New music from BBC’s Radiophonic Workshop
“An interview with Jack Smith by Sylvère Lotringer published in 1978 in the Schizo-Culture issue of Semiotext(e). Liner notes by Sylvère Lotringer. Released by Semiotext(e) in an edition of 500 copies. Edited by Robert Dewhurst and Hedi El Kholti”
Sitar, drum machines, and synths from former member of Popul Vuh!
“This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with ‘A Monastic Trio.’ The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: ‘Turiya Sings,’ ‘Divine Songs,’ ‘Infinite Chants,’ and ‘Glorious Chants.’ The digital, cassette and CD release will feature eight songs. The double-vinyl edition features two additional songs, “Krishna Japaye” from 1990’s ‘Infinite Chants, and the previously unreleased “Rama Katha” from a separate ‘Turiya Sings’ recording session.”
“Originally released on Impulse! in 1971, Universal Consciousness is a major turning point in Alice Coltranes’s momentous career. While her previous albums pushed the limits of spiritual free jazz and featured much of her late husband’s band, Universal Consciousness expands the harpist / pianist’s compositional palette with organ and strings (working with Ornette Coleman).”
“The Garden Of Mirrors is a collection of music made for ethereal planetarium performances and a series of laser shows which earned the duo of Kat and Bob the collective moniker of Emerald Web. These multi-purpose recordings remastered from rare tapes typify the duo’s unique ambient sound that would win them a firm fixture in the hearts of a generation of new age devotees and proto-techno enthusiasts who operated and survived outside the parameters of the major music industry that dominated the era.
Following one of the most requested titles on the first Disposable Music collection Sam Mcloughlin and Alison Cooper’s Supernatural Lancashire 2 brings a wide selection of self-made acoustic and electronic instruments to their Northern rehearsal room to blend semi-improvised melody and syncopated mechanical folk – evoking sonic images of bygone rural industry, religious corruption, hallucinogenic medicines, scenes from classic pastoral UK horror films and cautionary European fakelore.
* Download code only available with purchases through the Finders Keepers website”
A2 Rencontre Avec Le Skua
A3 Pingouins Sur La Banquise
B1 Plongée De Glace
B4 L’Adieu À L’Antarctique
Autres Séances Électroniques Rue De Courcelles
C2 La Fête Des Deux Avions
D1 Ballet Sans Balais
D2 Indicatifs Télé Zaïre
D3 Ballet Mécanique
The late French soundtrack composer (1939-1975) was one of the first to use frequency modulators on an 8 track homestudio. He was known for his melodic works mixing electronic & acoustic. His oeuvre has been sampled by many. This release devotes a posthumous work composed for a Cousteau documentary which was refused, probably beacuse it was too avant-garde. On the second disc you’ll find different tasty style-exercises that show to what extend Roubaix manipulated the modulators with ingenuity.
“This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalan and Spanish.”
Where reality and lies mix.
Available in White print on soft black tee and Black print on soft white tee.
A1 –A.F. Moebius Erika 2:37
A2 –Kriminelle Tanzkapelle Klatschmohn 2:50
A3 –Heinz & Franz Immer 1:36
A4 –Magdalena Keibel Combo Er Hat´s Geschafft 2:33
A5 –Choo Choo Flame Nein 1:34
A6 –Stoffwechsel Fly, Fliege, Fly 5:12
A7 –Corp Cruid 37 °C 3:24
A8 –Taymur Streng, Ornament & Verbrechen Das Sentimentale Ufo 1:02
B1 –Der Demokratische Konsum Die Kuh 2:36
B2 –A.F. Moebius Böser Traum 1:46
B3 –Gesichter (2) Sk 8 Gesichter 2:30
B4 –Ihr Arschlöcher Urtramp 4:05
B5 –Aponeuron Jab Gab Hej 2:27
B6 –Robert Linke Musik Zum Weltuntergang 8:59
“Inspired by punk and post punk, vibrant scenes dedicated to independent self-actualization by means of self-distributed cassettes – the cheapest and fastest medium – were developing on each side of the Cold War’s confrontational line. Albeit, under quite different circumstances. While there was a DIY euphoria in the West, which would also have had ideological motives, subcultures in the East simply had no other means. Even the first act of replication meant moving into illegal territory, since every duplication had to be authorized by State authorities, just like anything else. The protagonists – musicians, painters, poets, filmmakers, performers – crossed genres and jumped back-and-forth between various styles. Disillusioned, and often ready to jump towards the West, these border crossers defined themselves rather somewhere between non- and anti-political, pursuing self-actualization strategies by means of an extended niche existence. They took refuge in the search for ways of creative self-assertion and communication, looking out in sensual despair, utilizing sounds of rage, linguistic wit and a passion for tinkering. Driven by ubiquitous boredom, equipped with plenty of time and free of economic restraints (or rather possibilities), labor was performed with no regard to the final product, hardly documented and almost never published. With the partial opening of State-controlled media and cultural sites accompanying the beginning agony of the State, conditions changed. Suddenly there was radio airplay of supposedly illegal cassettes and weird noise performed at Palast Der Republik. In the end, full albums by these “other bands” were released on the State-owned label AMIGA. The collapse following soon after relieved the activists remaining in the country who continually had to re-position themselves.”
World-renowned as one of experimental music’s most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener’s psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape.
2xLP, Includes digital download
A1 –Linda Smith – I So Liked Spring
A2 –Karen Marks – Cold Café
A3 –Bruce Langhorne – Leaving Del Norte
A4 –The Seraphims – Consciousness Of Happening
B1 –Gary Davenport – Sarra
B2 –Some Of My Best Friends Are Canadians – Feeling Sheepish
B3 –The Rising Storm – Frozen Laughter
C1 –Warfield Spillers – Daddy’s Little Girl
C2 –Joyce Heath – I Wouldn’t Dream Of It
C3 –Joe Tossini And Friends – Wild Dream
C4 –Scott Seskind – I Remember
D1 –Angel – Driving (Down)
D2 –Nini Raviolette and Hugo Weris – Slow
D4 –Once – Joanna
“Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. It’s a DIY collection of different genres, from different countries across different decades, that are all bound by the same longing sentiment. A concept compilation! A seemingly disparate suite of selections of forgotten fables by more or less never-knowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind’s adolescent musical road movie to Karen Marks’ icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn’t matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all – Gary Davenport declined to release “Sarra” after he split with the girl for whom the track is named – years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that’s achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths – DJ Sundae’s labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled Fire Star, a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by popular NTS show “Noise In My Head” offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe. Includes digital download.”
She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk’s little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the 70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.
Limited edition LP release (180g vinyl) + free download card. Selecting illustrative works from the lifetime of a creative person is a daunting task; doing so with a singularly individual artist like Harry Partch is all the more difficult. In the more than four decades since Partch’s death, interest in his both his life and his compositional output has continued to grow, and there remains a place for documents that can offer insights, suggest paths, and give new life to that creator’s endeavors. Even as duplicate instrumental ensembles are beginning to appear, and the original Partch instrumental resources have found a new home for performance and study, there is considerable value in returning to the many recordings he crafted over his lifetime of composition and performance. These are recordings that carry not only the stamp of the author, but his voice as well — Partch himself appears in every single track of this record, either as singer, instrumentalist, or both. This remastered version of The Dreamer That Remains has never been available before and is making its first appearance in any format. The 12-page booklet includes an essay by the Harry Partch Foundation’s Jon Szanto and numerous rare photographs provided by the foundation and other sources. An invaluable document for both Partch enthusiasts and neophytes! Limited to 700 copies.”
Double LP version in gatefold sleeve. Includes 20-minute vinyl-only track “Ex Dei In Machinam Memoria” (1972). Henri Pousseur was 25 when he composed his first piece of electronic music in 1954, in the Cologne radio studios where Karlheinz Stockhausen (with whom Pousseur had a close relationship) had created most of his famous pieces. Early Experimental Electronic Music 1954-72, the seventh and penultimate installment in Sub Rosa’s Early Electronic Series, features Pousseur’s earliest works — his first steps. Pousseur studied at the Academies of Music in Liège, Belgium, and in Brussels, from 1947 to 1953. He was closely associated withPierre Froidebise and André Souris. He encountered Pierre Boulez, Stockhausen, and Luciano Berio and thereafter devoted himself to avant-garde research. Pousseur taught in Cologne, Germany, and Basel, Switzerland, and the United States at SUNY Buffalo, as well as in his native Belgium. From 1970 until his retirement in 1988 he taught at the University and Conservatory of Liège, where he also founded the Centre de recherches et de formation musicales de Wallonie. Sub Rosa has released Pousseur’s work before, but it has never released any of the pieces included here.