Beats Новости

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout this year, each quarter will see the release of 5 new vinyls.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series:
Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

The Buchla 100 experimental session begins with a documentary recording of the noise generators. Something I find endlessly fascinating is listening to different noise sources, so I always feel compelled to record them. The remaining tracks are sequenced by my MANIAC Cellular Automata sequencer. First up are three little sequenced ditties that also incorporate the ARP 2600 modular interconnected to the Buchla 100. After this is an ultra-minimal setup using MANIAC and the mind-numbingly rare Waveform Synthesizer Model 132 module. As far as I'm aware this is the only one of these modules that Buchla ever built! A truly unique module where you have 32 pots that setup the output waveform, and an FM input as well.. The last two tracks are a Cellular Automata / FM crossmod oscillator stereo setup, lots of crunchy high pitched stuff with some deep bass notes thrown in too :

Recorded at Center for Contemporary Music, Mills College, Oakland, CA, USA on 5th April 2015. Mixed and arranged at Noyzelab, NSW, Australia between July 2015 & February 2016.

Sound Source: Buchla 100 / ARP 2600
Sequencer: MANIAC cellular automata sequencer

Vernal Croossing was Rapoon's fourth album, originally released in 1993 by Staalplaat. One of the most interesting records released by Robin Storey (founding member of the pioneering industrial group :zoviet*france) on vinyl now for the first time.

A magic balance between percussion and electronics, creating mind-bending tapestries of minimalistic patterns and quasi-melodic drones fused with occasional doses of well-placed white noise. An approach much in debt to his 12 year stint with *zoviet-france*. It paints a gossamer diaphanous drifting veil of mood over the top. Other than some moody loops and psychoacoustic dimensions, it sounds authentic - hardly a trace of crude electronics or sampling. The drumming - in soft tones rather than hard hitting ones - does nothing to intrude on the passive mood. The overall atmosphere does not really change throughout the recording making it a cool, pacifying atmosphere while having the madcap tempo which would be very easy to dance to.

This edition includes a new track called Total Crossing, edited/constructed by Colin Potter, who has been in charge of the remastering of the record. A deep drone trance/meditation edit that blew Robin's own mind (and also ours!). The successful experiment explained by Colin: "I imported all the masters to my DAW to make a mock-up of the LP & initially they were all together at the beginning of the multitrack, before I spaced them out in the record's running order. And I thought.... what would it sound like with them all playing at once? Well, it was actually suprisingly interesting, so I did a mixdown."

In 1967, 1968 and 1969 most of my works were happenings loosely based on Lewis Carroll’s The Hunting Of The Snark, a not-so-cryptic poem that, to my mind, gave clues to free the theatre in the same way the “new music” had freed jazz. It never made it to record and I gave up on the idea when I met Sunny Murray and Alan Silva when they arrived in Paris in the summer of ‘69. Few concert venues would have anything to do with us but we didn’t want that kind of connection with the public – famous or not (Jacques Higelin joined on occasion!) – which more often than not would join us on stage to bang percussion, sing, dance, freak out. Our favorite part was when we shut down the lights near the end, silently left the stage, and when the light went on for the curtain... The public had formally taken our place.

Galleries, museums and art/theatre/dance festivals, on the other hand, were open to this early multimedia event – complete with films, masks and early electronic devices (Bernard Vitet, the trumpet player, brought an early portable reverb system to the proceedings). The reels and cassettes we rescued from my basement are rather evasively labelled and the following data is far from precise. The core group was me on piano, Bernard Vitet on trumpet and electronic treatments, Beb Guérin on double bass, Daniel Laloux (who later had tremendous success in film, theatre and voice acting) as MC, Jean Frenay and Jean Vern (who did the artwork for le nouveau jazz) on saxophones, Michel Kurylo, Annick Astier, Lambert Terbrack and my then wife Françoise Tusques “singing” and “acting”, so to say. Jacques Thollot, Aldo Romano and later Noel Mcghie were on drums.

I know for sure side A is a studio recording carried out in august 1968 by the comité action musique, an activist group of artists and engineers aiming to reclaim the means of production from the “record industry”. The line-up is me, Vitet, Guérin, Laloux, Frenay, Vern, Astier, Françoise Tusques, no drums (everyone doubling on percussion), and Michel Portal on bass clarinet and saxophone as guest. Side C is a montage of the surviving bits of the happenings that took place at La Vieille Grille between August 1967 – March 1968 (sometimes on a daily basis in ‘68!), the museum of modern art during the May ‘68 demonstrations, and the Biennale Of Paris in February 1969. Sides B and D are less theatre oriented and may have been recorded either at the American center in October 1968, the international students center in November 1968 (Barre Phillips on bass and Barney Wilen on sax guested on these dates but I’m not able to confirm they are on the tapes), or in the winter and spring of 1969. However, the cassette for side b only read “Snark 1969”...

The name of the group (it changed every time it ventured out), the title of the concerts and accordingly the cuts on these LPs were all lifted randomly from Lewis Carroll’s poems and novels.

Back then, I described what we did in this way: “Composers, directors, writers, band leaders, those people are vampires sucking the blood of musicians and actors. They are byproducts of the current state of our society. Yet, someone who has something to convey needs performers... Unless a cultural revolution happens soon, I think it’s impossible to overcome those contradictions. Therefore, I wish that this rendition of the hunting of the Snark would be the last ever rendition of any work of art, and that the next stage of evolution is that any individual craving for expression will have the physical and intellectual means to create without constraints, to freely associate with others, without bearing the weight of so-called geniuses and nobodies. We want to bring to the stage the same revolution that happened in jazz with the new music.

Francois Tusques

Ancient Indonesian tradition meets doom rock in profoundly Ur ways on Stephen O’Malley and Senyawa’s collaborative commission for choreographer Gisèle Vienne Following a decade of creative bonds forged between theatre director and choreographer Gisèle Vienne
and doom sayer Stephen O’Malley that spans multiple soundtracks (solo and with Peter Rehberg in KTL)
and visual artworks, the pair travelled to Indonesia on a commission to explore the country’s rich culture in 2018. They immersed in a magical world of performative rituals where they encountered Wukir Suryadi, an experimental musician and instrument builder whose acclaimed releases both solo and as half of Senyawa have invigorated the avant and experimental rock scene over the past decade.
The six tracks of ’Bimi Sakti’ document groundbreaking ventures between Senyawa and O’Malley, yielding an incredibly powerful mix of electric guitar and bass guitar amp worship blended with the remarkable range of tonalities from Senyawa’s custom-built bambuwukir, plus traditional pipes and possessed vocals.
Practically without precedent in the modern musical sphere, the 44’ release speaks to a resounding mutuality and common musical philosophy between two musicians who are usually geographically separated by a hemisphere. Slow to start, but culminating in a wholly dilated musical vision, the performance effectively collapses eons of musical practice and thought into a singular yet timeless expression of beauty and anguish that transcends the sum of its parts.
Fleshing out the frequency spectrum between flighty, avian flutes and sprawling subharmonic bass riffs, they come to inhabit a thrilling mid-ground over the course of the performance as O’Malley moves up the registers to thrashing mid-range riffs while Suryadi invokes a range of demonic voices and unearthly tones from his bamboo instrument. The results come to prod the pineal like little else beyond, say, O’Malley’s Nazoranai trio with Keiji Haino and Oren Ambarchi, or the Phurpa album on his Ideologic Organ label, and we reckon should hailed among the boldest and most astonishing records of 2020.

Pontiac Streator, Ulla, exael and Special Guest DJ convene as virtualdemonlaxative for this unhinged West Mineral.
The only info bundled with this one-off grind-trash sesh from the West Mineral crew is “cybergrind, danger music, FTP”. Through hoarse coughs, toxic belches and searing digital noise we’re introduced to
virtualdemonlaxative - a crude effigy with one foot firmly lodged in Napalm Death’s genre-defining “Scum” and a bloody stump cauterized in the smoldering ashes of John Wiese’s painfully underrated “Soft Punk”.
Arrhythmic blast beats collapse into digi-spliced howls, pre-COVID crowd hum echoes beneath anxious alien babbling, searing feedback wails to a disconcerting climax. If the rest of the West Mineral catalogue is simmered in psychedelic sensuality, virtualdemonlaxative is a rare antivenom; it’s the disquieted sativa
to Pontiac Streator, Ulla, exael and Special Guest DJ’s undulating indica. We’ve been informed informally that ‘Cruisin’ (forty seconds long) was performed and recorded in a moving vehicle, almost causing a car accident. There’s a metaphor here, but we’re tired - listen loud and fxcking riot.

The Oystercatcher is the first collaborative LP from Cucina Povera (Maria Rossi) and ELS (Edward Simpson) Recorded in London over two days, hours’ worth of improvisations have been edited down to form these six tracks. A fragile interplay is at work between Maria’s drifting vocals and the ominous churn of Edward’s modular synth. Each sonic element takes a turn at leading the way.

The opening track ‘Mantle’ is formed from sparse, monolithic electronics, woven gently with a thread of vocals. In the closing track ‘Eon’ Maria’s voice shepherds spontaneous bursts of sounds, almost Rave-like if order were imposed, through 15 minutes of turmoil and resplendent until the end. Maria’s vocals make their own trails amongst the noise, bringing to mind the the exploratory language from Ursula K. Le Guin’s album ‘Music and Poetry from the Kesh’, recalling the same understated mystery.

The overall effect of this collaboration is a completely unique creation albeit within a recognisable lineage of predecessors. The artwork reflects the vision of these two artists, collaged together. Both images are from a trip to Helsinki. Edward’s photograph of Tulips caught after dark are reviled by a flash. Maria’s seemingly abstract drawing is a graphite rubbing taken from a granite slab of a pavement somewhere in Kallio. Together the two images represent two different methods for capturing a city’s haptic landscape.

The album moves with a feeling of transience, which is no surprise given that the idea to collaborate was formed in Helsinki, realised in London and edited together in Rotterdam. The Oystercatcher tells a fragile tale, one that spins out into the unknown. A cold union of voice and machine, still tentative and probing, learning to co-exist. A kind of fundamental shift whereby shared moments have been turned to sound. The Oystercatcher is a bird that can freely travel between the earth, sea and sky. The motif is taken from a Tove Jansson short story. A dead bird washes ashore, two different versions of events are presented to how the bird came to die. The album feels like two different stories being presented on top of one another but ultimately coming to the same tragic conclusion.

7"
(This is...) one of Sascha Müller's weirdest, most experimental musical ideas brought to life as a limited, hand-numbered edition of 100 gold vinyl 7"es. Following the concept of recording crackling run-out grooves from various classic Pop albums and glueing them together into one crackly mess of a megamix this one is a collectors novelty piece for those searching for the most extreme, unusual vinyl releases they can get hold of. Expect looped crackles, pops, surface noise and all the good stuff related to listening to vinyl on a regular but do not expect any kind of structure or user friendly listening experience at all. This is for the die-hard collectors and vinyl freaks only.

We are extremely proud to announce the return of Pye Corner Audio to Lapsus Records with the EP "Where Things Are Hollow", comprised of four breath-taking songs that transport the listener to a dystopian future throughout its twenty-four minute duration. Martin Jenkins aka "the artist's artist" explores emotive techno in "Resist" and "Northern Safety Route", two tracks that coast through progressive arpeggios, slow pulsating beats and soaring pads. Meanwhile "Mainframe" and "Continental Drift" move through more ambient and melancholic terrains, two cinematic songs that are perhaps reminiscent of works by John Carpenter or Delia Derbyshire. In short, "Where Things Are Hollow" is a beguiling analogue electronica EP that is guaranteed to delight Pye Corner Audio fans and new listeners alike. This special release will also feature the collaboration of two of the country's most prestigious independent graphic artists, Alex Trochut and Basora, whose artwork for "Where Things Are Hollow" is sure to become a collector's piece.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Ein Jahr nach seinem Fusion-Meisterwerk "Flamagra" (Top 20 DE-Charts, Musikexpress "Album des Monats") veröffentlicht "Jazzfunk-Superheld" (Spiegel Online) Flying Lotus die Instrumentals. Mit der Fokussierung auf die psychedelisch-deepen Soul-Arrangements und begnadeten Musiker, die an diesem "kosmischen Grosswerk" (Rolling Stone) mitgearbeitet haben (von Brandon Coleman über Miguel Atwood Ferguson bis Herbie Hancock), sind sie ein intimes und transzendentes Hörerlebnis für Fans und erscheinen als limitierte Formate: Do-LP mit Download-Code plus animiertem Slipmat in PVC-Hülle und CD-Digipak.

On his adventurous first new album in 5 years, Vladislay Delay renders an extreme ecology of electronic sound inspired by time spent above the arctic circle, surrounded by tundra and the rawforce of nature and visually given life by Ripatti’s wife, Antye Greie-Ripatti, aka AGF.
Although it features no location recordings, ’Rakka’ clearly imparts its theme thru a riveting palette of weathered textures, unyielding rhythms and the kind of reverberating, widescreen sound design that’s defined his catalogue of cult, contemporary music since the late ‘90s. While Vladislav been notably absent from release schedules in recent years - aside from working on the soundtrack to ‘The Revenant’ (2015) recording with Sly & Robbie (more of that to come) in
2018 - this new album is surely a bracing reminder of his knack for creating utterly immersive environments at the poles of ambient, dub, and noise.
Inspired by the struggle to survive in unforgiving conditions, the music patently resembles a number of styles associated with music from northerly latitudes. Elemental traces of Scandinavian black metal, Pan Sonic or Deathprod-like power electronics and Thomas Köneresque ambient isolationism are all detectable in the album’s brutal panoramas, and evidently speak to a shared conception of the extreme arctic’s uncontrolled and uncorrupted wilds, and their frighteningly magnetic sort of push/pull on the senses.
Titled in Vladislav’s typically alliterative style, the tracks cascade in aggressive iterations of gravel-swilled rhythm and tonal attrition. The barely-harnessed might of opener, ‘Rakka’ triggers a chain reaction on events that follows into a sort of blast-beaten ambience in ‘Raajat’, and what sounds like throttled blvck metvl vocals meshed with flashcore in ‘Rakkine’, whilst ‘Rampa’ hammers home a martial noise techno tattoo, and the final couplet take this sound to its logical end-of-earth degrees with breathtaking form.
‘Rakka’ is certain to both reaffirm and upend what listeners know and love about Vladislav Delay,while firmly galvanising his sound for an unsure future.

Following a series of standout releases on stateside imprint, Astral Plane, E.M.M.A returns to Coyote Records for the first time proper with new 12', 'Mindmaze / Pumpkin Emoji'. Having first provided a remix on Spokes' inaugural EP ('Green Eyes') for the label back in 2015, E.M.M.A has since kick-started her Angel Food radio show on NTS alongside Aimee Cliff, and also established Producer Girls — a nationwide workshop initiative aimed at helping aspiring women get into music production. On 'Mindmaze', described by E.M.M.A. herself as 'medieval funky' and originally made as a special for Mumdance on Rinse FM, she pokes fun at the club, going in sample-heavy and re-fixing anthemic Windows 95-era melodies over a stampeding, heavyset 4x4 beat. This tune is a homage to the Encarta 95 CD ROM', she explains. On the flip meanwhile, 'Pumpkin Emoji' references the glossy, crystalline textures and lo-slung 808 bass of early E.M.M.A. gems like 2014's 'Light Years', a potent reminder of why she remains one of the UK's most innovative and quietly rebellious club producers.

Mostly piano, vocals, efx and unconscious arrangements make up Laila Sakini’s “Vivienne” on Total Stasis. It asks, what if things were different? Tender symbols – flowers, butterflies, potion – portray an idealised life. But within a scene of ennui, waiting, in-between feelings are held, release comes with a sigh.

In this ever-shifting landscape, these sentiments are imbued within Laila’s oneiric compositions to form a fittingly hypnotising embrace.
Unfettered and reflective, Laila etches this fantasy with a reality more interested in the delicate and impromptu specifics of time than compositional rigour.

Recorded by composer and multi-instrumentalist Giuliano Sorgini between 1974 and 1976 in his studio in Prati district in Rome, a stone's throw from Italian television offices, Africa Oscura is a set of tracks inspired by the wildest and most obscure secrets of those lands, intended to be the background of some tv documentaries.

originally released in 1990-with Liz Lamere - Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

This new release by Colin Potter, "The Abominable Slowman", is the logical follow-on from his previous 2015 LP Rank Sonata'. Like that album, there are elements that were recorded many years ago, but this work also contains new music. Again, the emphasis is on rhythm, although the rhythmic components range from conventional drum sounds to strange electronic and/or mutated outbursts, often accompanied by squalling guitars. As to what this sounds like, keywords would be soundtrack, experimental, ambient, electronic psychedelia, contemporary, drone.... There's constant experimentation throughout the album, a search for never-before heard sounds to create obscure atmospheres and a pleasantly disturbing feeling of disquietude.

The LP is housed in a beautiful grey cardboard sleeve, hand-printed by letterpress, and die cut to reveal the printed inner sleeve, which features a number of pictures of The Abominable Slowman during the recording of the album at IC Studio's current London location.

Colin Potter has been a central figure in the UK's DIY and post - industrial underground since the late '70s. His ICR label, founded in 1981, blurred the lines between post - punk experimentation, crude pop, Krautrock - inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle , experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones's Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late '90s as well as serving as a member of Nurse With Wound's current live line - up. From the late '90s to the late '00s Potter's IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nascent UK drone scene. Recent years have seen an upsurge in interest in Potter's solo works.'

If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

Third volume of the series MATERIAL ELÉCTRICO this time released on vinyl. Compilation of international mutant electronic underground.

A tour around experimental electronics covering abstract rythms (Santiago, Black Zone Myth Chant), industrial new ebm beat (Celldöd, Klack, Violet Poison, Bässt), minimal wave (Circa Tapes, Sam de la Rosa) and the great collaboration between Sam De La Rosa & Kyle Dixon (Survive, Stranger things soundtrack)

Limited edition of 260 copies. Mastered at Sountes Studio. Artwork by Joni Kosmos and typogragpy by Israel Pinilla.

Deriving from the acclaimed performance and exhibition — staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.

Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise.

The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to it's premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy,
each track a testament to the energy that brought it into being.

Faust is anchored around three pieces — Medusa’s Song, O.W.E.N., and Queen Song — written and sung by performers Eliza Douglas and Franziska Aigner, whosesonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new
arrangements that couple the forcefulness of the physical encounter with the artifice of the studio.

Throughout the album and culminating in its closing act — the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams.Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

‘Elettroencefalogramma’ scans the full breadth of electronic composition by Italian musical mastermind Antonino Riccardo Luciani, who’s perhaps best known for his library records, but on the showing here had a strong, prescient line in mind-bending, fathoms-deep experimental and academic work with tape and early, pre-synth devices.

Awarded unprecedented access to polymath composer “Tony” Luciani’s archive of inter-disciplinary work, Finders Keepers’ Andy Votel follows his pressing of Maria Teresa Luciani’s ‘Sounds of The City’ with a first compilation survey of her sibling’s vast catalogue, newly issued via the Dead-Cert label he curates alongside Sean Canty and Doug Shipton.

The set falls deep within the label’s remit of reissued and previously unreleased work by overlooked and undocumented pioneers of 20th century sound, revealing a distinctive mix of material that nods to contemporary, tape music, neo-classical, jazz, electro-acoustic and counterpoint composition.

Drawn from original tapes recorded during the 1970s, ‘Elettroencefalogramma’ spans the heyday of Luciani’s work, before synth music was popularised. In this sense it’s worth noting Luciani’s links with Teresa Rampazzi and the pioneering electroacoustic group NPS - and namely Serenella “Serena” Marega - with whom he shares a strong affiliation toward embracing the possibilities of new music at the dawn of an unprecedented sonic epoch.

There’s a sense of being in transition between worlds and eras in the opening blend of melancholy strings and bubbling electronic rhythm ‘Battery Farm’, and likewise the cranky mixture of bestial growls and dissonance in ‘The Zoo’, while the rattly rhythm of ‘Offices’ uncannily recalls Trunk’s recent issue of ‘Mechanical Keyboard Sounds’ from the modern day.

But Luciani excels at quieter, introspective styles, as with the flute-led vision of ‘Desol 2’, and most remarkably in the stygian, primitive drum machine pulse and clammy string droens of ‘Forest of Chimneys’, which is surely crying out for imagery of Satanic mills, while the rupturing tape of ‘Bombardment’ sets him firmly in a lane of advanced Italian noise that connects him to Gruppo’s Roland Kayn and Maurizio
Bianchi.

4x12"

A massive influence on Prurient and Hospital Productions, Incapacitants’ seminal Japanese noise onslaught ‘Stupid Is Stupid’ reissued on vinyl for the first time since the 1993 double-cassette releaseSpawned by Osaka-based bank clerk Toshiji Mikawa as a solo offshoot from pioneering improv/noise unit Hijokaidan, Incapacitants initially revolved Mikawa and his self-titled feedback
instrument for three albums during the ‘80s, before he was joined by civil servant Fumio Kosakai (C.C.C.C.) circa 1991, and the pair have wreaked havoc ever since. ‘Stupid Is Stupid’ features some of their earliest and fiercest “pure noise” recordings from 1991 and was issued by legendary french noise label Sounds For Consciousness Rape (Anne Gillis, Con-Dom, Smell & Quim), and became a
cult staple of J-noise, hailed by everyone from Russell Haswell to Prurient, who now picks it up for this lovingly pieced-together vinyl edition, painstakingly restored by Kris Lapke (Alberich), and encased in sleeve art that mimics the original tape’s wire-mesh enclosure.
Selt-mantled as the “King of Noise”, Mikawa lives up to his lofty standards alongside Kokosai to the fullest across the 2 hour breadth of ‘Stupid Is Stupid’. Working hard within their style of “pure noise”, and with no concession to boring old musicality, the results are utterly febrile and seething with apocalyptic, spirit-wrenching drama; gushing torrents of high frequency squall that absorbs and spits out all that’s ferocious and effective from their influences such as Whitehouse, The New Blockaders, Borbetomagus and M.B., with a white hot sense of ecstasy that simply does not let up.
Thrilling in its sensory evisceration, the results push right up to the definition of their name, leaving listeners petrified and dealing with their own fight or flight responses to the sounds ultra violence sadism. But, as many lovers of the most effective noise might tell you, Incapacitants’ radical levels of panicked data overload are possibly, conversely meditative when you get into it.
Either way, this stuff is rarely surpassed in terms of sheer menace, and the fact that it comes from a pair of guys who wear suits to their day jobs only makes it that bit more potent and emphasises its necessary, cathartic nature.

Vinyl premiere of Masonna’s bona fide 1990 J-noise classic; a tortuous and shrieking example of Osaka’s most feared performer at an early crest of his powers.
A combustible force of nature working at the crossroads of alternative rock, death metal, and psychedelic synth music, Masonna’s music came to blisteringly define the “harshtronic” sound of Japanese noise as it lurched into the ‘90s. Following his 1989 debut ‘Open Your C*nt’ and a sick job on Bananarama (yep, them!), ‘Shinsen na Clitoris’ was issued in 1990 as the 3rd Masonna album
and it has since been staked in the annals as unmissable entry point to his savage and forbidding catalogue.
Maso Yamazaki aka Masonna would go on found prog-noise group Flying Testicle with close affiliate Merzbow in 1992, but in the years before he established a mean reputation for bringing unhinged human behaviour to his powerful live performances, known to last only a few seconds.
We can surely feel that energy unleashed and channelled into ‘Shinsen na Clitoris’, one of his best loved and notorious slabs. Gut-wrenched shrieks trigger torrents of hurtling distortion, limpid whimpers become barrages of face-melting abrasion, and collapsing tonnes of junk metal transmute into Tetuzi Akiyama-style guitar primitivism, always keeping recipients on the edge of their seat either out of exhilaration or a genuine fear for their own safety.
This is exactly the kind of stuff that has gassed the likes of Russell Haswell and Dominick Fernow (Prurient/Vatican Shadow) for decades now, galvanizing some of their strongest work with the feral nature that Japanese Noise is so widely praised for.

Blue Vinyl

Autoerotochrist’s Anjilla dons his Moonbeam Terror alias for a crushing solo debut with Hospital Productions. Laying rubble to your ears, ‘Comfort Knife’ blends teasing sampled dialogue and stark atmospheres with sheets of blistering hot noise for the faithful and types who prize their tinnitus.
“a startling and confrontational document of sheer noise textures from the immortal corpse or the corpse you can’t get rid of. the unstable and disturbing currents of riverbed noise clattering across the rocks of silt cliffs bubble up before receding again down the reverse side of the waterfall.
super crushing heavy electronics - ophelia has risen from the creek and will bring shame to her admirers. be sure not to miss moonbeam terror this year at hospital fest 12/7 in nyc! mastered by r.
mason (autoerotichrist/enemy soil).”

Red Vinyl 2x12"

Torrents of harsh filth from Black Leather Jesus man Richard Ramirez, recorded in 1999 and now sequestered by Hospital Production
“’amplified tactics’ collects 4 segments of live performances from texas and mexico in 1999, rolling back to an era when live noise shows were isolated mysterious affairs or opportunities to infiltrate mundane society via bars, tea shops, art galleries, youth centers and goth clubs. richard ramirez, who is one of the first and last standing harsh noise originators from the texan deserts
and humid turf that would spawn me of the most influential and dirtiest units to ever grace the xeroxed pages of zines ranging from industrial to grindcore. having touched all the most essential noise imprints of his time (tesco organization, praxis dr. bearmann, release, membrum debile propaganda, msbr, self abuse records, mother savage, etc.) continues to define ‘fetish’ in noise.
since the application of live recordings was a cornerstone of the artist’s studio process these live sessions are as wide ranging, fluid and climactic as any proper ‘studio’ releases from the vast library of sm noise that mr. ramirez has explored on the eve of 30 years of existence. if you’re looking for a entry point to probe the inner working of ramirez’s most iconic visions of noise - ‘amplified tactics’ is essential with its saturated ripping and wild envelopes, edited from the original 2xcdr originally released in an edition of 50.”

2x12"

A fetid Yorkshire noise classic resurfaces on Hospital Productions like something that died down your drainpipes in the ‘90s.
Smell & Quim curled out ‘Cosmic Bondage’ back in 1995 and it’s remained a firm favourite of Prurient’s domineering label since then. Helmed by Milovan Srdenovic and Jack Shit, Smell & Quim dwell in the gutter of culture and their music is suitably obsessed with themes of porn, fetishism, alcoholism, necrophilia and basically anything that gets the Daily Fail clutching their handbags.
They’re notorious for mutilating and burning a pig’s head live on stage, before being promptly ejected from the venue (run check the clips on YouTube!), and have an abject, black sense of humour that’s totally germane to UK noise and freakish noise offshoots such as Goregrind. They’re fucking off it, basically.
‘Cosmic Bondage’ is one of S&Q’s earliest and most revered outings. Newly clad in cover photo of the hirsute Barbie doll trussed with rope that came with the original tape released by Stinky Horse Fuck, the music is just awful in the best way, ranging from blitzed anal hardcore to gut wrench soreness and a final work of freeform squall starring Hakim Tubitz and Ibrahim Ibrahim on North
African lung pipes.

Hospital Productions’ ‘90s noise scene trawl arrives at Slogun’s infamous 1997 blast for legendary NYC noise label Labyrinth, clad in a jacket listing “forgotten” murderers. True Crime Electronics, indeed.
“from the austere and frightening cover with the name of forgotten killers to the monolithic washes of analog synthesized grit and dust cloud vocals of the id, this legendary album first released as a limited cassette of 100 on the cult labyrinth recordings from nyc (one of the all time great nyc cassette imprints) and then famously reissued to wide distribution via cold meat industry sublabel death factory, ‘the pleasures of death’ came to prominence in the minds of the same era of release entertainment and descent magazine and alchemy records and bloodlust!.
never has there been such an in-depth, caustic, intelligent and evil exploration of true crime violence. slogun has managed to take familiar stories, untangle them and create deep profiles that leave the listener with unsettling conclusions that do not provide the answers we are commonly forced to accept. set against the decline of america, the abstraction of the victim landscape is shattered with the brutal and disturbing lyrics faithfully reprinted. wide spine sleeve, large format booklet and poster are are taken from the original cassette version and restored on the tombstone-esque format of vinyl. truly a classic of nyc radical art and true crime electronics.
f.t.w.!”

Tape / Cassette

Mark Gergis is a producer, musician and audiovisual archivist known for his radio and video productions, recordings and performances. His work has focused on regional folk-pop music from the Middle East and Southeast Asia, including choubi and dabke from Iraq and Syria. As an archivist, Gergis is currently working on the project Syrian Cassette Archives, for which he aims to restore, preserve, catalogue and share his large collection of Syrian media from what can be called Syria’s ‘cassette era’ (1970s–2010). As an artist, under his name and others (Porest) he has released music on the Sublime Frequencies, Discrepant and Nashazphone to name just a few. It’s a wonder that amongst this hectic schedule he still finds time to present us with a new (old) collection of early century recordings (1999-2013).

Locational recordings, radio and TV intercepts, cassette excerpts, environments and street music all expertly all expertly meshed up into a vivid sound journey from places that were (and might) never be again.

Repress

Five years ago, the expression Russian electronic scene bore a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of Gost Zvuk, Russian electronic music achieved power not only as cultural phenomenon within country s borders, but also fully proved to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.

Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; from HMOT s chaotic improvisations to kedr livansky s ethereal grooves, from unearthly landscapes of Gamayun to undistracted concisions by Ol or Buttechno. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker s mastering.

Maybe this compilation won t close the question What is the Russian Sound? , which has been arising for more than twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.

Mondoj presents Jeremy, the latest release from LA's Roy Werner, who is perhaps better known for his work as G.S. Sultan. While the Max/MSP magician's previous works delved into ideas of "avant-garde pointilism" (ad.sculpt tutorial, Orange Milk Records) or presented "abstract noise as a communicative medium" (Redundancy Suite, Phinery), Jeremy repurposes pop music to create abstract, vaporous forms.

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

Ok! HeRE wE HaVe SOMetHiNg nEw. SOmEThiNg NeW FrOM SoMetHiNG nEw. MuSiC ThaTS HeRE nOw. HoUSe/tEcHNo/SoMEtHiNg ElSe . Fully formed in MONTREAL. Designed for parties and the people who play them. Parties that take place at any time of day. Parties that have partygoers who began their evening 14 hours ago or 20 minutes ago. With music, music with sci-fi, horror and JOY. With people, people scraped from the edges. People who are exhausted. Who need somewhere. And, who are confused and looking for beauty. Who need beauty. Who need to witness things. Who, what you find in the camaraderie when you work in the bottom of a coal mine. What you find before you jump out of a plane. What you find in love, or after two years of being in love, or after four years of being in love. It's different. This is a record made from real life. It's hard.

'Extremely inventive EP all around... puts a smile on u while also keeping u near tears at its beauty... amazing.' - DJ Python

'Sometimes you just know... less televised deejays and more ooze! trip to this.' - PLO Man

'Killer conscious, brave and curious tunes that don't rely on a formula or what anyone else is doing - you can hear and feel what they make that resembles their connection as friends, partners and family.' - Bake

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card

DRNTTCKS return with their fifth full-length release, this time on british tape label Industrial Coast. "White Gaze" takes a grim look at Europe anno 2019: ongoing wars against migration through the EU government and Frontex, the rise of racist nationalist parties all over the continent, a re-installment of identity politics and re-legitimation toxic masculinity. Things are fucked, but maybe they are as fucked now as they were in 1910 or 1986, because the regime has been mostly the same. It’s the panoptic stare of white, wealthy and more than often male, heterosexual cis bodies. Who still set the rules. Who still distribute the power.

All graphic work on this release is done by artist Elisabeth Thoma. The photos used for "White Gaze" were taken in the ethnographic departement of a natural history museum. There were no white bodies objectified or exhibited.

2x12"



Anthony Burgess's second wife Liana carried a cassette recorder with her at all times to capture her life with the author and their son Andrew. This extraordinarily intimate audio archive of over 1,000 cassettes now sits with the International Anthony Burgess Foundation and artist Alan Dunn has been granted access to select excerpts from it and curate sonic conversations from others.

Disc 1 contains the very first and last known recordings of Burgess's voice alongside domestic incidents, rehearsals and answering machine messages, while Disc 2 invites 23 artists and musicians to remix the rare material into a unique Burgess portrait far beyond 'A Clockwork Orange'.

Anthony Burgess was born in Manchester in 1917, Anthony Burgess was educated at Xaverian College in that city and at Manchester University. He served in the army from 1940 to 1946 and as an education officer in Malaya and Brunei from 1954 to 1959. He published more than 50 books (including 'A Clockwork Orange' and his masterpiece, 'Earthly Powers') and composed around 250 musical works. He was created a Commandeur des Arts et des Lettres by President Mitterrand of France and a Commandeur de Mérite Culturel by Prince Rainier of Monaco. He died in London in 1993. His books are still read all over the world.

Alan Dunn is an artist and curator based between Liverpool and Leeds, where he is a reader in Art & Design at Leeds Beckett University. His projects have been presented at Tate Britain, ICA, Liverpool Art Prize, BBC Radio and Bluecoat.

The International Anthony Burgess Foundation in Manchester is an independent educational charity which encourages public and scholarly interest in all aspects of the life and work of Anthony Burgess.

A collection of bedroom-engineered rhythms, psyched out slow jams and 4-dimensional steppers by GF. Very low business risk. Brought to you by Max & Can. Fictional Background: The cinematic vision of an unfinished short film project entitled ULAM SPIRAL served as the main inspiration for the score composed by Gerry Franke. Farcically over-dimensioned, the film was impossible to realise from a financial and practical perspective - a psychedelic blast of visual concepts, that lead to the unique narration style in which Franke tells an exotic story of death, a madness created by obstinacy, intrigue and coincidental creation. In 1963 Stanislaw Marcin Ulam (1909-1984) discovered a remarkable spiral formation while sketching with numbers during a mathematic lesson. He drew the natural numbers starting with 1, continuing in a left spiral and highlighting all prime numbers. Soon an unexpected pattern emerged from the sketch: The Ulam Spiral. An unexperienced director, who everyone referred to only as "Stab", was determined to realize an optical idea that alledgedly came to him while being on a trip to Jordan reading about Ulam and his spiral discovery, which initiated ideas of the connection between regularity and coincidence in Stab's mind eventually leading to the abstract script for the short film in 1993. When Franke was approached by Stab to compose the score of the film, he loved the wild imagery and the complex themes and decided to record music for ULAM SPIRAL in early 1995. A few months later Stab disappeared and Franke took a break from producing the soundtrack to focus on his band. In 1998 Stab reappeared with new ideas and convinced Franke to proceed with the score for the film, only to vanish again a couple of weeks later. Fed up with the inconsistency of the project, Franke decided to finish the soundtrack for his own listening pleasure in 2001 and kept it a secret - until today.

Genre defying, post-industrial adventures from France Sauvage, a DIY trio mixing outsider art, collage and darkwave influences in their own style of “Free Rural” and “Bruit Concret” music for
Paris-based label; In Paradisum France Sauvage play their own custom-built instruments in a way that shirks showing-off and
doesn’t pay heed to trend, while fully entrusting in the power of their collective instinct. ‘L’Homme À Zero’ is the band’s cyborganically diverse debut LP for In Paradisum and their first record since 2015’s ‘Jeux vocaux des bords de Dronne.’ It yields a half-true image of the band in action, using edited recordings to construct an album that demonstrates their tastes for off-kilter, hypnotic sounds and rhythms between the piercing folk rituals of ‘La folie chez les animaux’, the black metal techno grind of ‘Parle-toi de nous’, and the Ghédalia Tazartès-like avant-chanson of ‘Je suis sorti de ma maison.’
Essentially the band specialise in avant-garde music without pretension. There are no grand concepts or to fall back on or mask a lack of original music. On the contrary, ‘L’Homme À Zero’ is fizzing with effortlessly tight and playful invention and tona contrasts. From the cyber-folk fanfare of their puckered intro, the album saddles up a trip of Jodorowskian dimensions; traversing from desert-at-night scenes in ‘Brex me down’ to passages of psycho-cinematic harps and something like trembling R&B emoted by John Duncan, and sideways, ever sideways into chunks of Pan Sonic-like gristle and disorienting field recordings that recall a 4.1 world parallel to David Toop’s General Strike.
While narrative form surely emerges from the album’s mazy structure, it was never intended as such. It’s more testament to the band’s loose yet focussed intuition and naturally sprawling,
explorative tendencies that a surreal tale emerges which will have different meanings for every listener.

- Limitierte schwarz-lila marmoriertes Vinyl inklusive Downloadcode