This vibration is cast into new dimensions. Liberating Eros, it circles the globe, backwards and forwards, flowing to and through us. It is said the artist has a gift— suited for the erotic life of property.
On Eros in Arabia, Richard Horowitz channels this vibration and bends bandit sounds by pairing the ancient ney cane flute with the Prophet-5 synthesizer. Interspersed with other instruments and ideas, like echo delayed Moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the Hollywood Horowitz who scores films like The Sheltering Sky and Any Given Sunday, and the Morocco Horowitz who founded the Gnaoua Festival in Mogador, attended by 500,000 people every year.
Working in natural succession from end to beginning, “Elephant Dance” demonstrates the central synth and ney node to explore energetic sound patterns Horowitz imagined to be played in the 16th century on the island of Java, around the time Sufi’s may have arrived in Indonesia. Delicately trampling the twenty minute mark, the piece offers an immersive climate of microtones that might, with the primordial matter of love, alter DNA. “Baby Elephant Magic” is “Elephant Dance” but sped up— producing digital baubles that sound less like an Indonesian forest, more like an urban hive of mechanical insect interaction.
The piano on “23/8 for Conlon Nancarrow,” with John Cage technique at play, is played “as fast as possible by a human.” The sounds are driven to derail from the space time continuum. On “Never Tech No Foreign Answer,” a cheap cassette recorder microphone captures the Prophet-5 left to the devices of its master’s inner clock, taking on a frenzied sound form that vibrates in place before bouncing off the tape case walls. Chaos is concentric.
“Queen of Saba” incorporates the vocals of long-time collaborator, Sussan Deyhim. Described as one of Iran’s most potent voices in exile, Deyhim’s work is in both the tradition of Sufis and the late feminist poet, Forough Farrokhzad. Recently Deyhim and Horowitz worked together on a multi-media performance based upon Forrokhzad’s Iranian New Wave film, The House Is Black. Here Deyhim performs a taḥrīr where vocals go low to high without any semantically meaningful words. Horowitz’s associations with great cultural icons of the Middle East, like these women, soften (in)appropriations.
Less aggressive than its predecessors, “Eros Never Stops Dreaming” introduces the bendir frame drum, the feathery wind of the ney floating above its bowing rhythm with effortless mathematics. “Bandit Nrah Master of Rajasthan” begins where the album ends, an ode to Shakuhachi flute players known to indulge in both trance-inducing circular breathing and espionage.
Horowitz is linked with the worldly sound seeking circles of minimalist and avant-garde New York City musicians, especially Lou Harrison and La Monte Young, with whom Horowitz shared Shandar as a record label momentarily. He recorded and toured with Jon Hassell and collaborated with David Byrne and Brian Eno, Jean-Philippe Rykie, and Bill Laswell. Along his travels he befriended Brion Gysin and Paul Bowles, the latter whom mentored Horowitz over decades of correspondence, some of which documents the making of Eros and comes quite literally with this edition.
A record of physical and intellectual love for Arabia, FTS extends this flowing forward and backward – a shimmer that reverses the backward spelling of Ztiworoh. Eros is presented in the ever present. To borrow from a song title, Horowitz remains gainfully employed as an “inter-dimensional travel agent.”
Sitar, drum machines, and synths from former member of Popul Vuh!
“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.
Where reality and lies mix.
Available in White print on soft black tee and Black print on soft white tee.
Reaching a near-mythical status amongst fans of free jazz’s most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors’ grasps and confused historians for exactly 50 years. Instigated in Paris in 1967 and filmed during Don Cherry‘s downtime on a visit to the Chat qui Pêche nightclub in March 1967, where he played with Karl Berger, Henri Texier, and Jacques Thollot, the bulk of this cinematic portrait was filmed on the streets of Paris under the direction of creative all-rounders Jean-Noël Delamarre and Nathalie Perrey, who, as their careers bloomed, would become pivotal figures in underground French cinema – straddling La Nouvelle Vague, adult entertainment, and cinema fantastique in what can only be described as speedball cinema. As the supportive creative family that primarily played home to French vampire/horrortica director Jean Rollin, both Nathalie and Jean-Noël, his brother Jean-Philippe Delamarre and a small team of other fans of oblique media would be responsible for a vibrant micro-culture that awkwardly flourished on the outskirts on the Parisian new wave – combining comic book culture, Lettrism, sexual liberation, psychedelic rock, graphic design, and, with this record as prime example, free jazz and avant-garde music. What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Available here for the first time ever and licensed from producer and director Jean-Noël Delamarre himself.
Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically-driven post-punk theater performers from a shared house in Leeds. To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project’s ambitious and exotic credentials didn’t tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you’ve never heard. From the same social landscape as Gang Of Four, The Mekons, and Impact Theatre Co-operative – armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Finders Keepers take the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion, and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.
Ltd. run Andy Votel mix cassette. Edition of 80 copies.
A2 Wide Awake
B Labyrinths I-XII
“Kaitlyn’s solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory.”
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.”
Limited Edition of 100 copies.
Mono No Aware is the first compilation to be released on PAN, curated unreleased ambient tracks from both new and existing PAN artists. Featuring Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, ADR, Bill Kouligas and more.
“Mono No Aware”, ‘the pathos of things’, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.
The album is mastered and cut by Rashad Becker at D&M, featuring photography by Molly Matalon and design by Bill Kouligas. A Limited Version of 100 copies will be released as a special art edition in collaboration with Mount Analog for Printed Matter’s LA Art Book Fair 2017 (spanning Feb 23-26). All copies arrive with photo print and hand-stamped vinyl, copies sold onsite are also hand-numbered and signed by artist. Limited pre-order release via Mount Analog shipping March 1.
A1. Kareem Lotfy – Fr3sh (03:52)
A2. Malibu – Held (06:22)
A3. Yves Tumor – Limerence (05:29)
A4. HELM – Eliminator (03:27)
B1. ADR – Open Invitation (04 :49)
B2. AYYA – Second Mistake (07:16)
B3. Flora Yin-Wong – Lugere (02:47)
B4. Mya Gomez – justforu (05:31)
C1. Bill Kouligas – VXOMEG (03:36)
C2. Jef Witscher – ok, American Medium (06:19)
C3. TCF – C6 81 56 28 09 34 31 D2 F9 9C D6 BD 92 ED FC 6F 6C A9 D4 88 95 8C 53 B4 55 DF 38 C4 AB E7 72 13 (0 3 :4 3)
C4. James K feat. Eve Essex – Stretch Deep (04 :20)
D1. SKYH1 – Huit (03:51)
D2. M.E.S.H. – Exasthrus (Pane) (03:44)
D3. Oli XL – Heretic (04:17)
D4 . HVAD & Pan Daijing – Zhao Hua (06 :47)
B Silicon Sessions 1 – 9
Back in stock, the 2012 debut full-length from Austin-based electronic quartet S U R V I V E is available once again with yellow and black alternate artwork. A fresh U.S. repress is in high demand for this modern classic, as the band enjoys a recent surge in notoriety on the heels of members Kyle Dixon and Michael Stein’s soundtrack work on the hit Netflix series Stranger Things. Recorded from 2010-2012 at the band’s own Omniverse Studios in Austin, this record chronicles the early days of the group as they developed and defined their familiar yet original style of dark soundscapes.
This record’s full spectrum of synth-based composition returns to LP and cassette, with CD and limited clear and black-colored vinyl editions available for the first time. S U R V I V E ’ s debut full-length marks the culmination of countless sessions recording and crafting a remarkable balance of songwriting and experimentation. The band’s signature sound is a combination of vintage and modern synthesizers, recorded live and carefully processed to draw character out of every enriched sound wave before joining the mix.
Originally released in 2012 on Berlin-based Mannequin Records,
S U R V I V E ’ s premiere is a fusion of reserved minimalism and lucid hooks. Underlined by the band’s uncompromising standards in sound design, this album maintains a damaged quality that is nuanced and cohesive across all nine emotive tracks. Ambient pieces such as “To Light Alone I Bow” and “Deserted Skies” are beautiful hybrids of harmony and tension that represent the record as a multifaceted work of both mood and melody. In contrast, the cold and brutally propulsive pair of singles “Hourglass” and “Omniverse” are strikingly addictive, making their way onto the soundtrack of the 2014 feature horror film The Guest, directed by Adam Wingard.
A transcendent splendor radiates through all of the sounds broadcast by Robert AA Lowe. Beginning with the harmonic vocal incantations found as Lichens in the early aughts, Lowe has constructed beautifully rendered tapestries of overlapping tones, phased loops and ecstatic minimalism. Both in album and in performance, his pieces are mostly spontaneously assembled into hypnotic dronings and undulating currents, evoking an earthen spiritualism that feels far more earnest than the archetypal New Age psychonaut. In recent years, Lowe has been bolstering his sound with a modular synth array that has become something akin to his own personal philosopher’s stone – an alchemical device to transform raw electricity into sympathetic chorales to his own hallowed voice. Thought Withdrawal documents a live presentation of Lowe’s work, commissioned by one of our favorite alternative spaces, Land And Sea run by Oakland artist Chris Duncan. The steady swoosh of a slow-motion LFO guides the first half of Lowe’s performance through which he tangles a drowsy leitmotif of cello-like melodies that seem to be struggling to wake up and wanting to quicken in the pace. Lowe dials in a quintessential zoned-out, cosmic vibe of a really mellow JD Emmanuel, which gives way to a generative sequence of muted rhythm box patter all soaked in reverb. As Lowe introduces voice to this water drip scaffolding, a dream-time architecture of cubist cathedrals aglow with crimson / pink neon is fully realized through sound. So lovely.
Originally released in 1960, this concept album is full of incredibly odd music, it was a masterpiece of left field sound and a full on spectacular action stereo extravaganza. This outer space fantasy is now remastered, 12 tracks appearing once again on vinyl.