Anomalous Records

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Items ship from Seattle, USA.

new title available for pre-order:

Robert Fesler "μP RPF78" 4 x LP box $120 Metaphon (Belgium) METAPHON017: "Hardboard linen LP box with silkscreened titles, 12 page booklet with photos and text by Robert Fesler and Baudouin Oosterlynck. With an A5 reproduction of an oil on wood self-portrait by Robert Fesler. Edition of 300 copies, with download code. An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975 -1987) created with his self-built synthesizers, with as pinnacle the μP RPF78. Except one, all tracks are previously unreleased. With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, 'Building my synthesizers enabled me to express my anxieties'. Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious journey. It’s quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way. The music of Robert Fesler can be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck; The purity of Dominique Lawalree; The mysticism of Arsène Souffriau." - label description

available back catalog (special order only):

Af Ursin "Itinera" LP La Scie Dorée (Belgium) Scie 1717: "Limited re-pressing (200 copies) on transparent vinyl. First full electronic album, played, recorded and mixed by Timo van Luijk at Kulta Saha 2016-2017."
“An imaginary one way trip through microcosmic oscillations in seven macrosonic constellations. The space of sound versus the sound of space”.
Anima Musica & R. Carlos Nakai "Atlantic Crossing" LP La Scie Dorée (Belgium) Scie 3523: "Edition of 500 copies. The strange thing about the music of Anima is that it’s often considered as strange, while it’s actually very natural. It has a free spirit, analog to nature. For this release the natural spirit is strengthened by the participation of indigenous American flute player and composer R. Carlos Nakai who did a series of concerts in the US and Europe with Paul and Limpe Fuchs in the 1980’s. As with almost all Anima work, the natural feel manifests itself not only by the musical approach but also through sounds generated by natural materials as metal, wood, stone and air, and of course the absence of electronic devices. This LP is a reissue of a rare privately released cassette from 1988 and was recorded by the Bayerischer Rundfunk. May this slice of timeless free spirit be a trigger to more awareness concerning our decaying freedom." - label description
Jacques Bekaert LP Metaphon (Belgium) METAPHON015: "Edition of 500 copies. Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.
‘A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtaposition of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny.
‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969.
The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavour."
"...Gentle threads of instrumental and electronic sounds are mixed with outdoor rural field recordings and occasional voices of his friends speaking, whistling or singing. Bekaert creates a warm environment within which we can hear subtle individual voices of good musicians who are relating to his loosely-notated scores and verbal instructions..." David Behrman
Joris de Laet "SEM etc" 3 x LP Metaphon (Belgium) METAPHON005: reduced (remaining copies slightly warped but play fine). "3 LP's in hardboard linen box with 22 page booklet and large poster with score. Edition of 300 copies. Reduced (remaining copies slightly warped but play fine). Joris de Laet (Belgium, 1947) is a fully autodidact composer of electroacoustic music. Between 1972 and 1975 he worked at the IPEM along with Lucien Goethals and Karel Goeyvaerts and in 1973 he founded the SEM (Studio for Experimental Music) where he organised plenty of group sessions, live performances, lectures,... De Laet's work is adventurous, complex and difficult to classify, due to many interesting contrasts in his style and approach - academic vs intuitive, modern composition vs free improvisation, acoustic vs electronic, sound vs noise,... This selection (10 tracks) of his early recordings (1972-1979) represents an overview of his intriguingly radical and highly personal work which includes solo tape experiments, live electronics with Karel Goeyvaerts and group performances with experimental instrumentalists from the SEM ensemble : Pieter Kuyl (chapmanstick), Leo Verheyen (trombone), Paul Adriaenssens (flute and amplified objects), Maurice Verstuyft (flute). All material has been mastered from the original tapes and is previously unreleased."
Elodie "Echos Pastoraux" LP La Scie Dorée (Belgium) Scie 811: "2nd edition of 250 copies. Debut album from 2011 by Timo van Luijk & Andrew Chalk. Percussion on 'Récit Inouï' by Daisuke Suzuki. Accidental Sounds on 'En Aval' by Ian Middleton. Eleven instrumental tracks translating sentiments of a homely sketchbook memory."
Elodie "Traces Ephémères" LP La Scie Dorée (Belgium) Scie 1113: "2nd edition of 250 copies. Music played by Andrew Chalk & Timo van Luijk. An eclectic ensemble of 18 instrumental arrangements, an epic and existential soundtrack determined by the power of momentary destiny and reflective sentiment."
Johannes Fritsch "Kyo Mu / Hochtöner" LP Metaphon (Belgium) METAPHON011: "Johannes Fritsch (1941–2010) was an award-winning composer, musician, publisher, studio owner, author and music teacher.
Following his studies at Cologne University and the Cologne Musikhochschule (musicology, sociology, philosophy; viola, composition with Bernd Alois Zimmermann), Fritsch received his viola performance degree. From 1965–70 he taught music theory at the Cologne Conservatory. From 1964 to 1970 he was a member of the Stockhausen Ensemble, participating in numerous musical premieres, concert tours (e.g. the world exposition in Osaka in 1970), radio broadcasts and recordings. From 1971 to 1984 he was head of the composition course and the seminar for New Music at the Akademie für Tonkunst in Darmstadt. From 1984 to 2006 he was Professor of Composition at the Hochschule für Musik und Tanz Köln.
After returning from Osaka in 1970, Fritsch and two fellow former members of the Stockhausen Ensemble, Rolf Gehlhaar and David Johnson, established the Feedback Studio Köln. This was followed in 1971 by the founding of the Feedback Studio Verlag – the first publishing house owned by composers in Germany, which Fritsch mainly managed on his own from 1975 to 2010.
Fritsch’s complex musical estate consists of approximately 130 works: it covers electronic music, chamber music, ballet, theatre and film music, organ compositions, an opera and pieces for large orchestras. Although Fritsch’s compositions are varied, all of them convey a strong interest in new sound combinations and sound colours.

'Kyo Mu' (Japanese for ‘emptiness and nothingness’) is a composition for the Japanese bamboo flute shakuhachi und audiotape, premiered in 1982 by Hitomi Endō at the Second Weltmusik-Kongress in Vlotho, Germany. The recording on this LP is from the premiere and was made by the Feedback Studio. The version for shakuhachi was performed on numerous occasions in Europe as well as Japan. According to Johannes Fritsch, however, the piece can also be performed by tenor recorders or alto recorders.
The scores of 'Kyo Mu' are accompanied by a passage from the spiritual treatise Hitori Mondo (‘A Solitary Dialogue’) from 1823, in which the mendicant monk and shakuhachi player Hisamatsu Fūyō discusses shakuhachi blowing as a religious discipline to help liberate oneself from the rational mind: 39 pieces are 36 pieces, 36 pieces are 18 pieces, 18 pieces are three pieces, three pieces are one piece, one pieces is no piece, no piece is the breath of the mind [kisoku], the breath of the mind is nothing besides emptiness and nothingness.
'Hochtöner', written in 1974 and premiered in the same year at the Pro Musica Nova festival in Bremen, Germany, is a harmonic composition referencing Pythagorean tradition. It was written for and performed by the three Feedback Studio founders: Johannes Fritsch, viola; David Johnson [founding member of Can], flute and synthesizer; Rolf Gehlhaar, percussion. The trio and the live electronics make this piece typical of the 1970s work of the Feedback Studio. 'Hochtöner' was performed several times in the 1970s during concert tours; the recording on this LP was made in 1974 at a Feedback Studio Hinterhausmusik concert.
Fritsch described the piece in a text for a CD published by cybele records in 2006:
'Various levels of the composition interpenetrate each other. On the one hand, there is the harmonics theory of the tone systems: there are sounds that are overtonal in nature (natural harmonics, whistle-tones on the flute) and ‘undertones’: a frequency divider built by David Johnson is used to make audible the undertones of a high-pitched fundamental tone, together with naturally tempered spectra. As well as major (arithmetic division of the intervals according to the formula a+b:2), minor (2ab:a+b) and different temperaments (vab), the ring modulation between flute and viola plays an important role. The ring modulator provides the sums and the differences of the frequencies from the two inputs (and the products of the amplitudes) at the start. The summation tones are an octave higher than the arithmetical division of the intervals; the differential tones give the spectra clearly recognisable roots depending on their degree of consonance. Besides this constructive principle underlying the harmonic form, the piece contains self-quotes, quotes, and associations from music history and non-European music. All instrumental sounds are amplified by microphone and blend with the sounds produced by the tape and synthesizer, making it often impossible to tell which sounds have been produced ‘live’ and which are taped. The figures and formations appear as in a dream, fragments in a broad, ever-changing expanse of sound, limited only by the high frequencies.'”
Anne Gillis "Aha" LP La Scie Dorée (Belgium) Scie 3423: reissue of 1984 LP. "Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned with this spirit. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog. Edition of 500 copies." - label description
Anne Gillis, Jac Berrocal, Vincent Epplay & Timo van Luijk "Si()six" LP La Scie Dorée (Belgium) Scie 3323: "Edition of 500 copies + insert. Several years of mutual appreciation and encounters on- and off-stage have been the root of this chance meeting, resulting in an unplanned mysterious collaboration album where the aura of each individual is augmented by the magic osmosis of united forces. The 12-tracks display a collage of dreamy musique concrète with desolate instrumental and vocal interventions, masterfully balanced out by Vincent Epplay. Anne Gillis: words, voice, noises. Jac Berrocal: words, voice, trumpet. Vincent Epplay: field recording, percussion, Synthi AKS. Timo van Luijk: sounds, strings" - label description
Mark Glynne and Bart Zwier "Home Comfort" CD La Scie Dorée (Belgium) Scie 3123 CD: "300 copies in gatefold sleeve + 20 page booklet and bonus track. Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet. With this album Glynne and Zwier (†), based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty. My long-time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’: 'Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80's. A beautiful and sad, unmistakable Masterpiece.'" - label description
Mark Glynne and Bart Zwier "Home Comfort" LP La Scie Dorée (Belgium) Scie 3123 LP: "2nd edition 200 copies + insert. Very pleased and grateful to announce this ‘Home Comfort’ reissue by Mark Glynne and Bart Zwier, originally self-released in 1980. Maybe a bit of an unexpected title to appear in the LSD catalog but my love for this album goes back to my late teenage years and has had an addictive effect since, like a spleen infused magnet. With this album Glynne and Zwier (†), based in the Netherlands and connected to the Ultra scene, drew an insular blend of intimate post-punk and chamber (bedroom) songs with surreal scenic reflections. Probably its naked singularity defying categorization has left it so unnoticed, even 43 years after the making. It also features a reciting Marlène Dumas still quite unknown at the time. With biggest gratitude to Mark Glynne who instantly felt confident with my proposal to reissue this silent witness of lasting beauty. My long-time Japanese friend You Ishihara (White Heaven, The Stars) who bought the LP when it came out in 1980 still considers it as one of his all-time favourites. This is what he writes about ‘Home Comfort’: 'Resignation and fear in a desolate mental landscape. This album, which exists like a shelter for those who have quietly escaped through the backdoor of the world, vividly reflects the inner depths of the devastated Amsterdam of the early 80's. A beautiful and sad, unmistakable Masterpiece.'" - label description
Toshi Ichiyanagi, Michael Ranta, Takehisa Kosugi "Improvisation Sep. 1975" LP Metaphon (Belgium) METAPHON014: first official reissues after bootlegs on Iskra Records and Phoenix Records.
"Regular edition of 500 copies with offset printed sleeve and insert (English text sheet).
Toshi Ichiyanagi, Michael Ranta and Takehisa Kosugi originally got together in the summer of 1975 for an open-air concert in Sapporo. The concert felt like a great success but was unfortunately not recorded. As the desire arose to record together, they managed to arrange a studio session in the NHK Studio in Tokyo, with presence of sound engineers.
What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground.
Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label.
As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. It was carefully restored and mastered by Jos Smolders with amazing result."
In Camera "Lost In Spice" LP La Scie Dorée (Belgium) Scie 2720: duo of Christoph Heemann & Timo van Luijk. 400 copies on black vinyl.
Lumine "Quiet Ends" LP La Scie Dorée (Belgium) Scie 2119: "Edition of 350 copies, with download code. Played, recorded and mixed by Timo van Luijk & Graham Stewart [Violence and the Sacred] at Kulta Saha, 2017-2018. Sleeve drawing, design and text by John Whyte. ‘Quiet Ends’, the 2nd album by Lumine, draws an isolationist scenery with subtly merging halftones of twilight. The penumbra diffuses mysterious textures and a melancholic hypnotic atmosphere conductive to introspection. In the gathering darkness all troubling details of reality melt into large evocative masses and abstract surfaces."
Mirror "Some Days It Rains All Night" LP La Scie Dorée (Belgium) Scie 2620: Andrew Chalk, Christoph Heemann, Vikki Jackman and Timo van Luijk recorded at the Loft, Cologne. artwork by Andrew Chalk. reprint of 200 copies on black vinyl.
Ora "Time Out of Mind" LP La Scie Dorée (Belgium) Scie 2219: "Black vinyl edition of 300 copies. Recorded by Darren Tate & Andrew Chalk, 1986 to 1996, on locations and at ICR Studios in York, engineered by Colin Potter. Arrangements made at Impression Lointaine. With Daisuke Suzuki as guest on some tracks."
Arthur Petronio LP Metaphon (Belgium) METAPHON016: "Edition of 500 copies. With fold-out poster and original sleeve design by Alain Geronnez. Arthur Petronio (1897-1983) was a French-Italian musician, poet and painter. Lived in Belgium and The Netherlands between 1910 and 1924 and since then in France. Young violin virtuoso studying with Belgian master violinist Eugène Ysaÿe. Played solo violin for Belgian King Leopold II, at the age of 9. Attracted to the avant-garde and visionary ideas of Gesamtkunstwerk. Develops and presents his 'Verbophonie' in 1919, integrating sound poetry into regular music scores. Published several avant-garde journals and poetry books with participation of like-minded artists. Wrote many scores for solo instruments, small ensembles, orchestral works, opera,... Met Henri Chopin in 1950 and extended his musical ideas with new possibilities of tape composition. His one and only LP was originally published by the Belgian Igloo label in 1979. An extravagant DIY montage of musique concrète and sound poetry. In addition to Petronio’s voice several female readers/performers contribute to this theatre of voices as guest vocalists. An album as unusual as his lifecycle." - label description
Michael Ranta "Azabu" CD Metaphon (Belgium) METAPHON013: composed and performed in 1971; final mix in 2021. "Even though only being fully terminated 50 years after its conception, 'Azabu' can be regarded as the starting point of Michael Ranta’s creative self-discovery. The recordings that form the base of 'Azabu' were mostly made in the Tokyo district with the same name (Azabu-Juban). Next to abstracted field recordings 'Azabu' is also pervaded by a rich variety of percussion, string and wind instruments, all played by Ranta himself. Subsequently Ranta edited, layered and processed the recordings at the NHK electronic music studio in Tokyo. Both pieces display a vast array of acoustic, electronic and concrete sound events meticulously sequenced to a complex fusion symbolizing the entire spectrum of earthly and heavenly sounds. Dynamic extremes evoke a restless flight through space, or through the depths of human subconsciousness, between dream and reality. Ultimately the music disappears, like a dot in the sky gradually fading into nothingness - an 'ascension' that closes the loop in a ritual of life that can begin anew again at any time. CD and 8 page booklet in gatefold cardboard sleeve. Edition of 500 copies."
Michael Ranta "Die Mauer" CD Metaphon (Belgium) METAPHON008: "CD in triple gatefold card sleeve. Edition of 500 copies. 11 track album of previously unreleased music for a ballet choreographed by Philippe Talard. Composed, performed and recorded by Michael Ranta in 1988/1989. Mixed by Michael Ranta and Stefan Deistler. Mastered by Earlabs. Program notes for the ballet by Karla Nieraad. Translation by Christoph Heemann. Production and artwork by Timo van Luijk. Design by Meeuw."
Michael Ranta "Yuen Shan" CD Metaphon (Belgium) METAPHON006: "CD and 12 page booklet in gatefold cardboard sleeve. 16 track composition for pre‐recorded sounds and live percussion performed by Michael Ranta (entirely different work from the 'Yuen Shan' CD released in 2005). All material previously unreleased. 'Yuen Shan' ('Round Mountain' in Chinese) was conceived in 1972 and finalized in 2014. It's a major work in Ranta's oeuvre (his first solo release in almost 25 years), highly personal and spiritual. A musical cosmogony in 4 cycles based on different levels of ancient Asian spiritual principles."
Michael Ranta, Mike Lewis, Conny Plank "Mu" 2 x CD Metaphon (Belgium) METAPHON003: "Hardboard linen CD box contains 2 CD's and a 28 page booklet with biography text and notes (in Dutch, German and English) by Michael Ranta. 2nd edition from 2012, 500 copies. The only time this ensemble got together before was for the singular and legendary 'Wired' session recorded in 1970 and published on the Deutsche Grammophon box set 'Free Improvisation' in 1974. The Wired session also included Karl-Heinz Böttner while this release of 'Mu' just has the trio of Ranta, Lewis and Plank.
Mu got recorded a few months after the 'Wired' session, in Plank's studio, but got never released strangely enough. Yet it's a true hidden treasure of marvellous minimal psychedelic improvisations with an oriental touch controlled and mixed by 'Diabolis in Musica' Conny Plank. Although the intense recording session ended early in the morning the mixdown was still done straight afterwards of which this is the direct result for 'MU1', 'Mu2', and 'Mu4'. For 'Mu 3' Michael Ranta added live percussion to the original tape mix and dedicated it to Mike Lewis. Due to circumstances and moving to different continents they never had the chance to meet again. Michael Ranta : percussion, guitars and prepared thundersheet, Mike Lewis : keyboards, wind instruments and percussion. Conny Plank : live electronics, sound control, recording supervision, mix."
"What a stunning surprise discovery of this obscure ensemble with Michael Ranta, Mike Lewis and krautrock master Conny Plank. As on the legendary 'Wired' LP on the 'Free Improvisation' box set (Deutsche Grammophon 1974) they created an amazing free form abstraction, a floating resonant and timeless music, similar in many ways to th early experiments of Tangerine Dream but in a world of its own, in all their twisted exotic and melancholy beauty... To be filed under classic krautrock, a masterpiece!" (Steven Stapleton)
Nikolaus Utermöhlen "Karlsbad" LP La Scie Dorée (Belgium) Scie 3022: "Edition of 500 copies with 8 page booklet. Thrilled to announce the reissue of Nikolaus Utermöhlen’s ‘Karlsbad’ album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness. The recordings of this album were made for the ‘Georgette Meunier’ film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era." - label description
Timo van Luijk & Kris Vanderstraeten "Autour du Lac d’Asselt" LP La Scie Dorée (Belgium) Scie 2822: "Edition of 300 copies. Playing with Kris always reminds me of doing expeditions in a lake. Some kind of under water sound fiction observing sonic creatures. This album is a live recording (28-01-2012, Kunstencentrum Belgie, Hasselt, Belgium) which to me always felt like one of the best concerts we did. As with our previous album 'Arrêt au Lac Chimère' Vincent de Roguin put his heart in editing and mixing the recordings, extending the dimensions of exploration to the deep bottom of the lake." - label description