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.
Cognition/Observation is the very necessary follow-up to Robert Aiki Aubrey Lowe’s physically modelled modular trance impulses heard on Timon Irnok Manta, which was issued to critical acclaim by Type in 2012 (TYPE 111LP). Bypassing academic practice in pursuit of fluid, instinctive progression, “Cognition (Forbes)” and “Observation (Sophrons)” unfurl two long, knotted sequences entangling intricate West African drum patterns and visual motifs in a buoyant, propulsive abstraction of techno and earthed-yet-cosmic electronics. Bass is thick as treacle and buffered by a scratchy, semi-organic flux of dancing sparks and mbira-like metallic twang in “Cognition (Forbes),” before the same elements refract and tessellate in a more nuanced echo chamber sound, distinctly recalling the shape of Dynamo’s 2002 classic Außen Vor (DIN CD01) as much as Hieroglyphic Being’s hypnotic improvisations. Rarified, transcendent music of the strongest order. Mastered and cut by Matt Colton at Alchemy.
– First solo trip since 2012 from polymath Robert Aiki Aubrey Lowe (aka Lichens, member of Om and 90 Day Men).
– The follow-up to Timon Irnok Manta (TYPE 111LP), one of FACT’s “50 Best Albums of 2012.”
– Entrancing, real-time modular electronics meshed with West African rhythms.
– Lowe’s first release for Demdike Stare‘s DDS imprint.
– RIYL Dynamo/T++, Hieroglyphic Being, Demdike Stare.
– Mastered and cut by Matt Colton at Alchemy.
French composer and multi-instrumentalist Pierre Bastien delivers another entry in Morphine’s increasingly diverse catalog. Active since the mid-’70s, Bastien is best known for building automated orchestras. His previous album, Machinations, was released on Aphex Twin‘s Rephlex label in 2012 (REPH 215CD). For this work, Bastien recycled components of his Silent Motors live set and assembled mechanical organisms — using amplified Meccano parts, motors, fans, rattles, paper, and nails — to generate rhythmic scaffolding. Live instrumentals, created with prepared trumpets, African kundi harp, Javanese rabab, sanza, electric harpsichord, bass, drums, and gongs, were then superimposed on top. But for all their haptic mechanics, the assembled works on Blue As An Orange — spanning jungled ambience to yellow jazz grooves — are surprisingly delicate and nuanced, and generously laced with human warmth. As an installation artist, Bastien also captures shifting patterns of light and spatial texture in sound. This LP takes its name from Paul Éluard‘s poem “La terre est bleue,” and offers a fresh symbiosis of speculative anthropology and old-world jazz. Produced by Rabih Beaini; mastered by Neel; designed by Tankboys; original cover art byNathalie du Pasquier.
Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier.
The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts.
William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world. Most recently, Basinski was chosen by Music Director, Antony Hegarty to create music for the new Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works which will be released in Spring 2015 on 2062/USA.
Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art which has been termed both “microsound” and Neo-Modernist. Chartier’s minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier’s sound works/installations have been presented in galleries and museums internationally including the 2002’s Whitney Biennial and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History’s collection of 19th-Century acoustic apparatus for scientific demonstration.
The dark interpreter Stephen O’Malley ov Sunn O))) presents his towering orchestral composition Guidés, commissioned by French 35-piece improv orchestra ONCEIM — l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales — and released thru Demdike Stare‘s DDS label. In early 2014 O’Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to “just be punk rock about it,” the preternaturally gifted composer has conceived a technically demanding — for the players, at least — and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))’s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM’s Augustin Muller and mastered by Matt Coltonwith a detached spaciousness evocatively distilled in Jean-Luc Verna‘s cover art. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).
“Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Ariel Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose (BS 007LP). The deep consciousness of the compositional techniques of Indian ragas is mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneiric tones but always dialoguing with a higher cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions, Kalma becomes the creator of soundscapes from the endless myriad shades. Such a fusion of Western avant-garde and eastern tradition approaches other big names of the international panorama such as Popol Vuh, Angus MacLise orLászló Hortobágyi. The master comes from the original 1/4” analog tape from the ’80s. Limited edition of 300 copies in a gatefold cover with info.”
Limited to 400 copies. This ten-LP box set, presented in a deluxe book-like folder in an outer box, covers half a lifetime in musical history. It is more than a regular retrospective; it shares Pierre Henry‘s personal listening, organized by theme and technology. The box set emphasizes previously unpublished works, and highlights comparisons and contrasts between them. This ultimate anthology covers the first 35 years in the career of the French mastermind of electronic and electroacoustic music, the avant-garde, and musique concrète, enhanced by careful remastering and restoration in correspondence with the artist’s intention and approach to the recordings. Transparency, detail, and logical history are the substance of this release.
Jacob Kirkegaard is a Danish sound artist residing in Berlin. With an impressive resume that ranges from collaborations with Else Marie Pade to presentations at New York’s Museum of Modern Art and an extensive recording career, he should need little to no introduction. Kirkegaard’s first major retrospective solo exhibition opens at The Museum of Contemporary Art in Roskilde, Denmark, on January 30, 2015. In relation to this event Posh Isolation is proud to present a triple-cassette album containing five of Kirkegaard’s previously unreleased works. The five compositions all bear the signature sound of Kirkegaard’s processed field recordings slowly evolving into carefully crafted drone works, rich in both detail and emotion. Limited to 200 copies.
Wilde Calm Records is honored to present new work from the late Elodie Lauten, New York City-based composer and recipient of the 2014 Robert Rauschenberg Award. Lauten had been exploring microtonality and alternative temperament since the early 1980s, first with a Fairlight CMI synthesizer and more recently with the Klio, her custom modular Reaktor software synthesizer. Many Wilde Calm fans will be familiar with Lauten’s music from her numerous collaborations with fellow downtown luminary Arthur Russell. Lauten and Russell met through their mutual poet friend Allen Ginsberg and shared a similar sensibility, evident in their spiritual club classic In the Light of the Miracle and Russell’s appearance on Lauten’s seminal post-minimalist masterwork The Death of Don Juan. This EP includes five remastered selections from Lauten’s 2013 album,Transform, and a Wilde Calm remix. Lauten’s synth explorations are essential for fans of Laurie Spiegel and Suzanne Ciani. Limited edition of 500 in hand-stamped and numbered silkscreened jackets with full-color insert and liner notes by Jayson Greene. Cover and insert artwork byJosh Gurrie.
One of the coolest compositions we’ve ever heard from Delia Derbyshire – a special set of electronic compositions based around dreams, with lots of tape work and electronics from Delia, plus loads of eerie recitations as well! Each track features someone describing a dream – at a level that would be spooky enough on its own – but then the voice is often manipulated slightly, sometimes repeated – and mixed with the kind of dark, moody elements we love in some of Derbyshire’s more instrumental music – including famous sound library records, and work for the BBC. We might well argue that for the early 60s, the album represents a far more evolved use of electronic music than was taking place elsewhere at the time – and the piece features five passages, “Running”, “Land”, “Falling”, “Colour”, and “Sea” (In a silkscreened cover.)