Anomalous Records

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Items ship from Seattle, USA. Shipping starts at $4.00 for a single CD or LP sent in the US. Canada is $12 for one CD or $20 for one LP. Most other countries it is $14 for 1 or 2 CDs or $24 for 1 LP. Japan and Australia are $27 for one or two LPs.

most recent additions to the site (see main catalog for full descriptions)

available now:

Kuniharu Akiyama "Environmental Music for Dining Room of Athletes' Village in Tokyo Olympics 1964" CD $18
Edition Omega Point (Japan) OPA-021
Obscure Tape Music Of Japan Vol.21. "From participation in the early Fluxus to giving an introduction of Futurism, Kuniharu Akiyama (1929-1996), a renowned music critic, was involved in a vast range of activities. Particularly in the 1960s, he recorded a lot of music on tape for himself. To our surprise, the music compiled on this CD was actually discovered from a series of ambient music pieces played in the Athletes’ Village at the Tokyo Olympics! During this period, Akiyama was fascinated by the sound of Sanukite stone from Sanuki, Shikoku island and he composed several ambient music pieces including this one. Despite the detail of the work have been unknown as the composer was already passed away, a guru of electronic musicologist, Koji Kawasaki, managed to reveal everything behind the piece." - label description. cardboard paper gatefold sleeve.

Alien Brains "Live At The Basement" CD $19
VLZ Produkt (Japan) VLZ00051-CD
"On this occasion Alien Brains consisted of Nigel Jacklin, Neal Purvis, Richard and Philip Rupenus. Now for the first time, the industrial masterpiece 'Live At The Basement' is available on CD: a chaotic whirlpool of distorted voices, muffled screams, electronics, metallic squeals, languorous clanging and echoes in excelsis which combine to create a dark, somber journey into the industrial unconscious. The rare, recent interview with found Nigel Jacklin included in the accompanying booklet sheds further light on this mysterious and legendary group" - from the obi.
"Alien Brains was founded in 1979. Their first release was 'Menial Disorders' (Deleted Records, 1980.) Around that time, Alien Brains founder Nigel Jacklin organized the legendary Throbbing Gristle concert at Oundle School which was released on Industrial Records. Following 'Menial Disorders' Alien Brains released several more cassettes either privately or on Deleted Records including 'Blatently Nihilist,' 'IV: Natural Advantages,' 'Der Blaunke Teps,' 'British Interiors' and 'U.S.E.' ('Unusual Social Embraces') as well as contributing to several compilations. Alien Brains were 'an abstract non-collective’ (rather than a group) and in addition to Nigel Jacklin also included Philip and Richard Rupenus (TNB), David Jackman (Organum), Mark Lancaster (Instant Automatons), Philip Sanderson (Storm Bugs), Allen Adams (Methods Of Execution) and Truus de Groot (Nasmak.) Nigel also worked with Dominic Guerin (SPK.) Alien Brains live appearances included The Basement in Newcastle, Centro Iberico in London and Ultras in Amsterdam. Alien Brains ceased in 1985."
originally issued on cassette in 1982. edition of 200. 12-page booklet (English/Japanese text).

AMM "at The Roundhouse" CD $12
Anomalous Records (U.S.) ICES 01
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.

animist orchestra "wuwei" CD $12
Anomalous Records (U.S.) NOM14
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 how 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.

Armpit "Suns Movement Across Darkening Skies" 7" $10
I Dischi Del Barone (Sweden) IDDB029
"Unearthed 1993 recordings caught on melting master tapes in the back of a second hand bookshop in Hamilton, New Zealand. A rare and temporary teen heat trio-incarnation of Armpit, which besides Clayton Noone and Jon Arcus also had Gordon/Nodrog joining in on drums. 4 or 5 tracks were apparently recorded with this line up that also performed live once or twice. Some 25 years later, the hazy magic that occured in the back of that bookshop falls in somewhere in the middle between a more sluggish, wobbly Sun City Girls and a Les Rallises Denudes played on 16rpm or something, though in the end 'Suns Movement Across Darkening Skies' and 'Down The Trail Of Aching Hearts' are both unmistakably Armpit and nothing else in all their glory. Some other stuff from these sessions ended up on various Plop Recordings releases, the label that Clayton and Jon had with Stefan Neville, and a slightly different edit of 'Suns Movement Across Darkening Skies' also landed on the A-side of a lathe cut 7" on Insample in the mid 90's. The photography comes from their zine Plop It Up! which ran for about 12 issues 1993-1994. 200 copies pressed as usual, black vinyl and stamped white labels, postcard attached to the cover, insert. 45rpm." - label description

Eduard Artemiev "The Mirror / Stalker Original Soundtrack" LP $15
Superior Viaduct (U.S.) SV019
"It comes as no surprise that Andrei Tarkovsky, master of Soviet cinema, turned to composer Eduard Artemiev to score his two lyrical and haunting films, 'The Mirror' (1975) and 'Stalker' (1979), as he had done for 'Solaris' (also available on Superior Viaduct).
Artemiev's magnificent soundtrack to 'The Mirror' is the natural follow-up to 'Solaris'. Dense, slow-moving, and often disorienting mood pieces with Baroque sensibilities resonate beyond the film's dream-like images. For 'Stalker' – Tarkovsky's other science-fiction masterpiece – Artemiev was inspired by Indian classical music and employed layers of synth tones, flute and tar (a traditional Iranian stringed instrument) to create a central theme as spellbinding as The Zone, a setting in the film where laws of physics no longer apply.
Superior Viaduct presents the first-time official release of two astonishingly unique soundtracks. Recommended for fans of Lech Jankowski's music for Brothers Quay films, B.C. Gilbert / G. Lewis and Oneohtrix Point Never." - label description

Franco Battiato "Clic" LP $15
Superior Viaduct (U.S.) SV134
"On his fourth album, 'Clic', Franco Battiato moves further out – into realms of pure and elemental approaches to sound – to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums 'Fetus' and 'Pollution'.
Originally released in 1974 on Bla Bla, 'Clic' features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only 'No U Turn' bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.
Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, "Ethika Fon Ethica" – a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950s). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre.
Superior Viaduct presents the first-time domestic release of 'Clic'. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978." - label description

John Bender "I Don't Remember Now / I Don't Want To Talk About It" LP $15
Superior Viaduct (U.S.) SV101LP
"John Bender recorded voraciously between 1978 and 1980 at his home in Cincinnati, Ohio. Not even song titles could slow down his creative pace, as he named all the tracks after their position on the original tapes. '36A2', for example, was cassette #36 side A, piece #2. To close the DIY aesthetic circle, Bender made sleeves by hand with no two covers alike and pressed the LPs in hyper-limited editions on his own Record Sluts imprint.
'I Don't Remember Now / I Don't Want To Talk About It', Bender's first album from 1980, is the holy grail of minimal lo-fi electronics. Layers of fractured melodies, distorted synthesizers, hollowed-out rhythms and claustrophobic vocals unfold over the 40 minutes of this lost masterpiece. 'It's A Rainy Day, Sunshine Girl', one of Faust's greatest songs, is perfectly deconstructed by a distinct punk-meets-experimentalist sensibility.
While 'I Don't Remember Now' is impossibly rare and the man behind the music remains shrouded in self-imposed mystery, the real surprise is that it has taken 35+ years for listeners to discover Bender's warm, art-damaged immediacy.
This first-time standalone reissue is recommended for fans of Pere Ubu, Brian Eno and Robert Ashley. Liner notes by John Bender." - label description

Biota / Mnemonists "Musique Actuelle 1990" CD $12
Anomalous Records (U.S.) NOM25
Biota was founded in 1979 in Fort Collins, Colorado, as the Mnemonist Orchestra. Over the years, the Mnemonist Orchestra developed into Biota (the musical contingent) and Mnemonists (the visual contingent). Both Biota and Mnemonists work as one on productions of musical and visual components. The group has released nine LPs, one EP, and four CDs in addition to several cassettes and compilation ventures, on both their own Dys label and Recommended Records UK. Heard on this CD is the first live adaption of their studio-based recording techniques since 1981, as presented at Montreal Musiques Actuelles - New Music America 1990. For their live performance they composed a set of material specifically for the concert and virtually relocated their studio to the stage to properly recreate it. Nine musicians playing only acoustic instruments (aside from electric guitar) were heard natural and unamplified from the stage while extensive electronic processing, heard through the speakers, rendered radical tonal, timbral and temporal modification creating an incredibly unique and strange sound world. For the first release of this music, Biota have combined the best recordings from both the rehearsals and the concert itself. Added to this, the two-dimensional graphic work that Mnemonists have become so renowned for was transformed into stunning video projections - beautiful examples of which are now included in the full color booklet accompanying this CD.

Blod & Miljö 7" $10
I Dischi Del Barone (Sweden) IDDB030
"Inevitable collaboration from Arv & Miljö and Blod, two decent examples of the Gothenburgian bullheadedness that has occured around the FFFM/never gonna fit in circles in town. A weird 9-minute collage split up over two 45rpm sides, cuts from the past fades in and out with Svensk Sommar I Stilla Frid session leftovers straight from the floor tangled up with spicy snippets from limited to 14 cassettes, some 2018 live action and newly recorded nonsense. It's a poor man's mash up, an emotional coming of age/sucks-to-be-a-teenager/religious paranoia slowmo rollercoaster going backwards. Featuring Cobweb Iris, Hans Villius and Snapper samples for a good measure. Mastered by Viktor Ottosson and artwork by Charlott Malmenholt. 200 copies pressed as usual, black vinyl and stamped white labels, postcard attached to the cover, insert. 45rpm." - label description

The Cherry Point / Dried Up Corpse C26 $5
Gnarled Forest (U.S.) GF27
"edition of 100. The Cherry Point, also live from the 2006 Wooden Octopus Skull Experimental Musick pFestival with special guest The Rita joining in to make it extra crunchy and extra noisey. DUC [a Blue Sabbath Black Cheer side project] give you a live one as well, recorded at the DisEaster Massturbation Sermon 2009 at ChickenHed Church in Seattle Wa." packaged in an A6 sleeve.

Coil "Astral Disaster Sessions Un/finished Musics Vol 2" LP $28
Prescription (U.K.) Drug 19
limited edition of 500 copies, already sold out from the label.
"These rare recordings were recorded as part of the legendary Prescription label subscription-only album series in the late 1990s that resulted in the 'Astral Disaster' album. Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange - a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtors prison, with three underground levels - and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the 'Astral Disaster' album. But there were other tracks recorded during those Halloween sessions, including the recordings on this very limited LP release, 'Astral Disaster Sessions Un/finished Music Vol. 2'. The album includes all previously unissued mixes and alternative versions, and includes 'The Mothership,' which was the first version of a track which was later remade and re-named during the sessions as 'The Mothership and the Fatherland'." - label description

C103 "NVR1" C60 $5
(U.S.) NVR1
an obscure Seattle trio featuring Dale Sather, Nick Chatfield, and Stephen Beytebiere. released in 1991, this cassette is the only evidence of their activity, although they were once listed in a Petri Supply catalog as having a forthcoming LP on that label. they also played at the Incubator space, where they opened up for Merzbow. so they have a few connections to the Yeast Culture camp. numbered edition of 103 copies.

Tony Conrad with Faust "Outside The Dream Syndicate" CD $10
Superior Viaduct (U.S.) SV048CD
"Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theatre of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name.
'Outside The Dream Syndicate', originally released in Europe only in 1973, is a stunning debut. Two side-long tracks – 'The Side Of Man And Womankind' and 'The Side Of The Machine' – show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier's repetitive drum beat and Jean-Hervé Peron's stripped-down bassline conjure a tense, ascetic groove, while Conrad's seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone's internal pulse.
It is hard to imagine Conrad's trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in 'Outside The Dream Syndicate', yet no other record captures – so completely and instantly – the intersection of avant-garde and rock forms. 'Outside The Dream Syndicate' remains ahead of and bracingly outside of its time.
This long out-of-print CD release has been carefully mastered from the original master tapes and includes liner notes by musician Jim O'Rourke and author Branden W. Joseph." - label description

Tony Conrad with Faust "Outside The Dream Syndicate" LP $15
Superior Viaduct (U.S.) SV048
"Violinist, composer and filmmaker Tony Conrad started his career in New York in the early 1960s. As a member of the Theatre of Eternal Music (a.k.a. the Dream Syndicate) alongside John Cale, La Monte Young, Marian Zazeela and Angus MacLise, he participated in now-legendary and often legendarily loud drone performances with many pieces having no beginning and no end. During a fateful trip to Germany in 1972, Conrad met with avant-rock visionaries Faust and made the very first record to bear his name.
'Outside The Dream Syndicate', originally released in Europe only in 1973, is a stunning debut. Two side-long tracks – 'The Side Of Man And Womankind' and 'The Side Of The Machine' – show just how far Conrad had moved beyond his minimalist peers. Werner Diermaier's repetitive drum beat and Jean-Hervé Peron's stripped-down bassline conjure a tense, ascetic groove, while Conrad's seamless violin, initially so controlled, reveals a surprising adaptability. The music shifts almost on a subliminal level, pushing and pulling to the drone's internal pulse.
It is hard to imagine Conrad's trajectory from downtown Manhattan to a farmhouse in the German countryside that ultimately resulted in 'Outside The Dream Syndicate', yet no other record captures – so completely and instantly – the intersection of avant-garde and rock forms. 'Outside The Dream Syndicate' remains ahead of and bracingly outside of its time.
This first-time vinyl reissue has been carefully mastered from the original master tapes and includes liner notes by musician Jim O'Rourke and author Branden W. Joseph." - label description

Cranioclast "Cract On Sail" LP $19
Auf Abwegen (Germany) aatp56
"'Cract On Sail' is the first new album from the mysterious German project Cranioclast since 1993! 'Cract On Sail' is an epic work spanning two sides of an LP. The piece is deliberately divided by a harsh cut in the middle, thus refreshing the listeners impressions after turning the record. 'Cract On Sail' progresses intuitively in an almost linear way and includes strong guitar riffs, flexing bass and synthetic rhythms and sample-laden electronic scapes. It is the most accessible Cranioclast today – CoC in 2018 sound almost like pop! The record is released in a edition of 300 LPs on grey vinyl with cover disgn by Cranioclast. The LP includes a download code. Cranioclast is a project which produces various artistic endeavors, most commonly music. Active since the 1980ies." - label description

Andrew Deutsch "Lung Cleaner" CD $12
Anomalous Records (U.S.) NOM24
"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.

DNA "A Taste Of DNA" 12" $10
Superior Viaduct (U.S.) SV099
"New York's DNA have had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA's most-famous song). While the band's explosive live performances captivated audiences, extant recordings captured DNA's dynamic sound and savage economy in songwriting.
Originally released in 1981, 'A Taste Of DNA' remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP's six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay's guttural screams create a thoroughly personal semantics.
As Marc Masters writes in the liner notes, 'A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends.'
This first-time vinyl reissue is recommended for fans of The Contortions' Buy and Red Crayola's 'The Parable Of Arable Land'." - label description

Dried Up Corpse C15 $5
Gnarled Forest (U.S.) GF23
Blue Sabbath Black Cheer side project. edition of 100. packaged in an A6 sleeve.

Dried Up Corpse / Slates C15 $5
Gnarled Forest (U.S.) GF24
Dried Up Corpse are a Blue Sabbath Black Cheer side project. edition of 100. packaged in an A6 sleeve.

Faust "The Faust Tapes" LP $15
Superior Viaduct (U.S.) SV118
"Faust stand among the most influential creative forces to have emerged from Germany in the late '60s and early '70s. Along with Can, Agitation Free, Neu! and others, they rejected the Anglo-American norms of rock 'n' roll to start a back-to-basics and uniquely Teutonic revolution in sound – later dubbed by the UK press with the semi-derogatory term 'krautrock.' They would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio.
As Dave Segal writes in the liner notes, 'There's no consensus about which Faust album represents their zenith. But a survey of the group's fans would likely find the collage-heavy messterpiece 'The Faust Tapes' triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.'
Comprised of twenty odd tape-manipulation experiments and freak-out jams, 'The Faust Tapes' stashes away some of the band's best-known songs. 'Flashback Caruso', with its delicate acoustic guitar and Rudolf Sosna's airy vocals, could easily have appeared on 'So Far' or 'Faust IV', while on 'J'ai Mal Aux Dents', Jean-Hervé Peron's playful lyrics and this ecstatic, era-defining riff perfectly represent Faust's magical mischievousness.
This first-time domestic release of 'The Faust Tapes' on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley." - label description

Luc Ferrari "Complete Works" book $44
Ecstatic Peace Library (U.K.) 9781787601536
"French composer Luc Ferrari (1929-2005) was one of the progenitors of Musique concrète and a pioneer of and resolutely idiosyncratic voice within electroacoustic music. Ferrari was an early participant in the Groupe de Musique concrète and, with Pierre Schaeffer and François-Bernard Mâche co-founded the Group de Recherches Musicales (GRM) in 1958. Throughout his career, Ferrari worked in multiple forms: instrumental works, vocal music, text scores, electronic and electroacoustic music, Hörspiele, theatre and films. This is the first English monograph on Luc Ferrari and includes writings, original compositions, notes, text scores, artworks and interviews. Edited by Brunhild Ferrari. English translations by Catherine Marcangeli. Foreword by Thurston Moore. Introduction by Jim O’Rourke. Preface by Brunhild Ferrari. Afterword by David Grubbs. Flexicover, 19 x 26.7 cm, 406 pages." - publisher description. a hefty tome, this weighs in at just over 4 pounds.

Fibrillation "My Axis is Undone" 3" CD $6
Anomalous Records (U.S.) NOM22
"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.

Henry Flynt "You Are My Everlovin'" CD $10
Superior Viaduct (U.S.) SV144
"Philosopher, musician and anti-art activist, Henry Flynt has long foregone the academicism often associated with “serious music” in favor of a uniquely intuitive, emotional approach to composition. In the 1960s and 1970s he was a part of NYC’s vibrant avant-garde scene, studying with Hindustani singer Pandit Pran Nath and developing his own proprietary technique on violin. You Are My Everlovin’, Flynt’s first published musical work, finds the composer in peak form at a lower Manhattan loft in late spring 1981. Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars—Southern blues, modal jazz, Appalachian fiddle, North Indian raga—into a new and bracing whole. As Flynt writes in the liner notes, “The electric violin timbre is crucial; it allows me to crush the diverse styles into a unity. I imagined the genre as open, radiant improvisation…an open plain that could absorb anything.” Incorporating themes and melodic phrases from his earlier work, Everlovin’ becomes Flynt’s own Gesamtkunstwerk—a work that is at once rooted in and liberated by the drone, revealing the profound mutability and utter singularity of this American iconoclast." - label description

Brigitte Fontaine "Brigitte Fontaine Est...Folle" CD $10
Superior Viaduct (U.S.) SV041
"CD includes liner notes by Richie Unterberger.
French poet and chameleonic vocalist Brigitte Fontaine's career spans over four decades. Only a few years before her 1968 debut, 'Brigitte Fontaine Est…Folle', she moved to Paris to become an actress and took her prodigiously mature voice into the studio. Rich in the drama she brought to theater, Fontaine synthesized chanson (French pop song) and world music, which eventually won her international acclaim as a performer and collaborator with a variety of artists from around the world (Art Ensemble of Chicago, Sonic Youth and Stereolab, to name just a few).
On 'Est…Folle', Fontaine takes flight over conductor Jean Claude Vannier's brilliant arrangements. Vannier, best known for his work on Serge Gainsbourg's 'Histoire De Melody Nelson', is in fine form, using what would become his trademark stylings: lush strings, taut rhythms culled from across the globe and a healthy dose of whimsy. 'Il Pleut' swings from understatement to rapturous delight. 'Une Fois Mais Pas Deux' is an infectious pop song that could have been culled from a French New Wave soundtrack. Fontaine is adventurous and multi-dimensional with sophisticated lyrics, poignant melodies and enthralling delivery. Such artful handling of meter and rhyme (or lack thereof) is rare in pop song. Far from the era's yé-yé phenomenon, but never fully removed from its traditions, 'Est…Folle' is an essential link in French pop music, exuberantly pushing the genre into more conceptual and experimental sounds." - label description

Formanex with AMM, Christian Wolff, Keith Rowe, Phill Niblock, Michael Pisaro and others "20 Years Of Experimental Music" 10 x CD box $93
Mikroton Recordings / Fibrr Records (Russia / France) MIKROTON CD 76-85 / FIBRRX01
one copy with dented corner available for $5.00 off.
"Limited edition of 300. Nantes trio Formanex celebrates 20 years of activism in experimental music with a 10 CD edition full of amazing collaborations with ONsemble (contemporary music group from Nantes and Saint-Nazaire) and composers they have worked with. The box set includes early works by Formanex’s own Julien Ottavi, unique compositions created by Keith Rowe, pieces by Kasper T. Toeplitz, Ralf Wehowsky, Seth Cluett, Michael Pisaro, Radu Malfatti, as well as other giants of contemporary music from the last 50 years; such as Phill Niblock and Christian Wolff. A rare collection of CDs, this box set represents a broad vision of experimental music from noise to electronic abstract composition, radical minimalism, contemporary and improvised music." - label description. included on the first disc are two recordings of Cornelius Cardew's "Treatise" performed with AMM.

Terry Fox "Linkage" LP $25
États-Unis (U.S.) etat12
"Terry Fox was a first generation Bay Area conceptual artist. Beginning in the 1970s, he worked extensively with sound, especially the use of piano wires detached from their native instrument and anchored between opposing walls of the performance space.
'Linkage', Fox's first album, was originally released in 1982 to accompany an installation at Kunstmuseum Luzern in Switzerland. The record would mark Fox's first attempt to realize his groundbreaking and visceral piece 'Berlin Wall Scored for Sound'.
Side one links five ways of playing the piano wires: drumming, pulling, bowing, beating and scraping. The room itself acts as a type of natural resonator as Fox moves the wires with padded mallet, his bare fingers, violin bow, wooden shish kebab stick and rusted metal rod. The effect of such plain arrangements can be utterly hypnotizing.
The second half of 'Linkage' was recorded in the attic of Künstlerhaus Bethanien, West Berlin, in May 1981. A thirty-three meter long wire was held in contact with a sardine tin. Over the course of 20 minutes, pulsating drones dissolve into rhythmic patterns that sound almost synthetic in origin. As noted in the original LP pamphlet, all these sounds were strictly acoustic; the only electronics involved was the recording equipment.
In an introduction for this edition, Marita Loosen-Fox and Ron Meyers write, 'The desire to eliminate any barriers between the art and the viewer/audience connects all of Fox's situations/actions/performances. The ultimate goal is to communicate as directly as possible, which finds its most concentrated expression in the artist's works with sound.'
This first-time reissue is limited to 750 numbered copies. Comes with booklet." - label description

Ellen Fullman "Staggered Stasis" CD $12
Anomalous Records (U.S.) NOM29
Since the early 1980s, 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. "'Staggered Stasis' (1989) was commissioned by the Deborah Hay Dance Company for part 1, 'The Navigator' in Hay's trilogy, 'The Man Who Grew Common In Wisdom'. Microtonal shifts in the coloring occur in a staggered fashion, traveling on an axis of Pythagorean intervals, (the circle of fifths). Chords created by stacking 3/2s, or fifths, are referred to as 'suspended chords'. There is a flatness in this drama, what I imagine it must be like in the middle of an ocean, continually moving yet appearing the same. The four part score was plotted on a timeline. Each track was recorded and performed by myself. An excerpt of 'Staggered Stasis' was released on the Aerial CD series. 'Duration' (1986) was composed as a 13-limit study for the Long String Instrument, in the key of C. The fundamental tone is continually sounded, under chords constructed with pitches from the overtone series. The intention of the piece was to listen to the variations within each chord, as it is sounded continually while the performer walked the length of the instrument. As the performer's position changes, one clearly hears a cascade of overtones. 'Duration' was never previously released. The original recordings were made direct to a PCM digital processor using a vintage AKG C24 stereo tube condenser microphone placed about 15 feet from the resonators." - Ellen Fullman. the cover features a photograph by Rachael Jackson.

GAP "Practical Concert" 2 x CD $23
Edition Omega Point (Japan) OPA-022
Obscure Tape Music Of Japan Vol.22. "GAP is an improvisation group which was founded by Kiyohiko Sano, Masaru Soga and Masami Tada in the mid 1970’s. Now, there are not so many people who could remember their name but since they performed a gig after 40 years in 2017, their unknown sound source was rediscovered by the world. From the early time, they played oscillators and synthesizers, adding to simple self-made instruments, and made a free improvisational performance which is comparable to Taj-Mahal Travellers. Especially for Tada who was under tutelage of Takehisa Kosugi, GAP was a missing-link which lead him from East Bionic Symphonia to Marginal Consort." - label description. cardboard paper gatefold sleeve.

gcttcatt "AmpErase" CD $14
Mego (Austria) MEGO021
"gcttcatt is a duo comprising of: Martin Ng (Grob, Staubgold - Turntables + DJ tools) and Mathias Gmachl (farmersmanual, Skot, Fuckhead - real time data processing). gcttcatt reference many tactics familiar to the 'movement' seekers of this overly documented world. We can see the headlines now! - 'turntablism dsp', 'hyperkinetic hands on beat boy meets doppler shredding maker' or maybe 'crab scratch tackles electroacoustic evidence in cross continent battle blitz!' Regardless of potential pockets it's in the outer where gcttcatt reside. Taking time to spit fury, often enveloped split-axe like (inside a realm channeled through Shaeffer, Xenakis, Marclay, Q-bert and the like). This disorienting duo practice an extreme exploration of their chosen tools. What becomes of such activities when they fold into one united, albeit fractured mass, is what makes this release so damn special! The relationship between machine + man is blurred on numerous counts via the symbiotic set up of 'live' turntablism meets 'real time' processing meets virtual turntablism - ( i.e.: the violent skips of Ng's restless stylus' morphs into splinters of feisty electroacoustics courtesy of Hiaz' acoustic modeling program). Taking an easy route one can cite: inward / outward turntable-acoustics (think cells, thick cells, thin cells), virtual equipment - midnight dual with land and hand battle tactics, detached syntax - yards of shards, hyperkinetic improvisation, schizophrenic mechanical duality, fuzzy robotics, & aching turns: fluctuate, vary, waver, flounder, flicker, flitter, flit, flutter, shift, shuffle, shake, totter, tremble, vacillate, wamble, turn and turn about, ring the changes; sway to and fro, change and change about. The Visual component 'u r the sony of my life' is a total audio-visual recombination. Entirely generated from real time digital rearticulation of vinyl manipulation. The 'DJ' footage is taken and 'scratched' live to produce a hyperreal synchronization with the live music." - label description. with guest appearances by Oren Ambarchi and Joe Linschinger. Digipak.

Gianni Gebbia "H Portraits" CD $12
Rastascan Records (U.S.) BRD 037
solo 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." - label description. packaged in card wallet.

Carlos Giffoni / Prurient "Heavy Rain Returns" CD $11
Ideal Recordings (Sweden) IDEAL030
deep throbbing analog power electronics noise.

Janice Giteck "Breathing Songs from a Turning Sky" CD $14
Mode Records (U.S.) mode 14
"First recordings of these works from Seattle-based composer Janice Giteck, supervised by the composer. Greatly influenced by Native American music, her compositions are in turn rhythmic and meditative, ritualistic and serene. Ms. Giteck's works strive to recapture the ancient musical attributes of ritual and trance, exploring ways in which music can be a truly healing experience. Giteck has studied with Olivier Messiaen and Darius Milhaud, with subsequent studies of Indonesian Gamelan music with Daniel Schmidt and percussion with the master drummer from Ghana, Obo Addy. Guest artists with the New Performance Group of the Cornish Institute (Seattle) include the popular Windham Hill recording artist Andy Narrell on steel-drummer and tenor John Duykers, who appeared as Chairman Mao in John Adams' 'Nixon in China'. Released 1988." - label description. other performers on this disc are Jane Lenoir (flute), William McColl (clarinet), Bruce Grainger (bassoon), Roger Nelson (piano), Walter Gray (cello), Matthew Kocmieroski (percussion), Jarrad Powell (percussion), Thomas Eckert (soprano), Jana Hawley (chanter), James Madara (chanter), Susan Seneft (chanter) and Deborah Deloria (string-bass). "'Callin' Home Coyote' reminds me of Harry Partch's good-humored eccentricities, without sounding in the least like watered-down Partch. The ten 'Breathing Songs from a Turning Sky' (there are no vocals) are purely delicious. 'Thunder, Like a White Bear Dancing' with instrumentalists and voices, achieves a dream-state, while Coyote, no less fantastic, indulges in jazzy hi-jinks." - Mike Silverton, Fanfare

Glands Of External Secretion "Backlit Colander With Holes Shaped Like Numbers" 7" $10
I Dischi Del Barone (Sweden) IDDB017
"Two six-minute montages of reversed mitosis episodes, in which scaly pods, ruptured eggs, and clumps of partially digested hair smush through one another and glom together in unstable strains of S-Glass-spanktified dad-noise. 'Backlit Colander With Holes Shaped Like Numbers' crawls with bacteria from munched electronics, murmurs of a chimney-entrapped Frampton (plus camel, but that should go without saying), tape yoont teetering on the lip of a magnetic abyss, and piercing splats from tiny automatic paintball guns. “High” and “lonesome” are the operative descriptors of 'Bok Choy Festival': Barbara Manning’s guitar loops backfire and self-annihilate in private spritz-overdose orgies; avian-constructed effigies of Annie Hayworth curdle; narration on the topic of body dysmorphia is provided courtesy of thrift store cassettes and a Sister Rosetta Thorpe quotation. Cover artwork by Karen Constance. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33rpm." - labe description

Nikita Golyshev "Solaris" CD $13
Monochrome Vision (Russia) mv20
"Combining the deep layers of machine-like hum and minimal melodic keys, Nikita creates highly emotional and dramatic journey to the netherworld. Two parts of this one hour long suite are the partly presented in the program of Add Noise II festival on May 15th, 2007. Beginning in 2003 as the part of duo aptly titled CD-R, Nikita Golyshev quickly became the one of the most promising electronic musicians on the Russian underground scene. His output progressed from rhythmic noise mayhem to diverse and heterogeneous experiments, ranging from machine improvisation through bleak drones to pure processed acoustic minimalism. He released some CD-Rs and published many works online, as well as on his own Musica Excentrica, Electrosound and Share My Wings imprints."

Laurent Grappe "Le luxe de la réflexion !" CD $11
Metamkine / Sonoris (France) MKCDYYY / SON-32
"This work is a 'sound being; and the result of my meeting with Isabelle Bassil. After several stays in Lebanon, and having experienced the country's permanent tension, we wanted to address the complexity of representation that communities develop towards their own language when facing domination from an outside culture. 'We have forgotten something, but to learn what has been forgotten, we need to access the suffering from those who haven't yet accessed to oblivion', says Philippe Vaernewyck in the last interlude of the work, and a fragment taken from one of our numerous discussions on the luxury of reflection. Through Isabelle's life, a Lebanese girl using Arabic speaking with all the distance of a foreigner's experience, we can recall the idea of a poetic phonography of intimacy with texts and culture. Behind each of Isabelle's choices (Khalil Gibran, Najib Mahafouz, or a popular tale like 'the heart of a mother' for instance), lies a portrait, a souvenir, an emotion, a claiming, an Arabic memory in any case. For each piece, we carefully positioned the microphones to create the situation that would allow the necessary gap to the reception of this expression. From a musical standpoint, we tried and built a sound dramaturgy to bring the listening on the course where the voice creates the movement. We hope to trigger off imagination, opening to a poetic interpretation of sense by overtly playing on the recognition of the sound sources that evoke both journeys and (y)our native language. Our music includes electro-acoustics and concrete aesthetics. We let sounds exist by themselves. The sounds and sequences were often played using our memory of our first stays there, adding an idealized perfume to it. 'Le luxe de la réflexion!' is an attempt in valuing the Arabic language, presented as an oral and written language, and beyond this, represent when languages are experienced as stigmata. We tell of people whom ghettoized native language involves insecurity. This piece was first conceived as a work for a tape and a comedienne, and was first shown on January 6 1996 at L'Embarcadère in Lyon, as part of the collective event 'comme un murmure' ('as a whisper'). It was then decided to use it as a training material (Inter Service Migrant) around this concept so 'Le luxe...' has been shown around 20 times in France. The acousmatic version has been created using high-end sound techniques to ease focus on the qualities of listening, and played in Le Festival d'Albi, Les 38èmes Rugissants, Futura, Le Festival. Inter. Musi. Impro. Libre in Beirut, Le 102, Les Instants Chavirés, Le Vandémiaire, Le nomade's land, Le Cirque clandestin des frères Kasamarof. This version is now a CD on Sonoris / Metamkine." - label description.

Guillermo Gregorio "Degrees of Iconicity" CD $17
Hat Hut Records Ltd. (Switzerland) hat(now)ART 134
10 avant-garde works performed by this Argentinean born composer with various friends from his new home of Chicago. "Much more directly than, for example, Webern, Feldman or Tristano, who have often been cited as influencing my work, I think that the most important elements acting on my music come from the visual arts - more specifically, from the so-called 'constructive' tendencies of 20th century art, namely, some varieties of Constructivism and Concrete Art." - Guillermo Gregorio. performed by Guillermo Gregorio (clarinet, alto saxophone, conductor), Carrie Biolo (vibraphone, marimba), Fred Lonberg-Holm (cello, cornet), Michael Cameron (acoustic bass), and Kent Kessler (acoustic bass). edition of 3000. packaged in a Digisleeve (a sort of card gatefold sleeve - no plastic) with extensive liner notes from the composer.

Randy Greif "Verdi's Requiem" CD $12
Soleilmoon Recordings (U.S.) SOL48CD
"Randy Greif is a composer and musician working in the field of electronics and sound manipulation. His work defies easy categorization because it straddles a number of different genres, including experimental, noise, ambient and even classical music. 'Verdi's Requiem' is not in any way a re-working of the 'Requiem' by the composer Verdi, but is meant simply as an abstract biography, without text but full of misinformation on the life of the great Italian composer. Various key events in the life of Verdi as concocted and imagined by Greif are interpreted musically. Greif admittedly has very little knowledge of Giuseppe Verdi's life or musical structures, and is basing all other imagined events around the only one he is aware-Verdi's alleged affair with the young Amadeus Mozart. While Randy Greif's earlier interpretation of 'Alice in Wonderland' squeezed the actual text into its darkest corner and added a suitably psychotic soundtrack, here he dispenses with all but the merest notion of the original and takes a mighty leap into the mind's abyss. It's interesting, fascinating, captivating and weird, all at once. Randy Greif has recorded with Static Effect, His Master's Voice, Stylus, and Dan Burke of Illusion of Safety. He is currently collaborating with Robin Storey of Rapoon and Nigel Ayers of Nocturnal Emissions. However, he has primarily worked as a solo artist. He is truly a child of the cassette underground, rising out of the depths of obscurity through sheer hard work, persistence and originality. His first cassette releases were issued on his own Swinging Axe label beginning in 1983. These early solo works were soon followed by releases of indigenous recordings he made in Papua New Guinea, Amazonia, and Thailand. Some of the material recorded in those locales were used as source materials for future Greif releases. Throughout the 80's and 90's he has had numerous LP and CD releases on various labels including Staalplaat, RRR, Complacency, Old Europa Cafe, Freedom In A Vacuum, and Swinging Axe. Among these releases were his 5-CD set 'Alice In Wonderland' released on the Staalplaat label serially over a 4 year period. Due out sometime next year will be a CD by Drift, of which Greif is founding member and which includes vocalist Anna Homler. There will also be some new solo material under the alias Shadowbug 4." - label description.

The Guerrilla Art Action Group "Action-Interview at WBAI Radio Station-N.Y." LP $15
Primary Information (U.S.) PI12
"The Guerrilla Art Action Group’s Action-Interview at WBAI Radio Station-N.Y. documents a live performance by the group on January 5, 1970 on the progressive radio station WBAI.
The LP consists of a series of spoken statements that describe the problematic relationship between art and business, art and the military, art and class, art and community, and art and race. Some of these statements are directed to the general public, but others are questions addressed specifically to artists, forcing them to question their role in a dehumanizing, repressive, and corrupt system:
'How long will you accept being the repressed lackey of society’s manipulations?”
'Are you guilty of being a repressor?”
'Is it more important to you? To sell your painting, or help human beings?”
'What is more important to you? To exhibit in a museum, or to fight for the human rights of the oppressed?”
These questions, like many of the group’s activities, undermine the notion that there is a separation between art and life or that art can enjoy an exemption from the systemic discrimination and corruption that permeates all aspects of American society. The group sought an artist model that could enact political and social change and they encouraged their fellow artists to follow suit by focusing less on aesthetic abstractions and more on direct personal experiences and expression. They believed that artists had become dehumanized through their willingness to operate inside a racist and sexist cultural system that relied on corporate money while aiding and abetting a military that used art to distract people from wartime atrocities.
'As long as we have business values, we will have racism and poverty.”
'As long as art is business, it will be racist and repressive.”
'Are you guilty of supporting racist and repressive cultural institutions?”
The context of this conversation—along with many of The Guerrilla Art Action Group’s other actions—was the Vietnam War, the ongoing struggles for civil rights, and artists’ radical questioning of the role of cultural institutions. The group engaged in guerrilla performances, creating spectacles that drew attention to the moral failures of cultural institutions and the U.S. government.
This recording was made just a few months into their activities, but already the group had exercised a series of actions to accompany demands that the Museum of Modern Art sell one million dollars’ worth of art and distribute the money to poor communities (of all races), to close (along with all other museums) for the remainder of the war in Vietnam, and to remove the Rockefellers (who profited from the production of weapons being used in the war) from their Board of Directors.
'Action-Interview at WBAI Radio Station-N.Y.' was first published in 1983 by Edizioni Lotta Poetica and Studio Morra as part of their Radio Taxi series. The gatefold sleeve contains the complete text of the performance.
The Guerrilla Art Action Group was formed in 1969 by Jon Hendricks and Jean Toche as a platform for social struggle. They believed that the art world had been corrupted by private interest (oftentimes with suspect ties to the war machine in Vietnam). The group carried out public actions and performances against museums and other cultural institutions, as well as the U.S. government, to expose the moral failures of our political and cultural institutions.
The participants making up The Guerrilla Art Action Group on this recording were Jon Hendricks, Poppy Johnson, and Jean Toche. They were also joined by Laurin Raiken, a member of the New York Free Theater and Art Workers Coalition.
43:12 minutes
Edition of 500" - pulisher description

Robert Haigh and Silent Storm "From The Air" CD $10
Seal Pool (Japan) Spool04
"Robert Haigh is best known for his innovative drum and bass work of the 90s. But some may know him from the early 80s where he was part of a circle of 'musicians' carving out a niche in experimental, ambient, electronic and avant-garde music. Along side artists such as Nurse With Wound, Current 93 and Hafler Trio, Haigh produced a much sought after series of albums and E.P.s under the name Sema. In the late 80s Haigh grew tired of the simplistic equation that experimental = noise/dissonance (exclusively), and decided to expand his horizons, experimenting with computers and samplers. In the early 90s he signed to the legendary Moving Shadow label and produced a series of highly acclaimed albums and singles under the name Omni Trio. With 'From the Air' we come bang up to date with Haigh's career. This album finds a common ground between the approaches of the two previous decades. Here the use of breaks is minimal and employed only as a component part of a track's structure ('Shift Work', 'Three Revolutions', etc.). On 'X-Generation' and the title track 'From the Air', piano and keyboards are to the fore providing a tapestry of interlocking counterpoint where melody is exploited minimally in shifting patterns to build the momentum of the tracks. Some pieces are mainly solo piano reminiscent of the atmospheric and haunted work of Sema ('A Secret Place', 'River Man', 'Evolution Crawls', etc.). This collection of 'post minimalist sonic landscapes' (Wikipedia) utilises complex time signatures, layers of shifting counterpoint, deeply haunting melodic phrasing and atmospheric production to present a hugely satisfying yet challenging sonic journey." limited edition of 400 copies. Digipak.

Tom Hamilton, Mike Silverton & Al Margolis "Analogue Smoque" 2 x CD $17
Pogus Productions (U.S.) P21029-2
"A truly surrealistic pillow of a text/sound work, 'Analogue Smoque' combines poet and La Folia honcho Mike Silverton’s epic poe(m) (with Mike recitating) and the sounds (both electronic and not) of Tom Hamilton and Al Margolis. Sounds combine and contrast, highlight and ignore, as Silverton's opus unfolds in all its glory. Mike Silverton will only say that 'At first blush, the alert listener detects a link between 'Analogue Smoque' and 'Madam Blavatsky'. The magi demur. Rather, they say, the text reveals its author's interest in cryptorchidistics, i.e., states of non-descent.' Tom Hamilton has composed and performed electronic music for over 30 years. Rather than addressing traditional modes of presentation and observation, Hamilton prefers to explore interaction and simultaneity as aspects of 'present-time listening' on both the performers' and listeners' parts. Al Margolis [If, Bwana] has been working with electronics/sounds since New Year's Day 1984. His work can best be described as 'sound finger-painting'." - label description. track titles include "A Rift in the Ceiling" and "Laundering Butt Floss".

H.H.T.P. & Portablepalace "Cavitation" CD $13
Monochrome Vision (Russia) mv04
"The interaction between computer science technology and freeform musical creative process becomes a central point in this international collaboration of three artists from Belarus and USA. The abstract soundscapes are obscured by intricate structures, acoustic phenomena and electronic effects, it's going to infinity and never repeat itself. The finest harmony of soundfield is credited to the principles of intuitive simulation, realised through the system of computer-aided instruments."

Kosai Hori "Reading-Affair" CD $27
Edition Omega Point / Japanese Art Sound Archive (Japan) OPS-002
"Born in 1947 in Japan. This collection is the first selection of Hori’s sound works from the 1970s, a time in which he organized an art movement called Bikyoto REVOLUTION Committee together with artists like Naoyoshi Hikosaka, Nobuo Yamanaka and Yasunao Tone. In those days, Hori’s performance pieces employed various media such as tape recorders, typewriters and video cameras. Texts are in Japanese and English, limited to 150 copies." - label description "On the table is a newspaper of the day, which the pair alternatively read up letter by letter. Their voice is played by the two tape recorders with a little delay. The sound from the devices is picked up by the microphone and taken into the loop again with a delay. As this process repeats, the voices of the performers are, as it were, accumulated in the space. As time goes on, the howling from the sound equipment becomes increasingly louder." packaged in 7" sleeve with 12-page booklet.

Hubbub "Hoop Whoop" CD $14
Matchless Recordings (England) MRCD53
improvisations by Paris based ensemble with 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.

Toshi Ichiyanagi "Funakakushi" CD $18
Edition Omega Point (Japan) OPA-017
Obscure Tape Music Of Japan Vol.17. "'Funakakushi': This electronic work was composed for opening ceremony of hotel 'Funakakushi-en' in Kagawa prefecture in 1963. It was realized like sound installation used many speakers built-in stone sculpture. They were designed by sculptor Mitsu-aki Sora (b. 1933) and were arranged here and there at main garden of the hotel. The sound was made from modified Japanese traditional instrument Biwa and sea wave sound. Engineer Junosuke Okuyama assisted for electronic devices. 'Life Music' was composed as tape version originally in 1964. After then, this work was played as another version with electronic modified orchestra (contact microphones were put on all instruments of the orchestra) at Nissei Theatre in 1966. Junosuke Okuyama designed special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine on liner notes of 'Orchestral Space' LP as follows, '... amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played ....'." - label description. limited edition of 500 copies. cardboard paper gatefold sleeve

Toshi Ichiyanagi "Sapporo" CD $13
Edition Wandelweiser Records (Germany) EWR 1801
Toshi Ichiyanagi (1933) is a Japanese composer that studied with John Cage. Cage's influence can be heard in the piece "Sapporo" which mixes sustained tones with sharply attacked sounds. Each performer plays from a different page of lines and points with the only synchronization being in the form of notations to listen to or watch the other players. performed by Eye Music: Dean Moore (air pressure tom, prepared snare, cymbal tree, shakers); Jay Hamilton (cello); Carl Lierman (analog synthesizer); Mike Shannon (dilruba, erhu, harmonium); Dave Knott (korg DS-10, monochord, rocks, voice, kitchen faucets); David Stanford (electric guitar, e-bow), jonathan way (khaen, yueqin, autoharp); Robert j Kirkpatrick (prepared wire-strung harp, iphone oscillator); Stuart Dempster (trombone); Eric Lanzillotta (acoustic guitar, uncut nail, contact microphone, psaltery bow, ring modulator, singing bowl, telephone bells, light bulb, spring, umeboshi pit, shell, resin, glass, marble, button, glass fuses); Esther Sugai (flute, two fue: japanese bamboo flutes).
Eye Music is a Seattle based ensemble specializing in the interpretation of graphic and text scores. The group was begun in 2006 with the aim of playing a student composition by Sune Smedeby and since then have expanded their repertoire to include pieces by Cornelius Cardew, David Toop, Michael Parsons, Clifford Burke, Bob Cobbing, Michael Shannon, Steve Peters, Malcolm Goldstein, Boguslaw Schaeffer, Mieko Shiomi, Christian Wolff, George Brecht, Alison Knowles, Earle Brown, Stuart Dempster, Stephen O'malley, William Hellerman, Takehisa Kosugi and Jeph Jerman. The openness of these compositions allows Eye Music to draw its membership from a wide range of musical backgrounds, instrumentation, and musical skill. The ensemble has worked with guest artists Keith Rowe, Jeph Jerman, Richard Lerman and Clifford Burke. Members of the ensemble not on this recording are Amy Denio and Susie Kozawa.

Tetsu Inoue & Andrew Deutsch "Field Tracker" CD $12
Anomalous Records (U.S.) NOM 9
"'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.

Jeph Jerman "The Bray Harp" LP $18
White Centipede Noise (Germany) WCN LP1
last copies from the label. "Rough, rattling, handmade music from the master animist. Debris worship, factory grit, micro scratching, dense bodies of deteriorating organic matter. 'The Bray Harp' spans wide aural territory, and includes source material reanimated after 20+ years, as well as from contemporary collaborators. A song to time and decay. LP limited to 200 copies, packaged in hand pasted sandpaper and glossy photo sleeves, guaranteed to chafe." - label description. the covers are intentionally stressed and may show signs of wear and tear.

Jeph Jerman "Greyware" C40 $7.50
More Mars (Greece) MM27
"Jeph Jerman is a notable sound artist of the American experimental/noise music scene, a curious sonic explorer of the different qualities of sound. He started practising with recording and performing from the mid-80’s, improvising with natural found objects and constructed crude sound-making devices which play on their own. Through these years, Jeph Jerman is exploring the sonic possibilities of the recording process, amplifying barely audible sounds and interact sonically with the land and the recording machines. He experiments with various recording techniques, using stereo digital recorders, old analog tape machines, contact mics and hydrophones. 'Grayware' is summarising his recent multidisciplinary approach of his sonic material. Jeph Jerman’s archival recordings distressed in various ways and recomposed here, producing convincing sounds the origins of which are unknowable. Abstraction of the music form turn listener’s attention ever toward the sounds themselves, which are occasionally interrupted by sound events that change the structure and the flow of the composition. 'Grayware' is released on July of 2020, on a limited edition cassette of 80 copies." - label description.

K-Group "Accueil" 7" $10
I Dischi Del Barone (Sweden) IDDB035
"K-Group is Paul Toohey, previously of noted NZ geological drone ensemble Surface Of The Earth. The two tracks on this 7", 'Accueil' and 'Over-Future Shop', were recorded 2018/2019 in New Zealand, New Caledonia and Solomon Islands. A prime example of dense and droning down-under ecstasy. Previous releases includes a classic self-titled album on Corpus Hermeticum and a collaboration LP with Omit on Fusetron. This is the first new K-Group release since 2003, though there was a digital-only album titled "2" in 2015. 200 copies pressed. Stamped white labels, postcard attached to the cover, insert. Mastered by Giuseppe Ielasi. 45rpm." - label description

Dave Knott "Making Fire with Frogs" C40 $7
All the Wow & Twice the Flutter (U.S.) PHONOG1
really wonderful recordings of frogs in Maryland. highly recommended. "Frogs, toads, insects, periodic sounds of fire and snapping branches. a microphone attached to a reed brings the listener to the water’s edge of these swampy sounds. a pond in the woods in southern Maryland. the din of wildness before more development. click click click click. ratchet ratchet ratchet. brrrrrrop brrrrrrrop brrrrrOp brrrrrraaaAAAAp etc. . . Illustrations by Matthew Thomas Shoemaker."

Dave Knott "Natura naturans" CD $12
Anomalous Records (U.S.) NOT 1
vastly underappreciated in the world at large, Dave Knott is highly respected and enjoyed by those in the Seattle area that have come into contact with him and his sounds. he has long running (as in over a continuous decade) collaborations with Jeph Jerman, Matt Shoemaker, Stuart Dempster, Sir Richard Bishop and Climax Golden Twins. a music therapist by trade, Dave studied to be a luthier (that's someone that builds stringed instruments) and plays very skillfully in many styles. this recording documents what might now be called a sound art installation, although unlike a lot of things with that label these days, Dave's "stringboards" were a part of the space they were in and not just some CD player in a room. quite simple and raw looking, the stringboards were complex aggregations of various types of musical strings often augmented by preparations in the manner of Keith Rowe or John Cage, and likewise revealed the same large array of non-typical string sounds. when plucked, bowed, strummed, rubbed or hit they could sound like any one of the numerous string sources (guitar, double bass, cello, etc.) or more surprisingly like gong or bell. and this is what is unique about these - the instruments literally are boards - the resonator is the wall and structure the stringboards are mounted to. they are part of the room they are in and change greatly depending on what wall or structure (one of them was attached to a railing) they are attached to. as they were installed for a period of over six months, Dave was able to visit from time to time and alter and re-tune them giving odd melodies to a strum across one board. ranging from about one foot up to eight feet, as well as in various parts of the building, the instruments offered up a small orchestra that could be freely played by other musicians and visitors. this should appeal to people with an interest in Harry Partch, Derek Bailey, Akio Suzuki, Jean Dubuffet, Hans Reichel, Harry Bertoia, Damian Bisciglia, Philip Corner, Hugh Davies (they once played together), Tetuzi Akiyama, Fred Frith's "Guitar Solos", Kazuo Imai, Gruppo di Improvvisazione Nuova Consonanza, Gravity Adjusters Expansion Band, etc. an overlooked classic.
"Now here's a find: Knott was first introduced to fellow improvisor Jeph Jerman as a 'guitarist', which wasn't entirely misleading, since his homemade instruments did at least occasionally use guitar strings. But these unpretentious slabs of wood have a frank physicality and grounding in space that the guitar lacks, and this record of Knott's solo improvisations offers a highly personal vision. Plucked, tapped, struck, bowed, rubbed, teased, it's easy to hear the unaffected thrill of invention and discovery as Knott pulls formless, unpretty pings and shimmers from the stringboards. Natura Naturans is a motley, playful encyclopedia of strung-out tension, ranging from jittery rhythm through to soft, washed out, glinting tones. At once ugly and beautiful, the music is always open, unpredictable and rather marvellous." - The Wire
"Most everyone should have this album and cherish its wheezing glissandi, asymmetric and atonal arpeggios, and discombobulated dances." - Bananafish

Komare "Got To Stop Me" 7" $10
I Dischi Del Barone (Sweden) IDDB028
"Stark electronic abstraction from the London-based duo Komare which consists of Dominic Goodman and Peter Blundell from Mosquitoes. Two tracks of industrial DIY minimalism creating an organic sound world from broken rhythms and extraneous sound generated by modular synthesis with minimal bass figures and voice that is both an instrument and a cloudy narrative. With 'Got To Stop Me' and 'Hot Tarmac', Komare somewhat draw blurry lines between the weirder sides of the Door And The Window cassettes and Storm Bugs/Snatch Tapes stuff, while keeping the skeletal, crooked atmosphere of Mosquitoes. 200 copies pressed as usual, black vinyl and stamped white labels, postcard attached to the cover, insert. 45rpm." - label description

Craig Leon "Nommos" CD $10
Superior Viaduct (U.S.) SV017
"First appearing incongruously on John Fahey's Takoma label in 1981, Nommos remains enshrouded in impenetrable mystery – from its understated artwork to the rich assemblage of analog synths contained inside. According to Head Heritage, 'Nommos' is the 'missing link between the proto-industrial rhythm and drone of Suicide and the whole minimalist drone / static / repetition method of Terry Riley and La Monte Young.'
Best known as a producer, Craig Leon worked on landmark debuts from Suicide, Richard Hell, The Ramones and Blondie. Rather than ape the early NYC punk that he helped foster, Leon's own music is filled with lush textures and pulsating rhythm boxes. Comparisons can be made to German innovators such as Cluster and La Dusseldorf, yet 'Nommos' is an unbalanced cosmos marked by anxious melodies, aggressive shifts and spiritual overtones.
The name 'Nommos' itself refers to mythical deities worshipped by tribes in West Africa. Some scholars have argued that the myth has extraterrestrial roots. While these are significant details for understanding the album's peculiar meditative qualities, there was little context for these sounds upon their initial release. Even today, in the cold light of the early 21st century, Leon sounds fiercely contemporary.
This first-time CD release is mastered from the original analog tapes." - label description

M.B. "CMRS" CD $16
menstrualrecordings (Italy) LH129
"First ever CD re-issue of this obscure 1981 cassette. Cover image is an original 1981 artwork by M.B. Edition of 106 copies. " - label description

M.B. "Opea" CD $16
menstrualrecordings (Italy) LH130
"First ever CD re-issue of this obscure 1981 cassette. Cover image is an original 1981 artwork by M.B. Edition of 105 copies." - label description

Metgumbnerbone badge $1.50
(U.K.) MET badge
red on black design. "The sigil is a version of a pattern that was painted on my favourite drum. I believe I based the original on a runic wishing circle." - John Mylotte

Metgumbnerbone patch $3
(U.K.) MET patch
red on black design. "The sigil is a version of a pattern that was painted on my favourite drum. I believe I based the original on a runic wishing circle." - John Mylotte

Robert Millis "Related Ephemera" LP $19
Helen Scarsdale Agency (U.S.) HMS 055
sold out from the label upon release. "The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the 'Deben Bhattacharya: Men and Music on the Desert Road' and 'Indian Talking Machine' books). Hie previous solo work include 'Relief' (released here on The Helen Scarsdale Agency in 2013) and 'The Lonesome High' for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships. 'Related Ephemera' is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. 'Horrifying,' Millis explains 'is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.' Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones. Here is an album that aligns itself aesthetically with Nurse With Wound’s 'Soliloquy For Lilith', Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics." - label description

Hiroaki Minami "Kumo no Ito (The Spider's Thread)" CD $18
Edition Omega Point (Japan) OPA-019
"Hiroaki Minami was a professor of top-hierarchy art college in Japan 'Tokyo Geidai'. However, he was also one of pioneer of self-built synthesizer. 'Kumo no Ito' ('The Spider's Thread', 1977) is electronic work with reading of Ryunosuke Akutagawa's short novel. Also new work 'Chaos' is compiled. It was composed as quite different revised version of his earliest electronic work 'Taiyo-fu' ('Solar Wind') which was composed for modern dance group in 1966. Both are world premiere issue." - label description. limited edition of 300 copies. cardboard paper gatefold sleeve.

Nagual & Stefan Christensen "Third" 7" $10
I Dischi Del Barone (Sweden) IDDB026
" In the ongoing affair between New Haven and Gothenburg something new from the IDDB office favorite Stefan Christensen was very much inevitable. This time he teams up with David Shapiro and Ian McColm of Nagual for a third collaboration (the first two released as cassettes in 2017 on C/Site and Gilded Throne respectively). 11 minutes+ of pure guitar drone bliss, part drawn-out mellow side of P.S.F Records style, part Precious Metal heaven. 200 copies pressed as usual, black vinyl and stamped white labels, postcard attached to the cover and insert. 33rpm. " - label description

The Never Quartet "1.001.006" 7" $10
I Dischi Del Barone (Sweden) IDDB033
"A static, haunting bliss from Michael Morley's Music for The Never Quartet project. The New Zealand-based artist and musician is best known from The Dead C but has also recorded music as Gate, The Fuck Chairs etc, as well as a couple of albums under his own name. 'Music for The Never Quartet seeks to employ the resonating qualities of wooden acoustic guitars placed upon items of wooden furniture to reveal connections between time and space by sonically activating the instruments and the other wooden objects within architectural structures. Tonal drones are produced by acoustic guitars placed on the top of solid wooden furniture. The tones are generated in the guitars using electronic bows that are placed upon the steel guitar strings. The guitars are placed horizontally onto the furniture allowing the tone to pass from the guitar into the furniture utilising the unique conductive tonal qualities of wood creating an organic amplifier effect. The larger the surface area of the furniture that is in contact with the vibrating guitar the greater the sonic volume that is produced within the object. The guitar is not affixed to the furniture in any way, gravity is the only force employed to connect the guitar to the furniture therefore insuring no damage to the surface of the furniture. No electronic audio system is required for sound reinforcement and propagation. During a performance the audience will be encouraged to record and playback loops of the quartet on their personal mobile devices so as to contribute to the composition and performance in real-time, extending the possibilities of the compositional form to include the composer, performer and the audience. The quartet may also operate as a static installation with the performance elements left in situ following a performance. The electronic bows may be applied during the course of an installation to further the requirements of performance and recording.' 200 copies pressed, black vinyl and stamped white labels, postcard attached to the cover, insert. 45rpm." - label description

The New Blockaders "The Pulp Sessions" LP $25
menstrualrecordings (Italy) LH117
"Fans of Noise music will need no introduction to the work of TNB. Ron Lessard, of legendary US Noise label RRRecords, once stated, ‘I’d give the nod to TNB as being the first truly devoted Noise artists.’ In the early '80s, they laid down the gauntlet for the likes of Merzbow and Hanatarash et al to pick up later and their influence on the current crop of popular crossover Noise artists such as Wolf Eyes is immeasurable. In 1984, TNB collaborated with David Jackman / Organum on the 'Pulp' 7" which has been cited as one of the most influential Noise records ever. Two short excerpt from the Pulp sessions were included on the 7". 'The Pulp Sessions' included two (approx) 20-minute outtakes from these legendary recordings and are classic examples of early TNB. The tracks have been edited / mixed by Michael Gillham (TNB / Nihilist Assault Group / Vagina Dentata Organ.) 'The Pulp Sessions' is an essential purchase for any TNB / Noise fan. Edition of 250 numbered copies." - label description

The New Blockaders "Seinsart: Live At Morden Tower" LP $21
menstrualrecordings (Italy) LH68
"First ever official vinyl re-issue. Black vinyl LP with printed labels. Paste on cover. It includes replicas of the original performances flyers. Numbered edition of 150."

The New Blockaders "Simphonie In X Major" CD $16
menstrualrecordings (Italy) LH127
"Re-issue of noise classic 'Simphonie in X Major' (1989) plus 'Simphonie in O Minor' (1991). 'TNB certainly make one hell of a racket. Simphonie In X Major makes Whitehouse sound like minimal art!' Audion 'Simphonie In O Minor is, depending on your point of view, the sound of tape-hiss, an unheard scream in the dark, or the entire history of Noise put through a shredder and reversed back into oblivion." Idwal Fisher Edition of 300 copies in digipack." - label description

Phill Niblock "Niblock For Celli / Celli Plays Niblock" LP $15
Superior Viaduct (U.S.) SV157
"Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. 'Nothin To Look At Just A Record', a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.
The second album and perhaps the most rare in Niblock's vast catalogue, 1984's 'Niblock For Celli / Celli Plays Niblock' is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.
Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.
This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome." - label description

Phill Niblock "Nothin To Look At Just A Record" LP $15
Superior Viaduct (U.S.) SV033
"Phill Niblock has pushed the boundaries of sound and visual art for over 40 years. While dutifully producing experimental films and curating multi-media loft performances in New York's 1960s avant-garde circles, Niblock developed a composition technique informed by American minimalists such as Tony Conrad and La Monte Young. His music consists of long instrumental tones, closely pitched together to create beat patterns and multi-tracked into dense layers.
'Nothin To Look At Just A Record', originally released on esteemed 20th century / jazz label India Navigation in 1982, is Niblock's recording debut and often cited as his masterpiece. 'A Trombone Piece', the first of two side-long tracks, was recorded by Richard Lainhart and Richard Kelly (both music innovators in their own right) at SUNY Albany in the mid-'70s. Breathing pauses from instrumentalist James Fulkerson's trombone were spliced out to unravel the drones spatially, rather than according to metered rhythm. The overall effect is mesmerizing and beautifully envelops the listener with each tonal subtlety.
To celebrate Niblock's 80th birthday, Superior Viaduct is honored to present the first-time vinyl reissue of 'Nothin To Look At Just A Record', a high-water mark in 20th century music and listed as #5 on Alan Licht's Minimal Top 10." - label description

The No-Neck Blues Band "Gitanjali" 10" EP $14
Ri Be Xibalba (U.S.) OQ'EBAL 004
Long delayed, this 10" is one of two vinyl releases from recording sessions at the Chummery late in 2006. The Chummery was the Seattle home to Sun City Girls, Sublime Frequencies, Abduction, and The Sea Donkeys. In fact it was the last residence of Charles Gocher who passed away in there only a few months after this session. Making full use of the Girls' diverse collection of instruments, including an upright piano and Alan Bishop's gamelan, NNCK improvised throughout one day and night, with all proceedings being documented by a custom 16 channel mobile unit assembled by Ri Bi Xibalba. Together with live concerts in Vancouver, BC and Seattle the previous evenings, the recordings total over five hours. Distilled from this are the best of the Chummery recordings split onto two separate releases. The first is this 10", mastered at 45 RPM for the best fidelity, and pressed on 110 gram of vinyl. Using sundry stringed instruments from SCG's world travels as well as their own traveling set of instruments, the music has an air of delicate yet mysterious Javanese court music - a contrast to what SCG did with many of those same instruments. Of particular prominence on this record are the plaintive sounds of the erhu gliding through. Made up of seven members, NNCK's sound is never crowded and comes off like a well oiled machine moving with one group mind. When they put aside their individual selves and enter the music, the result switches over into organic creation.

The No-Neck Blues Band "Gitanjali + The Nascent Stigma" LP $25
Ri Be Xibalba (U.S.) OQ'EBAL 005
Long delayed, this LP is one of two vinyl releases from recording sessions at the Chummery late in 2006. The Chummery was the Seattle home to Sun City Girls, Sublime Frequencies, Abduction, and The Sea Donkeys. In fact it was the last residence of Charles Gocher who passed away in there only a few months after this session. Along side this there is the highlight from NNCK's concert in Vancouver, British Columbia on that same trip.
This record follows the 10" called "Gitanjali". Despite the similarity in title, the two records contain completely different material from the same session. It is a record in two parts, much like their "A Tabu Two" released as two separate LPs on the New World of Sound label back in 1997.
From Alan Bishop's liner notes: "One night when I slept on the sofa, serenaded to sleep by the polyrhythmic purring of our guests, I dreamt that Lyndon Johnson sent this outfit into the jungle all alone to battle the Viet Cong. A giant cargo plane parachuted them in with their ceremonial gear and Bob Hope’s PA system. After three or four days of producing slow burning sound signals curling in and around the foggy Mekong, Charlie fled en masse to Cambodia to do a photo shoot with Dennis Hopper."
NNCK's activity was the first documented in 1994. Since then they have gone on to be represented by The Shadow Ring's Dry Leaf Discs, Ecstatic Yod, SER/SERES, John Fahey's Revenant, Kill Rock Stars sub-label 5 Rue Christine, Staubgold, Les Disque Victo, Locust Music, Alga Marghen side label Planam, Kelippah, and their own Sound@One imprint. They have toured North America and Europe although have rarely played live in later years. Members of NNCK have been involved in a wide range of other musical projects including Angelblood, Sabbath Assembly, D. Charles Speer & The Helix, Enos Slaughter, Rhyton, Suntanama, Coach Fingers, K-Salvatore, Izititiz, Malkuth, Test, Key of Shame, Decimus, Raajmahal, and Ki.
Limited edition of 300 copies on 180 gram vinyl pressed by RTI.

Nurse With Wound / Hanns Heinz Ewers "Sorcière, Ma Mère" book & 3" CD $10
Lenka lente (France) lkl-l41
"A more than strange novel by Hanns Heinz Ewers, accompanied by a new musical piece by Nurse With Wound on a mini CD.
Hanns Heinz Ewers (1871-1943) is a German writer and director. Author of short stories, novels and plays, he has developed a literature of the strange close to fantasy and terror. A British music project formed in 1978 by Steven Stapleton, John Fothergill and Heman Pathak, Nurse With Wound is an essential figure of experimental and industrial music. French [language] edition. 10 x 15.5 cm (softcover). 60 pages"

Nurse With Wound / Adolf Wölfli "Lea Tanttaaria + Great-God-Father-Nieces / Courte autobiographie" book & 3" CD $9
Lenka lente (France) lkl-l07
"A seminal text (and introduction to some 25000 pages of drawings, collages, autobiographical writings and compositions by Adolf Wölfli), this 'short autobiography' of a major figure in the history of art brut is accompanied by a mini-CD containing the two interpretations of Wölfli's graphic scores by Nurse With Wound (Steven Stapleton, Diana Rogerson, and David Tibet), first published in 1986 in the legendary 'Necropolis, Amphibians & Reptiles' LP, for the first time on a seperate release. Second edition (2019). French [language] edition, 10 x 15.5 cm (softcover), 38 pages." - label description. edition of 300 copies.

Opening Performance Orchestra plays Maurizio Bianchi "Das Testament" CD $16
menstrualrecordings (Italy) LH128
"Amazing remix album by the Czech Opening Performance Orchestra. Opening Performance Orchestra using the very noisy 'Das Testament' from 1983 by M.B. are able to make an even more abrasive and challenging work than the original. Possibly one of the best M.B. remix album we have listened to in a long time. Very Recommended! Edition of 200 copies in digipack with 8 pages booklet with text in Italian, Czech and English." - label description

Charlemagne Palestine "Dingggdongggdinggg vs. Singggsongggsinggg" LP $27
Matière Mémoire (Belgium) MATME001LP
"Singing songs while playing ding dongs, Charlemagne Palestine’s solo voice over the bells of his studio carillon is a premiere in his recorded works, and possibly the first voice/carillon record in musical history. All the little shamanic stuffed deities inhabiting the carillon added their souls to the spirit of the reverberating songs, including a song in memory of Mika Vainio." - label description. limited edition fo 1000 hand numbered copies on yellow vinyl. includes printed inner sleeve.

Pan Sonic & Charlemagne Palestine "Mort aux Vaches" 2 x LP $38
Matière Mémoire (Belgium) MMGO001LP
"Special vinyl re-issue of the work initially released on CD by Staalplaat 19 years ago. First time on vinyl, brand new mastering, and new cover design (a 1974 drawing by Charlemagne Palestine). This is the first release in the ‘GodBear’ series, a project consisting in the re-issue of existing works and production of unreleased material by Charlemagne. In partnership with the Charlemagne Palestine Foundation." - label description. limited edition of 125 copies on transparent blue vinyl.

People Skills "Magnet Hill" 7" $10
I Dischi Del Barone (Sweden) IDDB032
"Jesse Dewlow from Philadelphia follows up two great albums on Siltbreeze (Tricephalic Head, 2014) and Blackest Ever Black (Gunshots At Crestridge, 2016) with his first vinyl 7". Compared to earlier recordings, Magnet Hill is rather minimal and mainly based on guitar, that "a murky sub-underground feel resembling South Island NZ pop played inside of an armored car" line may still be somewhat on point, but these two downer gems are deeply rooted somewhere else. Both sides ends with two short pieces ending up in locked grooves. Magnet Hill is to coincide with new cassette releases on Alien Passengers and All Gone. 200 copies pressed, black vinyl and stamped white labels, postcard attached to the cover, insert. 33rpm." - label description

Points of Friction "Sackcloth and Ashes" CD $12
Anomalous Records (U.S.) NOM10
"Points of Friction scrapes together a mind-bending menagerie of sound from the panorama of objects and equipment they work with. Their process-oriented artistry invokes apparitions of the ear, with multi-dimensional sonic textures that span from quirky, seductive lullabies to revolting sensual assaults. Points of Friction made contact in the extremely beige but earthquake famous San Fernando Valley, a suburb of Los Angeles and home also to the infamous Manson Family. Tim Alexander and Kenny Ryman (Paper Bag) served together as psychedelic altar boys at the age of nine. Kenny was from a musical family, so he had developed a set of ears from an early age. Damian Bisciglia (Agog) and Tim became acquainted in Cub Scouts around eight years old. Becoming reacquainted among a few self-described social outcasts at Los Angeles Pierce College around 1980, they gravitated to the art department where they encountered a cast of characters. Among these were the profoundly talented Jeannie Cohen (Sprout Mountain) and the profusely bizarre Joseph Hammer (Dinosaurs with Horns, Swan Trove, Solid Eye). Relieved and excited to discover other freaks, they soon evolved an excuse for converging: making noise. Originally inclusive and spontaneous, their noise was extracted from everyday objects, and recorded with built-in condenser mics on primitive equipment. They soon adopted some recording gear and musical instruments but no musical training. When Kenny replaced Jeannie, POF was born. Inspired by free musics from Beefheart to Harmonia, they met in Joe's or Kenny's bedroom to exchange sound and interact in private naïve noise/rock ecstasy. Originally released by the LAFMS offshoot label Solid Eye [who were also responsible for releases by Doo-Dooettes, The Romans, Tom Recchion, Dinosaurs with Horns, and Fredrick Nilsen] on cassette in 1984, Sackcloth and Ashes is the most electronic and perhaps most polished incarnation of this multimedia collective. The unorthodox exploration of keyboards, guitars, toy instruments, the assemblage of field recordings, noise improvisations, and tape loops tantalize the senses with arousing emotive power. The opus title track is a compendium of improvisational soundings and field recordings that include a chorus of squeaky swings, a cat's purring, snapping shrimp, a diseased lung, and cacophony on a yard sale card rack. Exquisitely abrasive and haunting tracks 1 through 6 yield to the perfumed machinery and melodious hypnosis of the remaining tracks. All were originally performed under cover of live film and slide projections with optical manipulations at alternative music venues in and around Los Angeles including Al's Bar, the Anti-club, Los Angeles Contemporary Exhibitions(LACE), etc., and aboard the U.S.S. Cormerant ("Noise at Sea"), with bands such as the Minutemen, the Meat Puppets, Whitehouse, and the Monique Experience in the mid-1980's. Every piece on this album has such (currently archived) visual underscoring. Re-released on CD, the disc is lavishly packaged in beautiful silver and black in an eye-rattling multi-paneled silk-screened die-cut cover that undermines perception in the friction manner. The low-key intensity of Points of Friction may affect heart rates and breathing patterns. It is probably best listened to in a darkened room."

Posset "Fanzine Ink Dries Like Black Blood" 7" $10
I Dischi Del Barone (Sweden) IDDB011
"Two new tracks from the Newcastle-based improvisor Joe Murray and his Posset, known from releases on Mantile, Chocolate Monk, No Basement Is Deep Enough and more. 'Fanzine Ink Dries Like Black Blood' was recorded on 9th Jan 2016 at Bookshop in Sunderland City Library. Mainly mainly made up of vocal-jaxx loops, dry breath and child chatter. It's the final four minutes of a longer live jam. No overdumps! 'Slurpy Slurpy Creep Creep' is the relentless squelching from a wet mouth that's been physically spliced into cranky tape. An improvisation. An exploration of sharp pencil tap and wickedly pinched spools. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 45rpm." - label description

RLW "Views" CD $12
Anomalous Records (U.S.) NOM27
In the 25th year of Ralf Wehowsky's recording career, Anomalous Records presents his first truly solo release featuring four new compositions based on instrumental improvisations. Using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. Each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. The disc opens with a 21-minute piece of mysterious and drifting electronic tones. Other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. Previous releases by RLW have seen him collaborate with such diverse artists as Achim Wollscheid, bernhard günter, Andrew Chalk, David Grubbs, Jim O'Rourke, Kevin Drumm, and Bruce Russell. He is the founder of the now defunct group P16.D4 and the still active label Selektion. Other releases of his work have appeared on Table of the Elements, trente oiseaux, Streamline, Perdition Plastics, Swill Radio, Meeuw Muzak, and Metamkine.
Spontaneous event and reconstruction shadow each other closely here. Four self-programming occillators, controlled by wheels rather than a keyboard, interact to create a densely striated corridor or sound on the protracted opening composition. Shorter, more understated but no less arresting, the next two pieces have the feel of secret rituals conducted in private. On the first, four spontaneous musical actions, mostly involving Orff percussion instruments designed for children, are reworked into a profoundly meditative sequence, marked by the chiming of bells. The second, in which two music boxes are manipulated, squeezed and muted, transforms the mechanistic renderings of half-forgotten tunes into a series of encrypted memories. Coming in on a single thin line of feedback, the fourth and final composition combines elements of the previous three, plus recordings of electric guitar run backwards and forwards into an uncluttered but complex series of structures and interactions.
Serious minded yet subtle, unhurried and unforced, Views is a work of deep coherence, vitality of content and unquestionable richness.

Ken Hollings in The Wire issue 243 May 2004

Steve Roden "Nightfall" C18 $6
Humanhood Recordings (U.S.) HHR65
"limited edition cassette edition of 30. all sounds improvised made with a modular synth."

Philip Sanderson "Reprint" CD $12
Anomalous Records (U.S.) NOM23
Reprint was originally released on cassette by Snatch Tapes in 1980 and was credited to an unknown duo called Claire Thomas & Susan Vezey.  A press release accompanying the cassette painted a picture of two pre-Raphaelite synthesizer knob-twiddlers who in between repatching their VCS3's went for long walks in flowing robes on Blackheath. Intrigued, the record label Cherry Red included the duo on their compilation LP "Perspectives and Distortion" alongside such luminaries as Matt Johnson, Virgin Prunes, Lol Coxhill, Lemon Kittens, Eyeless in Gaza, Mark Perry, Ben Watt, Thomas Leer, Morgan-Fisher, Robert Fripp, and David Jackman. Cherry Red furthermore wanted to release an LP by Thomas & Vezey.  Until they realized that all was not as it seemed. Claire and Susan were in fact a figment of Snatch Tapes founder Philip Sanderson's imagination.  In addition to running the label, Philip was one half of the DIY electronic group Storm Bugs, and regularly collaborator with a then unknown musician by the name of David Jackman (one of these tracks they did together was recent issued on a 10" by Die Stadt).  "Reprint" was in effect one of his few solo recordings. The first track Bright Waves ( an earlier version of the track on the Cherry red LP) with its fragile wispy vocals that blow in and out on a tape delay breeze certainly adds credence to the Claire and Susan subterfuge. However the rest of the music on the CD suggest that this was more than a Situationist prank. The description on the sleeve of the music as  "a study in repetition and change using two different sources and two different treatments..." was a nod towards the materialist approaches being used during the 70's in most (fine) art forms. "Reprint One" and "Reprint Two" use the loop formed by a tape delay to build up busy percussive patterns. Recorded live, the VCS3 triggered by a sequencer feeds in a set of constantly chattering rhythms. As the loops pass repeatedly over the tape heads the sound gradually degrades turning eventually into pure white noise. What starts out as a polyrhythmic perversity, somewhat akin to electronic tap dancing, builds into a wall of sound. Also here is the piece "Under Press of Sail" (which was featured on the compilation "Snatch 3" and the "0° North" tape by David Jackman and Philip Sanderson), and the secret bonus track "Nein Nein Nein", which was only included a few copies of the original tape release of "Reprint".  Unlike the other tracks, this was done in collaboration with fellow Storm Bug Steven Ball.  Using a low-tech five-minute answer-phone cassette loop with the erase head disabled, the two built up a montage of sounds which were fed through a home-made ring modulator. The music of Reprint is a peculiar combination of academic rigor married to an inverted pop art aesthetic. For whereas pop art incorporated the cheap intoxication's of consumer culture into the supposed lofty rooms of high art, here was an attempt to incorporate the form or perhaps just the smell high art into the low brutality of DIY electronics.

Carolee Schneemann "Uncollected Texts" book $15
Primary Information (U.S.) 978-0-9915585-5-1
"Uncollected Texts draws together a number of Carolee Schneemann’s earliest writings—many exceedingly rare and several that are published here for the first time—ranging from letters to the editor, dream journals, and film criticism, to satirical poems, detailed discussions of her art, and pointed feminist critiques. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between 1956 and 1981, as well as an introduction by Joseph.
First published in short-run magazines like Caterpillar, Film Culture, The Fox, Manipulations, and Matter; academic journals such as Performing Arts Journal; and mainstream publications including the New York Times and The Village Voice, the writings gathered in this volume shed light on some of Schneemann’s most important artistic achievements. Schneemann writes about her most famous 'kinetic theater' piece, Meat Joy; anti-Vietnam War works such as Snows, Viet-Flakes, and Divisions and Rubble; the multimedia performance Up to and Including Her Limits; and the double-screen film Kitch’s Last Meal. Frequently referring to one another, the assembled writings produce a densely interwoven tapestry of cross-references that provide unique insights into Schneemann’s artistic development while also foregrounding the artist’s uniquely poetic style.
5.5 x 8.5 inches, 164 pages, Paperback, 8 B&W images, Edition of 2000." - publisher description

Matt Shoemaker "Isolated Agent | Stranding Behavior" LP $18
Elevator Bath (U.S.) eeaoa31
"Layer upon evolving layer of sonic phenomena is still the methodological trademark, but the content is almost entirely electronic, lending a great deal of vivid color to a description of blackest space. The two works presented here are powerfully mysterious, unsettling examples of Matt Shoemaker's prowess as a composer of details, of moods and tenses.
The improbably relevant artwork for this picture disc consists of two collages utilizing Shoemaker's own hand-dyed paper. The images, as well as their meanings, are essentially abstract and yet remarkably familiar. On the A side, the 'Isolated Agent' scuttles in a circular motion, forever locked in an endless search for the unknown element. The B side depicts the constant retreat, the 'Stranding Behavior' inevitably resulting in/from confusion.
This picture disc LP has been released in an edition of 233 copies." - label description

Matt Shoemaker "Mercurial Horizon" CD $10
Elevator Bath (U.S.) eeaoa050
"Previously unheard brilliance from the late Matt Shoemaker. Work on 'Mercurial Horizon' was largely completed during an incredibly fruitful period from 2008-2012, during which Shoemaker produced albums for The Helen Scarsdale Agency, Ferns Recordings, Mystery Sea, and Elevator Bath. He went on to finalize the material which would become 'Mercurial Horizon' in 2015. Though unreleased until some five years after completion, 'Mercurial Horizon' is undeniably a fully-formed declaration; a meticulously crafted display of layered grotesqueries, as elegant as it is disturbing. This is classic Shoemaker at his most mesmeric: elongated metallic resonances, metamorphosed field recordings, expertly harnessed modular electronics... These elements may seem familiar, but Shoemaker's strange magic lay in his ability to imbue these disparate pieces with a kind of natural tension, fusing them into a seamless puzzle. The results are both startling and beautiful, and always with a tangible sense of unease. 'Mercurial Horizon' may well be the last new music to emerge from Matt Shoemaker's extraordinary aesthetic. It is an assemblage to be explored, interpreted, and treasured. 'Mercurial Horizon' is released in an edition of 200 copies. Matt Shoemaker's probing and mysterious ice photography graces the six-panel digipak, inside and out." - label description

Matt Shoemaker "Soundtrack for Dislocation" CD $10
Elevator Bath (U.S.) eeaoa34
"For those unfamiliar with Matt Shoemaker's work, Soundtrack for Dislocation is absolutely the ideal place to start as it is arguably the most fully-realized project in his catalog. All the necessary elements are present: The enigmatic cover and interior images, the cryptic track titles, and of course the recordings themselves - densely packed and elaborately evolved aberrancies. Shoemaker seems to have provided more than enough clues to the puzzles he offers in his works but, like the most effective tales, these subtle indications cannot quite account for all that happens. The rest is up to the astute listener who accepts this very inscrutability as the reward.
Packaged inside an extra thick, full-color, matte finish, 6-panel Digipak featuring Shoemaker's beautiful photography, this compact disc has been issued in an edition of 509 copies." - label description

Matt Shoemaker "Tropical Amnesia Two & Three" 2 x CD $14
Ferns (France) stem_06
"In November of 2007 I was part of a group of eleven sound artists who journeyed to Brazil to participate in the Mamori Sound Project, an annual residency/workshop under the direction of Francisco López that convenes in an isolated area of lowland lakes and rainforest, perhaps around 4 hours' journey outside of Manaus, right in the heart of Amazonia. 
I had some very limited experience with tropical rainforests from travels in South East Asia, but nothing like the immersion that was central to what Francisco had organized: direct access to a staggeringly diverse bioacoustic environment unmatched anywhere else on Earth. Over the course of the two weeks we spent at Mamori lake exploring and recording, there was never a pause in the stream of curious animal sounds. Not even during sleep, as the nighttime would roar to life and pass into dreams. I had come prepared with the equipment that I could afford to bring: a pair of condenser microphones, several homemade contact microphones, and a single hydrophone. With these I was able to capture all of the sounds used to make the three Tropical Amnesia parts. While assembling the field recordings, I was immediately drawn toward the idea of imagining the rainforest, and the bodies of water contained within, as an unfathomable void of sorts, and something beyond thescope of enduring memory. Reflecting on my own memories from Mamori Lake and the surrounding area, I can of course picture the individual ant or frog, but it is the sheer multitudes and abundance of life that persists in my mind as a consuming, evolving abstract." - Matt Shoemaker - March, 2010 limited edition of 300 copies.

Matt Shoemaker & Eric Lanzillotta "4/25/05 @ mshoehome" CD $12
Anomalous Records (U.S.) NOM30
Matt Shoemaker was a talented electronic musician and visual artist who sadly passed away in 2017. As a memorial tribute to him, Anomalous Records has been brought back to release this archival recording of Matt in collaboration with Eric Lanzillotta. This duet was recorded live at Matt's apartment and consists of one hour and fourteen minutes of reverberant cosmic music created with Moog synthesizer and other electronics. The sounds are abstract and beatless, easily dissolving time in an atmosphere thick with tape echo. Influenced by early electronic music and German Kosmische Musik (such as Kluster, Klaus Schulze, Popol Vuh, Conrad Schnitzler and early Tangerine Dream), this should appeal to fans of inner exploration. Pressed in a limited edition of 200 copies and packaged in a cardboard wallet.

Small Cruel Party "Resin, Parched, Chthonic" LP $21
Ferns (France) frond_01
already sold out from the label and out of print. "Cassette released in 1991 on the label A State Of Flux, reworked and rebuilt so that it can match the duration of a vinyl. The ambience of this album is noisy, drone, abstract, shamanic. Mastering by Giuseppe Ielasi. 300 copies." - label description. includes printed inner sleeve.

Sperm / Pekka Airaksinen / Samsa Trio "Works 1968-76" 6 x LP box $162
Vinyl-On-Demand (Germany) VOD137
limited 99 friends edition on clear vinyl in black box with red embossing. "Pekka Airaksinen is a Finnish composer of electronic music. Airaksinen formed his first band, The Sperm, in the late 1967. The Sperm mixed elements of avant-garde music with free jazz and psychedelic pop. Members of Sperm during the years of existence have been Antero Helander, Ilkka Lehtinen, J.O. Mallander, Markus Heikkerö, Mattijuhani Koponen, Nikke Nikamo, Pekka Airaksinen, Peter Widén. By 1970 Pekka started his own label O Records to produce and distribute vinyl records of his solo works such as 'One Point Music' (1972) or the Sperm LP 'Shh! Heinäsirkat' (1970) or his free-jazz-dominated project Samsa Trio in 1972 (together with Antero Helander & Mattijuhani Koponen). Pekka's and Sperm's concerts featured confrontational performance art, which resulted in two members being arrested for simulating sexual intercourse and screening pornographic films. Following The Sperm's breakup in the mid 1970s, Airaksinen turned to Buddhism but kept producing music in the years to come and integrating Roland 808 drum-machines into his music and releasing 80's classic LPs like 'Buddhas of Golden Light'." - label description

Sterile Garden "City Lights" C36 $5
Zen Enthusia (U.S.) Zen Enthusia 3
slow motion heavy noise from Levi Berner’s label. limited edition of 50 copies.

Peter Strickmann "Mellow Toes" LP $20
Ana Ott (Germany) AO 018
"Mellow Toes comes as the second excerpt from my Schnarcharchiv (snoring-collection). This growing collection contains audio-recordings of sleeping humans, friends, and animals in all places and states of rest, sleep and nap, captured during night- and daytime since 2009. It all started during my daily afternoon-naps when I observed my own body getting hyper-sound-sensitive on its way to sleep. In these situations my chest, my arms, my toes turned out to become my biggest ears. It made me search for ways to share and reproduce these hallucinatory and enjoyable states of awake fatigue and airy interspace. Now, the two compositions on Mellow Toes are an attempt to do so. They contain parts of the snoring material that I collected during the last eight years, as well as some sounds of my prepared objects instruments. The instruments noise may appear as the cheeping bird outdoors that pokes your sleepy mellow toe. All the snoring and sleeping rhythms here, they may help this bird to have a much stronger voice then commonly known." - Peter Strickmann. hand-numbered edition of 300 with printed cardstock inner sleeve and download code.

The Taj-Mahal Travelers "July 15, 1972" LP $29
États-Unis (U.S.) etat11
"For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi. With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended. With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses. This first-time vinyl reissue is limited to 1,000 numbered copies. Comes with poster." - label description

Giancarlo Toniutti with Tiziano Dominighini "The Sound-Placing Land Bridge" CD $14
menstrualrecordings (Italy) LH74
"During a research in his archive Giancarlo Toniutti found two unfinished compositions recorded with Tiziano Dominighini in 1981-1982. Those compositions were mostly made of improvisation sessions using synthesizers and a guitar. Giancarlo Toniutti decided in 2013 to complete the compostions and recorded new material througout 2013 and 2014. The new compositions were made of several field recordings made in the countryside nearby a highway road. All the compostions were then mixed together in 2014-2015. 'The focus of this work is on the real relationship of the sonic phenomena when they meet our personal environment, how they mold our perception and are molded by it, in its cognitive affirmation. Music, in other words.' Giancarlo Toniutti Limited edition of 300 copies in digipack with a 20 page booklet with extensive liner notes written by Giancarlo Toniutti."

Yoshi Wada "Lament For The Rise And Fall Of The Elephantine Crocodile" LP $25
États-Unis (U.S.) etat13
"Yoshi Wada's 'Lament For The Rise And Fall Of The Elephantine Crocodile', originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's 'Reed Streams' and Pauline Oliveros' 'Accordion & Voice', yet with a wild, liberated energy all of its own. After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament. 'That swimming pool was quite hallucinatory,' recalls Wada. 'It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure.' This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster." - label description

"Art-Rite" book $28
Primary Information / Printed Matter (U.S.) 9780991558575
"Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements, and projects for the page—as well as artist-focused and thematic issues on video, painting, performance, and artists’ books—Art-Rite’s sharp editorial vision and commitment to spotlighting the work of artists stands as a meaningful and lasting contribution to the art history of New York City and beyond. All issues of Art-Rite are collected and published here. Featured artists include Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Judy Rifka, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri, and Irene von Zahn. 678 pages, 8.5 x 10.75 inches, Paperback, Edition of 2000." - publisher description

"Broken Music" book & 7" flexi $23
Primary Information (U.S.) 978-0-9915585-9-9
"Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989. It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records. Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists. Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner." - publisher description 280 pages, 8.25 x 10.25 inches, paperback w/flexi disc, 22 color and 599 B&W images, edition of 2500, second printing.

"The Limited Edition Vanity Records Box Set" 6 x LP box $113
Vinyl-On-Demand (Germany) VOD160
includes Salaried Man Club 'Gray Cross' (originally released as VAT1 in 1981), Kiiro Radical 'Denki Noise Dance' (originally released as VAT2 in 1981), Den Sei Kwan ‎'Pocket Planetaria' (originally released as VAT3 in 1981), Invivo 'B.B.B.' (originally released as VAT4 in 1981), Wireless Sight 'Endless Dark Dream' (originally released as VAT5 in 1981) and Nishimura Alimoti 'Shibou' (originally released as VAT6 in 1981). limited edition of 500 numbered copies.
"Similar to the compilation 'Music', Vanity also released a limited edition, 6-cassette tape box set entitled 'Limited Edition Vanity Records Box Set' in 1981. It compiled the music of six artists whose works were rigorously selected from many demo tapes that were sent to Vanity from all across Japan. … The box set was said to be released as a limited edition of 70 sets but in reality, only 30 copies were ever pressed.
'Gray Cross' features the signature sound of the trio Salaried Man Club who declare their white collar identity loudly with the industrial sound of an intellectual worker. They used to perform regularly at the club dee-Bee's in Kyoto. They also appeared in Ylem's compilation 'Awa (FOAM)'.
Kiiro Radical (yellow radical)‚ is a group formed by Masaaki Mochida from Yonago City in Tottori Prefecture. The subtle, calculated, meticulous minimal electric noise ecstasy that Mochida presented was critically acclaimed by Agi as 'the pinnacle of Japanese electronic music now' at the time of release. He also has 5 pieces included in the compilation 'Music'.
Densei Kwan is the group of Hidetsugu Saito from Fukushima. 'Like a cause and effect interaction, the light bulb hidden in the boy's trouser pocket, was actually a marble that was making some crashing sounds (pocket planetarium general statement)'. The original cassette release includes this Taruho Inagaki-esque quote attached to the quintessential electron (Densei Kwan) stirring up a miniature garden-like noise universe.
[Invivo] is a project produced by Masao Tachibana from Zushi city. The first 6 tracks are called In 'Vivo: Inside The Living Organism' and the remaining 6 tracks are entitled 'In Vitro: Inside a Test Tube'. It is a biological term penned document of a bio-mutant generational experiment of atmospheric sounds. Invivo had one track included in the 'Music' compilation.
[Wireless Sight] is a project by Kunie Wakae who published the mini magazine called Musenongaku. Just playing piano, metronome, and radio noise, this artist created peaceful, post classical, spacious ambient sketches. He also did performances with visuals and dancers.
Ami Nishimura' ensemble's album, 'Shibou'. With a band consisting of guitar, bass, drums and voice, this unit plays quite a primitive sound that recalls early Amon Düül, Metabolist and such. It digs heavily into the alt psychedelic rock field."

"An Uncommon Nature" LP $12
Anomalous Records (U.S.) NOM 6
Coinciding with the 10th anniversary of Anomalous Records' existence in 2001, we are releasing a compilation album based around recordings from the outdoors, and featuring artists we release or are going to in the near future. Featured on this LP are new recordings from: Jeph Jerman, Mirror, Agog, Climax Golden Twins, Jonathan Coleclough, Mike Shannon, Monos, Richard Lerman, and Dave Knott. Throughout the packaging, and on four enclosed postcards, are beautiful black and white photographs taken by Rachael Jackson in the Olympic National Park in Washington state. While unified by a common theme, the tracks are quite varied including desert contact mic recordings of rain and wind on a tree [Jeph Jerman], processed sounds of a gate [Jonathan Coleclough], erhu played on a beach [Mike Shannon], mysterious singing 'water babies' [Agog], a mixture of wild celery stalks, tundra grass, a cord made from sinew, a whalebone roof support and the seals [Richard Lerman], and the straight recording of an approaching thunderstorm [Dave Knott]. This attention to detail in audio is matched by the close up photographs of fungi, dripping sap, and trees which surrounds it. With almost 700 copies sold, this is one of the most popular Anomalous Records releases.

"Vanity Box I" 5 x CD box $69
Kyou Records (Japan) Remodel36
a collection of CD editions of super rare and desireable Vanity Records vinyl releases. contains reissues of the LPs R.N.A. Organism "R.N.A.O. Meets P.O.P.O.", BGM "Back Ground Music", Sympathy Nervous, and Sab "Crystallization" plus one disc collecting the three 7" records on the label by Sympathy Nervous, Mad Tea Party, and Perfect Mother. limited edition of 500 copies.
"This is the only album by the anonymous unit, R.N.A. Organism. The album is based on a cassette tape which was airmailed from London. It also happens to be the first group produced by Kaoru Sato of EP-4. R.N.A. Organism is a 3 piece unit formed in 1978 and featuring 0123, Chance and Tetsu who played around with home recordings as well as studio live recordings. Tetsu left in 1979 and was replaced by Zero. This album was produced at this time, showcasing super-cheap, alt-dub created with a range of instruments and gadgets such as a rhythm box, guitar, synths and voice. The minimal design of the album cover featuring standard lettering sheet also made an impact. Although uncredited, Kaoru Sato produced the music. Their live performances were unique, in the sense that they would perform 'live' in the studio and then send a cassette recording of the resulting sound to the venue. R.N.A. Organism is also included in the compilation 'Awa' (1981) and TACO’s first album, 'Taco' (1983)."

"Vanity Demos" 6 x CD box $69
Kyou Records (Japan) Remodel28
an amazing collection of unheard sounds from the archives of the legendary Vanity Records label out of Japan that was active from 1978 to 1981. this contains one disc of previously unreleased demos by Den Sei Kwan, one disc of previously unreleased demos by various artists, one disc with the track "Love Song" by System from their sole flexi-disc release, and three discs by Tolerence including an unreleased album from 1980, a collection of demos and their flexi-disc "Today's Thrill" from 1980. artists on the "Demos" disc are Salaried Man Club, Onnyk, Tozawa + Onnyk, Excerpt from HMN Session and Den Sei Kwan. limited edition of 500 copies.

"Vanity Music, Tapes & Demos" 11 x CD box $119
Kyou Records (Japan) Remodel21
includes the "Music" double album compilation, all six albums in the "Vanity Tapes" box, one disc of previously unreleased demos by Den Sei Kwan, one disc of previously unreleased tracks by various artists, and one disc with the track "Love Song" by System from their sole flexi-disc release. artists included are Pessimist, Un Able Mirror, Mr, Anode/Cathode, Kiiro Radical, Tokyo, Daily Expression, Plazma Music, Nose, New York, Arbeit, Invivo, and Necter Low on the "Music" set; Salaried Man Club, Kiiro Radical, Densei Kwan, Invivo, Wireless Sight, and Nishimura Alimoti on the "Vanity Tapes" discs; and Salaried Man Club, Onnyk, Tozawa + Onnyk, Excerpt from HMN Session and Den Sei Kwan on the "Demos" disc. limited edition of 500 copies.

coming later (pre-orders recommended):

[Note: If a price is not listed, it means I don't know the final price yet.]

Anima Sound "Im Lungau" LP $
Play Loud! Productions (Germany) PL 100LP
"About this record and how Limpe and Paul Fuchs got together with Friedrich Gulda: In 1968, the Austrian classical and jazz pianist Friedrich Gulda organized the First International Music Forum of Ossiachersee with the theme 'Improvisation in Music - Yesterday, Today and Tomorrow'. During the third edition of the festival, Gulda got to know the band Anima Sound and was fascinated by their 'absolute free music', which they played on home-made instruments. Anima Sound was Limpe and Paul Fuchs, who had already released two albums in 1971, 'Stürmischer Himme'l ('Stormy Heaven') on Rolf-Ulrich Kaiser's OHR label and the self-released 'Musik für Alle'. 'Musik für Alle' developed during a 4,000-kilometer tour throughout Europe when the band and their two children hitched a handmade mobile home and stage to an old Hanomag tractor, bringing their anarchic, uncompromising improvisations to an impromptu public, free of charge. German documentary filmmaker Helga Tiedemann captured part of the tour for the film 'Mit 20 km/h durch Europa'. Gulda and Anima Sound often toured together throughout the '70s and the band became regulars at Gulda's festivals of free music. In 1972, they released the simply titled LP 'Anima'. In 1973, Tiedemann captured one of the shows, and the film 'Gruppe Anima in Salzburg'. The International Music Forum of Ossiachersee ended in 1974. In the same year, Gulda and Limpe and Paul Fuchs went on tour with some of their festival musicians and recorded the double-LP 'It's Up To You'. Gulda and partner Ursula Anders's festival in Ossiach attracted top-class guests, including among others Pink Floyd, Weather Report, Tangerine Dream, and many great jazz and world music musicians. The follow-up festival, Tage Freier Musik (Days of Free Music) at Castle Moosham in the Lungau region of Salzburg, Austria in 1976 again offered a high-class bill. A year later in 1977, the guests were Don Cherry and Moki, The Revolutionary Ensemble, Günther Rabl, Makaya Ntshoko, among others, and Anima Sound with Limpe and Paul Fuchs. The recordings here were made during the 1977 festival and have been restored and are released for the first time ever. The music critic Baldur Brockhoff wrote for Süddeutsche Zeitung about the Anima Sound concert: 'Paul and Limpe Fuchs played superbly. As archaic as the instruments may seem (sand shovel, circular saw, hand-knitted crumhorn, sheet metal), as simple as the musical patterns and structures are, far from all virtuosity, the two have meanwhile found a complete harmony in making music together. The most beautiful thing about this music is probably the unfamiliar; no role model is used here.'"

Steve Beresford "The Bath of Surprise" LP $
Piano (U.K.) PIANO 003LP
"Released in 1980. Recorded by Steve Beresford and David Cunningham. Instruments used include: acoustic guitar (with microphone and battery amplifier), percussion, piano, synthesizer (toy), euphonium, trumpet, toy piano, drums, whistling, bass, cymbal, drums, ukulele, cymbal, tape (previous performance), electronics, piano (with toy piano inside), and performer (with whirled bee, whirled tube, clarinet mouthpiece, footclickers, blechtrommel, giggle stick, musicbox, bath water, nailbrush, body, tubes, reeds, balloons, cowbox, musical toothbrush, duck call, electronic bird, squeaky chops, chicken box, toy record player, plastic horn, talking telephone, astro-phaser."

Bladder Flask "I Am As I Have Spoken" 7" $
Anomalous Records (U.S.) ANO3
Bladder Flask were an oddball English collective (rather than a group) who were active in the early-mid 1980s and included a teenaged Richard Rupenus (who later formed The New Blockaders.) In 1981 Bladder Flask issued their one and only LP, 'One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling' on their own Orgel Fesper Music label which was described as, ‘...A mind-boggling Fluxus, Dada, Improv, Sound Art lunacy as if Bladder Flask were possessed by some fevered desire to surpass the worst excesses of the lunatic fringe end of the United Dairies catalogue. A gibbering masterpiece.’ The LP quickly came to the attention of Steven Stapleton of Nurse With Wound who became an avid fan and today cites 'One Day I Was So Sad…' as his most favourite ever title. In fact, Bladder Flask just missed being included on the (in)famous ‘NWW list’ by a cat’s whisker (the LP was issued a few months after the list was compiled) and were invited to issue an LP on United Dairies in 1981 although (for various reasons) it failed to see the light of day.
'The One Day I Was So Sad…' LP is soon to be reissued by Finders Keepers (who recently issued the 'Strain, Crack & Break' 2LP compilation including several artists from the NWW list.) While recently dusting off the One Day I Was So Sad… master-tape Rupenus unearthed two previously unreleased Bladder Flask tracks which were originally intended for inclusion on two compilations which failed to materialize. The tracks in question: 'I Am As I Have Spoken' and 'Zzeut-Ztt-Ztt-Zzt (Pour Chapeaux, Manteaux Et Parapluis)' (from 1982 / 1986 respectively) are to be issued together on a 7” in an edition of 200.
Also due soon is a collection of Bladder Flask reworkings by Steven Stapleton (provisionally entitled 'Nurse With Wound Play Bladder Flask') to be issued on United Dairies.

Camizole + Lard Free LP $
Souffle Continu Records (France) FFL 030LP
"Souffle Continu presents Camizole + Lard Free, unreleased 1978 recordings from both groups performing as a collaborative. The ranks of Camizole included some of the most essential personalities of the French underground, notably Dominique Grimaud (Vidéo-Aventures), Chris Chanet (Etron Fou Leloublan), and Bernard Filipetti (Art & Technique). Their idea of music, if we look further than the pair Dominique Grimaud and Bernard Filipetti, and a style of music influenced by Klaus Schulze, is inspired by the liberty of free jazz. This is nonetheless modified by a cathartic approach close to the esthetic preoccupations of Julian Beck and Judith Malina's Living Theatre. The result is a musical happening, where the important thing is to improvise in the urgency of the moment in front of a not-always receptive public. Before exploring constructed repetitive forms which would be perfected by Urban Sax, Lard Free were more in the domain of noise improvisation, or even a kind of jazz rock similar to that of Soft Machine, as can be heard on a late retrospective album, from which the track 'À chacun son Boulez' emerged. There was logically great complicity between Camizole and Lard Free, which would lead to the two groups finally merging. This was the case for four concerts in May before the two groups disbanded in order to finally get to grips with the free rock in the style of Faust that they liked so much. As an ode to anarchy, a record now bears witness to those communal experiences. Edition of 500 with obi strip."

Jacqueline Caux "The Colours of the Prism, the Mechanics of Time" 2 x DVD $
La Huit Productions (France) LAH 032DVD
"Featured Artists: John Cage, La Monte Young, Pauline Oliveros, Terry Riley, Steve Reich, Philip Glass, Meredith Monk, Gavin Bryars, Richie Hawtin. From John Cage to techno, through minimalism and post-modernism. This film was inspired by the itinerary of a oegap-bridger: Daniel Caux, a musicologist, essayist and radio producer, who made endless discoveries in the fields of experimental, minimalist, repetitive, postmodern and techno music. His contribution is all the more important in that these past four decades have been particularly rich in terms of creations, inventions and experimentation. His recent passing has reversed the roles, since many of the very musicians that he ardently supported wished to be present in this film. This film embraces a significant part of 20th century musical creation as seen from this 'Daniel Caux belvedere' and bears witness to the music that these major figures are inextricably associated with, as well as their on-going creativity. The bonus to this film is based on the passionate opinions of Daniel Caux, musicologist, essayist, activist and radio producer, promoter and friend to all of the musicians present in the film." NTSC all region.

Henning Christiansen "L'essere Umano Errabando La Voca Errabando" LP $
The Henning Christiansen Archive (U.K.) HC 003LP
"The third release on The Henning Christiansen archive label features a previously unreleased work from 1991. 'The Wandering Human Being - The Wandering Voice', as the title suggest is a piece for voice and features Carlo Quartucci, Carla Tatò, Ursula Reuter Christiansen, and Henning Christiansen. Ursula and Henning met the couple Carlo Quartucci and Carla Tatò through the curator Johannes Gachnang on a visit to Genazzano in Italy 1983 and became close friends, collaborating on a variety of projects, most notably on Carlo and Carla's epic adaptation of Heinrich von Kleist's play 'Penthesilea. 'The Wandering Human Being - The Wandering Voice' came about from a conversation between the four of them whilst on a beach on the island of Møn in the eastern sea in Denmark, looking south. Here they all laughed at the realization that on the other side of Europe in this direction was Sicily where Carlo and Carla lived. The island Sicily, The island Møn. As Henning says: 'The human-being was wandering from sea to sea.' Henning saw no difference in their way over life 'over there' and mused on the means of which we cross over oceans and move around facilitating awareness of the same family of human being. People from islands meet people from islands and they can all look across vast waters and laugh together. Human-basic-technology. This conversation and collective realization of the simplicity of it all lead to this work which is one of the finest in Henning's vast catalog. L'essere Umano Errabando La Voce Errabando is a mantra for four voices, the sound of the ocean, a PVC tube, effects, and wind instrument. The piece moves in an organic hypnotic fashion lulling and rolling, ebbing and flowing over the two sides of the record. Rudimentary phrases in various languages interlope and weave a mystical music, as primitive as it is "contemporary". "The Wind, The Stars" are repeated over in random untrained fashion. The two couples from different countries weave voices, words and language into a common sonic fabric which eradicates identity, the idea of "national," the idea of country, the idea of difference. Unlike anything else in Henning's output, L'essere Umano Errabando La Voce Errabando is a calm and meditative work which rolls along two sides wrapping the listener in a random melancholic meditative mantra. Only Henning Christiansen could summon such haunting, beautiful, gothic music carved from political hope."

Henning Christiansen "Op. 41 Badet / Kom Frem For Satan / Min Dode Hest / Op.72 Bondeforeren Knud Lavard" LP $
The Henning Christiansen Archive (U.K.) HC 002LP
"The second release on The Henning Christiansen archive label is a compilation of four works from 1967-1972 including a poem set in a bath, an unknown musical work, the musical backdrop to a horse sacrifice and a soundtrack to a school play. What binds these works together alongside the period when written is their basis in 'song' and some traditional 'musical' elements. What separates it them from said tradition is that they were composed by Henning Christiansen. 'Op. 41 Badet' is a simple work featuring three elements: Charlotte Strandgaard reading her poem 'Badat' ('The Bath'), Henning playing melodica, and the sound of water splashing in a bath. The result is an unusual and evocative lo-fi setting to the resigned nature of the reading. Not a lot is known about 'Kom Frem For Satan' ('Come Forward Satan'). Possibly a soundtrack of sorts? It certainly carries that mood with jazz-inflicted interludes, melodic organ moments all interlaced with the diegetic sounds of cars, footsteps, gunshots, etc. The result comes across like a gangster tinged musique concrete radio play. 'Min Død Hest' was previously released as a single-sided 10" under the name 'Hesteofringen', here restored under its correct name. 'Min Død Hest' ('My Dead Horse') was written to accompany the Bjørn Nørgaard performance 'Hesteofringen' ('The Horse Sacrifice') on January 30th, 1970, one of the most notorious performances in Danish art history. Featuring a poem written by Lene Adler Pedersen, this is a recording made after the performance with Lene Adler Pedersen singing, accompanied by Christiansen on piano (as opposed to the green violin he used in the performance), 'Min Død Horse' is a beautiful haunting fragile song laden with metaphor, a sad lullaby is as simple and unusual as anything in Christiansen's output. 'Op. 72 Bondeføreren Knud Lavard' is the soundtrack to a school play performed on at the Fanefjord School on the island of Møn, Denmark, where he lived, in 1972. Another surprising work in Christiansen's oeuvre the six pieces that make up this work shift between the sinister and sweet, often in the same track. Falling within the same period Henning made the soundtrack to 'The Executioner', 'Bondeføreren Knud Lavard' mixes the melancholic romantic mood of that soundtrack whilst deep organ chords, military drumming and an acoustic guitar solo (played by Henning's first son Esben Christiansen) all make an appearance."

Terry Fox "AudioWorks" LP $
Song Cycle Records (U.K.) CY 983LP
"Song Cycle Records present a reissue of Terry Fox's 'Audio Works', originally released in 1983. Terry Fox (1943, Seattle-2008, Cologne) was one of the leading pioneers of American body art and conceptual art. He became famous in the '70s with performances and installations, which took their point of origin in the transformative processes of materials, and in which he used his own body as a medium for exploring often extreme psychological and physical experiences. With his lifelong exploration of sound and space, Terry Fox was also one of the pioneers of contemporary sound art. Terry Fox belongs to those artists of the '60s and '70s who radically rejected traditional art forms and sought new forms of artistic expressions. In numerous installations, performances, and street events he directed attention to everyday phenomena and aspects of social existence. He researched unknown or little regarded aspects of energy in substances and materials, most especially sound and vibration. Since the '80s Terry Fox composed objects, language, acoustic, and process-oriented events into multilayered images in space and time. In his later years, quiet sounds at the limit of audibility became more and more prominent. This collection of Terry Fox's 'AudioWorks' was published in 1983, during the time he lived in Florence, by Maurizio Nannucci in the Recorthings series of audio cassettes on the Exit & Exempla label. Recorthings is a record label linked to the activities of Zona non-profit art space (1974/1985) and to the broadcasting program Zonaradio (1981/1983)."

Jeph Jerman "Albuquerque" C32 $7.5
Grisaille (Germany) GRISAILLE-06
"Recorded at the center for peace and justice Albuquerque, New Mexico March 8 2018. Baby monitor, feathers, stones, shells, small harp and tapes."
"This might sound idiotic, but ‘Albuquerque’ is an album you have to listen to, rather than just play. Jerman has said that he has a 'growing interest in listening and what happens when one listens'. It also helps if you can crack the volume as loud as you can as parts are incredible quite and some of the delicate interplays gets lost at lower volumes. ‘Albuquerque’ is an album that you could listen to a lot and still never truly get to the bottom of." - Vitaly Weekly

Laughing Hands "Dog Photos" LP $
B.F.E. Records (Spain) BFE 059LP
"Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesizers, guitar, and hand percussion much of which was then treated through the synthesizers, producing their soft, insistent and rhythmic sound. 'Dog Photos' was originally released in 1981 by band's own label Adhesive Records. The sounds in these 11 pieces are a combination of direct to tape and cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings, and foreground rhythm abstractions. For fans of: Chris & Cosey, Dome, Cabaret Voltaire, Coil. Engineered by David Chesworth. Remastered at Plataforma Continental by José Guerrero."

Little Skull "Ubique" LP $
Planam (Italy) PLANAM 039LP
"One more top mysterious trace from the Little Skull legacy: Dean Brown's album 'Ubique' (i.e. 'everywhere' in Latin) marks the passing of time and people. This sense of loss is very present through the whole record; not getting around to saying the things we meant to say and making sense of the leftovers. Screaming calmly, Dean Brown's Little Skull has shrunk, even more, until his head is almost just sore meat - this music sounds like it was made to soothe that inflammation. Currently living in the UK, Little Skull is Dean's long running solo project. He plays all of instruments, even if it sounds like he is barely touching them and yet, his obscure personal fingerprints are all over the place. His instinctive spontaneous playing finds ways to make them glow and fizz and ripple. The very complicated hand-made cover is astonishing. It incorporates religious imagery and patron saints expanding in space and creating a three-dimensional architecture filled with mysterious presences. Dean Brown is a New Zealander from Hamilton. A joke city to much of the rest of New Zealand, but its feral mongrel out-of-it-ness is well known to those that have lived there. Dean coped with Hamilton through his bands Negative Eh and Nova Scotia and then buggered off to other cities and other countries. After several privately produced lathe-cut editions and a sold-out LP on Elica, 'Ubique' is reissued here on LP in a one-time-only pressing limited to 250 copies."

Masstishaddhu "Shekinah" cassette $10
Advaita Records (Japan) advaita022
a one-off studio session by three members of Metgumbnerbone: Richard Rupenus, Sedayne and Mike Watson. limited edition of 100 copies.
"Originally issued in the UK by United Dairies in 1988, it remains one of the most enigmatic albums brought forth by the label, even though it's release was somewhat overlooked at the time. Featuring a trio headed up by R. Rupenus (New Blockaders, Mixed Band Philanthropist, Bladder Flask, etc.), this was Masstishaddhu's sole release, and it contained music unlike any of the other multiple projects within the realm of Rupenus' pantheon. This features two extended pieces of droning instrumentation overlaid with an ever-shifting array of moaning chants which meld together perfectly to create a finely detailed organic compost of sound."
"'Shekinah’ comprises two side-long slabs of highly experimental music in the early Coil / Current 93 / Organum vein with touches of Eastern (or is it North American?) mysticism thrown in for good measure. ‘For The Dead & Unborn’ is a wild, chilling and uninhibited chant-cum-invocation featuring wordless vocals set against a hypnotic backdrop of percussion and bowed instruments. ‘Angels Gather Here Between Purity Of Heart and Hopeless Despair’ is taken at a much slower pace with far less accent on the chanting and more emphasis on the bowed strings and singing / ringing percussion and at times had me glancing nervously over my shoulder!" Audion

Nurse With Wound "Merzbild Schwet" LP $
Dirter Promotions (U.K.) DPROM 153LP
"Long awaited vinyl reissue of Nurse With Wound's classic third album, 'Merzbild Schwet', originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full color insert. Blue vinyl version."

Nurse With Wound "To The Quiet Men From A Tiny Girl" LP $
Dirter Promotions (U.K.) DPROM 152LP
"Long awaited vinyl reissue of Nurse With Wound's classic second album, 'To The Quiet Men From A Tiny Girl', originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and also has a replica of the Steven Stapleton designed insert. Yellow vinyl version."

Organum Electronics "Stilness" CD $13
Siren Records (Japan) SIREN 30
David Jackman returns with another disc of heavy electronics that should appeal to fans of early Organum. "Edition size: 500. A constant flow of waves / Cold, light and flourescent / Crystallise empty feelings / The howling echoes of a fox / Somewhere in a vast open plain / An asteroid collides with the others / Flickers in the ember hollow remain / Rust slowly nurtures the machine gun / Scarred for its life / The passage to the centre of the light / Phosphorescent, the dunes seem alight / The future has passed / The past is the present" - label description

Eliane Radigue "Adnos I-III" 3 x CD $
Important Records (U.S.) IMPREC 028CD
"Eliane Radigue's 'Adnos' trilogy was composed between 1973 and 1980 and is among her finest compositions. 'Adnos' is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3CD jacket much like the recent Eleh releases and containing extensive archival materials."

Eliane Radigue "Chry-Ptus" 2 x LP $
Important Records (U.S.) IMPREC 467LP
"Eliane Radigue's 'Chry-Ptus' is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double-LP was mastered by Golden and pressed at RTI for maximum fidelity."
From the original press release: "Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University. The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue's first concert in New York, April 6th, 1971. 'It's with the Buchla that I constructed 'Chry-ptus', a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae." - Eliane Radigue

Eliane Radigue "Transamorem - Transmortem" CD $
Important Records (U.S.) IMPREC337
"'Transamorem - Transmortem' was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, 'Transamorem - Transmortem' was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way."

Eliane Radigue "Vice Versa, Etc..." 2 x CD $
Important Records (U.S.) IMPREC 259CD
"Includes liner notes & archival photographs. 1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage. In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: 'Omnht', a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of 'Labyrinthe Sonore' (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, amongst others); 'Opus 17', one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and 'Vice-Versa, etc...', which appears to be her very last feedback loop composition. 'Vice-Versa, etc...' was conceived as a sound installation setting similar to 'S=a=b=a+b'. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace. In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2'42", weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13'41", it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on 'Vice-Versa, etc...' are surprisingly similar to those she would go on to produce with her synthesizer. 'Vice-Versa, etc...' is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period. Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released - needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple playthrough provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations."

The Residents "A Nickle If Your Dick's This Big (1971-1972) (Preserved Edition)" 2 x CD $
Cryptic Corporation (U.S.) NRT 999CD
"Formed in the early 1970s, The Residents have been charting a unique path through the musical landscape for almost fifty years. From far-out, experimental recordings to highly conceptual, innovative multi-platform projects, the band refuses to stand still, and continues to move in several different directions at once. Released on CD for the first time, this set captures the group's earliest work - two legendary album length demo tapes and three live recordings made under the direction of their mentor, The Mysterious N. Senada, between the Springs of 1971 and 1972. Packed with non-songs, poetry, mutant cover versions, sonic experiments and ambitious suites, 'The W***** B*** Album' and 'B.S.' set the groundwork for all that was to follow in the studio, whilst the three live recordings show the group - then a large, rambling collective rather than anything resembling a band - exploring the live-show-as-performance-art space they continue to inhabit to this day. This is must-hear material for both fans of The Residents and those interested in post-hippy, pre-punk DIY avant-garde experimentalism."

Steve Roden "o.t.r. and u.t.r." 7" $
Anomalous Records (U.S.) ANO2
limited edition of 150 copies (of which only 100 are for sale) with unique hand made collages on every cover.
"a few years ago, my mother gave me a small stack of 45s of some of her favorite songs as a kid; chuck berry, the platters, and others. when i began to listen to the records, i was not only excited about the music, but the surface-scuffs from my mother’s repeated listening over the years of wear and tear.
the source for u.t.r. and o.t.r. is a recording of 'somewhere over the rainbow' by the dimensions.  
what you are hearing are the processed sounds of the surface noise at the beginning and end of the record - the first and last notes of the song.
the experience of listening to a vinyl record is not only a durational experience, but a physical experience. when the needle is dropped upon the record at the beginning and picking it up at the end, it is a kind of performance.
in this piece, i wanted to explore the unintentional sounds - to emphasize the 'before-song' and the 'after-song'.  
in the final seconds of listening to a 45, when the needle becomes trapped in the repetitive rhythm that is born of a locked groove, these clicks become a process of disintegration. the constant clicks offer a kind of lullaby like the aging process of a human being’s body and skin as it changes. every time a piece of vinyl is played, new wrinkles, scars, scratches, scrapes, chips, and detritus are created and so here, i wanted to highlight the unintentional soundings caused by handling, to move away from the perfect veneer.
the more a record is handled, the more the music is transformed to an entirely different atmosphere - where disturbances and interruptions can overwhelm a song.
listening to the sound of a needle trapped within the final groove of one of my mother's records, i think i must be hearing the exact thing she heard while listening to the same object possibly 10 years before i was born. as the record continues to offer the clicks and nothing else, i imagine my mother falling asleep to one of her favorite songs. there, in her darkened bedroom, she sleeps to the after-sound of the needle stuck in a groove. as she sleeps, her ears absorb the minimalist rhythmic click, like a lullaby - and as the needle endlessly circles the outer realm of the record label clicking until morning..."

Jacques Thollot "Intra Musique" LP $
Alga Marghen (Italy) ALGA 043LP
"There are records that stimulate curiosity to the extreme, records that make you want to dissolve yourself into the intense and beautiful surprise this music will bring. It is undeniable to the delighted ear that this exhumed document contains all the assets of the historical output, of the record that one would dream of waiting for long if one had known it existed. This rough edit, done within urgency by Jacques Thollot, testifies of a unique experience: the concert of 'Intra Musique' at the Faculty of Law in Paris, an uncertain evening of 1969. The devastating gab of the two acolytes Jacques Thollot and Eddie Gaumont made the concert take place, on the ploughed earth of May '68, in the same faculty where so much was discussed and, thanks to the success of the previous concerts of the association of students, that allowed the risk of hiring the thundering dream team. Unique because there will never be another replica of what Jacques Thollot called 'a movement', involving Michel Portal (tenor sax), Mimi Lorenzini (guitar), the rare Daniel Laloux (tambour), Jacques Thollot (drums and tapes of recorded experiments, those that would build the skeleton of the magnificent 'Quand Le Son Devient Aigu Jeter La Girafe À La Mer' LP on Futura (1971)), and Eddie Gaumont (guitar, piano), the instigators of this journey. Captain Eddie Gaumont will capsize shortly after, sunk by a too intensely dark life; sad coda putting an end to the project. There is also the undeniable whirling of the mentors and companions' spirits of Jacques Thollot, such as Don Cherry, Steve Lacy, Bernard Vitet, and Jean-François Jenny Clark, and the hard to describe succession of precious moments: that oblique spiritual-jazz, that other staggering ballad, or that primitive fever of essential nervous flights, that almost psychedelic proto rock; alternations of radical free music to those magnificently classic, overwhelming achievements. Jacques Thollot is not just one of the greatest abandoned jazz composers: he is the one who abandons himself to all its forms. Co-produced with Jac Berrocal's historical d'Avantage label. Comes in a full-color gatefold sleeve; Edition of 350."

Jacques Thollot "More Intra Musique" LP $
Alga Marghen (Italy) ALGA 043-2LP
"Produced in collaboration with the legendary Jac Berrocal's label d'Avantage, 'More Intra Musique' is the second LP in Alga Marghen's series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious 'Intra Musique' free jazz first LP (ALGA 043LP, 2017) was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released 'Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer' or 'Watch Devil Go' on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. 'More Intra Musique' is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set... Bursting rehearsal with Eddie Gaumont... Is the piano well prepared? Besides the stingy mention 'Intra Musique' sticked on the reel, nothing is known of this recording. Edition of 350 copies."

:zoviet-france: "Collusion" 2 x LP $
Vinyl-On-Demand (Germany) VOD165.11/12
reissue of 1992 collection of compilation tracks. first time on vinyl. limited edition of 300 copies.

:zoviet-france: "Just an Illusion" 2 x LP $
Vinyl-On-Demand (Germany) VOD165.4/5
reissue of 1990 album. first time on vinyl. limited edition of 300 copies.

:zoviet-france: "Look into Me" 2 x LP $
Vinyl-On-Demand (Germany) VOD165.7/8
reissue of 1990 album. limited edition of 300 copies.

:zoviet-france: "Shouting at the Ground" 2 x LP $
Vinyl-On-Demand (Germany) VOD165.2/3
reissue of classic 1988 album. limited edition of 300 copies.

:zoviet-france: "Vienna 1990" LP $
Vinyl-On-Demand (Germany) VOD165.13
reissue of 1990 album. first time on vinyl. limited edition of 300 copies.

Zwartjes "Tapes 1" LP $
Trunk Records (U.K.) JBH 065LP
"'Tapes 1' represents the first ever sound recordings to be released from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you may have heard - dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique. Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed, and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognized by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on 'Tapes 1' were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued in 2014 on cassette, in an edition of 50. Don't bother trying to find one of them. The music, sound, and speech have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Includes download; Edition of 500."

"The Sacred Entertainment: Reak, Ceremonial Horse Trance Music from Priangan" LP $
Discrepant (U.K.) CREP 065LP
"Kasenian Réak is a genre of performative art from the Priangan area of west Java, organized during hajatans (life-cycle celebrations) and nowadays primarily held during weddings and circumcisions. The style, known as a seni lungsuran, is part of the greater family of Javanese horse dances, originally known in their most famous forms of jathilan and kuda lumping. Javanese horse dances, which could be as old as animistic Java, may already have been practiced before the eighth-century, traveling through the island and reaching Priangan in the thirties, when Réak is believed to have been originated and popularized by musical groups Juarta Putra and Maska Putra. While bearing more than some resemblances with its family, Kasenian Réak benefits of structures and aesthetic tracts of its own, being not only one of the newest developments of horse dance if not the newest, but also its rawest and most extreme outcome. The shows usually last up to nine hours, starting at nine o'clock in the morning and finishing between five or six o'clock in the afternoon. The morning part is dedicated to the pembukaan (ouverture), lasting up to one hour and dogcing or dogdog cicing (playing the dogdog on spot), while the afternoon is the time during which the arak-arakan (parade) takes place. After the arak-arakan goes around the village gathering people and announcing the celebration, it returns to the lot where it had begun and the show ends with a shorter dogcing. During the first dogcing it is possible to witness the dance of Bangbarongan: an animal-like creature costume representing a spirit and an ancestor, worn by a dancer who brings it alive for some hours. This is among the most exciting parts of the show. Sometimes it is also possible to witness a symbolic fight between the pimpinan and the Barong. Trance and possession obviously represent two of the main attractions of the style. The music as a sonic signal given by the speeded tempo, along with an Adorcistic practice conducted by the ma'alim are capable of inviting spirits to enter bodies and take control of them. When possessed, the individuals can, according to the entity they host, exhibit superhuman capacities. This release aims to provide a spectrum of Kasenian Réak and its music. The first side is a classic réak ouverture, played by one of the two founding groups, Juarta Putra. On the other side is Putra Jaya Melati: one of the groups that most attempts to push towards a contemporary, aggressive, and experimental version of Réak music."


grading: media (vinyl, disc, etc.) first; cover second

Alastair Galbraith "Mirrorwork" CD NM/NM $6.00
whacked out pastoral folk drones. Emperor Jones (U.S.) ej22cd

The Hafler Trio & The Sons of God "Resurrection" CD NM/NM $10.00
an event piece for two actors, six cookers, crockery, six baths, live mixing via two PA systems, slides and audience performed by Leif Elggren, Kent Tankred, C. M. von Hausswolff, Zbigniew Karkowski and A.M. McKenzie. Touch (England) TO:22

"Highlights of Vortex" LP NM/VG+ $40.00
with David Talcott, Henry Jacobs, William Loughborough, and Gordon Longfellow. includes 6-page booklet. originally released in 1959, this is a mid-60s or mid-70s pressing with darker red cover, track listing on back cover, "For Additional Information About..." text on back of insert, and 701 Seventh Avenue address. hole drilled through top right corner of jacket. Folkways Records (U.S.) FSS 6301