Industrial
Glitch, Abstract, Experimental
IDM
Industrial
Folk Rock, Soft Rock
Goth Rock, Avantgarde, Experimental, Prog Rock
Abstract, Electro, Experimental
Modern Classical, Industrial, Experimental
Ambient
Noise
Abstract, Ambient
Experimental
Industrial, Experimental, Ambient
"Lucky Kitchen: Sparkling Composers Series : full length Solo CDs by electronic composers, new and old, whose work give us the feeling of shiny generosity and warmth. These works are fully 'musical' in their harmonic range and rhythmic constructs (with or without backbeat), yet they are also fully developed ideas (a rare bird). Music/audio containing a vague idea of narrative using meditative compositional techniques, which are to be read like a book. Oppositional audio techniques, such as improvisation and composition, digital and acoustic, weave expressively around each other within the landscape of composition. They are works that open a door and step back so you can come in for a warm drink. We know their stories, we would like you to know them as well. Aerospace Soundwise are from Chicago. A lonely poet living in big city, USA, making intense multitrack compositions of moving wallpaper. He reflects with humor, sadness, wonder and romance from his DAT tapes recorded over the past ten years of his life. Todd Aaron Carter was born in Pontiac, Michigan. He has lived and worked in Chicago, Ill for 8 years. His sound engineer credits include over 20 Jazz albums, Taku Sugimoto and Kevin Drumm, John Zorn, and many more. His work with T.V. Pow is released on Box Media, Staalplaat, Erstwhile and more." - label description.
Symphonic Rock
Noise, Experimental, Ambient
CD Begins at quiet dark ambient and builds to riveting hardcore techno. Foldout pack in dark brown and grey carton. the mini album mantra offers 5 new exclusive tracks
Industrial, Experimental, Ambient
Dark Ambient, Abstract, Minimal
Industrial, Experimental, Ambient
Experimental
Impulsion composed 1973-74 at EMS and at the Royal Universal College of Music in Stockholm, Sweden. De Två, Med Tre Instrument composed 1996-97 at EMS. Comes in a digipak with a 16-page booklet.
Field Recording, Musique Concrète, Monolog, Experimental
Abstract, Industrial, Experimental
Abstract, Noise, Experimental
Industrial
All tracks composed, recorded and mixed between Januray 1999 and August 1999 by: Alio Die (Stefano Musso) - Sampler, textures and drones, field recordings. Opium (Matteo Zini) - Digital sound effects, programming, sampler, electronics, fields recordings. Except track 05 composed and recorded by Alio Die 1999. Mastered by Stefano Musso on Pro Tools August 1999.
Organic sounds, great harmonies. Stefano Musso - khen, drones and loops, environmental recordings. Ginfranco Cualbu - percussion on track 5. Francesco Paladino - environmental sounds on track 2. Teo Zini/Opium - environmental sounds on track 3. Taking basic improvisations only from sounds produced by Khen (mouth-organ from Thailand/Laos) and processed by different controls like filters, pan and multi-effects, Stefano Musso looks for a vibrational environment that is like a special point of view, where time changes his meaning and sometimes becomes absolutely relative, finding a place for contemplation, like beingin the clouds and breathing with the sound of the spheres. Observe the circular harmony of seasons in his never ending flow, it speaks like old poetry that is familiar to the soul. Stefano Musso plays: khen, drones and loops, environmental recordings taken in Thailand and in Lunigiana/Italy. Percussion on track 5 by Ginfranco Cualbu. Thanks to for environmental sounds to Francesco Paladino (recorded in Katmandu,Nepal) on track 2 and by Teo Zini/Opium (recorded in Topolo', Italy) on track 3.
Atmospheres and light electronics. Composed, performed and mastered at Lunae studio by Alio Die in 2001, editing some recordings made in 1990, Milan, adding new sounds and radionoise. Stefano Musso - Drones, radio, enviromental recordings, editing and treatments Massimo Iadarola - Guitar on track 1, 3 and 10 Gianfranco Cualbu - Flutes and percussions on track 1, 2, 3, 4. This new CD contain unrealized material recorded by Alio Die in the year 2001, mostly around the time of the winter solstice. The tracks are characterized from the editing of old recordings produced in Milan in 1990, with Massimo Iadarola plays guitar and effects. The recordings were integrated with radio noise from an old Valvular Model. Some new sounds of flutes and percussions were added from Gianfranco Cualbu. The recordings were completed with a new track displays zither, muezzin voices from the shirt wave space and field recordings made by Alio Die in Notre Dame, Paris Sept 2002. The sound atmosphere of this release is close in some way of the really first CD's by Alio Die, with a light electronic taste, in the feeling of the dark that pass before a new dawn.
This is re-released of old MCD (22 minutes) which has been released in 1993 limited edition of 1000 copies and sold out several years ago. But many people continue to ask this CD. Some people tell that it is the best album of the maestro from all time! Now I happy to present full version of this great album, his length 79 minutes. Classical sound of the maestro is harmoniously combined with his new experiments with a zither, salterio, flutes,abells and many other. Old materials was remastering and now sound very well. Release contain five cards with installations of italian painter Sara Luciani. This artwork are an integral part of the concept of an album. Limited edition of 1000 pieces.
Abstract, Minimal, Ambient
Folk Rock, New Wave, Goth Rock
Modern Classical
Industrial, Experimental, Ambient
Synth-pop
Synth-pop
Minimal, Ambient
Abstract, Experimental, Ambient
Noise, Experimental
Noise, Ambient
Noise
"I guess these two musicians don't need long introductions: Ambarchi is well known for his work with guitars and Berthling is one of the members of Tape and, as far as I know, also involved with H”pna. This collaboration was done in Stockholm in 2002 and has been edited for this release. The one track has a duration of half an hour. Berthling plays harmonium and Ambarchi guitar and the work has a very straight layout: it's a drone piece, starting with harmonium. The tones are kept all the time, sometimes adding or subtracting a single note. One can hear the frequency of the pump underneath. Some time later the guitar is added, but it is extremely difficult to pinpoint the moment. The sounds merge so strongly together that they become one, slowly changing in the course of the piece. Were it not for the frequency range (high mids), one would probably dream away gently. But the sound is just too piercing for that. And it's up to the listener to decide whether this is good or not......" - Roel Meelkop in Vital Weekly.
"Take three Swiss tourists. Feed them top notch Sydney rock oysters, fine Hunter Valley wines and get them into a recording studio with Oren Ambarchi. That was the challenge. This is the record. If Ambarchi, M¸ller and the Crack have one thing in common (beyond gastronomic excess), it is their ability to get extraordinary sounds out of everyday objects. This one day recording session at Big Jesus Burger in Sydney highlights the mutual approach they share. There's such cohesion, wholeness and single mindedness to these pieces that makes identification of the individuals involved virtually impossible. So forget the 'Who's Doing What?' game. Close your eyes and play 'Where The Hell Am I?' ... rainforest, glacier, casino, ship's hull, bowling alley or five star restaurant?" - label description. packaged in "Super Jewel Box" (sort of a DVD case sized jewel case)
Ambient
The first release from the ICES concerts from August of 1972 in London. The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey "Job" Matusow (1926-2002). Jumping off from his associations with Source magazine, Harvey brought together over 300 artists from over 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound - specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house, and recorded by John Lifton and his assistants. Now, for the first time in 30 years, these recordings can be heard. AMM was formed in 1965 by Lou Gare, Eddie Prevost, Keith Rowe, and Lawrence Sheaff. The line-up swelled to also include Cornelius Cardew and Christopher Hobbs, and sometimes composer Christian Wolff. From 1971 up until 1976, AMM found itself stripped down to the duo of Prevost and Gare. After that time, Rowe replaced Gare, and Eddie and Keith have continued making AMMusic ever since, mostly with the help of John Tilbury, and occasionally others, and are still a powerful force. The aesthetic of AMM is that of improvised music freed from the constraints of musical style. Their sound is ever evolving and free from the ego of individual players. "Music from half a lifetime ago - that was a very good creative time musically and maybe a new generation will appreciate what we were doing then and still are doing now. Playing with Eddie in that format, just the two of us, was my most rewarding musical experience after the break up of the AMM quartet. When Eddie and Keith tried to get it together again with the four of us I could not go back to that after the freedom of the duo." - Lou Gare.
Breaks, IDM, Industrial
Folk Rock, Death Metal, Goth Rock
Post Rock, Ambient
Indie Rock
New Wave, Indie Rock
EBM, Synth-pop
"eschewing conventional song structures while retaining his pop sensibilities, Anderegg presents a debut album both beautiful and engaging. the sounds themselves reference the familiar, evoking a sense of environmental space and structure. at times flirting with melody, the tracks imply Ýa sense of song, which both draws the listener in, while giving room for interpretation. moments and gestures fracture and decay, while subtle contrasts hint at the concrete." - jrz.
Space-Age, Big Band, Experimental, Easy Listening
Abstract, Experimental
Abstract, Experimental, Ambient
Part of "Tes Series": Non-Codificable Researches of Spontaneous Improvisation and Manipulation of Sound Sources. Original Mastering: Studio Neubauer, Düsseldorf 1971 Elektronic: Willi Neubauer with Echolette Ringmodulator Compact Disc Re-Mastering: Elettroformati, Milano, 1999
Industrial, Ambient
studio recording of Jeph Jerman's small sound orchestra with Dave Knott, Mike Shannon, Jeffery Taylor, Robert Millis and Marina Granger. "in seattle in 1996, i began giving performances using mainly natural objects as my 'instruments'. after many such performances, two friends suggested (independently of one another), that i might try doing it with a group. as this idea had occurred to me a few years previously, i thought perhaps they were right. in june of 1999, the animist orchestra began its history as a working group. we got together nearly every week for the next three months, to play and discuss our playing. our first performance was given in eric lanzillotta's living room for a small group of friends, and was well received. from the beginning, the focus of the orchestra has been on listening, and improvising in the moment. a group of people truly playing together and focusing intently on the present can be a powerful thing. the use of natural objects (stones, shells, pine cones etc.) as opposed to more conventional musical instruments, can help the players to not fall back on learned habits of musical play. there is no canon or book of rules to refer to when using everyday things as sound makers, and this may facilitate the removal of actions arising from taste and memory. during the initial period of discovery for the orchestra, dave knott made the observation that, when when playing and focusing on the sound being made, it was 'like the spirit of the thing is telling you ho it wants to move'. mike shannon once told me that when i play i seem to be animating the objects with my hands. i think these comments explain the name of the orchestra better than i could. i wanted to make a CD of the orchestra to document our work together, and to show my admiration and gratitude for the friends who have agreed to join. i don't think they knew what they were getting into." - jeph jerman.
Industrial, Experimental, Ambient
Spoken Word, Experimental
Art Rock, Avantgarde
electronic music
contemporary / electro-acoustic music of Brazilian Electronic pioneer
Abstract, IDM, Drum n Bass
Experimental, Ambient
Ambient
IDM, Acid, Drum n Bass, Experimental
Industrial, Experimental
Abstract, Techno, Minimal
Illbient, Experimental, Ambient
Abstract, Experimental, Ambient
Noise, Experimental, Industrial
Industrial, Ambient
Goth Rock, Heavy Metal
Synth-pop, Experimental
Drum n Bass, Ambient
second CD by Czech artist living in Belgium. a musique concrète of field recordings, voices, digital errors, and loops, as well as lead vocals by flamingos and falcons.
"Result of a two-years (and ongoing) collaboration between 2 major sound artists. Relying on an already impressive body of work (with releases on Audioview, JdK, Sonoris, ERS), AMT creates electroacoustic 'sound-paintings', complex audio-situations processed mainly from site specific recordings. Over the last 10 years, as a solo artist and in his frequent collaborations (with Asmus Tietchens, Vidna Obmana, Jarboe, Hands To) PBK has established a worldwide reputation within the more extreme spectrum of noisy, post-industrial music. Their careful collaboration is everything you could expect from two musicians who decided to set their standards high above the ordinary 'sounds exchange' process." - label description.
Recorded on location: Osaka, Club Quattro & Tokyo, On-Air West
Reissue. Originally released in 1978.
Dark Ambient, Industrial
"Atlatl creates live improvised electronic works recorded without overdubs. Atlatl seeks to explore a life within the machine, where the faults and imperfections of electronics are allowed to interact and evolve. Originally planned as an EP, but now over 70 minutes, Pzlon Vent explores the unique sounds of voltage-controlled vacuum tube electronics. The result is a minimal, but at times, harsh and difficult experience."
Tracks: 1 M/S/O Move Right Now (Atom's Minimal Mix) (5:29) Remix - Atom Heart 2 Urban Primitivism 684 (6:00) 3 Datacide Ritual Of Transparency (Edit) (5:47) 4 Bi-Face Mouthpad (5:18) 5 Ongaku Mihon #3 (Edit) (6:27) 6 Lisa Carbon & Friends Swing Me Machine (8:25) 7 Atomu Shinzo Red (5:44) 8 M/S/O Shiny Flowers (6:35) 9 D'Ammond I Want You (12" Edit) (5:22) 10 I 23'rd Autumn (Edit) (6:34) 11 Millenium Vektor 1 (4:59) 12 Atom Heart One Atomsecond (Edit) (7:25)
All artist names are fake pseudonyms of Atom: 1 Phresh Phantasy - Come On Acid (5:26) 2 21 Brothers - Brothers In Arms (4:06) 3 DJ Roxy - Bass Traxx (3:55) 4 Phreak - Acid On (5:59) 5 Atom Heart - Little Grey Box (4:29) 6 XOX Crew - 606 Outburst (4:29) 7 MC Unknown - Untitled (6:55) 8 DJ Marco Favati - SP Power (4:08) 9 Paul Vanderstukken - Stay (Remix) (3:23) 10 Matt & Silver - Superdrive (5:07) 11 Plastique - Laugh Gas '98 (6:05) 12 Microsmiles - Drugs Are Right (8:05) 13 Fumes - Jack2000 (3:01) 14 Hüllkurve - An (3:08) 15 Tobias Selbermann - Acid Ga+H56bi (4:28) 16 Takeshi Onda - Lock It (3:38)
Tracks: 1 Apart 1 (5:37) 2 Apart 2 (6:41) 3 Apart (Ian's Far Apart Mix) (10:07) Remix - Ian Pooley 4 Apart (Herbert's Underwater Mix) (8:32) Remix - Herbert 5 Apart (Lisa's Rather Interesting Mix) (8:41) Remix - Lisa Carbon
Tracks: 1 Smoke On The Water (ChaChaCha) (4:47) 2 Negra Mi ChaChaCha (ChaChaCha) (3:20) 3 Riders On The Storm (Merengue) (5:02) 4 Smooth Operator (Mambo ChaChaCha) (4:02) 5 El Rey De Las Galletas (Guaguanco) (3:24) 6 Oxygene (Part II) (Mambo ChaChaCha) (3:34) 7 Blue Eyes (Bolero) (3:54) 8 Las Maracas De Machín (ChaChaCha) (2:59) 9 Beat It (Merengue) (3:52) 10 Electrolatino (Mambo ChaChaCha) (3:52) 11 Humo En El Agua (ChaChaCha) (Bonus Title) (4:47)
IDM, Electro. Tracks: 1 iMix (2:22) 2 Hallo, Wie Geht Es Dir? (Oye Como Va?) (2:49) 3 When I Come Home (1:51) 4 iLove (Easy Love) (4:08) 5 Sexuality (4:31) 6 Party Shuffle (5:01) 7 Sorry I'm Not The DJ, Baby! (3:31)
Compilation from Frankfurt Tracks vol. 2, 3 and 6
IDM, Electro. Tracks: 1 iMix (2:22) 2 Hallo, Wie Geht Es Dir? (Oye Como Va?) (2:49) 3 When I Come Home (1:51) 4 iLove (Easy Love) (4:08) 5 Sexuality (4:31) 6 Party Shuffle (5:01) 7 Sorry I'm Not The DJ, Baby! (3:31)
Tracks 02, 04, 06, 07 & 09 licensed under Rather Interesting \ Del Haze Entertainment. Track 08 is a remix from Schnittselle's 'Schleife' (RI 047). pecial thanks to Atom™ and all the remixers involved. Project coordination: Fred Walheer & Gauthier Keyaerts.
Ambient
Dark Ambient
Electro
"The wonder of it all continues! For our February installment in the Location Sound Series devoted to city sounds and reactions we're happy to present the first stateside release by the psychedelic electronic duo, AU. Based in Holland, multimedia artists Jan Borchers and Paul Klaui, naturally bring us into the soundworld of the Haag by doing what most everybody there does - they ride their bikes. The twist in the spoke is that AU recorded their tour through the city and captured everything from the squeaky sound of old bicycle seats to a sudden intrusion on a street parade. The result is a fun panoramic earshot of the pace of the city's life. AU's musical response is a subdued yet loose piece incorporating elements of the field recording, analogue electronics and reverberating guitars that recall the efforts of German Krautrock bands like Cluster or a mellowed out Faust." - label description.
A superb work of re-editing and re-composition of original material by Maurizio Bianchi, that saves the distinctly experimental aim of the music by the hystorical italian artist, renewing it in surely less extreme and hard but equal new form, unquestionably catching and sure effectiveness.
Glacial sonic tensions, hypnothic electronic sequences, loops alienated stratifications, isolationist dark atmospheres, slow and progressive accumulations of changing sonic masses... An extraordinary work of restoration and revision of original material by Stefano Gentile developed by Aube, japanese great master, and able manipulator and contemporary electronic-experimental music reworker.
"This disc of dreamy, evolving, sub-noise ambient soundscapes has been packaged in lightweight rock-board slipcases. About the weight of a paperback, the precisely engineered sleeve slides in and out of a thick shell sized to fit on a shelf with other CDs. The sound is gritty. Slowly evolving stone-scapes that sound more mechanical and spacy than natural. Precisely timed climaxes and resolutions suspend the listener over a deep abyss, giving voice to stone, matter that normally lies silent below and around us, sleeping away the millenia in cold solitude." - label description.
originally released as a gift for the audience of a benefit concern for victims of the Hanshin-Awaji earthquake of 1995, and now available to the generally public in a limited edition of 1000 copies. this includes unreleased live material by three Japanese units of some history. Aube contributes a 25 minute track using only the sounds of grass, while the rest of the disc is filled with contemporary psychedelic music. Nagisa Nite featured Shinji Shibayama, Masako Takeda and Ikuro Takahashi, and should be known to fans of the PSF label, and are represented here by two live tracks from 1999. the second of these features a guest appearance by legendary singer Naoki Zushi [who has releases on Org Records]. returning the favor, Naoki's first track has him recorded the same night and backed by Nagisa Nite. to round things off is an unreleased solo piece by Naoki from 1981. all organized by legendary Japanese journalist Takuya Sakaguchi, and mastered by Cortical Foundation. includes an insert with liner notes in English.
Noise, Experimental
Reggae, Dub, Electro
Industrial, Minimal, Ambient
Industrial, Experimental
Modern Classical, Symphonic Rock
Industrial, Ambient
Recommanded
Experimental, Ambient
Ambient
Trance, IDM, Ambient
Drone, Ambient
ARC formed spontaneously in 2000 at a performance at The Ambient Ping, Toronto's long-running live ambient/experimental music series. ARC is a trio of Aidan Baker (guitars, flutes, tapeloops), Richard Baker (drumkit, percussion), & Christopher Kukiel (percussion). Their music is a mixture of Popul Vuh acoustic compositions, Pink Floyd's Ummagumma era, Voice of Eye or Subarachnoid Space..., with dense and organic drones and hypnotic ethnic rhythms. ARC's sound is centred on the melodic loops, textures, & samples provided by heavily-effected guitar & other melodic instruments. This is overlaid with tribal-esque rhythms provided by various percussive instruments; drum kit, djembe, tabla, wood blocks, etc. With this combination, they create a roiling tapestry of both rhythmic & ambient sound, a sound simulataneously prim(ev)al & avant-garde. ARC, regular performers in Toronto and Montreal, have released a number of cdr releases on such labels as Piehead Records, Worthy Records, and their own label Arcolepsy Records. Their release "The Circle is Not Round" with Italy's label A SILENT PLACE (SmallVoices sister label) is their debut CD release. The disc is packaged in a special cardboard digisleeve with varnished images.
Synth-pop, Experimental
A great double CD from Dutch ambient composer Michel Banabila. The first CD contains pieces written for theatre and films scores. The second is more familiar ambient territory with fantastic tracks, with a sense of humour!
Limited to 150 hand-numbered copies. Great album of St. Petersburg-project.
Abstract, Leftfield
Noise, Experimental, Ambient
Industrial, Experimental, Minimal, Ambient
Abstract, Experimental, Ambient
Pop Rock, Mod
Contains american folk samples by Alan Lomax
With 32 page booklet with many photos including full discography. Compilation of Do Be Do and A Live Anthology
1 Track by MSBR. The eleventh release on Beequeen's own Plinkity Plonk label represents another dig into their archive of unreleased material
Abstract, Experimental, Ambient
Industrial, Ambient
Abstract, Drone, Experimental, Ambient
"The successor to 'Transition' (2001) in the same format - two mini CDs, six full-colour cards with photographs - further exploits the idea of the absent transition. Between two poles of music the listener imagines a huge step from one phase of work to another with a distance of nearly seven years inbetween, or perhaps just one state of mind to another: security and freedom. But does the security lie in the carefully pronounced minimalist compositions of 'The Unknown' on disc 2, or in the dense sound fields of 'Compressed Location 1 and 2' on disc 1 that engulf and embrace the listener? Or vice versa: is freedom expressed in the structurally open, expressive passages of the latter, or in the gap between very low and very high frequencies of 'The Unknown - part 1', in which the noise of the surroundings is framed by sound, but still remaining fully audible - unsuppressed?" - M. Behrens.
"Two three inch CDs - one comprising new works and another reworkings of older sounds. Indeed one finds a marked 'transition' in approach to noise-making among the earlier and later material which is heightened by their physical separation. Disc one highlights Behrens' remarkable compositional restraint with slow moving tones and introduction of transient sounds and granular waves into the audio field. Disc two employs an abrupt jump-cut aesthetic and much more primitive sounds in its making: metallic ringing, bursts of low frequencies, voices, and synth-like tones punctuated by sudden dropouts for a jarring overall result. The CDs are carefully packaged in a gatefold plastic sleeve with cards featuring color photographs by the artist. Edition 500." - label description.
Compilation of Behrman's experimental electronic music from 1959 to 1968. Also contributing are John Cage, David Tudor, Sari Dienes, Alvin Lucier, Gordon Mumma and Robert Ashley.
"Threat Level Charlie is a composition for material, space(s), electronics, programming, body, sound and power. (Tube microphones or other prepared acoustic mics; sheets of glass, metal, paper, wood; mixer; laptop; dynamic microphones; contact mics, including one loose on a long cord; PA or speaker cabinet, homemade metal speakers; bamboo flute; radio.) Microphones are placed inside of tubes and made to feedback, and filter a portable radio that wanders in between stations. The performer plays non-musical instruments made with common materials representing consumer protection and comfort (panes of glass, metal, paper, wood), using hands, bows and feedback. A contact mic is place in the mouth, played with the tongue and gluttoral palette; it is held to speakers and plays them with feedback. A bamboo flute is played; stomping and clapping occur: these sounds are filtered through the various systems in action. Broadband noise is generated from ambient and prepared-ambient recordings; speeches by George Bush and Osamu bin Laden are shredded together. The result is a visceral wail against corporate, spritual, and political power systems, using organic and alleatoric rhythms, melodies, textures; chthonic sounds, oppressed signals." - artist description.
Modern Classical, Experimental
Musically, the album alternates between calm, ambient soundscapes (“Dawn”, “Suspended in the Womb”) and more vigorous rhythmic pieces (“Tectonics”). A main gripe is that because Berkley’s main instruments are synths and other electronic gadgets, the whole thing winds up sounding a little cold and synthetic.
Techno
New Wave, Synth-pop
This 1976 release includes early ballet music that was originally recorded between 1974-1975 for several contemporary ballet groups in Paris. The recording was assisted by Jean Louis Rizet, with whom Besombes was then working in his recording studio. These releases are among the best electro-acoustic recordings from the ‘70s. Bonus tracks include 2 early pieces from 1972 (recorded during his time engineering for Stockhausen, Nono and others at the Festival d’Art Contemporain de La Rochelle) and thirty additional minutes of unreleased ballet music from 1975, which is among his best work for theater. From the Nurse With Wound list
Conceived as the soundtrack (and, in fact, the ONLY sound in the movie) for the avant-garde film Libra, the music on this 1973 album ranges in style from electronic pop mixed with music concrete ala Parmegiani/Henry to psychedelic exercises, progressive rock, and fusion. Bonus tracks will include three cuts in the same from the same sessions that have never been released. Another long, experimental prepared minimalist piano piece will also be included. From the Nurse With Wound list
Unbearably beautiful new set of decomposed piano compositions from MB/Maurizio Bianchi, long one of the most defiantly uncategorisable post-Industrial European sound-thinkers. Parts of this disc are as elegiac and dissolved in celestial tone as William Basinski’s Disintegration Loops, while other, more heavily treated moments recall the flashing psychedelic form of early electronic masterpieces like Regel. “Dedicated to all the meditative people who is living in the environmental paradise.” Highest recommendation.
Musical composition resulting from the combination of various elements (Hertzian-waves, classical and electronic music)
Ambient
Abstract, Experimental, Ambient
Musique Concrète, Ambient
Experimental
modern orchestral work performed by Klangforum Wien.
Glitch, Abstract, Noise
Acid, Downtempo, Ambient
Abstract, Avantgarde, Experimental, Art Rock
"#3 on the Select Parks parks label sees Christian Bishop of FMC and U10CELLS collaborate with Julian Oliver aka Delire. Described as a study of the azimuth (an astronimical term describing relationships between the horizon and a celestial body) these haunted and climbing compositions seem to find a place between the stratosphere and low flying satellites while twisiting tides of bass indicate a groundplane below. Blasts of high freq, noise and small machines work like some strange mathematics that produce a kind of polyrhythmical sentience. Nothing like what we'd expect from the post-op death punk of FMC and the kung fu electroacoustics of Delire. Azimuth is melancholic even!" - Mark Harwood.
Abstract, IDM, Ambient
Free Jazz, Avantgarde, Experimental
Industrial, Experimental, Ambient
Rhythmic Noise, Industrial
Industrial
Industrial, Electro
Electro, Goth Rock
six minimal pieces ranging from acoustic sound exploration to concrete collage. all very textural explorations via physical actions recorded in live performances in Holland and Germany between 1991 and 1994 by the trio of Justin Bennett (currently a member of MIMEO), Wikke 't Hooft, and Roelf Toxopeus.
site specific recordings made at performances around Europe. would seem to involve some gun play. all very textural explorations via physical actions recorded in live performances in Germany, Holland and the Czech Republic during 1995 and 1996 by the trio of Justin Bennett (currently a member of MIMEO), Wikke 't Hooft, and Roelf Toxopeus.
Leftfield, Grunge, Psychedelic Rock, Indie Rock
Downtempo, Ambient, Post Rock, Neofolk
IDM, Downtempo, Ambient
IDM, Downtempo, Ambient
Music recorded in Studio Skogs-Sara 2004/2005 at Lilla Chicago and Kinnekulle. Vocals recorded in Melbourne 2006. There is a hidden bonus track. To listen to this you have to search backwards after you have put the CD in your player. It is in the minus area before track 1.
Recorded with Ilona Maros, soprano, Margaretha Ljunggren, mezzosoprano and Anne-Marie Mühle, alto. Composed 1972-76. Shortened version especially designed for this release. Originally issued as an LP in 1977 by Fylkingen Records (FYLP 1020). Bonus tracks: For Jon II (1986) and Syner (Visions) (1973).
New Wave, Synth-pop
Ragtime, Psychedelic Rock, Parody
New Wave
"Same is the debut CD by Brad Bordine. The music is some time, and some space. The title revisits Luc Ferrari's Tautologos series, performing a minor renunciation of lexicality. This is not denying reference, but expanding symbol and symbolized to overlap." or as Monica put it: "Somber, exquisitely sparse and stark pieces from LA-based musician Brad Bordine. 5 tracks of haunting atmospheres, silence and sound keeping a perfect balance throughout. Especially notable is track 4 (entitled 'February'), a 13 minute piece which uses the piano as a minimal yet powerful focal point."
Experimental
Experimental
"Though he is known throughout the American South for his chaotic free-noise guitar performances, Florida-based artist Loren Boyer presents his homemade electro-acoustic compositional side on his first widely available recorded work. These nine tracks downplay guitar in favor of amplified toys, tapes, bizarre atmospheres, and electronic drones. The result is an introspective, claustrophobic album of melancholy song-like forms; from the gritty, distant percussive opening to the majestic tape-squeal finale, 'Des ParasitesÖ' is a concise and intensely personal statement from a unique and underdocumented artist. Includes introductory essay by Davey Williams." - label description. in minimal folder sleeve designed by Richard Chartier, numbered edition of 500 copies.
Recorded in Valencia and Gandia (Spain) in October 2005. Mixed October to December 2005.
The Spell fuses the expressive sound of Kevin Braheny's EWI electronic wind instrument with Tim Clark's unerring gift for bathing each measure of music in sonic exotica. The result is eight instrumental incantations conjuring an aural treatise on the art of enchantment. Kevin Braheny and Tim Clark have long been among the most original artists in electronic music, and each has a sound that is instantly recognizable.
Abstract, Downtempo, Experimental
Glitch, Abstract, Minimal, Experimental
Downtempo, Ambient
"Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99. This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space 'grows' its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets. This recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. Electronic music is normally thought of as a medium emphasizing unlimited access to timbre - I think this is often over-emphasized, and that, at its best, it changes our experience of space. The traditional African talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. The changing pitches and rhythms imitate patterns of the tonal languages of West Africa, and can be used like musical telephony to communicate over long distances. This recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale."
Recorded from 1976 to 1981 in Zürich.
Recorded 1976 to 1977. Track 5 first issued in1978 as Sunrise LP 078-1962.
Abstract, Industrial, Experimental
Brunnen reveals that part of Beequeen's Freek Kinkelaar which is the strange wandering minstrel/alchemist (half-orc cleric with a +2 mace). If only more records were so cogently perplexing. A slightly cinematically arranged, quasi-psychedelic little dear of a hushed pop song opens the album. Freek's vocals sublimate in a pleasant whisper, not unlike (ahem) a quieter Yo La Tengo song. Freek, perhaps true to his name, does not hesitate to then very, very slowly weave together a spacious tone poem whose initial notes live counties apart, concocting an outré sort of high lonesome that might sonically drift across the same sort of plain as Wenders' Paris, Texas does visually. Kinkelaar's vocal delivery tugs at shirt tails ala Just Drifting era Psychic TV balladry or introspective LPD. Subtly amplified guitars chime quietly against slo-mo keyboards, occasional samples, tablas and air. An understated rave-up of Trust In Me from The Jungle Book is a nice exclamation point. A musical sandwich, really, with the outer psychedelic pop buns keeping the avant-garde middle meat warm.
Experimental
Alternative Rock, Industrial, Noise
Free Jazz, Abstract, Musique Concrète, Modern Classical, Contemporary Jazz
Vocal music by Thomas Buckner (known for his work with Robert Ashley and as founder of the 1750 Arch label). Electronic music and voice processing by Tom Hamilton. "Thirty-five years ago when I began to explore solo and group improvisation the idea was to make improvisations that sounded like compositions. Iíve evolved away from this idea gradually to the point where I want my improvisations, both solo and group, to sound (and be) unpredictableóto take me, my fellow improvisers and the audience to places we havenít been before. For this piece Tom Hamilton and I decided to carry independence as far as we can. Each part is developed independently, and the goal is not to modify our independent ideas in the act of putting them together. The 'wild card' in this practice is the live electronic processing of the voice, for which Tom has developed a system that guarantees unpredictability while integrating the voice into the electronic soundscape. The result is an organic whole with independent but integrally connected parts." - Thomas Buckner.
Ambient
Ambient
Abstract, Experimental
Industrial, Experimental
House, Techno
Abstract, Industrial
Recorded July 26 and 27, 1965 at the Italian Institute in Stockholm, Sweden. Originally released on two LP's in 1966 (FYLP X101-2).
All tracks recorded in the early to late 60s
"6 tracks, 34 minutes of electro-loopage, starting fairly minimal, then spilling over into glorious drunken forest swirl. Not so much a midway point between Campbell solo and Hayler's Midwich project, more another door opening into somewhere new."
digital concrete. looping electrical whispers, dripping water, quick cuts, snatches of real life hidden in the mix, traveling sideways through the broken fragments of recorded sound.
Modern Classical
"Andreas Berthling and Kim Cascone join forces on their first collaboration of digital soundfile manipulation. The idea to work together on a CD came about during a meeting they had in Berlin last summer. The premise for this piece came from Kim's interest in sonifying data space, i.e., data can be sonified enabling a listener to recognize certain parameters by hearing them. Even more interesting was the ability to listen to raw data and find inherent sonic structures and aesthetic qualities within the soundfiles sent to Kim by Andreas. Taking this idea one step further the main concept for 'Rust and Blue Dawn' was to create a fictional space where data could float and mingle, engulfing the listener in a world where narrative doesn't exist only atmosphere. Carddisc format (87 x 89mm)." - label description.
the first 3 CAUL releases, remixed and remastered. Please watch http://www.eibonrecords.com for a full catalogue of this great Italian dark-ambient label
Recorded at the Mysterium, Denver, Colorado and Epiphany Studios, Kansas City, Missouri, 2003-2004. All music by Jesse Sola and Brett Smith. The CD is divided into three chapters that each contain 4 tracks. First chapter (tracks 1, 2, 3 & 4) is called 'Collapse Of The Spiral Spire', second chapter (tracks 5, 6, 7 & 8) is called 'The Molten Void' and the third chapter (tracks 9, 10, 11 & 12) is called 'A Distant Past Fades'.
Alternative Rock
Indie Rock
IDM, Experimental, Industrial
New Wave, Indie Rock
Synth-pop, Ambient
Synth-pop
Experimental, Ambient
twelve tracks from 1997-2001 including 7 previously released works culled from international compilations and 6 previously unreleased works. "8 tools formed/recorded in 1999 / a collection of eight short works originally published as '8a', 'chlorine[re]', 'err','pin', 'plic[re]','pop[re]', and 'tonecollage' on the 7' vinyl compilation Tool [Microwave, The Netherlands] in 1999 / assembled into a continuous track specifically for this release / separate units were created specifically for a lock groove vinyl format / stat(ist)ic formed/recorded in 06/99 / previously unreleased / exhibited at the Grand Central Arts Gallery, Santa Ana, California in 1999 as part of the series 'Static' / based on site recordings of the gallery space by Steve Roden / the works in the exhibit were transmitted via radio signal within a small radius in and around the building / 3particles formed/ recorded 08/99 / originally appeared on the lowercase compilation [Bremsstrahlung, US] in 2000 / influential in the creation of CD Series [LINE, US] / spec.sketch7 formed/recorded 09/99 / previously unreleased / created prior to the initial studio sessions for the collaborative project spec. [12k, US] with taylor deupree / untitled formed/recorded in 01/00 / originally appeared on the 12k1008 compilation [12k, US] in 2000 / herein, then formed/recorded in 04/00 / finally appeared on the Circle0 compilation [Fylkingen, Sweden] in 2002 / activitÈ formed/ recorded 06/00 / previously unreleased / commissioned for a compilation to commemorate the 25th anniversary of Kraftwerk's Radioactivity album / sent formed/recorded in 2000 / originally appeared on the Variious compilaton [Intransitive Recordings, US] in 2000 / originally to be included on the CD Series / text formed/recorded in 2000 / previously unreleased / began as the basis for an EP and then intended for compilation use / Elements from this piece were later reprocessed and used in other works / untitled60sec formed/recorded in 2000 / originally appeared on the Computer Music Journal compilation CD [Volume 24, MIT Press, US] in 2001 to accompany the article 'The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music' by Kim Cascone / 010101 formed in 12/00 & recorded on 01/01/01 / originally appeared on the Between Two Points compilation [12k/LINE, US] in 2001 / Elements of this work later formed the basis for the central part of the piece 'Of Surfaces' / Filer was formed/ recorded in 01/01 originally appeared on the Clicks & Cuts 2 compilation [Mille Plateaux, Germany] in 2001 / THE rhythmic structure is derived from a segment from the track '(.)#1' from Post-fabricated [Microwave, The Netherlands] / silver Formed/recorded in 09/01-11/01 / originally created for a private edition 3' CDR [3particles01] / utilizes elements from '1eme Gymnopedie' by Erik Satie"
"when i decided to reissue Direct.Incidental.Consequential, that had been out of print since 1999, i began listening to the original issued CD and compared it to the original sound files that comprised each piece which had been archived on CDR. the original version of Direct.Incidental.Consequential was recorded via analog equipment to minidisc and afterwards professionally mastered at a studio. the compression that minidisc recorders utilize altered, and in some instances substantially, the nature of the sound files. this process cut out many frequencies, as did the studio engineer, who was not accustomed to working with this kind of audio. noting this difference again, i began to reconstruct the entire CD, this time digitally. originally all the tracks were recorded in real time with no overdubs utilizing a score for each piece arranged in advance. for this rerecording, having lost most of these original notations, i went through each track and diagrammed their arrangements. on this new version i have tried replicate the original arrangements as closely as possible. the only sound files i could not locate were those of the track 'test & duration' which has subsequently not been included in this version. Coincidentally this track was actually added at the last minute before going to the original mastering session in 1998. it replaced 'untitled97', a piece that i later regretted having omitted from the first issue. 'untitled97' was formed/ recorded in 05/97, prior to the recording of Direct.Incidental.Consequential, using original source material of mine dating from 1992 and rerecorded digitally for this rerelease. also, a section has been re-inserted into the beginning of 'tonetint.' this reconstruction can be viewed as how Direct.Incidental.Consequential was intended to sound and how i, while composing it, heard it originally. however, due my technological restrictions at the time, the particular quality of sound was not reproduced. The bonus track '- -'. stems from early sessions working on Direct.Incidental.Consequential but was not included on the original CD because it seemed so different in nature. The other recordings from the early sessions were drastically reworked to create the pieces that appear on the final version of the CD. This later provided a starting point for the collaborative project 0/r betwen Nosei Sakata (*0) and myself in 1999. i have included it here as a glimpse of how the sessions for both projects evolved." - from the liner notes.
Twisted cut 'n mix electronics / electro-break 1998-2005. Concept, sounds: Simone Benci (digital sampling manipulations)
All compositions by Marc Battier from the voice of Henri Chopin. Cover design & layout: S. Takahashi & Patrick Bourgeois. Edited using GRM Tools, Hyperprism & Soundhack. UNprod. collection.
Industrial, Ambient
Synth-pop, New Beat
Industrial
Goth Rock
Goth Rock
Great experimental electronics like Tietchens/Werkbund. Recommanded! Composed By Brandon Malzahn
Industrial, Experimental
Abstract, Industrial, Experimental
Abstract, Industrial, Experimental, Ambient
Alternative Rock, Psychedelic Rock, Indie Rock
Noise, Industrial, Ambient
Krautrock, Post Rock, Psychedelic Rock
Special oversized sleeve format with booklet
over 60 minutes of new TCR ambient-techno innovations. Please watch http://www.databloem.com
Please watch http://www.databloem.com
Rhythmic ambient excursions : deep, complex and beautiful. Please watch http://www.databloem.com
Datablem Sublabel. Ambient
Datablem Sublabel. Ambient
Noise, Experimental, Ambient
IDM, Synth-pop
House
Electro
Experimental
Electro, Industrial
Industrial, Noise, Experimental
Experimental, Ambient
Minimal, Ambient
Folk Rock, Glam
Industrial, Noise, Ambient
Noise
Electro, Experimental, Ambient
Downtempo, Ethereal
Ethereal
A shorter version of disc 1 was originally released in cd-r format only, Spring 2004. Most versions of "Wraiths And Strays" contain a sample from the King of Woolworths' track "Montparnasse". Disc 2 is 5" in diameter, but only the inner 3" is playable as the outer edge is clear plastic.
A shorter version of disc 1 was originally released in cd-r format only, Spring 2004. Most versions of "Wraiths And Strays" contain a sample from the King of Woolworths' track "Montparnasse". Disc 2 is 5" in diameter, but only the inner 3" is playable as the outer edge is clear plastic.
Industrial, Experimental
original mail order only copies (limited to 2000) of this collection of placeless pieces from 1992. features a different cover from the World Serpent reissue (which was done as this version was being bootlegged).
Abstract, Experimental, Ambient
Disc 1 was originally released in a cd-r format in 2002. Disc 2 was created in 2006 using original materials from 2002, pressed on a "semi-substrate disc" - a 5" disc with 3" silver playing area and partial printing over the outer clear plastic.
Industrial, Experimental, Ambient
Techno, Experimental
Breaks, Downtempo
"'Beech for John and Miho' was originally commissioned as a short piece for 'in return', a private wedding CD, where it appeared alongside music by Joe Weismann (The Jaztronauts), If Thousands, JLIAT, and Space Machine. That fifteen minute version then blossomed into this bold, 74-minute work. An invitation to the wedding spawned a short Japan tour during which Coleclough performed solo and in duos with Aube, Kuwayama Kiyohara, and Narita Mamoru. A limited edition of 150 CD-Rs of 'Beech for John and Miho' were made specially for the trip to Japan, and the piece is now released on CD by Seal Pool. 'An epic piece: shimmering and metallic.' -J. Podeszwa. Edition of 500."
An unlimited reissue of the out of print Anomalous Records LP (released last year in an edition of 530 copies only) with new cover artwork. This reissue sees the original A side extended from the original length of 17 minutes to the new length of 50 minutes. It still includes Colin Potter's 17 minute remix "Periodic" which was featured on the B side of the LP. "Period" is beautiful piece based entirely on sounds from a Bluthner grand piano, looped and extended into long, drifting, calm drones with occasional punctuation of recognizable notes slowly resonating. The piece becomes "Periodic" at the hands of Colin Potter, whose remix turns it into a more dark and haunting experience which reveals even less of the characteristics of a piano than the original. Two complimenting, yet also contrasting, views of the same material which both show a great deal of depth and cohesion. All wrapped in a full color cover designed by Jonathan and featuring his photographs. "Like many of my pieces of music, the finished version of 'Period' is very different from the idea in my mind which I started out with. The idea acts as a seed and the piece grows, often in unexpected ways, from that seed. So I was extremely pleased when I heard Colin's remix of the piece, because he had transformed the piece into something much more like my initial idea. He had returned the piece full circle." - Jonathan.
Abstract
Folk Rock
Minimal, Experimental, Abstract
Industrial, Experimental
ambient avantgardish electro-acoustics
This 2CD deluxe boxed-set comes with: - a 32 page booklet featuring an essay by David Fricke and original notes from the 1993 edition. - a 93 page Table Of The Elements 2002 deluxe catalog. - a poster of a 1994 Table Of The Elements showcase which featured Gate, Loren Mazzacane, Keiji Haino and Tony Conrad with Faust (for their first meeting in over 20 years).
Krautrock, Avantgarde, Minimal
Noise
Track 1 was composed in 1975 and this version recorded at Wesleyan University, Middletown, Connecticut on February 28, 1981. Track 2 was recorded in New York City in 1978. Track 3 was composed in 1991 and recorded in New York City on February 29, 1992.
Modern Classical, Experimental
Track 1 recorded in New York City, 1974. Tracks 2 and 3 recorded live at The Kitchen, New York City, 1974. Includes 16-page booklet with flyers, scores, and photographs.
Track 1 extract from the first New York City performance, Judson Memorial Church. Track 2 first performance, at Haroud's restaurant, New York City, May 18, 1962. Track 3 first performance at the Composers' Forum, New York City, 1972. Track 4 recorded live broadcast from WKCR at Columbia University, New York City. Track 5 Judson Memorial Church, New York City, January 24 or 5, 1965; performed with dance by Susan Kaufman. Track 6 ONCE festival, Ann Arbor, Michigan, November 24, 1963 for a dance by Beverly Schmidt. Packaged in a Digipak with 12-page booklet with notes and score excerpts. Limited edition of 1000 copies.
Track 1 ONCE festival, Ann Arbor, Michigan, February 11, 1965. Track 2 as improvised by Jim Fulkerson over the original tape collage, Buffalo 1970. Tracks 3 and 4 recorded at Haroud's restaurant, New York City, March 18, 1962. Track 5 played at the Composers' Forum, New York City, 1972. Track 6 for James Waring's solo dance "Corner Piece". Packaged in a Digipak with 12-page booklet with notes and score excerpts. Limited edition of 1000 copies
Electronic pieces recorded in 1962 and 1963.
Noise, Experimental
Folk Rock
Techno, Tech House
Modern Classical, Downtempo
Experimental, Ambient
third disc in the series of live in store recordings from Sound 323 (the first two were by Derek Bailey / Simon Fell and Keith Rowe, and the next will be Sakada [Mattin & Eddie Prevost] and Akio Suzuki & David Toop). "Both Alfredo Costa Monteiro [objects on electric guitar] and Ferran Fages [feedback mixing board] come from the Barcelona improvisation scene and are active members of the collective IBA. The common interest expressed by the two musicians to research noise, made possible a collaboration between the two. At that point, the work on each instrument was progressively being more focused on the source of sound production, therefore rejecting, more than adding, other sound possibilities. In this context, the result is a balance between noise (understood as an addition of information) and the intention of extracting from this addition unities of information in order to be able to work on them together. Their approximation to sound is direct, almost physical, avoiding formal ressources quite common in electronic music, such as effects, loops or pre-recorded material. In this way, the formal investigations that each of the musicians have developed on his instrument, creating possibilities where sound sources become unrecognizable, is what defines the global sound of the duo." - label description.
Techno, Minimal
Noise, Abstract, Ambient, Breaks, Broken Beat, Experimental
Industrial, Experimental
New Wave
Interview
Industrial, Neofolk
Industrial, Experimental, Neofolk
Abstract, Drum n Bass
Progressive House, House
Andrea Ottolenghi : didjereedoo, keyboards, vocals, Giorgio Degli Espositi : keyboards, vocals, Federico Dammacco : sax
Noise, Experimental
"Two years ago, the German pop music magazine Spex (a bit like Option in German) called the Viennese Werner Dafeldecker 'a Jim O'Rourke from the Alps.' The comparison strikes one as quite distorted but is based on a few things in common. Both represent an extended idea of improvisation that does not rest upon parameters like 'interaction', 'dynamics', or 'energy', but rather that appears airy, looser, more comprehensive: (sound in) space becomes more important, the occasion plays a bigger (more existential) role in the foreground. Indeed this occasion is not only another situation to improvise together, but rather an expression of a state that one should adjust his/her sensors completely anew. The influence of new music (the New York School and beyond) never seems apparent, but as it were, subcutaneously. Just like the improvisations of O'Rourke in the 90's, Dafeldecker's music is characterized by the logical but constantly surprising intervention that breaks the peaceful current of the music and continues it at the same time. Eis-9 [Ice Cream 9] is a summer record, no hermetic structures, no gloomy sounds, no wallowing in stagnation and hardening (= cold). Ice cream melts. Dafeldecker demonstrates here once more how he dissociates his strict instrumentalism (dealing with the instrument as essential sound material) from his original instrument, the contra bass, and transfers it to others: guitar, percussion, found objects, PowerBook. Just as gropingly as definite. Eis-9 is above all the product of an intensive cooperation with the Berlin/Viennese electronic musician Boris D. Hegenbart. Coming out of nowhere, he published the CD Hikuito in 1998, music developed in hand made paper that came to fragile melodies once peeling away its (apparent) influences (Carl Stone, Oval). The groping and the definite flowed into the Eis-9 cooperation. Improvised music as symbiosis, as something that does not only come into being in the instant, but rather that grows. Eis-9 also means 'ice cream' is not an unambiguous fixed construction, but one that dissolves in various forms, structures, and, well, states." - label description.
House, Techno
Ambient
Dark Ambient
Art Rock, Goth Rock, Avantgarde
Originally released on LP by De Fabriek Records.
Goth Rock, Ethereal
Art Rock, Folk
Tribal, Experimental, Ambient
Modern Classical, Experimental
Noise, Experimental
Industrial, Experimental, Neofolk. Recorded between the end of June and the beginning of July, 1999. Packaged in foil-blocked cardboard wallet case. The CD comes in an extra cardboard sleeve. Includes an 8-page booklet.
A Chamber/Experimental/RIO & Progressive rock band from Mexico. The band started in 1974 as a trio and then they became a sextet. The band were influented by European acts like Magma, Faust, Henry Cow and also by Avant-Garde composers like Pierre Henry, Kagel, Stockhausen. In 1978 they recorded their masterpiece 'El Poeta Del Ruido' which is considered by many as a Masterpiece. They evolved then into Nazca and only in the 90's formed back. The box set features a 28 pages booklet in a thick carton box with three CD's (Each more then 74 minutes). CD #1 is made from the 70's and featured for the 1st time the complete unedited 'El Poeta Del Ruido', Unreleased UNAM sessions which one of them was on the ReR sampler and never on CD plus the 1st RIO Festival live performence. CD #2 features the 90's material including the bands favorit improvised album Furtuna Virilis and other unreleased material. CD #3 is a new live performence of new material never on CD and with great interest plus 30 minutes if Archives from the 1977-1978.
Alejandro Sanchez, Carlos Robledo, Carlos Alvarado (Via Lactea), Jaime Casteneda, Walter Schmidt. Great Freejazz, Prog, Psych, Electr. creepy music
Ambient
"Locust's fifth installment of their adventurous 'Met Life' series of city field recordings and responses brings us a tongue firmly in cheek offering from the rapid cut up techniques of Seattle's Chris Delaurenti. Simply put, itís a little exercise on waste and getting wasted. This field recording documents the removal of waste at a transfer station in Seattle and the response rides the pun to its excessive extreme as DeLaurenti quickly becomes a participant in the flailing and drunken fanfare at a party, raising the ever important question 'What on earth are weall doing?!' No doubt, it's this style, edgy humor and raw guerrilla techniques that make DeLaurenti a sort of Fellini of the audio underworld." - label description.
Techno, Trip Hop
Industrial, Downtempo, Ambient
Industrial, Ambient, Acid
Abstract, IDM, Industrial
Electro
Free Improvisation
Synth-pop
Synth-pop
Synth-pop
Electro, Synth-pop
Alternative Rock, Synth-pop
Leftfield, Downtempo, Synth-pop
Synth-pop
Synth-pop
Synth-pop, Experimental
Experimental, Ambient
Abstract, Noise, Experimental
Abstract, Minimal, Ambient
"I created Lung Cleaner for Eric Lanzillotta when he was sick with a serious lung infection which lasted for months. I hoped to help him recover by imagining a 'sonic cure', an 'art pill'. The work continued after his illness and the notion of using metaphor as a compositional starting point has, at this time, formed the basis for all my sonic research and composition. Some other points of departure: digital structuralism, modular systemic processing, solitary parameter based interactive performance, image drones, contextual music, glaze/kiln music, analog/digital hybrids, granular synthesis, headphones, time grafting, modular synthesis, micro tonal clusters, moment clusters, destructive improvisational editing, rate of change patterns, logarithmic processing, filters, time sweeps, restricted randomization patterns, Iannis Xenakis, Merzbow, John Cage, and Gyorgy Ligeti. source materials included: wine glasses, baby toys, pure tones, bells, music boxes, gears, water, etc... track 2: 'Dizzy From the Cold Meds' contains samples of 3 unpublished early electronic works by Pauline Oliveros dating from around 1966." - Andrew Deutsch, 6/29/03.
Industrial
Art Rock, Experimental, Symphonic Rock
Experimental, Industrial
Experimental, Industrial
Experimental
Experimental
Industrial, Ambient
Abstract, Electro
Abstract
Surf, Avantgarde, Indie Rock
Noise
Leftfield
Abstract, Industrial, Experimental
furious japan-noise! / special art cover / fabric
Industrial, Noise
Industrial, Noise
Industrial, Minimal
Trip Hop, Abstract, Downtempo
Dark Ambient. Recorded and mixed in Belgium by Djen Ajakan Shean and Vidna Obmana in June 1994. Numbered limited to 1000. A5 card package.
Industrial, Power Electronics
Ambient, Minimal
Ambient
Ambient
Abstract, Noise
"Michel Doneda: Sopranino Saxophone, Radio; Pierre-Olivier Boulant: Microphonography, Radio. One very long track (40 minutes) recorded in four open-air locations and sixty-three very short fragments, for a total of 63 minutes of high pitched sopranino saxophone sounds, wondefully recorded by Pierre-Olivier Boulant in Autumn 2001. To be played in random-order! Cover art from a postcard collage by Michel Doneda. 'Exploring sound, just whistles, from the fragile highs to the raucous. How can the editing give any account of the process involved? Take half an hour or so from each location. Listen... First, 'Michel's studio', what talked to us was was kept. Next without trying to remember what has just been heard move on to Forest with the wind in the branches, same here, just listen, keep another fragment and so on for the other two, by the Stream and on a Path where we picked some firewood. Back to the first place, cyles...Somewhere along the radio interrupts ---' (from the inner liner notes). Edition of 500 numbered copies in the usual Fringes oversized cardboard sleeve." - label description.
This album is often reminiscent of the restful grooves of Boards of Canada, less flagellation and repentance than innocent, bubble-bath indulgence.This chilled atmosphere dips into swaying strings, DJ Shadow inspired slow beats and cheeky retro electro nudges.
Industrial, Experimental
Experimental
Nice booklet
Dedicated to Gong!
All live played. No computers, No midi
Great minimal ambient CD with lots of organic sounds. (reminds me of FSOL-Lifeforms). Please also watch http://www.metawavemusic.de/catalog/product_info.php?cPath=1&products_id=53
Great minimal ambient CD with lots of organic sounds. (reminds me of FSOL-Lifeforms). Please also watch http://www.metawavemusic.de/catalog/product_info.php?cPath=1&products_id=54
Industrial, Ambient
Industrial, Ambient
Datablem Sublabel. Ambient
Leftfield, Trance
Abstract, Experimental
Experimental, Ambient
Jazz, Rock
Illbient, Dub
All tracks based on recordings of Asmus Tietchens voice. Edition of 1000 copies in digipack cover with insert.
Classical, Electronic, Rock
New Wave, Experimental
"Clean is a compilation of digital work by three international artists/projects exploring their own diverse languages/processes to create both sound and sound installations of minimalist aesthetics. The working title of 'clean' was the only parameter given to the artists, who were asked to express this term in sound form. Duul_Drv (Canada/b.1974, ) is S. Arden Hill, sound artist and painter, who explores the environment of miniature re-juxtaposition. His sound work combines various forms of processed audible texture, ranging from phonographic recordings to abstract and pop ambience. These textures are processed with lo-tech software, manifesting slow and organic compositions. duul_drv's work has appeared on several international compilations including 12k/Line's Between Two Points and he has performed at such international events at Extrasensory (London), Mutek (Montreal), and Diagram 11h: Silophone (Montreal) in collaboration with [the user]. Nibo (Japan/b.1977) is active in sound, design and visual art. Many of his works including his multi-media installation pieces focus on scientific or mathematical themes. The n160 label was founded by nibo in early 2001 as a laboratory/platform for the input/output of various mediums. His work has been released on n160 and on Germany's Raster-Noton label. He recently performed in a series of Raster-Noton events in Tokyo, collaborating with Carsten Nicolai. Vend is Alex Peverett (UK/b.1976) and Joe Gilmore (UK/b.1968). Over the past three years, they have have worked together under various project names. Vend was the result of a mutual interest in understated generative/algorithmic audio design. vend.clean consists entirely of sounds constructed using various forms of audio synthesis. No samples or recordings of anything external to the computer were used, all the sounds were synthesised artificially. vend music usually begins with a vision which is brought about through process, the process being an integral [but discarded] element of the finished work. The project's work has previously appeared on Between Two Points (12k/Line)." - label description.
Noise
Experimental
Experimental
Experimental
Industrial, Experimental
Abstract, Industrial, Experimental
a collaboration of El Monte from Volcano The Bear and Aranos. "El Monte arrived in Shannon airport in Ireland on Sunday. On ÝMonday he and aranos improvised in a studio, on Tuesday morning they listened and added a fewÝbits to Monday's tracks. Wednesday and Thursday scenic trips around Co. Clare. Friday saw them mixing the CD and in the evening they designed the cover, while Jayne wrote poetry. It should have been released next month, but aranos decided to build a new studio in a remote location in Ireland. Than his house fell down. Than the computer crashed. And so on. But now here it is: Allied Cooking But Not As You Know It! Careful listening following the instructions of the titles helped by illustrations will surely lead to almost instanteneous clarification of unresolved issues in the universe etc. But not necessarily as you expect it! Alternatively you can just listen and enjoy. We certainly enjoyed making it. Instrumentation: double bass, cello, viola, violins, saxowhistle (tin whistle with a saxophone mouthpiece), saxohachi (shakuhachi with a saxophone mouthpiece), fiberglass rods played trumpet style, shokuhachi upside down blown like trumpet, bowed wooden splinters, Mr. Squeeky, Kenyan quitar, maroccan pottery drum (slightly damaged), elderly dictaphone, large chinese gongs, a bathtub." wrapped in a A 3 size sheet, rather than a standard jewel case.
Please watch http://soundtracks-paradise.chez-alice.fr/electropostensemble/
Acid House, Synth-pop
Recorded live on November 2, 1994 at Finnboda, Stockholm. Mixed and adapted at studio Nybygget.
Abstract, Experimental
Breakbeat, Industrial, Drum n Bass
Abstract, Ambient
Electro, Synth-pop, Experimental
Experimental, Ambient
The record is over 74 minutes long and includes 16 new songs with the inclusion of the bonus track from Eno's release with former Public Image, Ltd. guitarist Jah Wobble, Spinner (the track is titled "Iced World"). However, instead of exploring new territory, The Drop seems to walk right back to his late '70s ambient drones, and just stands there, staring and confused. Actually, Eno's self-proclaimed "new kind of music," -- what he calls "Drop Music" -- is really not very new at all.
Krautrock, Abstract, Experimental, Ambient
Synth-pop, Minimal. Re-release of SG 002 from 1982. Vinyl and CD in 1 package. Handstamp numbered and matched numbers for vinyl and CD. Limited edition of 700 copies. 2 promotional stickers included. Glued on picture on Hansaboard sleeve
great experimental ambience-project from Lithuania, worth to check out! lim./numbered 33 copies esp. made for Drone Records, ultra handmade
Industrial
Experimental
Electro, Trip Hop
This music is full of senses of 1980s. It is very analogue in soul and throws listeners into the star-shining past, making him forget about entering the 21t century. The soundscapes are created using real old pre-PC computers, analogue synthesizers and handmade effect-tracts. The album has a very special, pleasant enchanting sound, full of inner light and positive emotions, full of harmonies of stars and romantic feeling from analogue past. Absolutely non commercial music, without any standards and limits. The release includes conceptual art covers and few cards with digital pictures by Exalot. You will have a lot of positive emotions, finding peace and great mood during the listening of this music. Limited edition of 500 copies
House, Dub, Ambient
texts by J.-P. Faye (read by Francis Facon) set to electroacoustic sound collage and cello (played by Laurence Allalah). very dramatic and powerful. packaged in gatefold sleeve.
EBM, Electro, Darkwave
Nick Webb's first solo release since 2001's 'Dust and Glass'. Featuring 8 tracks, plus on the initial limited edition copies, an electronica remix of 'Spinning Away' by Dan McRae of 'Thin Films'. Features striking artwork by LabelSound graphic artist Stuart Tolley. A slight departure from previous FARFIELD albums. 'Sonic Entities' packs in the same textures and atmospheres but with subtle layered beats, female vocal harmonies from singers Anna-Jane Vine and Tamsin Vine plus treated soundscapes sounds and echoed radio voices.
Folk Rock, Modern Classical, Ambient
"5 CDs in a presentation box with a substantial booklet containing, amongst other things never-before published contemporary pictures, interviews with the legendary Kurt Graupner - the engineer responsible for Faust's extraordinary early recordings - whose innovations and experiments are finally given the exposure they deserve (he has never been interviewed before and took some tracking down) and with members of the original group. This is story of an extraordinarily creative period and of a remarkable situation - the group had their own studio, almost unheard of at the time, and a lot of people came and went and a lot of extraordinary things happened there, here documented for the first time. There is also a memoire by Peter Blegvad (who stayed and worked at Wumme in those years (the first Slapphappy LPs were made there) and much more. Then there is the film connection - and a lot of other documentary material. The CDs in the box are the first 2 historic records: 'Faust' and 'Faust So Far' ('So Far' with its artwork restored), 'The Faust Tapes' completely re-mastered and repackaged, '71 Minutes Of' re-mastered and repackaged, and finally the legendary 1973 BBC sessions plus 5 unreleased tracks from the period and two others never released on CD." - label description.
This album brings together a range of material Christian Fennesz has contributed to compilations, special projects and film soundtracks between the years 1995 and 2002. Includes previously unreleased material.
"'like silent elves gesturing inexplicably'. lowercase psychedelia by Luca Bergero." - label description.
"Holding a deep love of refraction in all things, luminescence at night, of childhood memories blurring with time..taking on their own significance through abstraction. Becoming aware of the animistic nature of the landscape via dissociative episodes, paranoia mutating into awareness. A series of dreams etching strong images deep into the mind long after waking, floating in dark blue water while looking at a glowing gold sky. The feeling of absolute *now* during an electrical storm. Using kirlian photography as postcards to communicate the vividness of a new space. All these things and more.." This collection of six pieces is the first official release by Fibrillation, following his appearance on the Anomalous Records compilation LP "Electrically Induced Vibrations". Constructed with great care, these will reveal many layers over repeated listening. Though he works largely in the realms of electronic music, no source is considered outside of his realm, and in fact many fragments of sound important to his life are incorporated in the complex weave of aural communication. Fibrillation aims to create a sound compliment to mental images and evoke important personal experiences. Each sound is in the place where it belongs to create the desired whole. So while initially, one may be taken in by the beautiful swell of warm harmonic drone that opens the disc, you will eventually find that below the surface there lies much more. Packaged in mini-DVD case with full color cover and insert.
Industrial, Ambient
musique concrete
Neofolk
Industrial
best ukrainian dark ambient industrial, like sounds inside mothers womb. Members / side-project of IN MEDITARIUM.
This long-awaited reissue features all the group's works, magnificently remastered. Think early Franco Battiato, think a chanted cult prayer using mellotrons and VCS3. Think psyche, avant-garde, amateur, professional, underground, otherworldly, and you will get FLAMEN DIALIS. The most out-of-nowhere, unknown, and outstanding masterpiece from France. Recorded in 1978, Symptome Dei is one of the most bizarre, unique recordings you won't forget your entire life. Once you fall in love with it, your attitude towards music changes. Includes their amazing 7" from 1977as two bonus tracks!
Techno
Here, the tuneage is meticulously devoted to more relaxing expressions. Indeed, this music is quite lulling and calm. Electronic drones unvaryingly generate a pleasant environment of passive sound, exploring minimalism tempered with Fletcher's innate creativity. (soniccuriosity)
Minimal, Experimental
"Duo consisting of Anders Arentoft (The Bohman Brothers Extended Family, Tape Salad and more) and Nishide Takehiro (Noise Flamenco and more). Two boys get together in a tiny room, get out all their toys and start playing. Mainly with their backs turned to eachother, they speak the same language, for approximately one hour. As they work themselves up eventually they start throwing things around and slapping eachother a bit. This is the sound of cavemen in the time of electricity. Has been described as being 'more extreme than Slayer' and as sounding like 'the internal trauma of a cow giving birth' by two friends of the two. The edition is limited to 154 copies. Handmade collage covers, each one completely different." - label description. in other words, it's very wacky, or is that wacked, and over the edge. extreme enough to stand out from the crowd, these two guys take this out there.
Modern Classical, Industrial, Experimental
Industrial, Goth Rock
New Wave, Industrial
"dim-lit aggregates of mysteric knowledge by Alessandro Fogar." - label description.
Inspired by and dedicated to Mario Bava's movie of the same name.
Experimental
Following Föy's stunning debut release, the artist returns with another fascinating mix of analog and digital soundscapes filled with sublime textures mutli layered electronics and a field recording or two. Again James Johnson shows up on this one, with more subtle piano work and treatments to the final mix.
Industrial, Experimental
Glitch, Minimal, Experimental
Abstract, Musique Concrète, Experimental
Electro, Experimental, Minimal
Abstract, Drone, Experimental
Abstract, Noise, Experimental
Experimental, Abstract, Industrial
Free Jazz
Field Recording, Spoken Word, Experimental
Ambient
Industrial, Electro
EBM, Techno, Industrial
Industrial
third solo album from former member of Krautrock era improv group Anima. "It is no exaggeration to say that Limpe Fuchs' musical creations really have life of their own, whether the sounds are produced by conventional instruments, vocal chords, or even from objects she found or constructed specifically for that purpose. Her music is characterized, especially when she is playing the ballaststring instruments, by the reverberating humming of the strings, rich in overtones, and by the mysterious echoes emanating from stones. For Limpe Fuchs, music means setting out on a joyous journey of discovery. She is not afraid to leave firm ground behind and thus, by avoiding rigidity, preserves the vitality of her music. This particularly comes across when collaborating with other musicians, whether improvising freely or on a given theme. Her music makes us sit up and listen, and at the same time enriches us, for only when we have learnt how to listen can we really appreciate the true nature of things. Sound events are created for each composition with carefully chosen materials: rows of oakwood pieces, rows of marble and serpentinit stones, bronze sheets, horn of wood, ballast string instruments, developed by Paul Fuchs: heavy bronze bars fixed on a long piano wire, suspended from a broad bronze drum. The visual aspect is of the same importance as the acoustic. The violin is integrated into the sound environment, the piano creates its own characteristic. Life and music alive is music no life without music the musical material the touch the stone the breath my body touch the body of the material strike tickle scratch the stone vibration of the air touch the body symphony of vibration play instructions experience musical notation combination of sounds different touching." - from the CD liner notes.
Over the last two decades, Ellen Fullman has been perfecting her Long String Instrument. This unique instrument of her own design is some 80 feet in length and played by literally walking through it. The resulting sounds are beautiful gliding tones with a rich harmonic content. The CD presents two works from her time in Austin, Texas in the late 1980's which beautifully display a sound you can get inside of. These long tracks envelope you in their cascading overtones. Even though she has performed widely in the United States and Europe, this is only Ellen's third solo CD, following previous releases on XI Records and New Albion. So hearing these gorgeous and important pieces from her archive is cause for celebration.
Modern Classical, Ambient, Neofolk
Alternative Rock, Neofolk
"Monochrome Rust, the third piece in a triptychon, initiated with the works Monochrome White and Polychrome w/Neon Nails (LINE_005), presents what a shiny new, digitally clean piece like Polychrome might become after fifty years of degradation and corrosion - the neon nails have have become rusted, and lost their shine. Nevertheless, this study of transience is not negative - it rather contains some of the calm of handling memories of long gone events, seen in a new perspective created by the passing of time. Differential is, in a way, the epilogue, the final touch added to the triptychon of Monochrome White / Polychrome w/Neon Nails, and Monochrome Rust that completes this cycle based on the work In Audio by British duo, Immedia. The title Differential refers to the way I have derived its basic material: Digidesign's Sound Designer II software has a function called ëcompare filesí this process compares two sound files, and writes the difference between them (i.e., the frequencies they do not have in common) into a new sound file. For Differential, I had Sound Designer first calculate the difference between Monochrome White and Polychrome w/Neon Nails, then the difference between Monochrome White and Monochrome Rust, and finally, the difference between the two difference files. I listened to the resulting difference between differences, and decided that the dramaí of the piece would be better if I reversed the whole, which I did. I then developed the appropriate panorama and equalization settings to make the entire process of the piece more apparent, and more perceptible. The final step was turning the volume down, until the piece was about half as loud as the three others in the work cycle. Differential is a very subtle, very filigree piece, maybe even more abstract and minimalist than the three pieces it was derived from, much like a translucent version of Monochrome White. I'm quite fond of the piece, and believe it will turn this work cycle into a complete whole. It also adds to the use of the whole cycle for an eight channel sound installation. I dedicate Differential to the people who have made it all possible: Darren & Vicky, Richard, and Taylor." - bernhard g¸nter, August 2001
Ambient, Modern Classical, Industrial
Minimal, Experimental
House, Dub, Techno, Experimental, Ambient
Jazz-Rock
alto and soprano saxophone. "Gebbia is quickly becoming known as one of the most innovative young improvisers in Europe today. His playing is as much reminiscent of the music of the Mediterranean islands (such as his native Sicily) as it is of European free jazz. In fact, much of the inspiration for his circular breathing and rustic scales come from a little known Sardinian instrument called the Launeddas, which is capable of playing a number of tones simultaneously. Gianni Gebbia builds on this principle and adapts it to his own saxophone work. H Portraits contains 12 solo improvisations recorded in the studio in Oakland, California during Gebbia's first trip to the US in 1997."
Experimental, Industrial
Abstract, Musique Concrète, Noise
House, Deep House
Electro, Experimental
Power Pop, Punk
Dedicated to Giovanni Paneroni, amateur astronomer and misunderstood genius. He was born in 1871 and made a living out of peddling sweets and ice-creams around Northern Italy's towns and villages. In his free time, he developed his own, revolutionary astronomical theories: the Earth is flat, surrounded on every corner by perennial glaciers; the sun is nothing more than a small silver ball with a 2 meter diameter and a weight of approximately 14 kilos; Copernicus was wrong: the entire official astronomical science is just a bunch of lies; planets don't move, stars are just little fires hung in the sky, the universe doesn't exist . He also invented a new solar compass based on his “extraordinary discoveries”. In his unstoppable attempts to promote the truth, Paneroni tried everything and suffered countless humiliations: he stalked professors, was arrested and became a well known character in many Italian universities. After some years spent in a mental institution, he died in 1950. Thousands of people from all over the country attended his funeral.
Abstract, Experimental. The double LP set is covering the very early musical period of the band. It includes outtakes, tape-contributions, a live performance from LA, as well as a Berlin Atonal-performance. Limited Member-Edition including 7inch and Army Bag. Attached you will also find a DVD with disturbing footage of early Video clips, a short Film as well as some other rare live Video clips from New York City. The release comes in a silk-screened Army-Boot-Bag and a Bonus single
Experimental
Abstract, Glitch, Ambient, Breakbeat, Electro, Minimal
Goth Rock
Experimental, Minimal, Ambient
"WMO are proud to release another in their ongoing series of unique recordings. 'The Haring' has been a project of Bruce Gilbertís for some time and although his own voice has been used with Wire, Wir, Dome, and on He Said records, this is the first full solo album, a self described 'audio/visual experience', allowing him to explore the medium of spoken word. Also included on this CD is 'children', a track originally released by Touch on the 'Meridians 2' cassette in 1983 which features Bruce's mother and father each re-telling an eerie story from their own childhood. This CD release comes in a small box containing the CD and a number of specially produced items that Bruce has designed and is strictly limited to 1000 copies. it is only available by mailorder. As a founder member of Wire, Bruce Gilbert needs no introduction. he has also collaborated with fellow Wire member Graham Lewis in Dome, p'o and Duet Emmo, as well as with A.C. Marias (Angela Conway)."
Folk Rock, Art Rock, Industrial
Goth Rock, Darkwave
Modern Classical
Abstract, Minimal, Experimental
Folk Rock, Acoustic, Experimental
Jazz-Rock, Prog Rock
Acoustic, Ethereal, Ambient
Experimental
Ambient
Abstract, Minimal, Ambient
Ambient
Ltd 5CDR BoxSet
Your ears will deeply inhale the long, lingering tones and drones of The Fragrance of Eternal Roses. Mathias Grassow cultivates florals of a sonic variety, carefully placing them in a bouquet of slow-motion arrangements which glimmer with subtle shifts of aroma and color
A collaboration with avantgarde vocalist Jim Cole, includes the lengthy Vanishing Flame and improves his mix of electronic keyboards, natural sounds, chamber and ethnic instruments.
Post Rock, Doom Metal
Experimental, Ambient
Industrial, Noise, Ambient
Noise, Experimental
"Chicago's answer to Voice Crack. with a table full of Ghazala-inspired homemade circuit-bent electronics, Gunshop can clear a room full of hipsters in seconds. discover why Gunshop is considered one of the best noise bands in Chicago...really." - label description.
Acid Jazz
"at the beginning of 2001 i had the brilliant idea to make a single 1 minute track every day for a year.... of course i only made it 2 months before i started missing days - so here are the first 59 days of 2001."
Experimental
Experimental
Electro, Ambient, Experimental
Prog Rock
"If Cahokia was not a full fledged city, it was well on its way to becoming one. Some 200 earthen mounds, platforms and pyramids were spread across its seven square miles. In the core of the settlement was the largest of the pyramids, covering more than 14 acres, containing over 50 million cubic meters of earth, and rising more than 30 meters over the river flood plain. From its summit one can still gaze out upon a large open plaza encompassed by large mounds: flat topped pyramids, conical mounds and low lying earthworks. At its peak, Cahokia was a city of 10,000 and perhaps as many as 30,000 inhabitants, including priests, artisans, merchants, farmers and Kings. Its rulers were buried in sumptuous splendor in log- lined tombs with gifts of stone, shell and copper. One ruler was laid out on a cape made of over 12,000 drilled and sewn beads. Around his grave were the remains of more than 60 other people, all killed to accompany the King into the afterlife. With its food surplus, stratification and dense settlement, Cahokia has the appearance of an important stage of early North American civilization. Cahokia is located on the Illinois side of the Mississippi River just east of St. Louis, Missouri. More than 500 years ago, it was the center of Native American life" (Feder/ Park 1989:332-333). "This is a reissue of a cassette from Jeph Jerman's own Animist Recordings. His Hands To project differs from more recent projects as Hands To uses electronic techniques to manipulate source material derived from the natural elements. In this case, field recordings from the Cahokia Complex that were collected by Steve and Jill Brand in 1997. It is a fascinating trip through Jeph's interest in sound culled from natural objects and his interest in animism, totemism, Native American culture and pre- history." - label description. soon to be deleted by the label.
Noise, Experimental, Ambient
Modern Classical, Experimental, Abstract
Future Jazz, Drum n Bass
Future Jazz, Drum n Bass
Abstract, Drum n Bass, Experimental
Noise, Experimental
Noise
Original tracks recorded February - May 2003, and previously released on Genius Loci and Music For Metal Idiophones. Edits, treatments and mixes done April & July 2005. Note: beginnings of each piece are Z'ev edits of the original Hati sources.
Industrial, Experimental, Ambient
Abstract, Experimental, Ambient
IDM
Limited Edition of 200 copies for members of Vinyl-On-Demand. Jewelcase with DVDr, sticked on an LP-cover by VOD (with imprinted logo). Additional small innersleeve.
Space Rock, Psychedelic Rock, Experimental
Space Rock, Psychedelic Rock, Experimental
Space Rock, Psychedelic Rock, Experimental
Abstract, Electro
Abstract, Experimental
Ambient
Dub, Techno, Downtempo, Abstract, Industrial
Their first official release from 1981 plus excellent mid-eighties live material of the Japan Noise and Avantgarde Veterans
Ambient
Electro, Synth-pop, Experimental
Drone, Experimental, Ambient
Soft Rock, Electro, Art Rock, Ambient
Ambient
Alternative Rock
Noise, Avantgarde, Experimental, Ambient
Datablem Sublabel. Ambient
Abstract, Experimental, Ambient
Three classic albums with Samuel J. Hoffman on the Theremin: Music out of the Moon (1947), Perfume Set To Music (1948), Music for Peace Of Mind (1950)
tape music piece from 1995. the work would seem to focus on the extension of sounds, drawing them out into waves, slowly moving and enveloping. "Tide: a composition for an eight-channel recording tape. The audience is surrounded by eight loudspeakers. The 'granularsynthesis'-technique incorporates the spatial spread in the composition. The music is made from a small amount of basic sounds: sentences spoken in a staccato-like manner, music for flutes from Suwa and Guadalcanal, chime players from Ebensee, the sound of a demolated musical clock, and the first bars of two madrigals by Gesualdo."
Experimental, Ambient
Electro, Industrial
the 1994 solo album by Ben Ponton of :zoviet-france:, here expressing himself in the realms of ambient techno music.
"This music is in the tradition of process music. It is without necessary beginnings, middles, or ends. All the pieces originally functioned as ambient music for my own enjoyment. I wrote computer programs embodying several musical ideas and played them by adjusting parameters in real time. I call this "cooperative playing with semi-autonomous musical processes". On the following days and weeks I often spent an hour or so exploring the piece's "parameter space" and then let the program play its music for several hours as I read, engaged in conversation, or did other things. After a while this music became attuned to an aspect of my taste as an experimental listener as it was in the early 1990s. Of course there is no reason why these pieces can't be listened to with close attention, as well as heard as experimental background sound. When the programs are running autonomously, slightly beyond my comprehension, playing music I probably wouldn't have thought of left to my own devices, I like to imagine they are precursors to uplifting, slightly alien musical AIs of the twenty-first century. Oh, how I hope and wish that contemporary cyberculture will lead to a beautiful utopian compassionate world of Good!" - Jim Horton.
Indie Rock
Alternative Rock, Ethereal
Indie Rock
computer electronic music ensemble of Mark Trayle, Phil Stone, Scot Gresham-Lancaster, John Bischoff, Chris Brown, and Tim Perkis with guests Alvin Curran (M.E.V.) and The Rova Saxophone Quartet. recorded live in Seattle, Brussels, Berlin, Berkeley, and Oakland. "The Hub is a computer network band. Six individual composer/performers connect separate computer-controlled music synthesizers into a network. Individual composers design pieces for the network, in most cases just specifying the nature of the data which is to be exchanged between players in the piece, but leaving implementation details to the individual players, and leaving the actual sequence of music to the emergent behavior of the network. Each player writes a computer program which make musical decisions in keeping with the character of the piece, in response to messages from the other computers in the network and control actions of the player himself."
improvisations by Paris based ensemble by Hubbub: Frederic Blondy, Bertrand Denzler, Jean-Luc Guionnet, Jean-Sebastian Mariage and Edward Perraud. "Hubbub means 'clamor', 'commotion', 'confusion' but also 'agitation', 'excitement'. 'Sound and fury', but also culture fluid and brownian motion: a name with many echoes in sound, in physics, in biology and yet nobody's name. It is a sign. The horizon which was revealed by such an idea of improvisation (since the very beginning of AMM) is entirely open. By establishing new continuums in the functioning of the group and the flow of play, from within the music matter-but also from between its inside and its outside- this music calls forth new dispositions, new organic contiguities. 'Hoop, Whoop' is not a work, it is a process. The only relationship possible for us with this process is a vital and passionate experience which opens up to it. What follows is no longer ours." - from the liner notes.
IDM, Experimental
Abstract
"Completed in 1998, this is only the third full length composition from NY composer John Hudak to appear on CD. He is mostly known for his cassette work in the mid-eighties. His work is primarily built on repetition and alteration, usually from single sound sources. With this composition, he has manipulated an answering machine recording of his mother's voice. The piece is shifting and complex. It is smooth and relaxed with the contradiction of extremely high, piercing frequencies. It is undoubtedly one of his most complex works to date. In an edition of 1,000." - label description.
Avantgarde, Experimental
Modern Classical, Experimental
Interview, Tribal, Industrial, Experimental
Noise
minimal constructions of turntables, sine wave and percussion from the trio of Otomo Yoshihide, Sachiko Matsubara and Ichiraku Yoshimitsu recorded in London by Xentos (aka L. Voag).
Avantgarde, Experimental
"Giuseppe Ielasi and Domenico Sciajno are both prominent members of the Italian electroacoustic improv scene, not only as musicians, but also as concert promoters and organizers. Ielasi started playing guitar in 1988, and began exploring the art of improvised music soon after. In 1998 he founded the well-respected Fringes label, in order to document his own work as well as that of other artists. In addition to his work on Fringes, he has recorded for such labels as Leo and Sonoris. Earlier this year, he released a superb solo CD-R on a small Greek label, Absurd. He has performed live with Taku Sugimoto, Jerome Noetinger, Dean Roberts, Thomas Lehn, Michel Doneda and Brandon LaBelle. Sciajno began his career as an acoustic bassist and composer, studying acoustic and electronic composition with Gilius Van Bergeijk and double bass in the Royal Conservatory of Den Haag in Holland. In 2000, he released a sublime solo bass disc on Fringes entitled Broken Bridge. He has collaborated with such artists as Alvin Curran and Joel Ryan, and sat in briefly with MIMEO when the all-star electronic orchestra performed in Bologna this past May. Ielasi and Sciajno met in 1997, while searching for similarly minded musicians with which to collaborate. They began working in trio with Ruggero Radaele, later expanding to an acoustic quartet with Christian Alati, as documented on their Leo Lab release. Over the last few years, Ielasi and Sciajno have each moved separately towards a vocabulary of pure electronics. In July of 2001, Ielasi and Sciajno met in Palermo for a few days of intensive working and recording, the results of which are documented here. Right After compiles a series of perfectly crafted miniatures, featuring jagged shards of melody, slowly advancing crackles rippling with latent energy, and impeccably integrated techniques. The dazzling packaging was entirely created by NYC designer Friederike Paetzold." - label description.
a strange collection of sounds made by Al Margolis (electronics, tapes, etc.), Ellen Christi (vocals), Brian Charles (oboe, bass clarinet, soprano sax). Special guest appearances by Jane Scarpantoni (taped cello), and Kevin Sparke (percussion). "Five deep, spooky, lengthy tracks cleanly sewn together with samples, tapes, electronics, clarinets, cellos, saxes and voices. Many sounds collide here, but the mood remains low-key-occasionally becoming disorienting in some of the louder passages. Imagine an ambient music that is more organic than much of the strictly pre-fab, synthesized stuff fed to hungry consumers of that genre today, and you have the music of If, Bwana. Calming, but too demanding of the ears to be mere background noise." - The Subversive Workshop Newsletter #16
three long pieces ranging from gentle ambient to obtuse avant-garde. "Breathing is for two didjeridus, cello, oboe, and tapes. R.Ism V.2PF is for tape, two pianos, sampled flute, and electronics. Barump Poc is for winds, organ, chorus, tapes, etc., etc., etc. The 'orchestral' piece. Assisting Bwanettes on this disc are Jane Scarpantoni, Dave Prescott, Brian Charles, Dan and Detta Andreana, Danielle Reddick, Paul Richards, and Debbie Goldberg."
Abstract, Industrial, Experimental, Ambient
"Consisting of 3 compositions, 'Tripping India' is the 3rd If, Bwana release on Pogus. On this recording If, Bwana is joined by, among others, Paul Marotta (Styrenes/Electric Eels/Mirrors) on '3 Out of 4 Ain't Bad', a conceptual work for 3 different pianists, playing 3 different pianos at 3 different times to the sametape. The final version is for 3 pianists, no tape. 'PR-DR' is an electroacoustic work for processed/manipulated percussion. The title piece combines audio 'snapshots' of a wandering through India with multiple tracks of manipulated and processed drums and percussion. The end result is an 'audio travelogue for 2 (highly) manipulated percussionists'." - label description.
"Ihan is an electronic duo of two design students from Toulouse, France. Started from an instrumental background, today they explore the abstract 'plates-formes' of sound. Their first album ever fits perfect in the electronic imperium of Mille Plateaux. Like SND or Bretschneider, Ihan works with all the new soundfiles and glitches of digital music, but use it in a very special humoresque but also cool way. Digital music or sound design still takes not only place on the level of symbolization and signification, a siginificant material, non coded forms of expression and elements play as well a role in the production of the digital. In the combination of music and composition, things have to be considered, circumstances which concern the artist but also exceed him. A process of production is initiated in which sound and composition, selection and production in the context of digital synthesis go together. The world of Iota is built on the coexistence of electroacoustic research's gains ('techniques de montage', microscopic study of sounds) and the rational pulsation of minimal techno. The dealing with software is setting free potential, impulses of a new. Ihan make with 11 titles, sans titre, artificial implications of music audible. It is singular electronic music, pared down, thin, cold and strong at once. Flows of intensity, fluids, continuums and conjunctions of affects, fine segmentation, microperceptions are characteristics of Ihan's music. And at all there are colors, sounds, noises, all perfectly programmed in a way, that you have always to expect the unexpected." - label description.
Abstract, Experimental
remixes by Jazzkammer, Mattin, Francisco López, Alexei Borisov, Leif Elggren, Xabier Erkizia, Anton Nikkilä, AS11, Coti, Jason Kahn, M. Behrens, Bernd Schurer, Daniel Menche, Nishide Takehiro, Anla Courtis, Joe Colley, Panos Ghikas, Zbigniew Karkowski
"It has been already 10 years since the first ilios recording came on surface. Since then, a lot has changed in ilios' sound but as stated by the artist, every work is a step forward in building an anti-carreer that balances between the limits of sound. Beyond the opposite parts of last year's 'b.a' or the processed drone of the recent live cd '18102002', 'Old TestamentÓ'(the first of two volumes of testaments), is an intense journey back to the pre-code era, an anti-dogma of the extremes." - label description. edition of 400 copies, cardboard cover.
"Periodikmindtrouble is Ilitch's (a.k.a. Thierry Muller) first album, released on OxygËne Rec. in 1978. This reissue present for the first time the complete worksof 'Periodikmindtrouble' such as it had been conceived and should be released at that time: as a double LP. So, here it is as a double CD (including a 12 pages color booklet) with the following musical works: the album 'Periodikmindtrouble' in its entirety, plus the complete recordings of 'Innerfilmsequence', plus the unreleased track 'Ballades urbaines', plus some archives from 1974 as bonus tracks (total time: 146 minutes). Thierry Muller is a French guitarist, who has made three LPs: 'Periodikmindtrouble' (1978), '10 Suicides' (1980), 'PolaroÔd/Roman/Photo' (1985). The music is electronic, experimental, harsh, repetitive, personal and can be compared with Brian Eno, Robert Fripp, Cluster, Conrad Schnitzler, Kraftwerk, Terry Riley, Philip Glass, Heldon, Lard Free. Unfortunately unrecognized in France (even not mention in the booklet introduction of the 3 CD Box set French compilation '30 Years Of Musical Insurrection In France 1968-1998' ...!), Ilitch did not fall in the ear of a deaf person, because it is not by accident if Thierry Muller appears on the famous 'list' by Steven Stapleton / Nurse With Wound on 'Chance meeting...' (1979)!" - label description.
Minimal, Experimental
Industrial, Experimental
Experimental, Ambient
Experimental, Ambient
"edition: 500. a collection of material from two very limited edition CDRs in audio and virtual recordings of imagined spaces. the sound of immedia's work implies silence/microcosms and the underlying resonance of spaces and is intended for quiet amplification or headphone listening. in audio: sound works that exploit the limitations of basic digital equipment, utilizing a combination of malfunction, error and accidents to produce new data. in audio is a constantly evolving project. these pieces are not intended as a final product but as a documentation of works that are inherently in progress. these works are also open to reinterpretation and continuation by other artists. virtual recordings of imagined spaces: the invisible presence of imagined spaces: domestic and industrial, public and private. the looped recordings and the listening environment merge to create a new sonic space. immedia are Vicky Paniale and Darren Reynolds, a duo from London, UK. Paniale studied fine art at central saint martins college of art, creating immersive light and sound environments. Reynolds studied graphic design, creating a number of art books and magazines, and now works primarily as a sound artist." - label description.
"A considerable soft release of crackles and ticks from this London duo. This is the most minimal form of microwave I can imagine. Very high frequencies with real minimal repetitive clicks, all recorded very softly, almost on the level of inaudibility."
Experimental
Experimental, Ambient
Industrial, Ambient
Modern Classical
Noise
Industrial, Noise
Downtempo, Trip Hop, Ambient
duets for alto saxophone and hammer dulcimer, plus one track each with guests on violin and koto. playing is presented both in quick and slow modes in different tracks, but all the time with a very relaxed atmosphere. some of the first pieces bring to mind the mood of Terry Riley, others a spacious Zen watching sounds pass and evolve.
"Field Tracker was recorded at the Institute for Electronic Art, Alfred NY during the Winter of 2000. Inoue, utilizing his digital sound processing systems in combination with bells, guitar, and other odd sound making objects, constructed tiny improvisational sound moments each one having a shape and gesture of their own. These 'micro compositions' were at times highly abstract and noisy and at other times extremely melodic and calm. Many of these micro compositions were used in the production of his recent release 'Object and Organic Code', the others (almost 2 hours worth) were handed over to Andrew Deutsch who was to construct another release combining sounds of his own. Being responsible for the overall 'Auskomponierung' or 'compositional unfolding' of the work, Deutsch combined synthesized sounds, drones, chatter, loops and other DSP techniques to produce what he hoped would be a kind of 'Gebrauchsmusik' or 'useful music' that one might use in the home. The work has a notion of 'ambitendency' built into it, that is, the tendency toward change combined with an equal tendency toward stasis. The work could be described as 'meta-divisionism', 'Baroque Minimalism', or 'expanded systemic digital minimalism'. Sound works for our new recombinatory world." second pressing with black label.
"in mid 1998 several soundartists received among an inquiry for this project a CD with an handmade lockgroove carved into its upperside. this lockgroove contained individual sounds because of its handmade origin and had to be taken off with a record player. the token sounds were meant to be used as basic material for further worked out remixes. the mode how this lockgroove was taken off by the recordplayers' pick-up as well as any further processing and manipulating the worked out material was completely up to the hands of the interpreting artists. the here presented cd-compilation contains 10 tracks worked out of the original lockgrooves (playable on any usual cd-player) plus a handmade lockgroove on the upperside of the cd (a record player without automatic pick-up device and some sensible precision motoricity required), similar to the one the soundartists received as original material at the beginning of the project." artists featured are Teleform, Sudden Infant, Shave Ass, Pomassl, Herkules Dreigangduo, Farmers Manual, Marces Maeder, cd-slopper, Batchas and Anja Theissmann / Klaus Sander. also, the disc has a lock groove cut into it which can be played on a turntable without automatic return.
Industrial, Power Electronics
Re-Issue of this famous electro-acoustuc/experimental album of John Mills-Cockel from 1967. Includes CD
"Intravene is the newly formed project by Stephen Meixner (Contrastate) and Steve Pittis (Band Of Pain). After working together on various one-off improvisations Meixner and Pittis have decided to join forces for a new creative outfit. Intravene combines the two best features of these participants' main projects: it has Contrastate's expertise for dense arrangements and cultural comment through collage work but also feature some of the dense atmospherics of which The Band Of Pain are so bloody capable. 'Flotation Toy Warning' is a very dark but informed stream of consciousness musical endeavor which demands the listener's attention to the full." Limited edition of 711 copies.
sadistic power electronics collaboration. numbered edition of 1000. fold out sleeve.
"Some will remember his two great small ensemble compositions from an earlier quarterly. This collection concentrates more on his (prize-winning) tape works and includes the great Hong Kong changeover cityscape 'In Between', extracts from works about Israeli whistleblower Mordecai Vanunu and Edwin Armstrong (inventor of FM modulation) as well as other radio works and three chamber pieces based on African rhythms. Enormous variety." - label description.
Neofolk
IDM
Originally issued as Folkways FS 3861, Copyright Folkways Recordings.
Industrial, Electro
Box 1 of 3 in the JacobTV trilogy set. The 2 CD’s contains heavenly orchestral works, performed by The Arnhem Philharmonic Orchestra and the North Netherlands Orchestra & Concert Choir, conducted by Jurjen Hempel and Alexander Liebreich, featuring soprano Claron McFadden, tenor Thomas Allen, saxophonist Arno Bornkamp, cellist Marien van Staalen and percussion duo Lorenzo Ferrandiz & Gustavo Gimeno. The DVD contains the tv documentary "So Heavenly It Hurts" by Jan Willem Looze, ...NOW.. for symmetrical orchestra with videos by Jaap Drupsteen, Short Cut, the choreography by Hans van Manen by the Nederlands Danstheater on string quartets by JacobTV, 2 pianoworks performed by Kees Wieringa, Postnuclear Winterscenario No.12 for orchestra and a preview of box 2. Audio and video samples at: http://www.jacobterveldhuis.com/box_1.htm
Box 2 of 3 in the JacobTV trilogy set serie; This box contains his so called boombox music - a new musical style: Music for one or more instruments combined with a soundtrack, to be reproduced simply by a boombox, aka ghettoblaster. The soundtracks are based on audio samples from human speech from every day life, turned into groovy patterns with a dramatic impact. A colourful mix of high and low culture, of classical music, rock, pop, rap, rhythm & blues and jazz. By freely combining avant garde with American popular music easthetics, he creates his ‘Avant Pop’ music, played on this album by a European-American team of distinguished musicians and ensembles. Contains 16 audio tracks and 8 video clips with visuals by Jan Willem Looze, Kristien Kerstens, Michiel Zegers and Danielle Kwaaitaal. audio and video samples at: http://www.jacobterveldhuis.com/box_2.htm
Box 3 in the JacobTV box set trilogy: contains his best works for stringed instruments: violin, viola, cello and piano in various combinations, performed by The Netherlands Quartet, Monica Germino, electric violin, René Berman, cello, Kees Wieringa, piano, Roeland Gehlen, violin, Benjamin Schmid, violin and Frank Peters, piano audio and video samples at: http://www.jacobterveldhuis.com/box_3.htm
six pieces made from shakuhachi, voice, harmonium, pedal steel guitar, Native American flute, turntables, electronics and drums. "Already Gone (six variations) marks Phil James' return to sharing his music publicly after a 15-year hiatus. This album reflects his in-depth study of alternative tunings and of traditional Japanese music as well as an interest in the breath as a primary rhythmic and structural basis for composition. As an exploration of impermanence and as a memorial to those who have died young, each variation uses the audible rising and falling of the breath as an underpinning, but each time in a different way. The work also uses space, especially extreme distance of sound sources, as an important compositional element.In all of his recent music, the overall feeling of a piece is determined in part by the juxtaposition of several different non-equal temperaments. For instance, the first variation features a drone on harmoniums electronically retuned to two ancient Chinese scales, a pedal steel guitar in just intonation, and a shakuhachi flute playing around an Indonesian slendro scale. Despite this use of world tunings and instrumentation, the often dense polymodal textures are chosen for emotional/musical effect rather than cultural reference." - label description.
Experimental
five tracks for electric guitars and electronics, recorded by Charlie Collins on 16th August 1995. freely improvised, but bestowing a feel of calm in the playing. packaged in a miniature gatefold sleeve with black & silver artwork by Helmut Lemke.
Alternative Rock, Pop Rock
"In 1999, after twenty years as cellist of the Kronos Quartet, I chose to leave the group and began a metamorphosis of sorts in my musical development as a solo artist. During residencies in Hawaii and San Francisco, I was able to freely explore the directions my interests were leading me at this pivotal point in my career. During this time I continued working with composers. I began to improvise, arrange and compose music myself, as well as research, produce and present muti-media and performance arts. I became interested in not only the visual and conceptual presentation of music but also the sound world my instrument could inhabit. Increasingly I became fascinated with the layering of sound and the versatility of the cello in this exploration. 'Metamorphosis' is much of the music that resulted from this phase, being the soundtrack to the staged musical theatrical production of the same name." - Joan Jeanrenaud. includes pieces by Steve Mackey, Hamza El Din, Joan Jeanrenaud, Karen Tanaka, Philip Glass, and Mark Grey.
Experimental, Ambient
Experimental, Ambient
"7 tracks - 35:24. This recording is taken from their live performance at the Moers Jazz Festival, Germany, in May 2002. Jacob Kirkegaard is a member of Danish combo Aerther who work in a mixed media context. He was born in Denmark, 1975 and is currently studying at the Academy of Media Arts, Cologne, Germany. He has taken part in numerous festivals throughout Europe, playing live, improvising with samplers and other electronics, as he does on this recording. Philip Jeck, meanwhile, sticks to his turntables. He started experimenting with record players back at school in the 1960s." - label description.
Noise, Pop Rock
Art Rock, Post Rock
One piece made by writing a word set to +32767 followed by 44,100 set to zero in PCM data repeated 480 times. The result, while not nearly as "brief" as its now rather infamous CDR companion (the actual length is >4 minutes), nonetheless exhibits a similar sonic strata - a jarring digital disturbance which theoretically contains "every frequency from DC to 22.05 khz. [These sorts of] clicks are sometimes used to test sound systems for that reason. The click is often referred to as an impulse, and the recorded signal in the room being tested is called the impulse response. From it the frequency response of the room can be calculated" -- Nigel Orr. An extremely minimal piece packaged in a cardboard slipcase. Edition of 300.
Acoustic, Soft Rock, Pop Rock, Ballad
The synth-heavy neo-tribal explorations and expansive Sierra Nevada visions encountered within Mirage at the Crossroads are certainly "Roach-esque" in their execution and scope. This is not surprising, given that Steve Roach plays on and mixed Johnson's ambient journey, with the mastering help of Roger King.
Ambient
Experimental
music from exhibition in 1985, this again features his self playing instruments which create a very relaxed atmosphere, a sort of aural environment of his unique textures and rhythms. edition of 500 copies.
originally released on cassette in 1976 as part of a limited edition (only 20 copies) multiple that packaged the tape with the music machine of the same name, this music has never been easily available until now. this recording documents a single instrument, illustrated in diagram on the back cover of this CD. though only one machine, the sound is very active as the cork beater is constantly tracing it's route across the tone-tubes creating a continuous ringing of bell-like sounds. I believe this is one of the earliest recordings by Jones to be issued so far, aside from his appearance on Yoko Ono's "Fly" double LP in 1971 (which wasn't solo material by him).
Ambient
"This CD presents four compositions spanning 15 years. What we hear in the first two works dating from 79 and 77 are sound improvisations in a certain acoustic setting. The first of the two consists mainly of improvised percussion and processing of metal plates in a cave, the second work also includes voice and sounds more like a composition. This latter one clearly breathes the atmosphere of Nono's vocal works but by processing the vocal material Jovanovic turns it into an electroacoustic composition. In the third work too, dating 1988, the atmosphere is black as night. Chaos, imminent disaster, is what this work communicates. This composition consists of a series of scenes thereby creating an acoustic theater. Drama, I would say, of the blackest sort. The last work, Ma Maison (1993), is a construction of sound that J. recorded at his home. Apparently it is nearby a harbor. We hear seagulls, ship horns, wind, but also metallic feedback, breaths, wooden percussion. It is at once the most desolate and most peaceful of the quartet that is presented on this CD." - Ios Smolders in Vital .
voices. speaking, transformed, cut in and out, whispering. a fragmented sound poetry.
Industrial
Catalog to the second edition of the exhibition with the same name. The CD comes with an extensive booklet with an introduction by Brandon Labelle and has contributions in text and / or image by all the participants. The CD has audioworks by the participants: Minoru Sato (m/s), BMB.con, Peter Duimelinks, Frans de Waard, Edwin van der Heide, Jio Shimizu, Masahiro Miwa, Roel Meelkop & Reinier Schimmel, Toshiya Tsunoda, Justin Bennett
Experimental
Minimal, Experimental
Free Improvisation, Experimental
Experimental
Noise, Experimental, Ambient
Noise, Experimental, Ambient
Abstract, Experimental, Minimal, Ambient
Noise, Experimental
Experimental
Experimental
Experimental, Ambient. Subtitle is "Sonic Constructions". Recorded and mixed in 1991. A Multimood release of a Great Orm Production.
sound processing of recordings of contact mics amplify the sound of the brakes, gears, engine, etc of a car. loopy rhythmic like slowing skipping CDs, but composed and evolving. first release from this installation artist.
Techno, Experimental, Acid
Experimental
On the CD the connection between physical space and acoustic space is studied, resulting in four "chapters", of which three are diveded in three "paragraphs" each. Chapter 1: Volume: A collection op repeated Italian and French vocal samples and very clean sounding frequencies. If it wasn't for the sudden noise eruptions the term 'erotic' might come to mind. Later in the chapter noise gets added and the atmosphere changes drastically. The atmosphere becomes difficult to place. Every now and then it reminds me of Die Hamletmaschine by the Einstürzende Neubauten but that's probably because of the conceptual approach and the usage of vocals. Chapter 2: Time: The 2nd serie of three track (respectivly 1.11, 2.22 and 3.33 in length) matches the sound of the first series very good. Allthough because of the lack of vocals the atmosphere is completely different. The tracks sound more spatial, more like a deep drone because of the use of more depth in the filtering. Chapter 3: Frequency: This third chapter has two ultra short tracks followed by a 17 minute track on which the creator of the CD explains the concept of the track. The result is a beautiful drone with vocals which reminds of particulary the works of T.A.G.C. and h3o. Chapter 4: Space: This piece is completely dedicated to space and the influence of space on sound. The manual for optimal enjoyment and interpretation has been printed on the cover, just like for example the instructions for connection of the third speaker was explained on the cover of the Ambient# series by Brian Eno in the 70's. To really enjoy the track itself it is maybe just a bit too long or just not enough happens. The result is because of the minimal use of reverb (which is inherent to the room where the track is being showed) quite cold.For the more experiences listener to experimental compositions it's very interesting, for "normal" people it's truly intriguing but as stated before, not really easy.
Abstract, Minimal
Abstract, Experimental, Ambient
Avantgarde
Experimental, Noise
Second album by solo studio constructions by Jacques Deregnaucourt, utilizing violin, viola, voice, percussions, tapes, synthesizers, programming. Good combination of experimental fiddle-wrangle and ambient electronics.
EBM, Experimental, Ambient
Glitch, IDM, Experimental
Techno, Experimental
Ambient
Electronic
Ambient
heavy psych
Future Jazz, Experimental, Ambient
House, Techno, Downtempo
in 1997, Dave proposed an 'installation' in the then store and performance space incarnation of Anomalous Records. his proposal was to mount various discarded strings (not just from guitars, but other instruments) onto scrap board, and then mount those onto the wall above the entry staircase. the strings themselves were often permanently prepared, and with the wall itself (or the banister in the case one) acting as a resonator, they produced a surprising diversity of sounds, much beyond their simple appearance. many people trying them or hearing them played were surprised to hear tones like gongs and cymbals, along with others that sounded more like plunked instruments, albeit with a different bent. as they were in an unusual location that people didn't often use, the stringboards were free to stay up for longer than most things, and over the six months or so that they were up, Dave altered and added to them (sometimes using things like rocks from the parking lot, sticks, door knobs, etc.). plucked, strung and bowed by random visitors, they were used to full effect during Jeph Jerman's weekly improvisations with Aaron Wintersong, which Dave was soon a regular member of. being as they had become a part of the environment for so long (Dave even installed one in the bathroom in the end), we decided it would be wise to document them before Anomalous left the space, especially as Dave had decided to auction them off at the last show. so, Dave and I spent an afternoon close mic'ing (no contact mics here, these needed to sing through the air around them) each stringboard in succession. the playing varied much between very gentle playing letting the notes decay to cacophony of strings assaulted, though did seem to lean overall more towards the calmer side of things. through Dave remained aware of his surrounding, the environment for so many past performances, and actually played along with many ambient elements such as noises coming from the dry cleaner below and the sounds of the street outside, which you can hear on this disc if you listen very closely or turn it up very loud. the resulting 90 minutes we recorded lay for a while, but was in the end painstakingly listened and re-listened to by Dave and edited down to this CD. in the listening back, Dave made many mental notes and associations with all the sounds, which we preserved by marking several tracks with many index points (a feature very few CDs seem to use) and giving each of those a title. the package is completed by liner notes from Jeph Jerman and Dave, photos of the stringboards, and a beautiful full color painting made for the project by Russell W. Gordon.
Modern Classical
Tribal, Industrial, Experimental
Abstract
weird text-sound collage
experimental feedback-noise
text-sound weirdness
weird text-sound collage
sexy text-sound mantra
concrete weirdness
text-sound weirdness
absurd text-sound readings
text-sound weirdness inspired by Bernard Heidsieck
cut-up noise collage
text-sound weirdness
text-sound weirdness
nihilistic interview between the Kommissar Hjuler & his 3 year old son Cy
extreme actionistic happening
dilletant Korn-Covers
text-sound weirdness
weird actionistic nihilism
Dark Ambient
Abstract, Experimental, Ambient
Abstract, Minimal
Minimal, Ambient
Comes in special oversized sleeve format with nice artwork and JP.Turmel texts, both in french and english
This copy with nice multi-view cover of the Expo 2000 logo
Experimental
Techno, Electro, Synth-pop
Synth-pop
Noise, Ambient
Industrial, Noise
Not prog or avant-garde, A Criminal Record is a slab of rock/psych/garage/improvisation, a lost MONSTER from 1970. A well-known singer in Israel, Kraus resided for several years in an asylum. In 1970, some problems with the law landed him in jail. On a 48-hour furlough, he sped to record these tunes with session musicians; this hurried recording session gives the album a “live” feel. Artists on this album include Haim Romano (the guitarist of The Churchill's), drummer Aharom Kaminsky (later of The Platina), and Shmulik Aruch, one of Israel's best bassists. Recorded in a single day in 1970, the album was finally released in 1977. Only 300 copies of A Criminal Record were distributed. It has became the most sought-after album ever made in Israel, an unavailable gem for collectors all over the world. 40 minutes. No bonuses tracks were recorded, and no pictures of the sessions exist.
Glitchy ambient-techno from Danny Kreutzfeldt releasing under his other name. Please watch http://www.databloem.com
Drum n Bass, Jungle
Downtempo
Downtempo, Breaks, Drum n Bass
Synth-pop, Experimental
Similar to Genesis / Yes / VDGG but very unique. A Mellotron festival. Their "Fountain Beyond the Sunrise" album is considered by many as a straight response to Genesis's "Nursery Cryme"
"A sound composition (in three parts) by Eric La Casa for two chapters of the silent opera 'Pour Cylope' by RenÈ Quinon: Strophe and Scene 2. Only made with field recordings: [part1] the sea (Hennequeville, Normandy), metal (foundery, Sollac, Dunkerque), the wind (tempest - Montlouis, Touraine), electric waves (water clearing station, Choisy, Ile-de-France), [part2] metal. (Sollac, Dunkerque), [part 3] sand and wind (Dunkerque). Digital mixing : July 2000. Timing : 20'02. Limited edition: 200 copies. Boitier papier luxueux format 16 x 16 cm. Special paper box."
"radio portrait (in french). After Roger Lorance ('le temple de l'absurde'), a portrait in three parts of Jephan de Villiers by Eric La Casa, in the forext of Soignes and in his house at Jolymont, Watermael-Boistfort, Bruxelles. With the collaboration of: Jean-Dominique Burton, Simon du Chastel, Prosper, Claude Roffat, and Michele Swennen. Voices: Rene Farabet and Eric La Casa. Texts: Jacques Brosse, Emmanuel Driant, Antoine de Saint-Exupery, Rainer Maria Rilke, Henri Ronse, and Jephan de Villiers. Musics: 'Avant l'envol' (excerpt), and 'Petit chariot ailÈ' by Catherine Brisset (Baschet's cristal), 'Fragments de mÈmoire part 1 & 2' by Eric La Casa (coproduction Studio La Grande Fabrique, Dieppe). Mixing : September - November 1996. Production: L'Atelier de Creation Radiophonique, France Culture (1996-97). New version: July 2000. Timing : 77'09. Limited edition: 200 copies. Boitier papier luxueux format 16 x 16 cm. Special paper box."
Jazz-Rock, Avantgarde, Experimental
Retrospective (1944-1993) edited and produced by Teddy Hultberg. Texts by Teddy Hultberg, Sune Nordgren and Ilmar Laaban.
five very textural and quiet recordings. limited, numbered edition of 100 copies made for Japanese tour. handmade cover in miniature jewel case.
Modern Classical, Goth Rock
Industrial
Techno, Experimental, Industrial
Techno, Electro, Industrial
Abstract, Noise, Experimental
Datablem Sublabel. Ambient
Datablem Sublabel. Ambient
Datablem Sublabel. Ambient
Techno
Here is a work by a formidable collaboration of two top ambient music artists, namely Brannan Lane, of Tennessee (USA), and Ashera (Anthony Wright), of Australia. This cd consists of five pieces built around a seafaring theme, with Ashera on keyboards and 12 string midi guitar, and Brannan Lane on keyboards, percussion and treatments.
minimal electronics
minimal electronics
Abstract, Industrial, Noise, Ambient
Ambient
composer, cellist and comedian who has here created an acousmatique sound collage mixing everyday drips, barks, shouts, and noises with backwards swells of music and morphed sounds.
Experimental, Ambient. The four parts of Supernaturalist were recorded and mixed in Edinburgh between the Summer and Winter of 2007, using electronics, field recordings, synthesizer, piano and bass guitar. The album was mastered at Christmas 2007. The photographs, from various locations across Scotland, and the sleeve layout are by Brian Lavelle. Thanks to Eriek van Havere for his boundless enthusiasm for this project and to Kyle Wright for his friendship and encouragement. This album, more than any other, is for my Jill, who is supernatural in all she feels and says and does.
Industrial, Experimental, Ambient
Industrial, Ambient
Industrial, Experimental, Ambient
Dedicated to the memory & works of Andy Warhol.
Modern Classical
Industrial, Noise
Industrial, Noise
All tracks recorded between 1981-1983 at various locations in the UK. Many thanks go to the baby who protested on the tube and is now immortalised at various speeds on 'Close Your Eyes', and to the man who presented his Punch and Judy show in Covent Garden while a Pink Dot hid his recording walkman under his coat. 'The People Tree' was formerly to be found on Side Two of the 'Traumstadt 4' cassette-only release. Other tracks were to be found on the following long lost cassette releases: 'Rising from the Red Sand Volume 3', 'Zamizdat Trade Journal Volume 4' and 'The Voice'.
New Wave, Experimental
Modern Classical, Downtempo, Experimental
Industrial, Experimental
Experimental, Ambient
Experimental
Abstract, Electro, Experimental
House, Breaks, Techno
Folk
Abstract, Musique Concrète, Experimental
Tribal, Ambient
Abstract, Audiobook, Ambient
The new surrealism-superstar from Great Britain with an album on austrians Klanggalerie. edition of 500
EBM, Electro
Tribal, Industrial, Electro
"concrete soundtracks of estatic turbulences. limited edition of 150 numbered copies. CDR in folded paper cover with insert, contained in slightly oversized printed parchment folder and plastic bag." - label description.
Modern
Abstract, Noise, Drone, Minimal, Experimental
Abstract, Noise, Experimental
Field Recording, Experimental. Recorded live at the School of Creative and Performing Arts Auckland, New Zealand, 11/07/2004.
Experimental
What a beautiful and well accomplished album this is! Only played with acoustic and electric guitars, organ and synthesizers, the music of Lorentz brothers is highly original: progressive music with some elements of cosmic music and progressive rock. Anyway, I recommend this album to all of you! No artwork, just a CDR
Noise, Experimental, Ambient
Alternative Rock
Contemporary, Experimental
studio recordings of Gail Brand (trombone), Pat Thomas (keyboards / electronics), Phil Durrant (electronics / violin), and Mark Sanders (drums). burbling and undulating free improv.
Industrial, Noise
"Following and complementing 'Solos de guitare Èlectrique', which appeared on the Ambiances MagnÈtiques label, comes 'DÈboutonnÈ', thirteen acoustic guitar improvisations devoid of all editing, superimposition, equalization, and reverberation. Eight microphones were used for the recording, and the mixing of these eight sources highlights the improvisational structures and the different points of viewóor of hearing." - label description.
"Dur Noyau Dur (roughly 'Tough Pit') is the meeting of RenÈ Lussier on guitars (with and without electricity) and Martin TÈtreault on turntables (with and without vinyl). This duet is both devastating and lyrical: they strum, peck, scour, polish, stir, reflectÖ in short, they work with sound. It is with a firm uncompromising stance that they produce this stunning piece of highly experimental improvisation that sits outside all norms; a record that is solid as rock. Can you crack the pit?" - label description.
"For their new recording, RenÈ and Martin found their inspiration, freely and naively, from the old school of musique concrËte. And then through an electro-neonaturalist related aestethic. And that's that." - label description. for this recording, the duets uses daxophone, synthesizer, pick-up, and 'boÓte ý rythme'.
"25 minute EP that could easily expand to an hour without losing any of its intensity...gorgeous and delicate combinations of sound which build to a stunning last 5 minutes of manipulated spoken word (in French), accompanied by the sounds of birds, etc. Musique concretÈ for this millenium, without a doubt." - Monica.
Avantgarde, Experimental
Experimental, Ambient
sound poetry of fragmented words and similarly disjointed compositions for instruments. "Open Secrets features Mac Low and Anne Tardos performing works for multi-track voices; and Robert Bethea, Andrew Bolotowsky, Daniel Goode, and Gabriela Klassen performing instrumental pieces. Winds/Instruments for flute, clarinet, trombone, violin, and narrator, could well become a classic of new music, not only being beautiful, but also displaying Mac Low's witty use and love of words. Jackson Mac Low was first published in 1942. His multifaceted career covers music, poetry, painting, performance, radio, and multimedia. Widely recognized for his work in the 1960's Fluxus movement, Mac Low has continued to produce musical works that meld aspects of several disciplines. In 1954 he adopted nonintentional procedures, including chance operations, indeterminacy, and related methods, but has also written and composed extensively by intentional methods. His many 'simultaneities' include musical, verbal, and visual elements, usually involving guided improvisation and indeterminacy." - label description.
Breakbeat, New Wave, Art Rock, Electro, Experimental
droning music made with duochords, spring strings, musical bows, guitars with tails, and tubular aluminum monochords. the group was founded in 1968 by Paul Panhuysen and Jan van Riet. this 1993 release features recordings made from March 1988 and November 1990 with a quartet filled out by Leon van Noorden (joined 1971) and Mario van Horrik (joined 1982). a limited edition of 1000 copies; packaged in a three-panel Digipak with enclosed 12-page booklet explaining the various instruments made by the ensemble.
gentle shifting mysterious drones complementing the singing of birds. very delicate and strange. features Paul Panhuysen and company improvising on their unique instruments. "Here, each Maciunas musician performs on an aluminum strip (about 200 cm long, 3 cm wide and 0.2 cm thick). The material is suspended from a rubber band which, among other things, allows for pitch shifting. The aluminum instruments are bowed, stroked, tapped and caressed into producing a remarkably broad palette of textures and pitches. The resonant characteristics of piezo transducers are particular and provide for a certain timbral unity. ... The studio where the recording is made is the same room where the birds live in their aviary. The birds were so inspired by the sound of the aluminum strips, that they immediately joined the music as improvising musicians and continued to play with us in an often very loud and competitive way for more than an hour."
"Culled from the archives of Tony Conrad, this volume (covering the years 1967-70) highlights MacLise's unique and intricate drumming style. Cembalum, bongos, hand drum, barrel congas - all are majestically thumped'n'bumped for maximum orgasmic sensory satisfaction. Comprised of eight tracks, the acme of this collection is the two large ensemble pieces, 'Dreamweapon Benefit for the Oklahoma City Police Dept. parts 1 & 2', featuring Angus (barrel conga), Hetty MacLise (tampura), the poet Jackson MacLow (song flute and voice) and Tony Conrad (limp string). These tracks, recorded in May of 1968, are the apex of maximist loft style psychedelic improvisation. Conrad's illuminating, occasionally hilarious liner notes set up the narrative of this volume and offering a brief glimpse back into the mind -scrambling fracas that was NYC, USA, Earth 1968. Along with more gorgeous, brain-warping 'Invasion'-style sleeve art [mylar photographs by Ira Cohen], included in the CD booklet is a reproduction of the poster for the Dreamweapon Benefit, confirmation in black and white that for four nights in May, 1968, Wooster Street Cinematheque was definitely one witchy place to be." - label description.
"159 minutes of minimal electronic music, readings, soundtracks from the archives of Angus MacLise 1963-1976 featuring Tony Conrad, John Cale, Piero Heliczer, Berverly Grant Conrad and Hetty Maclise. rare music, performance, soundtracks, spoken words by a seminal poet and musician. active in the new york avant-garde of the 60' (one of The velvet Underground's founding members). here for the first time, a double cd extracts from his own archives - with the participation of Tony Conrad and John Cale. including an historical text by Gerard Malanga and unpublished photographs. Musically the adventure starts here, in 1963, in the company of Tony Conrad - very present throughout the disc - and is prolonged with John Cale circa 1965 and continues either with Angus alone, or with Conrad, or with his wife Hetty. It all ends a few years prior to his death, during an important reading at the Millenium Film Workshop, in New York, on the 17th September 1976. We will be at liberty, through almost 160 minutes of this adventure, to understand the importance of this musician fascinated by the biggest underground activity of New York at that time - we may even discover a few missing links." - label description.
"Quiconque (anyone), Marcus Maeder's 2nd musical offering, crosses the border to the inside-outside 'world'. Narrative in style, the pieces on this record seek to balance feelings and longing against a more abstract reach for a musical speech. Dark drones are cut against abrasive digital distortion, multi-layered organic atmospheres meet 'free-jazz' digitals or cut-up rhythms, functioning as hyperlinks connecting the resonating void. The overall mood on this CD is somewhat sombre, but a little halo shines around these tales of a mere private nature." - label description.
Rerelease of the CD Meditamentum from 1994. Comes in brown cardboard cover and embroidered cloth sleeve (green or yellow).
Limited to 150 hand numbered copies in a special wooden package. An edition of 50 hand numbered copies also exists. It is packaged only in the laminated paper sleeve, and the '1' in '150' has been covered with black ink. It is unclear if this is a second edition or a promo edition.
Industrial, Ambient
"A collection of tape works composed by David Mahler between 1972 and 1986. The compositions are 'Cup of Coffee', 'The King of Angels', 'Rising Ground', 'The Voice of the Poet', 'For Thom Miller', and 'Wind Peace', all of them based on field and radio recordings, some of them containing synthesized sounds and sounds processed with an early Buchla synthesizer. This is West Coast musique concrËte, with loops, quick cuts, overlays, speed changes.... One of the unsung heroes from the early days of minimalism, Seattle's David Mahler has been making music since the early 1970s. His music is noted for its humor, eclecticism, and deep beauty." - label description. includes voice collages, a tribute to Elvis and James Tenney's treatment of him, and sound studies with objects like coins, metal washers and an aluminum hoop.
Folk Rock, Acoustic
weird text-sound noise
text-sound weirdness
abstract voice-noise
abstract noise
weird controverse text-sound & underground noise
FLUXUS impro-noise
Mandelbrot was founded in 1994 by P. Muench (Synapscape, The Rorschach Garden etc.) and released the tape "1000 Ships at the Bottom of the Ocean" (1995) and the CD-R "Seasons" (2002) on Fich Art. The CD "Auf Tauchfahrt" was created in collaboration with B. Teichner (The Rorschach Garden). As you can see by it's name underwater worlds are used as the CD's main theme and even if the wheel wasn't reinvented, you will experience it in a very own way. Friends of Templegarden's will also like this work, not only because P. Muench and B. Teichner present 50% of Templegarden's current line up.
Chris Mann is an Australian 'poet' with an unmistakable style. once you've heard his rapidly spoken stream of consciousness, perhaps with Machine for Making Sense, you won't forget it. the words run together and almost become sound themselves in their strange enunciation which is constantly varying. here is helped by a few others, such as Christian Marclay.
Boolean Languages is a dark ambient album that is sombre in approach and mysterious in overtones. A combination of digital and analog synthesizers, musique concrete and drones creates an album that is an ambiedelic brew of sonic excursions into the dark unknown lands within. This album is dedicated to world peace and the end of all suffering for all sentient beings. May you enjoy this album in good health.
Beautifully presented minimal sound works by this Italian composer, who has recorded for Cramps, etc. Digipak CD with fold-out poster of concrete poetry. This CD features studio recordings from 1998. concrete tone-waver and mystery of the highest order. "The Antibarbarus cycle of five pieces makes use of original tapes coming from the same recording sessions that originated some of Marchetti's major musical works realized in the 80s. The concept of this series of works respond to the common feature of presenting some homogeneous and untouched sound sources in the 'concrete' status of their inner -- and necessary chaotic -- level of entropy. The almost narrative thread of the Antibarbarus set of pieces doesn't intend to suggest, in a strict sense, a simply allegorical metaphor; not 'representation' but a diagnosis of a fatal paralysis, where the musical consciousness vainly struggles. This appears not without supposing an inversion of its dialectical sign, in order to oppose the antithesis of a radical humanism to the barbarity of utilitarian and instrumental reason.
"Nei mari del Sud may be regarded as the 'epitome' work of all his recent musical output. Firstly for it represents the original re-elaboration of a former work achieved in 1982; Secondly, the manipulation techniques here applied rise in the same principles formerly developed for recording the 'Antibarbarus' set of pieces, a cycle to which the new work therefore refers in terms of an ideal continuity, though it preserves some peculiar characters strictly connected with the source of its basic music material. The former version of Nei mari del Sud was originally conceived as an environmental music or, more properly, as a piece of 'acoustic theatre' to accompany an installation staged on June 9, 1982, during the international contemporary music festival Musicalia at Teatro Carcano, Milan. In this stage installation, Marchetti expanded for the first time on a larger scale the same figurative scheme that usually marks his major work in progress: a series of installations invariably entitled Musiche da camera, where the 'icon' of a piano defines its role in a seemingly paradoxical context. In the scenery of Nei mari del Sud, as shown in the photographic sequence reproduced on the CD fold-out, the black carcass of a grand piano appeared on the surface of a large expanse of sea, artificially re-created with a shapeless heap of bluish tissue-paper. In the background, the slow, progressive unsticking of the blue paper-curtain, accidentally caused by the floodlight's heat, configured the impeding threat of a gigantic wave on the point of completely submerging the scene. The acoustic dÈcor projected for this installation invaded the whole stalls through twelve loudspeakers set in a semicircle in the rear of the audience. This equipment simultaneously played the tracks of six magnetic tapes, whose signals were displaced out-of-phase by inverting the two poles of each loudspeaker and by means of the reciprocal crossover of each mixed channel. Perhaps, an even more calligraphic adherence to the same 'subject' inspired the version of Nei mari del Sud now subtitled Musica in secca. Not being possible to reproduce with absolute fidelity, in a studio recording, the acoustic design originally conceived for spreading the six sound sources in a theatre space, Marchetti chose to create, using the same material, a new work that could express the relationship with its archetype transposing the same 'icon' on a more pregnant metaphorical axis. Answering to an always implicit exigency in Walter Marchetti's oeuvre - and coherently investigated by the composer with more and more penetrating awareness - the same processing techniques efficaciously employed in Antibarbarus revealed themselves extremely suitable for raising to the highest degree the critical and metalinguistic reflection stated by this metaphorical axis. A piano englouti in the abysses of that process of reification in which the heritage of musical thinking is irrevocably sunk. Finally, Walter Marchetti has touched the bottom of music. Presented on digipack compact disc, in a first pressing of 1000 copies, including a foldout with photo documentation, an essay by Gabriele Bonomo, a testimony by Robert Ashley and a poster." - label description.
Recorded at Studio RDS, Milano, April 27-28, 1999. Packaged in Digipak with six-panel insert featuring texts by Gabriele Bonomo and Robert Ashley and photographs by Fabrizio Garghetti, plus 18.75" by 12.25" poster [one side only, black & white] of Waler Marchetti's Le secche del Tempo [1999].
"Lionel Marchetti is a young and brilliant composer of musique concrete, with a growing body of work released on Metamkine, Selektion and, more recently, Ground Fault and Intransitive. He also dedicates himself to improvisation, in duo with Jerome Noetinger (manipulating objects, microphones and loudpeakers), or within ensembles such as Le Cube and Archipel. 'RISS', with its suggestive subtitle ('l'avalanche'), is a 15 minute piece of musique concrete produced in 1990, already asserting a very personal universe and a strong set of themes. A female character attempts to impose her brittle voice in a landcsape of ice and distress which slowly turns out to be an extension of her own inner space. A particularly evocative imaginary sound world, a staggering dramatic tension succeed in making of 'RISS' a powerful miniature, and definitely confirm the early talent of Lionel Marchetti among a new generation of composers reinventing musique concrete." - label description.
"Christian Marclay - turntables / G¸nter M¸ller - dr, elec. recorded live at Festival Nouvelles ScËnes, Dijon, France 17.10.1992 at Festival Vision–re Schweiz, D¸sseldorf, Germany 26.06.1992 at ART 24'93, Basel, Switzerland 18.06.1993. cover artwork by Christian Marclay, Tom Recchion."
"Christian Marclay is well known for using damaged & re-assembled recordings to create his music. He has put out many solo recordings over the years. Otomo Yoshihide is one of Japan's best known experimental musicians today. He led the experimental band Ground Zero in the 80s and has played with Fred Frith, John Rose, Jim O'Rourke, Carl Stone & Bob Ostertag. The two create an intense, noisy tapestry of sound, encompassing a wide range of sources -- from the baroque-sounding flute and harpsichord snippet that opens the CD to squalls of Hendrix-flavored guitar, opera, flamenco, movie soundtrack music, and purely electronic sound. Marclay firmly favors the analog, intentionally letting his records get scratched and even gluing pieces of vinyl together, while Yoshihide employs mainly digital methods. The combination is potent and compelling. Unlike a lot of the people identified with turntablist world, they never go for laughs with sharply contrasting stylistic juxtapositions or the ironic use of spoken-word records. Sometimes the source materials are pummeled and entirely reshaped, and other times a melodic quotation will stand out untreated; the results are at times reminiscent of Stockhausen's 'Hymnen' or Eric Salzman's 'Nude Paper Sermon.'" - label description.
Symphonic Rock
In special oversized sleeve with texts by JP.Turmel and Muriel Quoniam
Bowindo is a new Italian label founded by Alessandro Bosetti, Giuseppe Ielasi, Elio Martusciello, Renato Rinaldi, Domenico Sciajno, and Valerio Tricoli. "Composed between December 1999 and January 2000. The musical research that I have undertaken goes beyond man's 'point of listening' (instead of 'point of view') to experiment what could be defined as the machine's 'point of listening' (the aesthetic of the machine). Therefore it is an aesthetic that privileges a 'beyond-feeling', the meeting with the 'outerness', with the 'totally-out'. The audio frequency field of this work is beyond the possibilities of our 'perceptions'; it is in fact in the range of the 'ultrasounds' (up to 20kHz) and the infrasounds (down to 16Hz). Throughout this work the sounds were generated at the maximum volume available for digital systems (0dB). Therefore this composition is totally full, saturated, without dynamics, with a volume level consistently turned up to 'fortissimo' (classical notation), just outside the range of human perception. What remains for our hearing? Only silence? However all that we perceive in this work is entirely the result of what has been discarded, the driftage, the limits of technology and our auditory apparatus; anything that springs out of those interferences, from those collisions, the clashes of those hyper-frequencies, their results, the difficulties and the noises of the sound-reproduction system (amplifiers, loudspeakers, filters, etc.) actually produced by the surrounding space (those objects that vibrate), our very own auditory apparatus and body (often it is not our ear but our whole body that feels and vibrates)." - Elio Martusciello.
cut-up glitch experimental noise. "Massimiliano Sapienza (1975), lives in Catania where he studies Political and Social Sciences, is currently working on - to use an original technical term -
Downtempo, Dub, Trip Hop
Soundtrack, Abstract, Downtempo, Experimental, Ambient
Trip Hop, Dub, Downtempo
Trip Hop, Downtempo
Dub, Acid Jazz, Experimental
Breaks, Ambient, Ragga HipHop, Avantgarde
Glitch, Minimal, Experimental
"I like the basic idea of the computer being a machine that works for you. My main applications are like organisms -- living creatures. Once you've made friends with them you can rely on them and become a team. That's what my work since 2001 is based on: a certain trust in my software, and not too much control to the composer. With my rework for the Dutch band Kapotte Muziek, this concept topped itself out. I spent eight months processing raw material, resulting in the usual several gigabytes. When it was about time for me to finish the piece I returned to my files to edit them down in ProTools (Mac OS9). I re-listened to everything, made some adjustments, and then rebooted in OSX to work in Soundhack. After a little while my machine crashed, hard -- so hard that all I could do to restart it was to take out the batteries. When I finally rebooted in OSX it did nothing else but play this music for 30 minutes, a medley of my Kapotte Muziek material, finished by the computer itself. Kapotte Muziek, ironically enough, translates as 'damaged music.' The live concert I remixed took place 1996 in a Berlin club called 'Im Eimer' - that's 'in the bucket,' a funny way of saying 'out of order/damaged'."
"so here at last we have the fourth release from live processing queen Kaffe Matthews. a little later in the year due to a flat out tour schedule and a developing changing process as the violin has finally gone into retirement. now she improvises with sonic snatches from the venue and around, reprocessing during the show, resampling within the space, playing inside a circle of speakers with the audience. the involvement is full on and some kind of homogenous journey apparent. 'cd dd' swings and rocks through sparkling territories, noisier and more rhythmic at times than previous works, but chilling to a very still place of beauty by the time we get to the third piece, the most recent work on the album which shows a marked shift in her work since the second , the final violin performance from ItalyÝ'99." - label description.
the debut CD from the Ventricle label is a collection of tracks from the two Mauve Sideshow LPs. an amazing mixture of strange and spacey sound collag