Anomalous Records

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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.

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

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

Andrew Chalk, Ralf Wehowsky & Eric Lanzillotta "Yang-Tul" CD $12
Cold Spring (U.K.) CSR220CD
"A legendary sound collaboration formed of two lengthy pieces. The first track features Andrew Chalk (Mirror, Ora, Ferial Confine) gently reworking the sound materials of Ralf Wehowsky, a hypnotic, slowly-evolving drone with waves of mysterious sounds, static and glitches. The second piece, on the other hand, finds Ralf Wehowsky composing a frenzied journey into otherworldly realms using sound material from Andrew Chalk and Eric Lanzillotta (Eye Music). These pieces reflect a sound unique from the work of any of the three individual participants, but clearly related. Subtle, but full of detail for the willing listener. Originally issued on Lanzillotta's label Anomalous Records in 1998. Cover painting by Andrew Chalk. Digipak." - 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.

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.

Ellen Fullman "Staggered Stasis" CD $12
Anomalous Records (U.S.) NOM29
Over the last two decades, Ellen Fullman has been perfecting her Long String Instrument. This unique instrument of her own design is some 80 feet in length and played by literally walking through it. The resulting sounds are beautiful gliding tones with a rich harmonic content. The CD presents two works from her time in Austin, Texas in the late 1980's which beautifully display a sound you can get inside of. These long tracks envelope you in their cascading overtones. Even though she has performed widely in the United States and Europe, this is only Ellen's third solo CD, following previous releases on XI Records and New Albion. So hearing these gorgeous and important pieces from her archive is cause for celebration. "'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.

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

Great White Light LP $36
Edition Omega Point / Japanese Art Sound Archive (Japan) OPS-001
"Great White Light organized by Seiji Onishi, Kazuo Kawasumi, Mitsuyoshi Shioya, Goji Hamada performed at the Kishi Memorial Hall in Shibuya, Tokyo, on February 13, 1971•2. Ten years after the performance, Onishi released a recording of it in LP format as an appendix to his collection “The Works of Seiji Onishi 1966 1981”, hereinafter referred to as “Works”). Given that 'Works' was published in a small edition, and Onishi moved to Belgium soon after, it was difficult to get our hands around this documentation of the use of sound in the Japanese art of the 1970s. A reissue of this recording is Japanese Art Sound Archive’s 1st LP release. Great White Light was full of noises created by the wind from the air blowers hitting the microphones. The artists stood in the center of the venue surrounded by the devices: six loudspeakers and air blowers, all facing outward, with a fixed microphone in front of the air outlet of each blower. Seats for the audience surrounded the circle, and a beam projector was set next to the wall. During the performance, Onishi operated the transformers of the blowers, and Shioya the lighting. Hamada performed his 'action voice' with four microphones. In addition to this setup, Taj Mahal Travellers joined as a guest performer. Initially, they had planned to perform only with the blowers and voice, but just before the concert, they got suddenly overtaken by pre-performance anxiety and decided to invite the guests. (note: this reissue was made from original LP, and some sound problems - slight surface noise and vibration - are on recording.)" - label description

Hands To "Scrine" C60 $7
Notice Recordings (U.S.) NTR050
"I remember doing quite a bit of 'guerrilla recording': things like tossing tape decks off buildings or putting them inside running clothes dryers — 'Whag' was one example. I whirled the mic overhead like a lasso and added some plastic crunching and squeaking. 'Tind' (tape wind), was made by inching tape: pulling it over the play head manually. The main sound in 'Thraal' was an old shop sign which screeched as it got blown about by the wind." originally released in 1988 by Harsh Reality Music. edition of 100 copies. includes small insert with new liner notes by Jeph Jerman.

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.

Toshi Ichiyanagi "Computer Space" CD $18
Edition Omega Point (Japan) OPA-023
Obscure Tape Music Of Japan Vol.23. recordings from 1970, 1971 and 1961. "Two sound compositions discovered at Mr. Ichiyanagi’s home in 2018 to be released for the first time! One is an unknown early work created on a computer and the other is material for an experimental short film by Toshio Matsumoto. Particularly, the former piece was revolutionary. the quirky sound he made on the computer at the time was unheard of especially because a computer could only create simple sounds then. Moreover, it also includes an unknown electronic ambient piece reminiscent of a bird tweeting as well as a reissued version of an accompanying single of a mythical self-published book, which inspired Yoji Kuri’s animation work known as 'Tragedy on G string'!" - label description. cardboard paper gatefold sleeve.

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 "Arcane Facture" CD $15
White Centipede Noise (Germany) WCN038
"Full length follow up to 2018's LP 'The Bray Harp'. This time Jerman builds more complex and evolving structures through the extensive cutting and splicing of sheets of his distinctive rough noise, forming dense and profound combinations. Broken glass is featured heavily on this album, along with a myriad of other physical sounds, familiar yet reappropriated through Jerman's otherworldly touch. Limited to 200 copies." - label description

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 intentional stressed and may show signs of wear and tear.

Jeph Jerman "Imbrication" CD $13
Unfathomless (Belgium) U50
"The Verde River Valley is located in central Arizona, in a transition zone between low desert to the south and high mountains to the north. It has been my home for the past 17 years. Walking though the uninhabited areas outside of town, one encounters a wide variety of plant life: cactus as well as pine trees, creosote and crucifixion thorn, winterfat, mullein, snakeweed, hackberry, yucca and agave. There is also a plethora of debris from hundreds of years of human presence. Scatters of rusty metal cans and broken glass, half-buried automobiles and construction detritus, old homesteads and mines, as well as many ruins of prehistoric Indian sites. On my days off, when the weather is nice, i look for places where i can interact sonically with the land, improvising with found objects or amplifying barely audible sounds. Old fences and stock tanks give out metallic scrapes, pings and squeaks. Temporary water holes contain aquatic insects making a variety of buzzing, clicking and whirring sounds. Water itself gurgles, passing through rock-cut channels. The air is filled with the humming of flies and bees and the calls of crows. Airplanes over head. Far off road traffic. These recordings were made with a stereo digital recorder and an old analog tape machine, contact mics and hydrophone, and occasionally a small battery powered amplifier." packaged in full color card sleeve with insert. numbered edition of 200 copies.

Jeph Jerman "Voiced" C90 & booklet $7
Counter Culture Chronicles (The Netherlands) CCC24
a collection of audio works that started with handwritten "broken word" texts - a sort of poetry which incorporates crossed out and erased words translated into sound by recording individual words and stitching them together in a manner that sounds like cut-ups. the recordings are lo-fi and obscure, harkening back to the sound of Hands To. the audio is the same as the now out of print Fidgety Editions CDR, but in a different track order. "the more dense, collaged tracks were recorded one track at a time on a cassette recorder that has a great speed adjustment mechanism. changing speed while recording and punching the sound in and out pretty rapidly. the other pieces were done one word at a time on several different recorders and then played back and recorded on one tape. the 'ghost words' were recorded using Lunde's 'opycay' device, which is two small digital recorders in a box." limited edition of 80 copies. includes insert with track titles and 8-page booklet.

Jeph Jerman & Steve Jansen "Third" CDR $7
(U.S.) JJSJ-THIRD
a seamless melding of two players into one sound field. the overall moment to moment impression is of a static activity, but change is slowly revealed as well as the occasional contrast such as a short horn solo. packaged in card sleeve with attached color photo. numbered edition of 50 copies.

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 "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

M.B. "Atomique Mörder" CD $15
menstrualrecordings (Italy) LH116
"Second re-issue of this rare M.B. tape from 1980. The tape was only distributed in a handful of copies in 1980 and was later bootlegged on LP format in a truncated form in the 90s. Remastered from original tape. Cover images are 1980 artworks by M.B.. Limited edition of 100 copies." - label description. digipak.

Merzbow "Dying Mapa Tapes" 3 x CD $41
menstrualrecordings (Italy) LH123
"Recorded and mixed at Lowest Music & Arts, Tokyo April & May 5 1982. Masami Akita -Tapes, Guitar, Drum Machine,Noise, Effects, Percussions, Rhythm, Radio, TV, Electronics, Junk, Bass Guitar. Kiyoshi Mizutani -Violin, Percussion. Originally released on cassette (Aeon, USA)1983. Later released on CD as part of the ‘Merzbox’ (Extreme,Australia) 2000. Re-mastered at Munemihouse, Tokyo 2018. 3 CD with printed wallets in Jute bag with 2 pins. Edition of 200 copies." - 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 & Incapacitants "As Anti As Possible" CD $10
4iB Records (Singapore) 4iB CD/0618/033
"Two pioneering and prominent extreme harsh noise stalwarts, both of whom have been active since the early ’80s, come head-to-head in a much-anticipated collaboration where the mastery of both artists are skillfully woven into a chaotic symphony. The pairs (Rupenus & Gillham and Mikawa & Kosakai) worked with each other’s material producing two collaborations (appropriately titled ‘Blockading Of Incapacitants’ / ‘Incapacitation Of TNB’) comprising relentless metal abuse, screaming feedback, gut-churning rumbles and deranged vocals. As the title suggests, ‘As Anti As Possible’ is certainly no easy listen and will be a challenge for all but the most die-hard of Noise fans. TNB and Incapacitants have been mutual admirers of each other’s work since the mid-‘80s and have since that time occasionally discussed the possibility of a collaboration. However, no such collaboration has occurred until now. ’As Anti As Possible’ was originally intended to be issued on LP but, due to the extreme nature of the music, vinyl format wasn’t possible. Therefore, ‘As Anti As Possible’ has been presented on CD format. Includes new artworks by Rupenus (TNB). Limited Edition 300 Copies"

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

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.

Somei Satoh "Echoes" CD $18
Edition Omega Point (Japan) OPA-018
Obscure Tape Music Of Japan Vol.18. "'Emerald Tablet' was recorded at the NHK electronic-music studio in 1978. It is made up of only the sonic ingredients of a tubular bell, cymbals, and 'Kin', a largish-sized bell used for Buddhist memorial services in Japan. The attack of the sound of each instrument was eliminated, and the work was taped through repeated overdubbing. This produced a variety of beautiful harmonics that otherwise could not be produced from a single instrument’s sound, and the interference of harmonics created beats, generating a fantastical melody in the high tone range. Harmonics are one of the most mystic phenomena in the world. The wonder of harmonics led me to produce 'Emerald Tablet'.
'Echoes' was composed for the 'Mist, Sound, and Light Festival', a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, that was held on May 20-29, 1981. The venue was located at the Kawaji hot spring’s Ojika river valley, which was 50 meters wide and 200 meters long with an area of 7,000 square meters. Eight large loudspeakers were set up on hills surrounding the stream, with music played through an octuple channel-tape system. The combined length of cables connected with the loudspeakers exceeded one kilometer.
The audience was amidst dense artificial mists spreading upward from the bottom of the valley, laser light beams projected on the hill surface, and tape music that played in extremely low tone at full blast, echoing in the valley. 'Echoes' consists of the sonic ingredients of the three types of percussion instruments used in 'Emerald Tablet' as well as my own voice. - Somei Satoh
limited edition of 500 copies. cardboard paper gatefold sleeve.

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 "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 & 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.

Societe Anonomie "#1" CD $15
menstrualrecordings (Italy) LH124
"Societe Anonomie (Produktion) was Ross Cannon, Christine Glover & Paul Hurst. Originally from Tasmania (Cannon) and Australia (Glover and Hurst) they formed Produktion when they moved to London in 1978. In London they opened Produktion Hair hairdress salon where they cut 'supercuts' while playing Industrial Music all day. Produktion also made super 8 films, animations, fanzines and tapes. Some of their obscure tapes saw them collaborating with artists such as John Duncan, Merzbow, Club Moral, Toshiji Mikawa (Incapacitants) and Nurse With Wound. All Produktion tapes are nowadays very hard to come by and sought after. Originally published on tape in 1983 by Produktion, UK. Remastered from original tape. Edition of 150 copies in digipack. This re-issue is fully authorized by Christine Glover and Paul Hurst." - label description

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 $15
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

Joji Yuasa "Music for Experimental Films" CD $18
Edition Omega Point (Japan) OPA-007
Obscure Tape Music Of Japan Vol.7. "Many avant-garde composer had made sound tracks for experimental film maker Toshio Matsumoto. This CD consists of Joji Yuasa's three musique concrete works for his 60-70's short films - Broken meaningless words of 'Andy Warhol : Re-Reproduction', electronic sound and collage with chamber orchestra for obscure an earliest work 'Document of The Long White Line' and strange concrete sound of 'Autonomy'." - label description. cardboard paper gatefold sleeve.

"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.

"Le Couperet" LP $20
Harbinger Sound (U.K.) HARBINGER105
out of print and recommended. "A vinyl reissue of the legendary Broken Flag compilation cassette from 1983. Featuring tracks by Ramleh, Vortex Campaign, The New Blockaders, Sir Ashleigh Grove, Citipati and the Depilate Corps. Limited to 300 copies. Complete with printed inner sleeve. Released with the authorization of every contributing artist." - label description. this is one of the few releases with TNB collaborator Vortex Campaign - excellent loop based noise from Belgium. also featured are two projects with connections to Metgumbnerbone - Sir Ashleigh Grove is the solo project of John Mylotte and Citipati (one of their only releases is this compilation track) is essential Metgumbnerbone under a different name.

coming later (pre-orders recommended):

Metgumbnerbone "Anthropological Field Recordings For The Dispossessed" 2 x CD $
(U.K.) METCD001
Due sometime in 2020. "'Anthropological Field Recordings For The Dispossessed,’ a generous 2+ hours of recordings wrapped in a typically enigmatic and low-on-information package that rounds up 'Ligeliahorn,' 'For The Raven' and several previously unreleased material. The first thing I noted upon listening was how much more rhythmic much of the non-‘Ligeliahorn’ material is compared to that album and 'The Curfew Recordings.' The sound and character of the performances differ per location; ranging from ‘dry’ recordings to sessions with massive natural reverb and from almost serene sessions to brutal shamanic drumming. There are sporadic voices buried in the sound and whereas most performances are improvised and unstructured, some are more rhythmic and structured. It sounds as if the Metgumbnerbone is guided rather by the location, than intention, which is a good thing. This far more complete double CD is a fascinating listen which, while shining light on Metgumbnerbone’s darkness, does not provide many answers. And all the better for it. ‘Anthropological Field Recordings For The Dispossessed’ is the essential soundtrack to your clandestine late-night activities." FK (Vital Weekly) edition of 500 copies in digipak.


Used:

Julian Cope & Donald Ross Skinner "Rite" CD NM/VG+ $20.00
Ma-Gog (U.K.) Ma-Gog 1

"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