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Artist: ADAM, NIKLAS
Title: A3 & B
Format: LP
Label: BIN
Country: Denmark
Price: $22.00
"Among numerous small run releases A3&B is the debut LP release by Niklas Adam. Recorded and mixed in the summer and fall of 2009 in East Jutland. A3&B represents a change in Adams early practice with electronic music, which during 2008 was intervened by a focus on near-static and reductionistic acoustic music. In addition to exploring the two sided format of the vinyl, A3&B investigates emptiness, perception of time and focus fatigue as primary compositional elements. Favoring the progress of occurrences and textural over tonal development A3&B is equal active environment and static object.

Niklas Adam works with performance- and installation art in addition to music. Runs the shared studio space ILS FYKSI, producing music for himself and others. Adam has been active in the improvised music scene for several years, touring and working in Europe, Japan, Russia and the US. He has collaborated with Mattin, Toshimaru Nakamura, Jim Denley and Anders Vestergaard among others, and is a part of the Norwegian artist group Verdensteatret, in which he works with sound, programming and electronics. Adam also forms part of the trio Tigers Mind." niklasadam.oddodd.org

"Side A Feat. Danielle Dahl. Recorded at Absorbent Templet. Side B Feat. Benjamin Lesak. Recorded at Gl. Harlev Salmecykel Opbevaring. Composed by Niklas Adam. A3 is an improvised piece for baritone- and alto saxophone, that explores minimal gestures, on a background of near silence. &B is a drone piece for two players, playing an antique harmonium, creating an atmosphere between calm and intense depending on playback volume.
Original release 2010. Reissue 2016. BIN [BIN 00-28] | Ltd. Edition of 80 copies." - BIN.

Artist: AF URSIN
Title: Classement Vertical
Format: LP
Label: Ultra Eczema
Country: Belgium
Price: $23.00
Limited to 300 copies. "In any constellation: with In Camera (his duo with Christoph Heemann), Noise-Makers Fifes (A Belgian Audio-visual collective, active between 1989 and 2006), Elodie (his duo with Andrew Chalk), as a duo with Belgian percussionist Kris Vanderstraeten, in Nivritti Marga (with Frédérique Bruyas and Raymond Dijkstra), as a live member of N​urse ​W​ith ​W​ound​, and ​most ​recently with Sloow Tapes Bart De Paepe as Ilta Hämärä…​ ​Anything the Belgian​-​Finnish walking improv encyclopedia​ that is Timo ​van Luijk touches changes into ear​ ​candy! The kind of sugar the children of the revolution get out of bed for, ​whilst their parents are sleeping off their trips to other ​dimensions.
Af Ursin ​has been ​van Luijks solo moniker since around 1990. A personal venture​ ​inspired by the forest​ and ​nature, mountains of experimental music, and ​the ​instruments surrounding him ​at his rural Flanders​ base​. His multi​-​instrumentalist ​abilities are largely spread out on this odd addition to Af Ursins catalog​ue​. ​
Classement Vertical ​retains Af Ursin​s well-documented (primarily via van Luijks La Scie Doree​ imprint) ​palette of old and obscure instruments​: a sound that ​appears to have been recorded on top of an old clock, though ​in this instance time is indeed in a warp. ​The record commences with a side​-​long piece that slowly creeps ​from psychedelic free jazz​ to a big​ ​band​ sound, whilst the second side is split between a spatial slow dripper and a wild way to bury Dave Brubeck forever…" - Ultra Eczema.
SOLD OUT

Artist: AHBEZ, EDEN
Title: Wild Boy: The Lost Songs Of Eden Ahbez
Format: LP
Label: Bear Family
Country: Germany
Price: $36.00
Gatefold sleeve. "14 rare/unreleased recordings. Guest appearances by Paul Horn, Eartha Kitt, and more. 180 gram vinyl. Fully annotated, with never before seen pictures. By now psychedelic music is a mainstay of popular taste. But questions of its origins still linger. As such, Bear Family Records now submits Wild Boy: The Lost Songs Of Eden Ahbez as fresh evidence in the quest for answers. Over the past twenty years Ahbez has gone from cult figure to harbinger of the sixties flower-power movement. This notion is born out largely by his 1948 anthem of universal love, Nature Boy, and his rare solo album from 1960, titled Edens Island -- one of popular musics earliest concept albums. Wild Boy: The Lost Songs Of Eden Ahbez both expands the Ahbez catalog and deepens the notion of a psychedelic movement having roots in the 1950s. Side one acts as a compilation of music that Ahbez wrote in the aftermath of Nature Boy. Inclusion of songs like Palm Springs by the Ray Anthony Orchestra and Hey Jacque by Eartha Kitt give listeners the chance to hear obscure cuts by big-name artists in the context of Ahbez for the first time. Side two shows the songwriter inching closer to Edens Island and the actual hippie movement, with absurdist rock/exotica tracks like Wild Boy and Surfer John, as well as sweet psych-pop like the unreleased Monterey (featuring Paul Horn on the flute). The album ends with an unreleased cut, titled The Clam Man, which Ahbez recorded as an ode to a fellow bearded hermit down in Baja, CA. In total, Wild Boy: The Lost Songs Of Eden Ahbez offers seven unreleased cuts and as many rare singles to produce an overview of the songwriters lost work from 1949-71. What Ahbez misses in hallucinogenic content, he more than makes up for with his primitive chord structures, expansive arrangements, and lyrics about travel, leisure, free-love, and spirituality. As such, the canon of psychedelic music and that of Hippie #1 just got bigger." - Bear Family.

Artist: ALTAR OF FLIES
Title: Rörelsen Mellan Rummen
Format: LP
Label: Jartecknet
Country: Sweden
Price: $22.00
"A decade has now gone by since Mattias Gustafsson released his first recording under the name of Altar of Flies. Since then, he has carved out his very own unique approach to experimental music, with an unmistakable artisic expression. The new Lp, "Rörelsen mellan rummen", is no exception to this claim. With an astonishing precision and sensibility for details, "Rörelsen mellan rummen" is definately one of his finest moments so far. We are nvited to the inner corners of a musical universe where the dull replicas of todays hollowed out experimental "scene" are left far behind. With intriguing sound collages and tape manipulations, "Rörelsen mellan rummen" takes the formula of the past to even higher levels. With a more crystallized sound than ever, the dense and restrained compositions on "Rörelsen mellan rummen" provides a new milestone in an impressive artistic trajectory. Released in 300 copies." - Jartecknet.
SOLD OUT

Artist: AMBARCHI, OREN
Title: Hubris
Format: LP
Label: Mego
Country: Austria
Price: $22.00
"Hubris continues the exploration of relentless, driving rhythms heard on Oren Ambarchis Sagittarian Domain (EMEGO 144CD/LP, 2012) and Quixotism (EMEGO 202CD/LP, 2014). Where those records looked to krautrock and techno for their starting points, the side-long opening track on Hubris begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchis love of Wang Chungs soundtrack to William Friedkins To Live and Die in L.A. (1985). Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim ORourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fells electronic percussion in its final section. After a short second part, in which Ambarchi, ORourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP (1983). As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchis own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions." - Francis Plagne. Mastered and cut by Rashad Becker at D&M, Berlin, April 2016. Photography by Estelle Hanania. Sculptures by Daniel Druet. Design by Stephen OMalley.
SOLD OUT

Artist: ANNIE ANXIETY
Title: Soul Posession
Format: LP
Label: Dais
Country: USA
Price: $17.00
"Many influential characters graced the stage of Maxs Kansas City within the creative zeitgeist of New York City during the late 1970s, but one local native named Annie Bandez thrust herself into the downtown scene with her punk ensemble Annie and the Asexuals, establishing her nom de plume Annie Anxiety (later known as “Little Annie”) and colliding head-on with the social norms of contemporary punk culture entangling the city at that time.

After a couple years of disintegrated pursuits in New York, Annie relocated to England, finding herself at the doorstep of the famed anarchro-commune Dial House headed by activist Penny Rimbaud. It was here that Annie Anxiety established herself as a singular artist and voice with her debut 1981 single “Barbed Wire Halo” on seminal Crass Records and forging a creative alliance with Crass members Penny Rimbaud and Eve Libertine. As the landscape of punk in the United Kingdom was shifting towards a more diverse, multicultural focal point, artists such as Annie Anxiety found themselves exploring musical signatures in styles such as dub reggae and rocksteady. In the summer of 1983, Annie began work at Southern Studios on what would be her first full length endeavor which encompassed all of her creative assets at that time. Employing the expertise of legendary dub producer Adrian Sherwood to realize this vision, Annie pulled together members of Crass, Flux of Pink Indians, Family Fodder, African Head Charge, London Underground and Art Interface to record her groundbreaking dub industrial masterpiece. Upon its initial release by the unofficial Crass off-shoot label Corpus Christi in 1984, Soul Possession started the avalanche of activity that would include dozens of releases and collaborations with Nurse With Wound, Coil, Current 93, Swans and Marc Almond.

Dais Records proudly reissues “Soul Possession” on vinyl for the first time in over 30 years in a limited edition pressing featuring the original artwork by Eve Libertine..." - Dais.

Artist: AUREILA SMITH, KAITLYN & SUZANNE CIANI
Title: FRKWAYS vol. 13 - Sunergy
Format: CD
Label: Rvng International
Country: USA
Price: $15.00
"Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change. Fortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of Sunergy embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the 60s by Don Buchla.

Sunergy was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, Sunergy is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.

For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the live performance potential of Dons synthesizer in the 60s and 70s, a document of which was uncovered in the improvised live recordings of Buchla Concerts 1975, recently released by Finders Keepers. After pioneering commercial sound design for Madison Avenue (including the ubiquitous Coca-Cola “Pop n Pour” sound effect), Ciani was able to finance her debut album Seven Waves, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave. Since its 1982 release, Seven Waves has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016s Ears.

Despite the serene setting where Sunergy was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artists refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.

A diametric dynamic is present in Sunergy; a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists seminal works, Sunergy instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.

Kaitlyn Aurelia Smith and Suzanne Cianis Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem." - Rvng International.

Artist: AUREILA SMITH, KAITLYN & SUZANNE CIANI
Title: FRKWYS vol. 13 - Sunergy
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.s intergenerational collaboration series. For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change. Fortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of Sunergy embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the 60s by Don Buchla.

Sunergy was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, Sunergy is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.

For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the live performance potential of Dons synthesizer in the 60s and 70s, a document of which was uncovered in the improvised live recordings of Buchla Concerts 1975, recently released by Finders Keepers. After pioneering commercial sound design for Madison Avenue (including the ubiquitous Coca-Cola “Pop n Pour” sound effect), Ciani was able to finance her debut album Seven Waves, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave. Since its 1982 release, Seven Waves has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016s Ears.

Despite the serene setting where Sunergy was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artists refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.

A diametric dynamic is present in Sunergy; a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists seminal works, Sunergy instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.

Kaitlyn Aurelia Smith and Suzanne Cianis Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem." - Rvng International.

Artist: BARRECA, MARC
Title: Music Works For Industry
Format: LP
Label: Freedom To Spend
Country: USA
Price: $18.00
"Marc Barrecas Music Works for Industry is a layered assertion. An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. The work profits the listener over industry.  Said another way, its motivations are more generative than lucrative.

No longer than four minutes, no shorter than two, each piece on MWFI is a fragment of modern life. Propaganda transmitted between the click of the remote or the turn of the dial. Friend and collaborator K. Leimer checks Cluster, Steve Reich, IannisXenakis, and Morton Subotnick as esoteric influences on MWFI in the albums liner notes, while one might imagine UptonSinclair, Studs Terkel, or Chris Anderson as egalitarian influences.

Made with musicians, performance artists, and a bespoke instrument maker, Barreca combines multiple disciplines into a collective, industrious whole. An experiment fabricated in the synth and tape studio at the artist-run alternative space and/or (Seattles version of NYCs The Kitchen), Barreca manipulates dynamic sound sources into tidy, minimal arrangements using synthesizers, modified instruments, tape looped voices, and melodic, metallic phrases.

To start, “Community Life” strews these elements across the assembly line to meet their maker. The album continues with “Shopping,” countering ominous, mechanical sounds with light, playful tones, perhaps representative of the clash of production versus exchange values. On “Hotcake” we hear mens voices, chains, and hissing steam in a methodical but urgent progression that could soundtrack Fritz Langs silent film, Metropolis. A woman seductively intones “Nerve Roots Are Uncontrollable” on the track of the same name.  “Organized Labor” also incorporates a voice, speaking the  acronym I.W.W. - International Workers of the World, also known as the Wobblies - as the music falls in line and wobbles along.

The cover of MWFI features a black and white photo of a figure in silhouette, backlit at a window, softened with curtains and plants. Maybe this is the room where the music was made: a private space, a refuge from some industrial work or at least the dubious fruits of this labor. In a way, listening to the music is entering a space without work, an apple to pluck and eat without wage or taxation.

One can imagine photographer Chauncey Hare listening to Music Works for Industryas he moved from documenting domestic interiors to the bleek efficiency of American offices. His black and white portraits of workers, isolated and obscured by cubicles and files, and published in This Was Corporate America, led to Hares disillusionment with the art market. Not wanting to sell images, he left photography, and become a therapist: publishing the self-help book, Work Abuse.

Perhaps peering into the music industry led to Barrecas eventual career, and a similar impulse to more directly touch those at the effects of economic systems. While exploring the cassette version of Music Works For Industry, we found a business card tucked inside: Marc Barreca—bankruptcy judge in Seattle. Material traces of the cassette are evident in the records packaging, the album format a newly manufactured form for Barrecas work.



Even in post-industrial times, Barrecas music offers listeners easily consumable musings on current work conditions. Freedom To Spend accepts your hard-earned and fortuitously won money in exchange for these morsels, but also believes that you need not invest unless pressed." - Freedom To Spend.

Artist: BHAAVITAAH BHUUTASTHAH
Title: Rückkopplung I
Format: Cass
Label: Robert & Leopold
Country: USA
Price: $8.00
"The current nom de guerre of Dutch sound artist Raymond Dijkstra, Bhaavitaah Bhuutasthah, lends direction to Dijkstras studio of the same title and frames reference to the cross-confusion of linguistics in modern society. For the past 30 years, Dijkstras output has been varied yet consistent, compiling dozens of self-released albums in which he takes away the focus from the ideas behind completed musical forms, and redirects these thoughts into the hand-made process of its creation. Utilizing his designated space, Dijkstra composed his recent efforts using his newly embraced medium of electronic synthesis, fusing this with his abstract system of sound reproduction using degenerated tape, natural acoustic phenomena and random percussive patterns. Thematically, “Rückkopplung” attributes this idea of feedback loops within language. The idea of how certain languages lose sight of their original roots and after centuries of words being spoken into themselves, words become foreign recreations of their original place. As a whole, the inspiration behind Rückkopplung situates itself within the coincidentally bizarre true story in which Dijkstra experienced, as told by Dijkstra himself:

“I was selling a table harmonium. One day, I got a message from a young man who wanted to buy it. His grandmother had recently died and he wanted to play the harmonium on her funeral two days later. I sent him my address and the following day I met him at my home. He acted somewhat confused because he had just, in front of my doorstep, received a somewhat unsettling message from his mother about his grandmother...and my house. Since the man had told his mother he would buy an instrument at my address (an old 1924 art deco house which had seen better times due to poor (no) maintenance), she wrote him a message informing him that his grandmother had lived right there, in exactly the same house for over 20 years. They were the previous tenants just before I came to live there. He told me the name of his grandmother was Faber. I knew then that the story was correct. I remember having received mail from the previous tenants the first year in my new house. The name was Faber. And I knew an old man had died there. That was about 25 years ago. The young man and I were both speechless. We realized the strangeness of the whole situation. The young man was somehow led to my house. The same house where his grandmother had lived an important time in her life. And where her husband had died, the year before I came there. We talked about his grandmother and I told him something about the house. He would later send me a photo of his grandparents and his mother and father, sitting in my current living room. A strange timeprint of something which had happened a few decades ago, in my house. The next day he would play the harmonium on the funeral of his grandmother. The same harmonium he had bought at the house where his grandmother had lived.” Edition of 65." - Robert & Leopold.

Artist: BOSS, SANDRA
Title: Perfekt Termisk
Format: LP
Label: BIN
Country: Denmark
Price: $22.00
"The sound material on this record is made with recordings of internal sounds found in obsolete media, and sound generators. Sound sources: Revox B77 MK II reel to reel recorder, Beocord 200 Deluxe reel to reel recorder, SONY TC.-155, Tandberg 7B, B & O RC osciallator, Leader LFG function generator, metronome, electromagnetic microphones. Composed by Sandra Boss 2013-2015. Limited edition of 300 copies." - BIN.

Artist: C-SCHULZ
Title: 10. Hose Horn
Format: LP
Label: Unseen Worlds
Country: USA
Price: $18.00
Single LP replica of C-Schulz debut LP . Comes in a Stoughton tip-on LP jacket and includes download code including digital-only bonus track. "FRÜHE JAHRE is the first time reissue of C-Schulzs early work from late 1980s and early ‘90s.  Schulzs first LP, 10. HOSE HORN, was introduced alongside other debut LPs from Jim ORourke and Frank Dommert on Dommerts Entenpfuhl label in 1991.  Combining the cathartic sounds of industrial, early techno, and innovative pop with inspiration from acousmatic, New Music, and Dada, Schulzs music is a prime example of the Cologne experimental music scene of the time.  Rhythmic delights, outlandish juxtapositions and a sustained, unresolved, aurally-fascinating tension evoke dramatic, film-like meditations. Liner notes written by Marcus Schmickler, who also co-produced many of the tracks. Remastering by Rashad Becker.

Carsten Schulz (C-Schulz) was born in Cologne in 1968 and has worked professionally as a musician and filmmaker since 1990.  During his formative years he studied classical oboe, among other instruments, and a diverse array of musical theory.  From 1996-2001, he studied audio-visual arts at the Academy of Media Arts, Cologne. Since 2002 C-Schulz has composed for the renowned Studio Akustische Kunst of the West German broadcasting service (WDR). Schulzs music is influenced by Industrial music, contemporary classical music, krautrock, Musique Concrete, library music, early techno and the underground tape scene of the late 80s.  Schulz has several releases on such labels as Extreme (Australia), Odd Size (France), Entenpfuhl + Sonig (Germany). C-Schulz rarely gives solo concerts and all of them are multichannel (5.1). He currently lives and works in Berlin, Germany." - Unseen Worlds.

Artist: C-SCHULZ
Title: Fruhe Jahre
Format: CD
Label: Unseen Worlds
Country: USA
Price: $11.00
Comes in Stoughton Mini-LP CD jacket with metallic printing and includes download code, including digital-only bonus track. "FRÜHE JAHRE is the first time reissue of C-Schulzs early work from late 1980s and early ‘90s.  Schulzs first LP, 10. HOSE HORN, was introduced alongside other debut LPs from Jim ORourke and Frank Dommert on Dommerts Entenpfuhl label in 1991.  Combining the cathartic sounds of industrial, early techno, and innovative pop with inspiration from acousmatic, New Music, and Dada, Schulzs music is a prime example of the Cologne experimental music scene of the time.  Rhythmic delights, outlandish juxtapositions and a sustained, unresolved, aurally-fascinating tension evoke dramatic, film-like meditations. Liner notes written by Marcus Schmickler, who also co-produced many of the tracks. Remastering by Rashad Becker.

Carsten Schulz (C-Schulz) was born in Cologne in 1968 and has worked professionally as a musician and filmmaker since 1990.  During his formative years he studied classical oboe, among other instruments, and a diverse array of musical theory.  From 1996-2001, he studied audio-visual arts at the Academy of Media Arts, Cologne. Since 2002 C-Schulz has composed for the renowned Studio Akustische Kunst of the West German broadcasting service (WDR). Schulzs music is influenced by Industrial music, contemporary classical music, krautrock, Musique Concrete, library music, early techno and the underground tape scene of the late 80s.  Schulz has several releases on such labels as Extreme (Australia), Odd Size (France), Entenpfuhl + Sonig (Germany). C-Schulz rarely gives solo concerts and all of them are multichannel (5.1). He currently lives and works in Berlin, Germany." - Unseen Worlds.

Artist: COLOUR BUK
Title: Fun Pack
Format: LP, 2x 7"s + 2 Cass
Label: Wir Wollen Wulle
Country: USA
Price: $15.00
A selection of Colour Buk releases from 2009-2017. Coming To Get The Stuff cassette, Dirty Girl Plus Four More cassette, New Nice Speaker 7", Dethkill 7", and Cosmic Nightmare LP.

Artist: DAGUA, LENA
Title: Jardim Zoologico
Format: LP
Label: Strangelove
Country: Germany
Price: $15.00
"Strangelove present its first project, two songs from Lena Dagua, one of Portugals great musical acts of the early 1980s. Combining a siren presence and soaring vocals, alongside songwriter Luis Fonseca and backing band Atlântida, they released a series of records that wove through the avant-pop sensibilities of the time. Collected here are two of their more leftfield moments; "Jardim Zoologico" is a beguiling mix of new wave, post punk, and dub into a short sharp pop format. The calmer "Tao" takes Fonsecas keyboards towards more Eastern territories, conjuring up a dreamy synthesized new age vibe." - Strangelove.

Artist: EMBUDAGONN 108
Title: Music For Mesmer
Format: Cass
Label: Ammolraga Tapes
Country: Japan
Price: $12.00
2014 release. Limited to 36 copies. Recordings from 1987 and 2004. "..work was composed around the drones [Music for Mesmer]. As you can see from the title the recording of 2004 dedicated to German doctor Franz Anton Mesmer. On the B side 2 song, rare 87 electronic sustained sound works are included. Artwork is also attributed to the writer himself." - Art Into Life (via Google Translate)

Artist: GAUSSIAN CURVE
Title: Clouds
Format: LP
Label: Music From Memory
Country: Netherlands
Price: $22.00
"Music from Memorys fourth release sees the Amsterdam-based label taking an exciting sidestep with the release of Clouds. Its the debut album from Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land of Lights Jonny Nash, and Marco Sterk (also known as Young Marco). The trio came together during a weekend-long recording session in April, 2014, with no preconceived ideas. Developed around improvised jams, the eight tracks on the album are all single-take live recordings. The three musicians succeed in developing a musical language all of their own, with Gigi Masin on Rhodes and piano; Jonny Nash on guitar, melodica, synths, and trumpet; and Marco Sterk on synths, rhythmic structures, and production duties. Recorded in the heart of Amsterdams red-light district, the album reflects the unusually warm spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. And on the more introverted late-night compositions, the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. Clouds is a simple, heartfelt record of an inspired meeting of unique souls in unique surroundings." - Music From Memory.

Artist: HARUTAKA, MOCHIZUKI & HIDEAKI KONDO
Title: El Idioma Infinito
Format: CD
Label: Bishop
Country: Japan
Price: $22.00
Numbered edition of 100. Similarly handsome package to Harutakas recent solo LP and collaborative release with Tomoyuki Aoki of Up-Tight: vellum obi, metallic inks, etc. Kondo has previous releases on PSF, solo and with his group EXIAS-J (who have a number of records on Bishop and one on Siwa).

Artist: HIGGINS, DICK
Title: Poems And Metapoems
Format: LP
Label: Recital
Country: USA
Price: $18.00
"Recital present a reissue of Dick Higginss Poems And Metapoems, originally released on cassette by New Wilderness Audiographics in 1982. Label head Sean McCann on the reissue: "Since the beginning of Recital, I have been trying to publish the work of Dick Higgins. He is a chief figure in my artistic world, a hero of mine. And now, with the assistance of Charlie Morrow, it has finally happened. The first vinyl album ever published of Higgins! Many know Dick Higgins as the father of intermedia, a key player in the birth of fluxus, and the owner/operator of the fabulous Something Else Press. His own poetry is what stirred me. Namely, his book Foew & Ombwhnw (1969), which contains one of my favorite of his works, Moments in the Lives of Great Women, along with other lovely poems (some included on this LP). This recording is of Dick himself reading his own poetry. Poems And Metapoems begins with a voice/tape manipulation piece from 1962, while the rest of the collection employs only language manipulation. Alike a cantor, each word is delivered perfectly with strong warmth. His ability to relay pattern-based poems into sonics is impressive. This album was recorded in 1982, and contains the reading of poems written between 1958-1980. Originally published as a cassette tape by New Wilderness Audiographics, which is nearly impossible to find now. The audio has been remastered and cleaned up for this edition. Dick lived large and was a busybody. All the faucets were running within him, handles broken off. Always pulling to mesh painfulness with playfulness, heart-warmth with heartbreak, comedy with tragedy etc. It is this plurality that Higgins encourages us to spark and flourish." Includes a 16-page pamphlet of notes and poetry by Higgins and an essay on both Higgins and New Wilderness Audiographics by Charlie Morrow; Edition of 470." - Recital.

Artist: HOMLER, ANNA AND STEVE MOSHIER
Title: Breadwoman & Other Tales
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Breadwoman & Other Tales are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier.

Its 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound. Breadwoman is born, but not by immaculate conception. For Homler, performance art had recently become “a form big enough to contain everything happening” during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged.

Homler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.

Instead of confining Anna as “a vocalist,” Moshier recognized Annas voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homlers handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.

Although Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism.

Breadwoman is a storyteller — shes so very old shes turned into bread. Breadwoman says: If you dont try to understand, you will. She is the voice, and the voice is cosmic realitys musicality. Through Breadwoman & Other Tales, we hear material meet mythos.

Anna Homler and Steve Moshiers Breadwoman & Other Tales is available now on LP, CD, and digital formats. Extensive liner notes and artist interviews were overseen by Andrew Choate. The collection was assembled by RVNG, Anna Homler, and Steve Moshier, who both continue making music to this day." - Rvng Interntaional.

Artist: HOMLER, ANNA AND STEVE MOSHIER
Title: Breadwoman & Other Tales
Format: CD
Label: Rvng International
Country: USA
Price: $12.00
"Breadwoman & Other Tales are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier.

Its 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound. Breadwoman is born, but not by immaculate conception. For Homler, performance art had recently become “a form big enough to contain everything happening” during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged.

Homler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.

Instead of confining Anna as “a vocalist,” Moshier recognized Annas voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homlers handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.

Although Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism.

Breadwoman is a storyteller — shes so very old shes turned into bread. Breadwoman says: If you dont try to understand, you will. She is the voice, and the voice is cosmic realitys musicality. Through Breadwoman & Other Tales, we hear material meet mythos.

Anna Homler and Steve Moshiers Breadwoman & Other Tales is available now on LP, CD, and digital formats. Extensive liner notes and artist interviews were overseen by Andrew Choate. The collection was assembled by RVNG, Anna Homler, and Steve Moshier, who both continue making music to this day." - Rvng Interntaional.

Artist: JELINEK , JAN
Title: Loop-Finding-Jazz-Records
Format: Double LP
Label: Faitiche
Country: Germany
Price: $25.00
Repressed. "Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelineks Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000)." - Faitiche.

Artist: JONES, JOE
Title: In Performance
Format: LP
Label: Etats-Unis
Country: USA
Price: $27.00
"After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movements first yearbox alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines -- drawing inspiration from the calliopes, automata and orchestrations of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds -- played through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil. Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion -- not unlike Harry Bertoias sounding sculptures -- Jones machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely -- a cunning subversion of the fetish for virtuosity and individual genius. Limited edition of 500 numbered copies on clear vinyl." - Etats-Unis.

Artist: KUIVILA, RON
Title: Blurred Genres
Format: Cass
Label: Slowscan
Country: Netherlands
Price: $24.00
Very small stash of original printed boxes from the long out of print 1986 release found by Jan Slowscan in storage so he put together a few more of these w newly dubbed cassettes. "Blurred Genres is a cycle of pieces composed for the dance by Susan Foster. The pieces are all concerned with either just tuning systems or polyphony with complex (often times unpitched) timbres. Stylistically the first, third and fifth pieces are devoted to the sustained, unfolding sonorities only possible with electronic sound, while the others subject various musical conventions to stylistic abuse" - Ron Kuivila.

"Ron Kuivila is a sound artist and composer. He creates instruments of his own design for performances as well as installations. Kuivilas work challenges what one can hear simultaneously. He samples sounds from many different situations, and he is influenced by nature as well as artifice. Prior to receiving his 2008 Grants to Artists award, Kuivila had shown his sound installation work at MASS MoCA (1999-2007); V2 Organization, Holland (2000); and Donaueschinger Musiktage, Germany (2000); WDR Spring Festival, Germany (2002); DeCordova Museum, Massachusetts (2003-2004); and the Moyland Museum, Germany (2007); among others. He had also performed at BYOL Festival, Italy (2003); Center for Contemporary Music at Mills College (2004); Diapason Gallery, New York (2006); and the HFG Karlsruhe, Germany (2006)."

Artist: LIL UGLY MANE
Title: Three Sided Tape Volume 1
Format: Double LP
Label: Hundebiss
Country: Italy
Price: $38.00
"Vinyl edition of Three Sided Tape Volume 1, a collection of unreleased songs and instrumentals from Lil Ugly Mane, originally released in 2013. Includes a secret fourth side. "Smokeclears" features Ilwad Awale. "Part beat tapes, part odd-and-ends compilations, all dope, these collections covered all the ingredients in Uglys supersonic cauldron, from noise-based experimentation to flat-out brilliant feats of lyricism (recorded through computer microphone) to found cassette samples, from cocaine cowboy-era funk-driven fruity loops beats to one-man black metal band practice. . . . Its a joyous wonder that more rappers havent yet lifted beats from these tapes for their own purposes" - Samuel Diamond, Tiny Mix Tapes.

Artist: LORA-TOTINO, ARRIGO
Title: Out of Page
Format: LP
Label: Recital
Country: USA
Price: $18.00
Edition of 310 copies with a 12 page insert with critical essays, score excerpts, artwork, & program notes written by Totino, and an essay by Giovanni Fontana.
"Collection of recordings by the Italian sound and concrete poet Arrigo Lora-Totino (1928-2016). His place in the history and development of poetical intermedia is undisputed.

This LP holds fourteen voice-based tape works made from the years 1968 to 2000. While there is some use of cut-up tape manipulation, the artistry truly lies in his performance of the sound plays. Multi-tracking is utilized and Arrigos nebulous voice paintings splat and click and glide. His bold expression is inspiring to me: it leads by example in encouraging the pulling of oneself further into their art.

I was staying at a hotel in San Francisco when I awoke in a sunfilled room to an email from Giovanni Fontana telling me that Arrigo had passed away. I was saddened by the departure of such a creative man, yet proud to be working with and perpetuating his legacy." - Recital.

Artist: LOWE, ROBERT AIKI AUBREY & ARIEL KALMA
Title: FRKWYS Vol. 12: We Know Each Other Somehow
Format: CD + DVD
Label: Rvng International
Country: USA
Price: $20.00
"We Know Each Other Somehow is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma.

Recorded just outside of Mullimbimby, a remote community on the eastern Australian coast, We Know Each Other Somehow pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.

In the four decades since Ariel Kalmas debut album, the privately pressed Le Temps des Moissons, the French-born musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henrys famous musique-concrète laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowes first release under his own name, the widely regarded full-length Timon Irnok Manta, released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as Lichens and is a frequent collaborator with Om and Nurse With Wound.

Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowes unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone.

Plans were soon settled to record in Kalmas home studio in Main Arm around Lowes serendipitous Australian tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album Osmose, itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout We Know Each Other Somehow as a key harmonic and timbral element with which to adorn.

Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators own.

We Know Each Other Somehow is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.

Hollenbach and Rashid captured extensive footage surrounding the recording of We Know Each Other Somehow. Using handheld HD and 8 mm cameras, they later processed the images with a Fairlight Computer Video Instrument (CVI). With its responsive, meditative perspectives and refracted, sun-bleached compositions, Sunshine Soup becomes the visual companion to the transformative musical principles explored throughout the collaborative album.

Following up his 2014 archival collection An Evolutionary Music (Original Recordings 1972 – 1979), Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, We Know Each Other Somehow shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.

Robert Aiki Aubrey Lowe and Ariel Kalmas We Know Each Other Somehow and Sunshine Soup will be released on April 13 (UK) and April 14 (US / ROW) on 2xLP / DVD, CD / DVD and digital formats. By virtue of its own merits, the film will screen independently at festivals throughout 2015." - Rvng International.

Artist: LOWE, ROBERT AIKI AUBREY & ARIEL KALMA
Title: FRKWYS Vol. 12: We Know Each Other Somehow
Format: Double LP + DVD
Label: Rvng International
Country: USA
Price: $27.00
"We Know Each Other Somehow is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma.

Recorded just outside of Mullimbimby, a remote community on the eastern Australian coast, We Know Each Other Somehow pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.

In the four decades since Ariel Kalmas debut album, the privately pressed Le Temps des Moissons, the French-born musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henrys famous musique-concrète laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowes first release under his own name, the widely regarded full-length Timon Irnok Manta, released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as Lichens and is a frequent collaborator with Om and Nurse With Wound.

Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowes unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone.

Plans were soon settled to record in Kalmas home studio in Main Arm around Lowes serendipitous Australian tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album Osmose, itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout We Know Each Other Somehow as a key harmonic and timbral element with which to adorn.

Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators own.

We Know Each Other Somehow is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.

Hollenbach and Rashid captured extensive footage surrounding the recording of We Know Each Other Somehow. Using handheld HD and 8 mm cameras, they later processed the images with a Fairlight Computer Video Instrument (CVI). With its responsive, meditative perspectives and refracted, sun-bleached compositions, Sunshine Soup becomes the visual companion to the transformative musical principles explored throughout the collaborative album.

Following up his 2014 archival collection An Evolutionary Music (Original Recordings 1972 – 1979), Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, We Know Each Other Somehow shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.

Robert Aiki Aubrey Lowe and Ariel Kalmas We Know Each Other Somehow and Sunshine Soup will be released on April 13 (UK) and April 14 (US / ROW) on 2xLP / DVD, CD / DVD and digital formats. By virtue of its own merits, the film will screen independently at festivals throughout 2015." - Rvng International.

Artist: MAJOR, PAUL
Title: Feel the Music: The Psychedelic Worlds of Paul Major
Format: Hardcover Book + 7"
Label: Anthology
Country: USA
Price: $44.00
"Paul Major has lived resolutely at the edge of outsider music culture for nearly a half-century. As an early private press and “real people” record collector turned eminent, underground rock n roller, his influence is felt if not heard all around us—until now. Feel the Music traces Pauls trajectory from his formative days in the Midwest, his years in the late 70s New York punk scene, and into his curious career as a connoisseur and campaigner of the weirdest records of all time. Brought to life with unseen photographs, rare record covers, and cut n paste ephemera from Pauls long running mail order catalog, while animated by Pauls storytelling, Feel the Music is a fanatical mystery tour through the further, outer reaches of music history. Alongside Pauls writing, Feel the Music features essays by Johan Kugelberg, Jack Streitman, Michael P. Daley, Rich Haupt, Stefan Kery, Patrick Lundborg, Geoffrey Weiss, Jesper Eklow, and Glenn Terry. Each book also comes with a special Sorcerers and Endless Boogie split 7″ vinyl record.

Paul Major was born in Louisville, Kentucky in 1954, placing him squarely in the generational path of rock n rolls mighty wave: fuzz guitar first blew his mind at age 12, and he hasnt looked back since. After stints playing in bands in St. Louis and Los Angeles, he moved to New York in 1978 and spent the next few years embroiled in the citys explosive punk scene (most notably as part of the proto-speed metal band the Sorcerers). All the while, he found himself cultivating an extensive knowledge of rare and bizarre LPs. As his expertise in obscure collecting grew, Paul began a mail-order LP business, and his catalogs soon became must-reads for their mixture of hard-won crate-digging knowledge and witty, one-of-a-kind music writing—holy texts for psychedelic lifers the world over. Starting in 1997, Paul put his decades of experience to work as the singer and guitarist of the band Endless Boogie, whose skewed, no-frills take on rock has renewed his status as a preeminent voice on the farthest, weirdest margins of popular music." - Anthology..

Artist: MERCURE, MICHELE
Title: Eye Chant
Format: LP
Label: Freedom To Spend
Country: USA
Price: $18.00
"You can see the sounds her voice makes. The literal depiction of this, a photograph of Michele Mercure with an eyeball in her mouth, is removed in the updated album art. The original graphic elements are left to suspend, speak, and sing across time. In the absence of the decade-specific portraits, the redesigned edition is dislocated from a particular or linear history. Our initial point of encounter is artifactual; a trace in place of a scar.

Accordingly, Micheles true image and body is sound. Eye Chant, as a whole, offers meditations of sound as material. Her instruments are voice and synthesizer, the former following the machines lead and language of patterns. Machine sounds become abstract words. The human voice is pulled apart, dislodged from context; a tactile, textured quality appears to reconfigure the body and machine presently or permanently.

The natural and the mechanical elements of Eye Chant commingle with the ease of a musician well-versed in the social-material entanglements of life. Like the lacework referenced in one track, Mercures record alludes to interconnections and their unraveling. Her married name formerly attached to Eye Chant has been shed for this iteration. As her electronic kin, Eliane Rodigue and Suzanne Ciani would attest, its all raw material for the musician to give form. Donna Haraway and Lucy Suchman may have been listening.

Michele offers a tender mechanics to attune to. Atmospheres expand and contract within a song, sometimes reappearing in the album - the economy of means appreciated from another vantage. Loops and undulating rhythms build up a particular kind of surface, one that places the listener in the present moment, to notice and extend that time of being here.

To get a sense of the space Mercures work occupies: compositions on this album were part of a PBS special and a performance artists production. The most narrative moments of Eye Chant, these commissioned pieces, “Proteus and the Marlin” and “100% Bridal Illusion,” are hyper feminine tracks made up of choirs of birds, breath, baby cries, waves, and poetry read just above a whisper.

The title track, “Eye Chant,” is a single vocal sample thats sequenced and melodically layered upon itself. A perfect minimal composition, where theres no excess blurring how it was made and its final crystalline form. “Too Much” closes the album with some danceability. We have traveled far from the start — “Tour de France,” where the synthesizer resembles a faucet drip and we reset — to the pace of our heart and breath.

When focused on the moment the mind wanders as it likes. It feels as though theres a collective and urgent need to decelerate. Rather than chasing the new sound or accelerating discovery, deceleration allows us to pay heed to whats less heard. Finding our time in continuum with others might be one of many impulses for reissues.

One way to interpret the name, Freedom to Spend, is an abundance of freedom that needs to be shared. In that spirit, the free thinking / art of Michele Mercure is recirculated." - Freedom To Spend.

Artist: MIKAMI, KAN
Title: Shichigatsu No Eiketsu (A Great Man Of July)
Format: CD
Label: PSF
Country: Japan
Price: $21.00
"Fourth release of intense guitar/vocal exorcism for PSF. From Alan Cummings liner notes: "Haino Keiji has said that Mikami is the only person he trusts to sing in his place."" - FE.
SOLD OUT

Artist: MIKAMI, KAN/KAZUKI TOMOKAWA
Title: Goen
Format: CD
Label: PSF
Country: Japan
Price: $21.00
"Live record by these two legendary members of the Japanese 70s singer/songwriter/guitarist school, with their combined gruff, emotional styles. Starts out as solo Mikami, than joined by Tomokawa and a larger ensemble. Both of these guys have been resurrected career-wise by PSF, in a pretty impressive way."
SOLD OUT

Artist: MOCHIZUKI, HARUTAKA
Title: Short Short
Format: Cass
Label: No Label
Country: Japan
Price: $13.00
C-10. "Limited 51 copies. All tapes were direct recording by the artist. All the tapes = all the tracks are different/unique."

Artist: MOCHIZUKI, HARUTAKA
Title: Through The Glass
Format: CD
Label: Armageddon Nova
Country: Japan
Price: $13.00
Japanese free saxophonist and vocalist. Recorded at Shizuoka Ezaki Hall, June 3, 2016.

Artist: MULLER, THOMAS
Title: Not A Bird / Transcarnation One
Format: LP
Label: Edition Telemark
Country: Germany
Price: $29.00
"Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself. This LP brings together "not a bird" and Müllers long-time preoccupation with Richard Wagners Das Rheingold. The piece, originally conceived as a video, consists of countless layers of Das Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards. Standard version comes in an edition of 250." - Edition Telemark.

Artist: MULLER, THOMAS
Title: Not A Bird / Transcarnation One (Limited Version)
Format: LP
Label: Edition Telemark
Country: Germany
Price: $56.00
"Limited version. Comes with a large hand-drilled off-center hole (diameter 27mm) for additional wobbling during playback and a small bag of original "not a bird" ashes to be scattered over the LP before playing (Note: The limited version is not playable by regular means); Edition of 50 (numbered). Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself. This LP brings together "not a bird" and Müllers long-time preoccupation with Richard Wagners Das Rheingold. The piece, originally conceived as a video, consists of countless layers of Das Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards." - Edition Telemark.

Artist: MUSCI, ROBERTO
Title: Tower Of Silence
Format: Double LP
Label: Music From Memory
Country: Netherlands
Price: $31.00
"Music From Memory present Tower Of Silence from Roberto Musci. Traveling extensively across Asia and Africa between 1974 and 1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy." - Music From Memory.

Artist: NOBU=WATARU KASAHARA
Title: Guitar Therapy
Format: Cass
Label: Kodanuki Press
Country: Japan
Price: $12.00
Recordings from 1988-1991.

Artist: NOBU=WATARU KASAHARA
Title: Taiko 2000
Format: Cass
Label: Kodanuki Press
Country: Japan
Price: $12.00
2017 release. Wraparound hand drawn xerox artwork sleeve.

Artist: OLESEN, JONAS & RUNE SOCHTING
Title: FELT
Format: LP
Label: BIN
Country: Denmark
Price: $22.00
180 G vinyl in mirrorfoil cover. Limited edition of 300 copies. "The album FELT is the result of a joint effort of the composers and artists Rune Søchting and Jonas Olesen. In their collaborative work they have explored the sonic potential of electromechanic movements, resonance and different modes of transmission of sound. This work has been presented at a number of concerts and can now be experienced on the vinyl release FELT. In their artistic investigation they have focused on the unpredictable effects that emerges in unstable systems. Their work have integrated unconventional objects and electroacoustic processes such as transducers mounted on glass, worn-out microphones, small devices such as bells, clocks etc. The various elements have been mounted and connected in often fragile structures through an ad-hoc approach. The unique and temporary structures have proven to exhibit often surprising sonic qualities that have been picked up by various types of microphones and coils. The resulting sonic imprints of the tiny movements and fluctuations have then been dramatically amplified and subsequently channeled through other objects that have served as acoustic and strange resonant “containers”.

Overall, the sonic material on the album FELT unfolds in a dynamic between something fundamentally alien while at the same time being remarkably organic and tangible. What is presented is a strange sonic field that the listener is invited to explore. While a general characteristic of the quality of the material is of something ephemeral and the unstable the resulting state is one of sustained tension, a bit like a spinning top that has lost speed but maintains its movement, but in any moment can tilt and fall." - Rune Søchting.

Artist: OLSEN, JONAS
Title: TEST
Format: LP
Label: BIN
Country: Denmark
Price: $22.00
"This record features source material, taken from a number of historical test records, and phychoacoustical demonstration recordings. Additional parts generated with a LEADER LFG-1300S analogue Function Generator, and processed by an Phillips ISP 5021 Sound Enhancer. Simulated tinnitus sounds derived from The British Tinnitus Association. Vibraphone recordings used by permission from the Electronic Music Studios, University of Iowa, USA. Psychoacoustic demonstration signals used by permission by Professor Emeritus Perry R. Cook, Princeton University / MIT Press. Audio constructed & compiled by Jonas Olesen 2014-2015. A7 and B12 are image to audio tracks, and contain text in audio format. 180 Gram vinyl. Limited edition of 300 copies." - BIN.

Artist: PARKER, EVAN/JOHN EDWARDS/JOHN RUSSELL
Title: Walthamstow Moon (61 Revisited)
Format: LP
Label: Byrd Out
Country: UK
Price: $31.00
"On November 17th 1961, John Coltrane played at the Granada Theatre in Walthamstow. On November 23rd, 55 years later, free jazz legend Evan Parker made this six track recording in the same space with John Russell and John Edwards. This recording has personal resonances for Evan: he attended Coltranes performance 55 years ago at the Granada. Evan Parker: "John Russell, John Edwards and I are going to record in that same cinema. It has had the usual chequered life of classic old cinemas of the post war era in the meantime, but the resonances of that day in 1961 will be an inspiration." Beautiful cover artwork by Oliver Bancroft. Presented in a 3mm spine case." - Byrd Out.

Artist: PIKACYU-MAKOTO
Title: Galaxilympics
Format: LP
Label: Upset the Rhythm
Country: UK
Price: $22.00
180 gram vinyl. Edition of 500. "Pikacyu-Makoto is an intergalactic love and peace duo, featuring two figureheads of underground Japanese music: Pika from Afrirampo and Makoto Kawabata of legendary psychedelic avatars Acid Mothers Temple. As a duo they embrace both sides of the coin -- drums and guitar, chaos and order, male and female, yin and yang, the angel and the devil. Pika brings her skills of mystifying performance to the table, all free-drum bluster and vocals veering between shrine maiden and wild spirit. Kawabatas guitar-work moves from a roar to a whisper, a yell to a sob, hes working on the same canvas of extremes. The aim of their unity is to write truly celestial hymns for the outer world and odes of love for the inner cosmic context. In 2011, they released their first album Om Sweet Home: We Are Shining Stars From Darkside (REPOSE 027CD, 2011). In 2016, they spent two weeks touring through Europe whilst writing their new album Galaxilympics, suffused with the outreaching sound and message of their impulsive live performances. Galaxilympics is an album of contrasts. "Space Sumo" kicks off the record in explosive style. Pikacyus drums jitter, crash and stumble, but steadfastly refuse to groove. Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. "Funifunikonefuni" follows with its frenzied take on pop music, bubbling with energy and Pikas multiple vocal layers. "Ill Forgive" is chant-like in its devotion to following the tumbling melody line of the song even to absurd and unpredictable dimensions. "Pika Mako Hall" is a more serene affair, with whispered echoes and guitar drones swirling amongst bursts of rapid sequencer ambience. "Castle Of Sand" picks up on this more spacious approach with slowly developing programmed electronics, before the title track erupts with gurgling synths, soaring guitar trails, and Pikas most searching vocal yet. The album concludes in reflective manner with the suitably titled "Sayonownara", a song as much in the present as it is in the act of saying farewell. Its positively elegiac with washes of cymbal and deep acres of guitar drone for the first five minutes before Pikas drums take things up a gear and into more psychedelic out-rock terrain. Galaxilympics is a triumph of opposites united. Its also a portal into the world of two musicians who find peace and semblance through their interaction." - Upset The Rhythm.

Artist: POULSEN, KRISTIAN
Title: Plays
Format: 7"
Label: BIN
Country: Denmark
Price: $12.00
"Reissue of Kristian Poulsens 2009 ukulele playing, originally inspired by the paradoxical (self-effacing) status of the artistic subject of the creative act of John Keats, as analysed by Giorgio Agamben, where the badly connoted ukulele instrument meets philosophy, and the viewer/listener is forced into creative participation and self-contemplation via Olafur Eliasson. Ron Schneiderman described it as “two glorious sides of brain-dead plinking. Limited edition of 50 copies. Extreme heavy weight vinyl. Play at 16 RPM." - BIN.

Artist: RAINFOREST SPIRITUAL ENSLAVEMENT
Title: Green Amulet Crafts Supernatural Qualities
Format: LP
Label: Hospital Productions
Country: USA
Price: $23.00
"This is the second in a reissue series of Dominick Fernows early work as Rainforest Spiritual Enslavement, casting spells from the Green Amulet Crafts Supernatural Qualities (2011) tape onto vinyl for the first time and steadily closing the gap in your Rainforest Spiritual Enslavement collection. Something like the soundtrack to one of Ballards prophetic visions of sunken cities, this second RSE incursion was initially released in an edition of 63 tapes in 2011 and found Fernow dwelling in a dread-fueled, paranoid headspace. Aesthetically, it forms an oblique inversion of Prurients saturated noise assaults or a sort of chopped-and-screwed adjunct to Vatican Shadow, perhaps best located closest to his Force Publique Congo output, but with fathoms more negative space and those full sunken sub bass charges. "A Slave Boy That Died An Awful Death For Not Keepng His Owners Horses. He Helps People Who Are Looking For Lost Things." fills the A side, pinpointing a location that could easily be an overgrown traffic island as some Nigerian mangroves in oil country, overrun by local scallies or machete wielding pirates, both scared witless, who could well be the B sides "An Old Hag That Wears Shoes And Stomps Over Peoples Stomachs At Night Making Them Breathless.", as is common to local legends of Manchesters southern edgelands and the Niger Delta. Thanks to Paul Corleys sensitive remaster and Dubplates & Masterings lacquer cut, the sub bass has been perfectly translated to the vinyl for total immersion, sounding stronger, wider than the tape or digital versions ever did, and in the process rendering RSEs magick at its most tangible. Ask many Fernow/Prurient/Vatican Shadow fiends and theyll likely cosign -- this is some of the dankest, most precious work in Fernows sprawling catalog. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassells Fourth World (1980). Edition of 500." - Hospital Productions.

Artist: SAVANT
Title: Artificial Dance
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
"The story of electronic music pioneer Kerry Leimer continues with a focus on his auteurist studio project Savant.

Compiling the standalone album, 1983s The Neo Realist (At Risk), with Savants debut 12″ and a grip of compilation and unreleased tracks, Artificial Dance documents Leimers complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually – and eternally – committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will.

Leimer was creatively autonomous to the point of being a persona absentia in Seattles 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine – the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, hed capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres.

Savant tonally operates in a space between This Heats dark primitivism and the found sound collage of Brian Eno & David Byrnes My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realists production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collections liner notes: “I was looking for flaws, for faults to act as the stand-out features of the music.”

Far from a provisional stab at avant-garde sensibilities, Savant represents Leimers repudiation of ambient musics passive side. Artificial Dance embodies a perfectionists family portrait of outré musicians conforming to Leimers nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.

Savants Artificial Dance is available now as double LP set, CD, and digitally. Extensive liner notes and artist interviews were overseen by Aaron Leitko. The collection was assembled by RVNG and K. Leimer, who continues making music to this day." - Rvng International.
SOLD OUT

Artist: SAVANT
Title: Artificial Dance
Format: CD
Label: Rvng International
Country: USA
Price: $15.00
"The story of electronic music pioneer Kerry Leimer continues with a focus on his auteurist studio project Savant.

Compiling the standalone album, 1983s The Neo Realist (At Risk), with Savants debut 12″ and a grip of compilation and unreleased tracks, Artificial Dance documents Leimers complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually – and eternally – committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will.

Leimer was creatively autonomous to the point of being a persona absentia in Seattles 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine – the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, hed capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres.

Savant tonally operates in a space between This Heats dark primitivism and the found sound collage of Brian Eno & David Byrnes My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realists production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collections liner notes: “I was looking for flaws, for faults to act as the stand-out features of the music.”

Far from a provisional stab at avant-garde sensibilities, Savant represents Leimers repudiation of ambient musics passive side. Artificial Dance embodies a perfectionists family portrait of outré musicians conforming to Leimers nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.

Savants Artificial Dance is available now as double LP set, CD, and digitally. Extensive liner notes and artist interviews were overseen by Aaron Leitko. The collection was assembled by RVNG and K. Leimer, who continues making music to this day." - Rvng International.

Artist: SIGHTINGS
Title: Amusers and Puzzlers
Format: LP
Label: Dais
Country: USA
Price: $17.00
"After the release of their well-received ninth studio album, Terribly Well, and their successful month long European tour in 2013, Sightings did the unexpected and quietly disbanded without notice or explanation. More than 15 years in the trenches and making a mess throughout New York City, the band made more of a polarizing impact to formalized underground music that most of their peers. Sightings would have been a national treasure if the whole country was laid to waste in Armageddon.

During the sessions that birthed Terribly Well, a complimentary album was recorded in tandem which, while not intended to be their final statement, produced the jaded epilogue from the mouth of experimental rocks most lasting monolith. Amusers and Puzzlers is the schizophrenic culmination of their brand of damaged rock. Isolated noise patterns shifted from Mark Morgans unorthodox guitar patterns sewn up from his nervous, scattered vocal phrasing. Richard Hoffmans stampede-like momentum on bass slammed against Jon Lockies drum triggers made the past couple decades crash into itself. Limited to 500 copies with cover art/design by Bill Nace (Body/Head) and comes with a MP3 download card." - Dais.

Artist: SNICKERS
Title: On The Hi Fi
Format: 7"
Label: Pour Lamour
Country: USA
Price: $6.50
"S N I C K E R S was conceived in February, 2014 as a project between two cities, San Francisco and Minneapolis, using files, phones and an old Tascam four track. A beloved old Lexicon Vortex was enlisted as a third member and that summer an 8 song, 6 min tape, “On The Hi-Fi” was released to be given out to a few friends. The small but considerable buzz that surrounded this strange recording got the attention of Poor L’amour Records who decided to put the tape out as a 7″ EP… This is On The Hi-Fi." - Poor Lamour. Forthcoming release on Siltbreeze. Edition of 300.
SOLD OUT

Artist: SNICKERS
Title: On The Hi Fi Vol. 2
Format: 7"
Label: Stiumulus Progression
Country: USA
Price: $6.50
"SNICKERS balances unsettling darkness against gentle textures and ties it together with cracked fuzz and warble. The first reference we could think of is the Residents -Eskimo in particular- but that still isnt enough to get one started as a listener. Each side is a medley of short compositions with Lynch-ian dream-like states presented as though it were recorded from a radio and stored under Laura Palmers bed for the last couple of decades. It seems to lean heavily on the musical aspects but does have some hushed and obscured vocals giving it an outsider pop edge.
The essence of Snickers is unplaceable. It has you searching for familiar comparisons that will never be easily satisfied. Its probably just better to let go and be swept into its world with this follow up to their debut, "On the HI-Fi." - Stimulus Progression.

"The music is super lo-fi, an avant, abstract, minimal murk pop, wreathed in TONS of FX, swaths of blurred reverb, a soft focus haze that renders the whole thing washed out and fantastically faded. It’s a druggy, woozy, downer melancholia with nods to Sparklehorse, Sentridoh, the Supreme Dicks, and other home brewed pop oddities, a crystalline collection of warble and waver that we’re digging a whole lot." - Aquarius. Forthcoming release on Siltbreeze.
SOLD OUT

Artist: SNICKERS
Title: On The Hi Fi Vol. 3
Format: Cass
Label: Stiumulus Progression
Country: USA
Price: $7.00
"The 3rd, and possibly best, installment of the critically acclaimed "On the Hi-Fi series.Pro-Dub, Pro-Print. Same program both sides. 11 minutes of new music. 100 copies!"

"Youve heard of the Music of Tomorrow? This is music for the day after tomorrow." -Chris Ryan. "Paleo-psych. Carl Sagan wouldve shit himself." -Tom Lax. "Sounds like it was recorded underwater and sent into submarines via broken transmitters." -Byron Coley. "The sonic equivalent of expired film in my Holga." -Richard Youngs. "A crystalline collection of warble and waver." -Andee Connors. "Sounds like a calliope a quarter mile away in high winds... clearly the product of an artist in their own domain." -Doug Mosurock. "I love it. You knew Id love it and you were right." -Kramer.

Artist: SUN RA & HIS ARKESTRA
Title: My Way Is The Spaceways
Format: LP
Label: Norton
Country: USA
Price: $19.00
2017 repress. "Fourth volume of spoken word wisdom -- direct from Saturn! The Music Is Like A Mirror / My Way Is The Spaceways / The Music Is A Sound Image / Music Is A Vibration". - Norton

Artist: SYRINX
Title: Tumblers From The Vault
Format: Triple LP
Label: Rvng International
Country: USA
Price: $34.00
"The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Torontos rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell.

Instead, the path of Syrinx whimsically veers away from the dominant mode of 70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies.

The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockells studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the schools basement.

Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockells compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Creams Disraeli Gears and who helped John land an album deal with True North Columbia.

After Intersystems dissolution, Mills-Cockell journeyed to Canadas west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the musics already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinxs signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.

From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockells economical arrangements, and also Syrinxs restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind Erik Satie, John Cages early piano works, and the cinematic power of Golden Age soundtrack music. Syrinxs self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.

Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringles loft serving as the central node for impromptu performances and the groups collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canadas RPM charts. The most eventful assignment came from the Toronto Repertory Ensembles conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace.

The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the groups new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled.

Syrinxs music is more than a faded strain in Canadas consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinxs music is its timelessness and agency.

Unlike so many turn of the 60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.

Its a tribute to John Mills-Cockells compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.

Syrinxs Tumblers From The Vault will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively." - Rvng International.

Artist: SYRINX
Title: Tumblers From The Vault
Format: Double CD
Label: Rvng International
Country: USA
Price: $15.00
"The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Torontos rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell.

Instead, the path of Syrinx whimsically veers away from the dominant mode of 70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies.

The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockells studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the schools basement.

Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockells compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Creams Disraeli Gears and who helped John land an album deal with True North Columbia.

After Intersystems dissolution, Mills-Cockell journeyed to Canadas west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the musics already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinxs signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.

From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockells economical arrangements, and also Syrinxs restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind Erik Satie, John Cages early piano works, and the cinematic power of Golden Age soundtrack music. Syrinxs self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.

Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringles loft serving as the central node for impromptu performances and the groups collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canadas RPM charts. The most eventful assignment came from the Toronto Repertory Ensembles conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace.

The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the groups new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled.

Syrinxs music is more than a faded strain in Canadas consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinxs music is its timelessness and agency.

Unlike so many turn of the 60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.

Its a tribute to John Mills-Cockells compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.

Syrinxs Tumblers From The Vault will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively." - Rvng International.

Artist: UNKNOWN ARTIST
Title: Shida-Yuri
Format: Cass
Label: Kodanuki Press
Country: Japan
Price: $12.00
"performer unknown. recording date unknown (1984-1990?) recording equipment: TASCAM PORTA ONE, Casiotone MT-65 & CASIO SK-1, SONY ECM-170 and electric guitar, electric bass, gong, reverb, delay, etc..."

Artist: V/A
Title: Lasting
Format: Cass
Label: Swill Radio
Country: USA
Price: $14.00
"A friend of mine who is in the business tells me that the stock of chrome cassettes should start to run out around the middle of this year as no one is producing them anymore. This is distressing in that not only will it lead to the sad demise of Pineapple Tapes, but also because I do all of my music with a stereo field cassette field recorder and a 4 track cassette machine. I feel like Ive finally become really good at putting together music this way and now it will be obsolete. Just like me! Putting that aside, I thought it would be great for Pineapple Tapes to go out with a bang and what better bang than an international compilation 90? So, I invited some of my friends and associates and Lasting has emerged. I must say that everyone sent excellent tracks and I did my best in sequencing the material, keeping in mind the great From Brussels With Love tape. The artists are listed below. Salud Lasting! Foust!, Karla Borecky, Graham Lambkin, Emeralds, BRRR, Dead Girls Party, Tim Goss, Frans de Waard, Asmus Tietchens, Ian Middleton, Vikki Jackman, Weyes Bluhd, Matt Krefting, The Collection Of The Late Howell Bend, Andrew Chalk, Idea Fire Company." -Swill Radio

Artist: V/A
Title: Nordic Sound Art
Format: LP + Book
Label: Nordic Sound Art
Country: Denmark
Price: $30.00
"Published by The Royal Danish Academy Of Fine Arts. Exhibition catalouge for the Nordic Sound Art graduate show 2015. Compiled by Jonas Olesen (BIN). Featuring Jonas Gazell, Troels Nøhr Holmstrøm,Michael Stoffer Christensen, Hannah Anbert,Georgia Rodger, Tuukka Haapakorpi,Tuukka Salonen, Helene Førde. Comes in heavy duty, grey cardboard folder, with 11 prints. Limited edition of 300 copies." - Nordic Sound Art.

Artist: V/A
Title: Slowscan Vol. 5
Format: Cass
Label: Slowscan
Country: Netherlands
Price: $24.00
Very small stash of original printed boxes from the long out of print 1986 release found by Jan Slowscan in storage so he put together a few more of these w newly dubbed cassettes. "..anthology of Canadian and Swedish soundpoetry is a numbered edition of 300 copies. Packed in a paperboard case with attached 4-page booklet (side 4 is glued to the box)." Featuring Four Horsemen (bpNichol, Rafael Barreto-Rivera, Paul Dutton and Steve McCaffery) Susan Frykberg, Paul Dutton, Lars Gunnar Bodin, Arne Mellnäs and more, compiled by Jan van Toorn (side B) and Richard Truhlar (side A).

Artist: V/A
Title: The Enlightening Beam of Bobby Brown
Format: Cass + Booklet
Label: Rvng International
Country: USA
Price: $12.00
"Bobby Brown exists beyond being. Bobbys documented music covers a dynamic emotional and spiritual terrain, his vocals, ever prominent, traverse six octaves of sound. Bobbys understanding of — and unbending faith — in physics and technology manifest in unbelievable instrumental and intellectual innovations. Bobbys dedication to the fundaments of peace and love radiate across time and space.

Operating at the fringe of the early 70s psychedelic and folk spheres, his 1972 self-funded and released debut album, The Enlightening Beam of Axonda, demonstrates the many cosmic qualities of Bobby Brown. Beyond Bobbys voice and message, the most beguiling aspect of Enlightening is “The Universal One Man Orchestra,” a 311 stringed instrument implementing aspects of the Irish harp, koto, sitar, thumb piano, dulcimer, drums and flute and “designed to be as small as possible and placed on racks so as to be be played from one spot.”

Bobbys description of the instrument (“primitive, contemporary, and futuristic”) may also serve as a description of the album itself. At once an intimate invocation and a universal journey of earthly and otherworldly proportions, the album ruminates on the vacillating cultural climate of its time and a prayer for a more peaceful place and existence, Axonda. The following two albums, Live, which was performed solely to his dog Mom and recorded after Bobby opened in concert for Fleetwood Mac 1978, and 1982s Prayers of a One Man Band, which added hints of popular flavor with a more outward social commentary and comedy, continue along Browns illuminated path, spinning tales of his spiritual home in Hawaii, of love, and of total religious unity.

Almost thirty years later, Bobby and RVNGs Matt Werth struck up a friendship on the back of an e-mail introduction from Douglas Mcgowan of Yoga Records. After years of correspondence, Bobby and Matt revisited some of the many stories theyve exchanged at the Berkeley Art Museum on an invitation from David Wilson to participate in a multi-dimensional residency, The Possible. Bay Area artists Kaitlyn Aurelia Smith and Austin Cesear complimented the discussion with new musical interpretations of Bobbys work. A recording of Smith and Cesears performances alongside Bobby and Matts talk and a compassionate array of photos taken by Aubrey Trinnaman have been collected as a limited cassette and art book edition available now from RVNG Intl.." - Rvng International.

Artist: VIKTOR, KNUD
Title: Ambiances/Images
Format: Double LP
Label: BIN
Country: Denmark
Price: $45.00
"This re-release documents Knud Viktors only two previous releases - Images and Ambiances - both published in 1972 on the French label LOiseu Musicien. The two plates have long been difficult to grab and become available again, assembled on one double LP. 
All the works on the release are recorded and composed by Knud Viktor in and around his own home-based study in his house in the Luberon valley of the south of France. 
It has been the goal of IDL to create a reproduction as close to the original releases as possible. The sound material is reproduced from the original master bands, but has not been re-mastered to a greater extent than preparing the material for the pressing of vinyl. Hence, Knud Viktors works appear to the same degree of band noise, brum and other sound artifacts, Both related to his overall aesthetics, composition process and the technical tools he had available."
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