3 CD
Daniel MENCHE
“Sleeper”
Daniel Menche is best known for his assemblages of visceral, industrial-
strength noise. In such head-rinsing recordings as Vilké (2013), Deluge (2003), and Fields of Skin (1997), Menche’s compositional directives instigate and exacerbate the physiological properties of anxiety -- increased blood pressure, blurred vision, claustrophobia, panic, disorientation, etc. In the hands of a talented composer such as Menche, noise can be demonstrative, cathartic and even communal. But after three decades of intense relentlessness, Menche posed the internal question: “Why the hell do I gravitate to compositions that stresses people out?” In re-evaluating his own compositional strategies and philosophical stances, Menche worked out the ideas through sound. Out of that research came the makings an ambient record that he could fall asleep to. These recordings seek to amplify the re-imagined traces of light and dark across the inner eyelid of the dreamer caught in that crepuscular moment between wake and sleep.
To peg this album as merely an ambient record is to do Sleeper a gross disservice. This a Menche ambient record. Feckless new age drivel, this is not. While seeking a graceful tranquility and placid states of mind, Menche’s compositional tools remain the sonic equivalent of a chainsaw. Rough edges and bold gestures are steadfast reminders that Menche is at the helm. In Sleeper, Menche plunges into the harmonic dissonance and glassine minimalism found in the historical works of La Monte Young and Charlemagne Palestine. Never one to be static, Menche drapes his ephemerally half-melodic loops and unfurled sonic tapestries onto a distant, iron-clad thump as a rhythmic spine. The ghostly frequencies that flare out of from his drones almost always evolve into sharp and blinding coronas of sound, embruing the album with an unnerving tension.
An opus at a third of the length, Menche’s Sleeper is a monumental album of colossal driftwork clocking in well over three hours.
3 CD edition of 500 copies, housed in a custom printed tri-gatefold stumptown printing CD jacket.
18,00€
Out of stock
3 CD
Jacques LEJEUNE
“Parages and other electroacoustic works”
Born (1940) in Talence, France, Jacques Lejeune studied music at the Schola Cantorum with Daniel Lesur, at the Conservatoire National Supérieur of Paris with Pierre Schaeffer, and at the Groupe de Recherches Musicales with François Bayle. He entered the GRM (Musical Research Group) in 1968 and directed the Cellule de la Musique pour L’Image (Music for Images Department) in which various productions for stage and television were produced. In 1978, in partnership between the National Audiovisual Institute, GRM, and the ADAC (City of Paris), Lejeune launched the Ateliers de Musique Électroacoustique (Studios for Electroacoustic Music) designing both its curriculum and program.
Six of Lejeune’s compositions are featured in this 3CD retrospective totaling near three-and-a-half hours of music. Presented chronologically, these works for tape represent a stunning array of themes, images, and destinations covering the years 1971-1985. Throughout Lejeune’s compositional development, the informal content of dreams, reflections on the written fable, and the mythological thinking of our ancestors - all reappear.
Originally released on LP by INA-GRM, both Parages and Symphonie au bord d’un paysage have been remastered and re-released here for the first time on CD. Parages (1973) is a work exploring distances (or vicinities), cycles, and the transparency of the sky. A deep undercurrent of perpetual movement, altitude - flight and fall - is ever-present in the piece, encompassing a procession of auditory colors, places, and events. These elements multiply, uniting beyond their individual musical processes, further immersing the listener within an increasing auditory field. Symphonie au bord d’un paysage (1981) is a composition concerned with motion, panoramas, and geographical relationships - all as if being at the edge of a vast chasm. This expanse projects the listener onto an audio compass, traversing specific territories, while contemplating the path and its spatial trajectories along the way. Also included is Lejeune’s masterwork, Blanche-Neige (1975). This has been regarded as one of the most peculiar and elusive recordings in the whole GRM-related canon. This early LP, also known as Fantasmes, was originally recorded for a theatre/ballet production of the same name. Loosely based on the text by the Brothers Grimm with its narrative symbolism and tale of the deep forest, Blanche-Neige is one of the finest compositions of cinéma pour l’oreille (cinema for the ear) for tape and electronics from the period. Cri (1971) is the earliest piece featured in the set, with an emphasis on the very nature of vocal expression. Integrating mixed landscapes and a spacious use of cyclical elements, this work offers a fantastic prelude to Lejeune’s evolution as a composer. Additionally featured are Entre terre et ciel (1979) and Les palpitations de la forêt (1985). These two works are concerned with the natural world, labyrinths, clusters, and intermingled morphologies of the Earth.
For Lejeune, his methods are always galvanized through tangible images. It is expressed in an acoustic research based on an ambiguity between the anecdotal and the musical. This follows the work of Luc Ferrari, with his notion of anecdotal music; bringing into relation the sounds of everyday reality and the musical narrative. Lejeune’s pieces may be further described as a “character passing through a series of landscapes.”
The boxed set includes a 28 page bilingual booklet (in English/French) with detailed program notes as well as a 32 page booklet of interpretive stanzas surrounding these bizarre and evocative works. Meticulously translated and collected for the first time in print, these writings offer a rare insight into Lejeune’s creative process. Parages and other electroacoustic works 1971-1985 is an essential overview of one of the seminal figures in musique concrète.
32,00€
Out of stock
3 CD
COMPILATION
PRIX PRESQUE RIEN PRIZE
In 2010 Brunhild Ferrari decided to make public some of Luc Ferrari’s original sound archives by offering a selected collection of recordings to other composers who may wish to use the material for the creation of original musical works.Her desire was to open this sonic treasure to other artists without wanting to impose any aesthetic direction on them, and with the only purpose of encouraging new artistic inventiveness.
This edition presents the “Presque Rien Prize” winners and other selected works of the first three biennial contests, the most recent contest having taken place in December 2015. Each of the competitions has been concluded by a concert including the winning and other selected works of the competition. While 109 new works were submitted to the three initial editions, we are delighted to keep receiving many other works from over the world for the forthcoming competition in 2017.
CD1, 2011 edition: John Palmer (winner), Elsa Justel (mention), Daniel Blinkhorn (mention), Dinah Bird & Jean-Philippe Renoult.
CD2, 2013 edition: Brian Jacobs (winner), Ayako Sato (mention), James Andean (mention), Masashi Isai, Andrea Belfi, Donia Jourabchi, Takuma Kuragaki.
CD3, 2015 edition: Hideki Umezawa (winner), Lisandro Barbato (mention), Johannes S. Sistermanns (mention), Manfredi Clemente, Manuella Blackburn, Laurence Bouckaert, Dimitris Maronidis, Yingzi Li.
The slipcase edition includes three CDs in individual digipak sleeves as well as a 68-page booklet in English, French and Japanese with liner notes written by the composers, their biographies, title tracks, photos and an introduction by Brunhild Ferrari.
This edition presents the “Presque Rien Prize” winners and other selected works of the first three biennial contests, the most recent contest having taken place in December 2015. Each of the competitions has been concluded by a concert including the winning and other selected works of the competition. While 109 new works were submitted to the three initial editions, we are delighted to keep receiving many other works from over the world for the forthcoming competition in 2017.
CD1, 2011 edition: John Palmer (winner), Elsa Justel (mention), Daniel Blinkhorn (mention), Dinah Bird & Jean-Philippe Renoult.
CD2, 2013 edition: Brian Jacobs (winner), Ayako Sato (mention), James Andean (mention), Masashi Isai, Andrea Belfi, Donia Jourabchi, Takuma Kuragaki.
CD3, 2015 edition: Hideki Umezawa (winner), Lisandro Barbato (mention), Johannes S. Sistermanns (mention), Manfredi Clemente, Manuella Blackburn, Laurence Bouckaert, Dimitris Maronidis, Yingzi Li.
The slipcase edition includes three CDs in individual digipak sleeves as well as a 68-page booklet in English, French and Japanese with liner notes written by the composers, their biographies, title tracks, photos and an introduction by Brunhild Ferrari.
36,00€
Out of stock
3 CD
Julius EASTMAN
“Unjust malaise”
Members of Creative Associates; Jodi Beder, Sarah Carter, Barry Gold, Julie Green, Christine Gummere, Maureen Hynes, Chase Morrison, Abby Newton, Larry Rawdon, David Sabee, cellos; Frank Ferko, Janet Kattas, Patricia Martin, pianos; Julius Eastman, piano, voice, conductor. This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940-1990), who died sixteen years ago under unexplained circumstances and whose musical legacy was thought lost. This comprehensive and definitive document, which comprises almost all of Eastman’s signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work.
In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman’s work and its importance: “Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context… Applying minimalism’s additive process to the building of sections, he developed a composing technique he called “organic music,” a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.”
Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation.
Stay on It (1973). If You’re So Smart, Why Aren’t You Rich? (1977). Prelude to The Holy Presence of Joan D’Arc (1981). The Holy Presence of Joan D’Arc (1981). Gay Guerrilla (1980). Evil Nigger (1979). Crazy Nigger (1980).
In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman’s work and its importance: “Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context… Applying minimalism’s additive process to the building of sections, he developed a composing technique he called “organic music,” a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.”
Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation.
Stay on It (1973). If You’re So Smart, Why Aren’t You Rich? (1977). Prelude to The Holy Presence of Joan D’Arc (1981). The Holy Presence of Joan D’Arc (1981). Gay Guerrilla (1980). Evil Nigger (1979). Crazy Nigger (1980).
40,00€
In stock
3 CD
Joris DE LAET
“Sem etc.”
Joris de Laet (Belgium, 1947) is a fully autodidact composer of electroacoustic music. Between 1972 and 1975 he worked at the IPEM along with Lucien Goethals and Karel Goeyvaerts and in 1973 he founded the SEM (Studio for Experimental Music) where he organised plenty of group sessions, live performances, lectures... De Laet’s work is adventurous, complex and difficult to
classify, due to many interesting contrasts in his style and approach academic vs intuitive, modern composition vs free improvisation, acoustic vs electronic, sound vs noise... This selection (10 tracks) of his early recordings (1972 1979) represents an overview of his intriguingly radical and highly personal work which includes solo tape experiments, live electronics with Karel Goeyvaerts and group performances with experimental instrumentalists from the SEM ensemble : Pieter Kuyl (chapmanstick), Leo Verheyen (trombone), Paul Adriaenssens (flute and amplified objects), Maurice Verstuyft (flute). All material has been mastered from the original tapes and is previously unreleased. Edition of 300 copies.
40,00€
Out of stock
3 CD
Robert ASHLEY
“Perfect lives”
Robert Ashley, solo voice; Jill Kroesen and David Van Tieghem, chorus; "Blue" Gene Tyranny, keyboards; David Van Tieghem, non-keyboard percussion; Peter Gordon, music producer; Paul Shorr, soundtrack producer. 3 CDs.
“Perfect Lives has been called "the most influential music/theater/literary work of the 1980s." At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980’s update of the mythology of small town America. Perfect Lives is populated with myriad characters revolving around two musicians --"R", the singer of myth and legend, and his friend, Buddy, "The World’s Greatest Piano Player". They have come to a small town in the Midwest to entertain at the Perfect Lives Lounge. As Robert Ashley describes in the opera synopsis, "they fall in with two locals to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable about of money from The Bank for one day (and one day only) and let the whole world know that it was missing."
The eloping couple, Ed and Gwyn, the old people at the home, the sheriff and his wife (Will and Ida) who finally unravel the mystery, and Isolde who watches the celebration of the changing of the light at sundown from the doorway of her mother’s house are some of the characters who journey through the seven episodes of the opera.
Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.”
“Perfect Lives has been called "the most influential music/theater/literary work of the 1980s." At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980’s update of the mythology of small town America. Perfect Lives is populated with myriad characters revolving around two musicians --"R", the singer of myth and legend, and his friend, Buddy, "The World’s Greatest Piano Player". They have come to a small town in the Midwest to entertain at the Perfect Lives Lounge. As Robert Ashley describes in the opera synopsis, "they fall in with two locals to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable about of money from The Bank for one day (and one day only) and let the whole world know that it was missing."
The eloping couple, Ed and Gwyn, the old people at the home, the sheriff and his wife (Will and Ida) who finally unravel the mystery, and Isolde who watches the celebration of the changing of the light at sundown from the doorway of her mother’s house are some of the characters who journey through the seven episodes of the opera.
Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.”
30,00€
Out of stock
3 CD
MERZBOW – KAPOTTE MUZIEK
“Works 1987-1993”
Both of these projects hardly need an introduction. Merzbow is since the late ‘70s the project of Masami Akita working in the field of noise music, having released a few hundred CDs/LPs/cassettes by now.
In 1987 Kapotte Muziek was then the solo project of Frans de Waard, after Christian Nijs left the group early ’87. De Waard concentrated on working with other musicians, and started trading tapes with a few musicians he was already in contact with, and one of them was Merzbow. The first release was a cassette, which was released in two versions, one of Merzbow’s ZSF Produkt and one on Belgium’s Therapie label (although none ever showed up, so perhaps it didn’t happen). In October 1989 Merzbow was invited to play at V2 in ’s-Hertogenbosch and a subsequent small tour was done in The Netherlands, playing in Utrecht and Nijmegen. On october 3rd 1989 Merzbow played in the evening in a small student club, Diogenes, and in the late afternoon as a duo with Kapotte Muziek. The first 20 minutes were released on one side of the LP ‘Documentation/Collaboration’, whereas the second side has ‘recycled’ versions of those recordings. For their next project Merzbow Kapotte Muziek took all the recordings from that day and reworked them in an extensive process into the LP ‘Continuum’.
This 3CD set compiles all of these recordings and more. It includes (CD1) the first cassette, ZSF Produkt version, (CD2) has for the first time the complete live recording from the collaborative concert at Radio Rataplan plus two compilation pieces that were made around the same, and (CD3) the complete ‘Continuum’ LP, as well as three highly obscure compilation tracks, including the long reworked ‘Radio Rataplan’ from the very obscure ‘Dutch Tour’ double cassette by V2_Archief.
All expertly remastered by Jos Smolders at Earlabs, all lovingely designed by Meeuw, in a carton box with three CDs, poster, shrinkwrapped and sticker. Edition of 300 copies only.
23,00€