{"title":"november 3, 2022","description":"","products":[{"product_id":"georgie-d-diedrich-diedrichsen-wird-gettet-werden","title":"GEORGIE D - Diedrich Diedrichsen Wird Getotet Werden","description":"\u003cp\u003eA few spare copies of this 2012 release. Limited to 125 copies in a two color silkscreened cover. Includes the DIN A4 infosheet from the original cassette, which was released in 1982 on the Datenverarbeitung label (Die Klopferbande, Esplendor Geometrico, Cultural Amnesia, Hunting Lodge, etc..).\u003ciframe src=\"\/\/www.youtube.com\/embed\/69ZbDf3ZIso\" height=\"280\" width=\"600\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Was Soll Das? Platten","offers":[{"title":"LP","offer_id":51855899591,"sku":"13227-WAS SOLL DAS? PLATTEN","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/IMG_2149.heic?v=1696694121"},{"product_id":"no-neck-blues-band-qvaris-west-coast-tour-poster","title":"NO NECK BLUES BAND - Qvaris West Coast Tour Poster","description":"NNCK poster package: Qvaris West Coast Tour Poster, designed by Arik Roper ( see his amazing work at http:\/\/www.arikroper.com ), printed by Arthur magazine on heavy poster stock (11x17) plus a free promo poster for Qvaris (9x13). Important note:  includes US media mail shipping and handling (the poster must be shipped individually, in a mailing tube).\u003cimg src=\"\/\/drive.google.com\/uc?export=view\u0026amp;id=0Bw1GqCj0jZ69OGdUcHNyQW5KcUU\" width=\"600\" height=\"883\"\u003e\u003cimg src=\"\/\/drive.google.com\/uc?export=view\u0026amp;id=0Bw1GqCj0jZ69SUdVVFVSWjIxSEk\" width=\"402\" height=\"587\"\u003e","brand":"Sound@One","offers":[{"title":"Poster","offer_id":51864985735,"sku":"3576-SOUND@ONE","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/image_cdf1ebb8-3ed7-4c20-8c19-8fe1e059c6d8.jpg?v=1598301529"},{"product_id":"no-neck-blues-band-aftypiclipse-for-jazzfinger","title":"NO NECK BLUES BAND - Aftypiclipse (For Jazzfinger)","description":"\u003cp\u003e\"This is the bomb NNCK dropped on ATP, December 2006. Entirely new sequence and improved mastering and fidelity from the CDR version.\"\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe No Neck Blues Band are one of the most enigmatic, mysterious, and defiantly anti-commercial groups to emerge from the New York loft scene during the 90s. The collective was formed in 1992 around a core of multi-instrumentalists who have stubbornly and admirably insisted on individual anonymity.\" - Staubgold, 2006.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"utf-8\"\u003eNNCK's activity was the first documented in 1994. Since then they \u003cbr data-mce-fragment=\"1\"\u003ehave gone on to be represented by The Shadow Ring's Dry Leaf Discs, \u003cbr data-mce-fragment=\"1\"\u003eEcstatic Yod, SER\/SERES, John Fahey's Revenant, Kill Rock Stars \u003cbr data-mce-fragment=\"1\"\u003esub-label 5 Rue Christine, Staubgold, Les Disque Victo, Locust Music, \u003cbr data-mce-fragment=\"1\"\u003eAlga Marghen side label Planam, Kelippah, and their own Sound@One \u003cbr data-mce-fragment=\"1\"\u003eimprint. They have toured North America and Europe although have \u003cbr data-mce-fragment=\"1\"\u003erarely played live in later years. Members of NNCK have been involved \u003cbr data-mce-fragment=\"1\"\u003ein a wide range of other musical projects including Angelblood, \u003cbr data-mce-fragment=\"1\"\u003eSabbath Assembly, D. Charles Speer \u0026amp; The Helix, Enos Slaughter, \u003cbr data-mce-fragment=\"1\"\u003eRhyton, Suntanama, Coach Fingers, K-Salvatore, Izititiz, Malkuth, \u003cbr data-mce-fragment=\"1\"\u003eTest, Key of Shame, Decimus, Raajmahal, and Ki.\" - Ri Be Xibalba, 2013.\u003c\/span\u003e\u003c\/p\u003e","brand":"Sound@One","offers":[{"title":"LP","offer_id":51878064519,"sku":"6701-SOUND@ONE","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1284536-1206369978_jpeg_ce7357ff-1a44-468e-a967-8f82d6b6aa7c.jpg?v=1571717629"},{"product_id":"group-ongaku-music-of-group-ongaku","title":"GROUP ONGAKU - Music Of Group Ongaku","description":"\u003cp\u003e\"Group ONGAKU, founded mainly by students at Tokyo National University of Fine Art \u0026amp; Music, was the 1st collective musical improvisation group. The group began their activities in 1958, \u0026amp; from the naming of the group in 1960 onward continued until somewhere around 1962. They attempted to create acoustics corresponding to actual time \u0026amp; space by means of collective improvisation. Although methodically different, the music that they pursued incidentally shared common directions with contemporaries such as John Cage \u0026amp; other involved in the avant-garde artist collective of Fluxus. - Takako Okamoto, taken from original liner notes.\u003cbr\u003e\u003cbr\u003e\"Three wild \u0026amp; woolly scrambling tracks that melt nodes. Dished are dropped, vacuum cleaners get fried, saxes, organs \u0026amp; cellos howl, Group Ongaku were doing it all when the only other cosmic acolyte on the scene was Alan Watts. And these recordings-laid down a couple of years AHEAD of Big Als acid jabber- make This Is It sound like the lysergic soundtrack to Hello Dolly! by comparison. Concurrently, these primal articulations bear the distinction of sounding like the COMPLETE Nurse With Wound List playing at once.. And when you realize that said posse includes Airway, Cromagnon, Don Bradshaw Leather \u0026amp; Throbbing Gristle among its formidable ranks, then one must understand that what is passing between their ears is an aural Excalibur of avant\/experimental freakdom that almost no one knew existed. A staggering \u0026amp; crucial lost piece to the ever burgeoning puzzle of the weird.\" - Phinneas Barbital, author, Cracks Inside Planet Brain (forthcoming, 2011).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Those familiar w\/Julian Copes seminal Japrocksampler will recognize the name Group Ongaku as the cornerstone of the 32 page entry, \"Experimental Japan. Simply put, this collective was edenic as the foundation of fusing avant classical input with organic,improvisational output, thus forging a singular Minimalist sound on par w\/similar, radical outre composition that was taking place in the West at the same time (Cage \u0026amp; Stockhausens work in particular). That members of Group Ongaku would later be instrumental in founding Japans Fluxus movement as well as form the legendary Taj Mahal Travellers seems almost elementary.And while to some these recording might sound archaic, their importance can never be understated or denied. Recorded in 1960 \u0026amp; 61 respectively, these 3 tracks were original 1st released on CD in a small edition in 1996. Long thought to be impossible to replicate onto vinyl due to time constraints (side 1 is practically 35 minutes in length), new technology in Japanese audio restoration has made it possible for Music Of Group Ongaku to finally see a proper LP release. And the sound is most exhilarating.  Personnel is as follows; Takehisa Kosugi (violin, sax, tape), Chieko Shiomi (piano), Mikio Tojima (cello), Yasunao Tone (sax, tape), Genichi Tsuge (guitar), Shukou Mizuno (cello, drums tape)  Japanese import, includes English language insert, edition of 300.\" - SEER Sound Archive.\u003c\/p\u003e","brand":"SEER Sound Archive","offers":[{"title":"LP","offer_id":51930694215,"sku":"11066-SEER SOUND ARCHIVE","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2665420-1302892099_png.jpg?v=1571717932"},{"product_id":"mahogany-brain-with-junksaucepan-when-spoontrigger","title":"MAHOGANY BRAIN - With (Junk-Saucepan) When (Spoon-Trigger)","description":"\"Souffle Continu Records presents the first official vinyl reissue of With (Junk-Saucepan) When (Spoon-Trigger), Mahogany Brains 1971 debut album. This LP is the second in Souffle Continus series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder G_ɬ©rard Terron_ɬ®. Mahogany Brain was led by street poet and underground filmmaker Michel Bulteau and Patrick Geoffrois, and shared a raw aesthetic with The Velvet Underground fully realized on this albums savage and unhinged songs, built upon distorted guitars and crude lyrics. Presented in a gatefold sleeve with obi strip and matte finish. Limited to 1000 copies: 700 on black vinyl.\" - Souffle Continu.\u003ciframe width=\"600\" height=\"300\" src=\"\/\/www.youtube.com\/embed\/peOaiwvrmVQ\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Souffle Continu","offers":[{"title":"LP","offer_id":52001528391,"sku":"16394-SOUFFLE CONTINU","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FFL005LP_CU.jpg?v=1666371467"},{"product_id":"mahogany-brain-with-junksaucepan-when-spoontrigger-clear-purple-vinyl","title":"MAHOGANY BRAIN - With (Junk-Saucepan) When (Spoon-Trigger) (Clear Purple Vinyl)","description":"\u003cp\u003e\"Clear purple vinyl. Limited edition of 300 copies. Souffle Continu Records presents the first official vinyl reissue of With (Junk-Saucepan) When (Spoon-Trigger), Mahogany Brains 1971 debut album. This LP is the second in Souffle Continus series of ten reissues from the catalog of the cult French label Futura Records, fully licensed by Futura founder G_ɬ©rard Terron_ɬ®. Mahogany Brain was led by street poet and underground filmmaker Michel Bulteau and Patrick Geoffrois, and shared a raw aesthetic with The Velvet Underground fully realized on this albums savage and unhinged songs, built upon distorted guitars and crude lyrics. Presented in a gatefold sleeve with obi strip and matte finish.\" - Souffle Continu.\u003c\/p\u003e","brand":"Souffle Continu","offers":[{"title":"LP","offer_id":52001827399,"sku":"16487-SOUFFLE CONTINU","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FFL005LTDLP_CU.jpg?v=1666371273"},{"product_id":"goldberg-misty-flats","title":"GOLDBERG - Misty Flats","description":"\"Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed. In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didnt know where it was heading, it was the fumes of Watergate days, says Goldberg now. Id just left my band, and I didnt know where I was heading either. And thats what Misty Flats represents: neither high road nor low, but somewhere in between. Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: I wanted to make the first punk rock album, and if Id recorded those songs with a band, maybe thats what it wouldve been, Goldberg says. The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LPMicrominiature Love, playing guitar, bass, harmonica, and vocals between them. In it, we hear echoes of Goldbergs childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. Hollywood and Stars In The Sand dream of LA life, where Pop And Ice has a narrative straight from hard-edged 70s cinema about a drummer whos drafted into the army. Never Came To Stay details his return to Minneapolis, where he remains to this day, working as an administrator for the Minnesota Twins baseball team. Back in 74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and GoldbergsMisty Flats, which was pressed in a run of just 500. We were into art, not commerce, notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day;Misty Flats, however, is finally widely available in this first-ever reissue. - Future Days.\u003ciframe width=\"600\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2-5pmaKLfx4\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Future Days","offers":[{"title":"LP","offer_id":52003779655,"sku":"17076-FUTURE DAYS","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FDR612CD_CU_11f63e4c-9f33-443d-8091-18b086a99fb0.jpg?v=1667070858"},{"product_id":"hairbone-earth-to-momma","title":"HAIRBONE - Earth To Momma","description":"\"\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eHairbone\u003c\/b\u003e\u003cspan\u003e is a New York-based power trio of artists \u003c\/span\u003e\u003cb\u003eRaúl de Nieves\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJessie Stead\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eNathan Whipple\u003c\/b\u003e\u003cspan\u003e, formerly known as \u003c\/span\u003e\u003cb\u003eHaribo\u003c\/b\u003e\u003cspan\u003e. Functioning mainly in the art world, Hairbone has inflicted audiences from museums to decrepit basements with their carnivalesque live shows for nearly a decade. Each unique, thematically pointed multimedia performance narrative features frontman de Nieves inhabiting new personae in a sculptural actionist mode, brandishing oversized text-emblazoned props as if they were picket signs before their eventual destruction as Hairbone's near-opera burlesque freak shows unfurl. Obliquely political, theirs is a protest music without didacticism. Despite Hairbone's prolific, obsessively-documented life as a performance art group, \u003c\/span\u003e\u003ci\u003eEarth To Momma\u003c\/i\u003e\u003cspan\u003e is the band's first studio LP, distilling their sprawling live shows into 12 distinct pieces of lyrical, art-damaged rock and pop music. Their institutional success begs for comparisons to artists' bands like \u003c\/span\u003e\u003cb\u003eDestroy All Monsters\u003c\/b\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cb\u003eDie Tödliche Doris\u003c\/b\u003e\u003cspan\u003e, but Hairbone's confusion of high and low culture fits them equally into peerdom with the classic American underground of the \u003c\/span\u003e\u003cb\u003eButthole Surfers\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eSun City Girls\u003c\/b\u003e\u003cspan\u003e. A native of Mexico, de Nieves' bi-lingual incantations are bolstered by Stead's synthetic drum sampling and acid-fried neoclassical shredder excess courtesy of guitarist Whipple. The record is a shapeshifting suite that fits veiled commodity critique, volcanic convulsions, blasé songcraft, and a breezy instrumental into a hallucinatory vision haunted by abject clowns and the grain of twisted emergency police calls. With tongue set firmly in cheek across Stead's ode to Chateau Diana bodega \"wine product\" and de Nieves' simulated \u003c\/span\u003e\u003cb\u003eKim Gordon\u003c\/b\u003e\u003cspan\u003e sighting, Hairbone maintain an irreverent authenticity in an era when the mere notion has become a barren field. With cover art by Jessie Stead, the record also features guest appearances from \u003c\/span\u003e\u003cb\u003eMudboy\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLucy Jean Powers\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSergei Tcherepnin\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eYu Yamaguchi\u003c\/b\u003e\u003cspan\u003e. Edition of 500.\" - Blank Forms.\u003c\/span\u003e","brand":"Blank Forms","offers":[{"title":"LP","offer_id":13056422117439,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BLANK003LP_CU.jpg?v=1571718519"},{"product_id":"hennix-catherine-christer-selected-early-keyboard-works","title":"HENNIX, CATHERINE CHRISTER - Selected Early Keyboard Works","description":"\"\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eSelected Early Keyboard Works\u003c\/i\u003e is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot-on-the-heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix's first solo museum exhibition in over 40 years, and coincides with both Blank Forms' publication of \u003ci\u003ePoësy Matters\u003c\/i\u003e and \u003ci\u003eOther Matters\u003c\/i\u003e, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix's visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix's own music has been given a full-length vinyl issue. In 1976, Catherine Christer Hennix's just intonation live-electronic ensemble The Deontic Miracle performed Hennix's original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the ten-day Dream Music Festival, \u003ci\u003eSelected Early Keyboard Works\u003c\/i\u003e features three pieces of minimal music, performed by Hennix on tunable electric keyboards. \"Mode Nouvelle Des Modalités\", for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix's formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley's synthesized reveries. \"Equal Temperament Fender Mix\", performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more somber, hallucinatory means. Hennix is joined by Hans Isgren for the collection's centerpiece, \"The Well-Tuned Marimba\", for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix's \u003ci\u003eThe Electric Harpsichord\u003c\/i\u003e (2010), but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion's status as \"\u003ci\u003eTHE obscure masterpiece of the days of the early American minimalism\u003c\/i\u003e\". Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century. Tape transfer and master cut by Andreas (Lupo) Lubich. Audio restoration and mastering by Stephan Mathieu.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Double LP","offer_id":13056437485631,"sku":"","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BLANK002LP_CU.jpg?v=1571718519"},{"product_id":"blank-forms-blank-forms-vol-2-music-from-the-world-tomorrow","title":"BLANK FORMS - Blank Forms, Vol. 2: Music from the World Tomorrow","description":"\u003cp\u003eMusic from the World Tomorrow, the second issue of Blank Forms journal, brings together a combination of never-before published, lost, and newly translated materials. Featuring Marshall Allen and the Sun Ra Arkestra on the cover, this issue also includes John Corbetts writing on the enigmatic annotations found on Sun Ras reel-to-reel tape archives. Visionary avant-garde jazz vocalist Patty Waters speaks with Larry J. Nai about the art and experiences that moved her from childhood to the then-now, touching upon her mysterious 70s and 80s period of musical inactivity, in a rare 1997 Halana interview reprinted here. I struggle,\" a prose poem by Matana Roberts, explores the creative conundrum of making American music in a state of national crisis under POTUS #45. Maryanne Amacher remains a focal point of this second issue, with three pieces here: scholar Amy Cimini contributes a text detailing the genesis, score, and theoretical underpinnings of Amachers Adjacencies; Joan Brigham presents Scott Fishers account of his career working with virtual reality and 3D stereoscopic imaging; and an excerpt from science-fiction writer Olaf Stapledons Last and First Men is reproduced, a favorite of Amachers. Tony Conrad is represented twice: Filmmaker Andrew Lampert introduces a selection of Conrads OLD IDEAS in full color -- handwritten notes from the mid-1960s through the mid-1970s; and a new transcription of a 1989 phone interview by Alan Licht. Conversely, in her rediscovered 2001 interview with Marcus Boon, Swedish minimalist Catherine Christer Hennix praises La Montes revival of just intonation. This issue also features a transcription of a 2017 Annea Lockwood talk and conversation with crys cole, discussing Lockwoods Tiger Balm (1970) and Ear-Walking Man\/Woman (1996). Bassoonist Dafne Vicente-Sandoval contributes a text that sheds light on the performance of Jakob Ullmanns threshold compositions Muntzers stern (2015) and Solo II (1992), forthcoming on Editions RZ (RZ 1038-39CD). And Klaus Lang provides both an aphorism about cow behavior and a manifesto for compositional strategies. Krautrock group Animas 1981 US tour diary has been newly translated from German for inclusion here. A chapter from David Hopkinss recent translation of legendary Japanese folk singer Kan Mikamis autobiography is featured. Composer Tashi Wada contributes a print titled Double Vision. And Japanese sound art pioneer Akio Suzukis self-published 2008 Aki-nyan, tora no maki gets a full reprint. Edited by Lawrence Kumpf and Joe Bucciero. 333 pages; 6x8 inches; Edition of 750.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":13354264985663,"sku":"21077-BLANK FORMS","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/magazine2_280x420_5c8d25d7-d2d7-48cc-9900-dbf6ce31bc18.png?v=1580313445"},{"product_id":"connors-loren-unaccompanied-acoustic-guitar-improvisations-vol-10","title":"CONNORS, LOREN - Unaccompanied Acoustic Guitar Improvisations Vol. 10","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEdition of 100 with original drawings by Connors. \"Before the spectral, romantic electric guitar miniatures for which he is celebrated today, Loren Connors recorded a string of nine solo acoustic guitar improvisations under the name of Loren Mazzacane between 1979 and 1980. The records feature Lorens contorted impressions of Delta and country blues, persistently kneaded into sidelong guitar excursions entangled with wordless, mournful vocal utterances, hummed and moaned in imitation of the dogs that often howled outside his window. Originally released on Lorens own Daggett Records (named after the street he lived on in New Haven), these LPs slipped into obscurity after Daggetts distributor went bankrupt, forcing the guitarist, who didnt have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Unseen Worldss Tommy McCutchon in the archives of Columbia University, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, in front of a live audience at the Creative Music Studio (the improvised music nonprofit founded by Karl Berger, Ornette Coleman, and Ingrid Sertso), Unaccompanied Acoustic Guitar Improvisations Vol. 10 provides a welcome addition to the canon of Lorens early solo releases and is the first contemporary vinyl publication of material from his Daggett Street period. As with the original Daggett records, the LP is issued in handmade covers with paste-on art featuring a replica of a recent drawing included in Lorens October 2018 art exhibition Wild Weeds, presented by Blank Forms. One of the worlds most singular guitarists, Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades on labels like Table of the Elements, Drag City, Ecstatic Yod, and his own Daggett Records, Connors has wrung distinctive shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim ORourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek. Creative Music Studio is an ongoing organization that engages musicians and listeners from all backgrounds to deepen and broaden their musical sensitivity, expression, and understanding through workshops, recordings, and concerts worldwide.\" - Blank Forms.\u003c\/span\u003e","brand":"Blank Forms","offers":[{"title":"LP + Art","offer_id":13570512683071,"sku":"","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/Lorenart2_280x420_74d3e40b-ad83-497a-b5c7-0f66833dc3c2.png?v=1571718573"},{"product_id":"connors-loren-unaccompanied-acoustic-guitar-improvisations-vol-11","title":"CONNORS, LOREN - Unaccompanied Acoustic Guitar Improvisations Vol. 10","description":"\"Before the spectral, romantic electric guitar miniatures for which he is celebrated today, Loren Connors recorded a string of nine solo acoustic guitar improvisations under the name of Loren Mazzacane between 1979 and 1980. The records feature Loren's contorted impressions of Delta and country blues, persistently kneaded into sidelong guitar excursions entangled with wordless, mournful vocal utterances, hummed and moaned in imitation of the dogs that often howled outside his window. Originally released on Loren's own Daggett Records (named after the street he lived on in New Haven), these LPs slipped into obscurity after Daggett's distributor went bankrupt, forcing the guitarist, who didn't have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Unseen Worlds's Tommy McCutchon in the archives of Columbia University, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, in front of a live audience at the Creative Music Studio (the improvised music nonprofit founded by Karl Berger, Ornette Coleman, and Ingrid Sertso), Unaccompanied Acoustic Guitar Improvisations Vol. 10 provides a welcome addition to the canon of Loren's early solo releases and is the first contemporary vinyl publication of material from his Daggett Street period. As with the original Daggett records, the LP is issued in handmade covers with paste-on art featuring a replica of a recent drawing included in Loren's October 2018 art exhibition Wild Weeds, presented by Blank Forms. One of the world's most singular guitarists, Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades on labels like Table of the Elements, Drag City, Ecstatic Yod, and his own Daggett Records, Connors has wrung distinctive shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O'Rourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek. Creative Music Studio is an ongoing organization that engages musicians and listeners from all backgrounds to deepen and broaden their musical sensitivity, expression, and understanding through workshops, recordings, and concerts worldwide.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":13570552168511,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF004LP_CU.jpg?v=1571718573"},{"product_id":"christiansen-henning-blank-forms-journal-3-freedom-is-around-the-corner","title":"CHRISTIANSEN, HENNING - Blank Forms Journal Vol. 3: Freedom is Around the Corner","description":"\"\u003cspan\u003eThe third issue of Blank Forms’ journal is released in conjunction with \u003c\/span\u003e\u003cspan\u003eFreedom is Around the Corner\u003c\/span\u003e\u003cspan\u003e, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist \u003c\/span\u003e\u003cspan\u003eHenning Christiansen \u003c\/span\u003e\u003cspan\u003e(1932–2008).\u003c\/span\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003ePerhaps best known for his collaborations and artistic affinities with notable artists such as \u003c\/span\u003e\u003cspan\u003eJoseph Beuys \u003c\/span\u003e\u003cspan\u003eand Fluxus members like \u003c\/span\u003e\u003cspan\u003eNam June Paik \u003c\/span\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cspan\u003eDick Higgins\u003c\/span\u003e\u003cspan\u003e, Christiansen, who worked primarily on the remote Danish island of Møn, \u003c\/span\u003e\u003cspan\u003emoved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and vi\u003c\/span\u003e\u003cspan\u003esual art over the course of a fifty-year career. Yet Christiansen’s work has remained under the radar, even in the ten years fol\u003c\/span\u003e\u003cspan\u003elowing his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs \u003c\/span\u003e\u003cspan\u003ehave rarely been performed or exhibited in the United States. \u003c\/span\u003e\u003cspan\u003eFreedom is Around the Corner\u003c\/span\u003e\u003cspan\u003e—the exhibition, the performance \u003c\/span\u003e\u003cspan\u003eseries, and the journal—seek to present Christiansen’s life and work in a holistic manner that befits his dynamic practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLike previous issues of the Blank Forms journal, \u003c\/span\u003e\u003cspan\u003eFreedom is Around the Corner \u003c\/span\u003e\u003cspan\u003ecollects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christian- \u003c\/span\u003e\u003cspan\u003esen Archive during the exhibition’s curatorial process. The issue begins with the first of four newly translated interviews with \u003c\/span\u003e\u003cspan\u003eChristiansen himself, conducted circa 2006 by the German writer \u003c\/span\u003e\u003cspan\u003eThomas Groetz\u003c\/span\u003e\u003cspan\u003e. Two others, conducted by \u003c\/span\u003e\u003cspan\u003eFrancesco Conz \u003c\/span\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cspan\u003eMichael Glasmeier \u003c\/span\u003e\u003cspan\u003ein the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe fourth interview, a more experimental text conducted by \u003c\/span\u003e\u003cspan\u003eHelmer Nørgaard\u003c\/span\u003e\u003cspan\u003e, was originally published in Danish in the magazine \u003c\/span\u003e\u003cspan\u003eDMT\u003c\/span\u003e\u003cspan\u003e, in a 1986\/87 issue devoted to Christiansen. In this issue we’ve created a translated facsimile of that \u003c\/span\u003e\u003cspan\u003eDMT \u003c\/span\u003e\u003cspan\u003eissue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer \u003c\/span\u003e\u003cspan\u003eLars Morell \u003c\/span\u003e\u003cspan\u003eand the artists \u003c\/span\u003e\u003cspan\u003ePer Kirkeby \u003c\/span\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cspan\u003eBjørn Nørgaard\u003c\/span\u003e\u003cspan\u003e. We hear from other Christiansen collaborators through correspondence—including in transcribed letters from \u003c\/span\u003e\u003cspan\u003eEmily Harvey \u003c\/span\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cspan\u003eDick Higgins\u003c\/span\u003e\u003cspan\u003e, whose messages to and from Christiansen were recently discovered in the Archive—and through interviews, including newly conducted interviews with his wife and longtime collaborator, \u003c\/span\u003e\u003cspan\u003eUrsula Reuter Christiansen\u003c\/span\u003e\u003cspan\u003e; Bjorn Nørgaard, who spoke with Christiansen’s son \u003c\/span\u003e\u003cspan\u003eThorbjørn Reuter Christiansen\u003c\/span\u003e\u003cspan\u003e; and later musical collaborators \u003c\/span\u003e\u003cspan\u003eWerner Durand \u003c\/span\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cspan\u003eUte Wassermann\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcept Nørgaard, these collaborators will all speak or perform as part of the \u003c\/span\u003e\u003cspan\u003eFreedom is Around the Corner \u003c\/span\u003e\u003cspan\u003eprogramming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansen’s legacy. Represented through interviews (\u003c\/span\u003e\u003cspan\u003eLucy Railton\u003c\/span\u003e\u003cspan\u003e), original \u003c\/span\u003e\u003cspan\u003eartworks (\u003c\/span\u003e\u003cspan\u003eGraham Lambkin\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eÁine O’Dwyer\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eStíne Janvin\u003c\/span\u003e\u003cspan\u003e), and essays (\u003c\/span\u003e\u003cspan\u003eMark Harwood\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eAnton Lukoszevieze \u003c\/span\u003e\u003cspan\u003eof \u003c\/span\u003e\u003cspan\u003eApartment House\u003c\/span\u003e\u003cspan\u003e), these artists demonstrate the lasting and diverse impact of Christian- sen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for \u003c\/span\u003e\u003cspan\u003eDejligt vejr i dag, n’est-ce pas, Ibsen\u003c\/span\u003e\u003cspan\u003e, a 1964 opera with music by Christiansen and libretto by \u003c\/span\u003e\u003cspan\u003eHans-Jørgen Nielsen \u003c\/span\u003e\u003cspan\u003ewhich Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eTaken together—and even more, in conjunction with the exhibition and performances—the texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a tower-\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eing but overlooked figure in the postwar musical as well as artistic \u003c\/span\u003e\u003cspan\u003eavant-garde. Support for \u003c\/span\u003e\u003cspan\u003eFreedom is Around the Corner \u003c\/span\u003e\u003cspan\u003ecomes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contempo- rary Music Festival.\" - Blank Forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":13729777156159,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BlankFormsMagazine2_Cover_550x825_copy_280x420_279cad81-1953-4447-916b-7fbb6fb5baad.jpg?v=1571718575"},{"product_id":"amacher-maryanne-petra","title":"AMACHER, MARYANNE - Petra","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Maryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called \"sound art\", although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of the genre. Amacher's work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature, it has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental collection \u003ci\u003eOHM: The Early Gurus Of Electronic Music (1948-1980)\u003c\/i\u003e, this publication of Amacher's 1991 piece \u003ci\u003ePetra\u003c\/i\u003e marks her first commercially available instrumental work. Petra was originally commissioned for the ICSM World Music Days in Boswil, Switzerland. Written for two pianos, the piece is a unique example of Amacher's late work, a direct extension of her working methodologies for electronic composition taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. \u003ci\u003ePetra\u003c\/i\u003e is a sweeping, durational work based on both Amacher's impressions of the church at Boswil and science-fiction writer Greg Bear's short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame. This solemn interpretation of \u003ci\u003ePetra\u003c\/i\u003e was recorded at its 2017 American premiere at New York's St. Peter's Episcopal Church with pianists Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in 2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the constellation of Amacher's enigmatic oeuvre. Artistic director of the Giacinto Scelsi Festival in Basel, Marianne Schroeder is a Swiss composer and pianist specializing in the interpretation of New Music. She has collaborated with and premiered work by John Cage, Karlheinz Stockhausen, Dieter Schnebel, Anthony Braxton, Morton Feldman, Pauline Oliveros and Giacinto Scelsi, with whom she studied. She is currently a professor at Hochschule der Künste Bern. Stefan Tcherepnin is an American electronic music performer, contemporary artist, and composer in fourth generation, continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin.\" - Blank Forms.\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"CD","offer_id":14896261595199,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF005CD_CU.jpg?v=1571718605"},{"product_id":"copy-of-amacher-maryanne-petra","title":"AMACHER, MARYANNE - Petra","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Maryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called \"sound art\", although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of the genre. Amacher's work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature, it has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental collection \u003ci\u003eOHM: The Early Gurus Of Electronic Music (1948-1980)\u003c\/i\u003e, this publication of Amacher's 1991 piece \u003ci\u003ePetra\u003c\/i\u003e marks her first commercially available instrumental work. Petra was originally commissioned for the ICSM World Music Days in Boswil, Switzerland. Written for two pianos, the piece is a unique example of Amacher's late work, a direct extension of her working methodologies for electronic composition taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. \u003ci\u003ePetra\u003c\/i\u003e is a sweeping, durational work based on both Amacher's impressions of the church at Boswil and science-fiction writer Greg Bear's short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame. This solemn interpretation of \u003ci\u003ePetra\u003c\/i\u003e was recorded at its 2017 American premiere at New York's St. Peter's Episcopal Church with pianists Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in 2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the constellation of Amacher's enigmatic oeuvre. Artistic director of the Giacinto Scelsi Festival in Basel, Marianne Schroeder is a Swiss composer and pianist specializing in the interpretation of New Music. She has collaborated with and premiered work by John Cage, Karlheinz Stockhausen, Dieter Schnebel, Anthony Braxton, Morton Feldman, Pauline Oliveros and Giacinto Scelsi, with whom she studied. She is currently a professor at Hochschule der Künste Bern. Stefan Tcherepnin is an American electronic music performer, contemporary artist, and composer in fourth generation, continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin.\" - Blank Forms.\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"LP","offer_id":14896264740927,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF005CD_CU_6c4350e7-f17a-4a36-ad67-570798e5c898.jpg?v=1571718605"},{"product_id":"takayanagi-masayuki-new-direction-unit-april-is-the-cruellest-month","title":"TAKAYANAGI, MASAYUKI NEW DIRECTION UNIT - April Is The Cruellest Month","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Masayuki \"Jojo\" Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's \"free form guitar\" in 1969 and promptly turned his back on the jazz scene by which he was beloved. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction For The Arts (later, New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi's playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman's \"Lonely Woman.\" Culled from 1975 sessions by the New Direction Unit, \u003ci\u003eApril Is The Cruellest Month\u003c\/i\u003e was originally slated for release on ESP-Disk before the label's untimely demise that year. Part of the period of Takayanagi's career which he termed \"non-section music,\" one can only imagine how its unholy racket might have altered an international understanding of Japanese noise. On \"We Have Existed\" and \"What Have We Given?\", the classic lineup of Takayanagi with Kenji Mori (alto sax, flute, bass clarinet), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki(percussion) prove that free improvisation was thriving well beyond western Europe with a set of dilapidated, spacious clanging, Takayanagi's squalling feedback and Mori's Eric Dolphy moves undulating atop the joyous clamor. The cataclysmic \"My Friend, Blood Shaking My Heart\" is another story altogether. Infernal sheets of contorted sound find the berserk instrumentalists hopelessly entangled as they urge the explosion deeper and deeper into ecstatic oblivion. Rivaled in intensity only by John Coltrane's \u003ci\u003eThe Olatunji Concert\u003c\/i\u003e (1967), Peter Brötzmann's \u003ci\u003eMachine Gun\u003c\/i\u003e (1968), and Dave Burrell's \u003ci\u003eEcho\u003c\/i\u003e (1969), \u003ci\u003eApril Is The Cruellest Month\u003c\/i\u003e deservedly sees the light of day on the vinyl format for which it was originally conceived, marking the first issue of Takayanagi's music outside of Japan.\" - Blank Forms.\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"CD","offer_id":15058421645375,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF008CD_CU.jpg?v=1571718628"},{"product_id":"takayanagi-masayuki-new-direction-unit-april-is-the-cruellest-month-1","title":"TAKAYANAGI, MASAYUKI NEW DIRECTION UNIT - April Is The Cruellest Month","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Masayuki \"Jojo\" Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's \"free form guitar\" in 1969 and promptly turned his back on the jazz scene by which he was beloved. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction For The Arts (later, New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi's playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman's \"Lonely Woman.\" Culled from 1975 sessions by the New Direction Unit, \u003ci\u003eApril Is The Cruellest Month\u003c\/i\u003e was originally slated for release on ESP-Disk before the label's untimely demise that year. Part of the period of Takayanagi's career which he termed \"non-section music,\" one can only imagine how its unholy racket might have altered an international understanding of Japanese noise. On \"We Have Existed\" and \"What Have We Given?\", the classic lineup of Takayanagi with Kenji Mori (alto sax, flute, bass clarinet), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki(percussion) prove that free improvisation was thriving well beyond western Europe with a set of dilapidated, spacious clanging, Takayanagi's squalling feedback and Mori's Eric Dolphy moves undulating atop the joyous clamor. The cataclysmic \"My Friend, Blood Shaking My Heart\" is another story altogether. Infernal sheets of contorted sound find the berserk instrumentalists hopelessly entangled as they urge the explosion deeper and deeper into ecstatic oblivion. Rivaled in intensity only by John Coltrane's \u003ci\u003eThe Olatunji Concert\u003c\/i\u003e (1967), Peter Brötzmann's \u003ci\u003eMachine Gun\u003c\/i\u003e(1968), and Dave Burrell's \u003ci\u003eEcho\u003c\/i\u003e (1969), \u003ci\u003eApril Is The Cruellest Month\u003c\/i\u003edeservedly sees the light of day on the vinyl format for which it was originally conceived, marking the first issue of Takayanagi's music outside of Japan.\" - Blank Forms.\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"LP","offer_id":15058424332351,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF008LP_CU.jpg?v=1571718628"},{"product_id":"hennix-catherine-christer-the-deontic-miracle-selections-from-100-models-of-hegikan-roku","title":"HENNIX, CATHERINE CHRISTER\/THE DEONTIC MIRACLE - Selections from 100 Models of Hegikan Roku","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"\u003ci\u003eSelections from 100 Models of Hegikan Roku\u003c\/i\u003e is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s \u003ci\u003eSelected Early Keyboard Works\u003c\/i\u003e and anticipates Blank Forms’ publication of \u003ci\u003ePoësy Matters and Other Matters\u003c\/i\u003e, a two-volume collection of Hennix’s writing.\u003c\/p\u003e\n\u003cp\u003eUpon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle.\u003c\/p\u003e\n\u003cp\u003eIn 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of \u003ci\u003eBrouwer’s Lattice \u003c\/i\u003eat the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.\u003c\/p\u003e\n\u003cp\u003eCatherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.\" - Blank Forms.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/628982058\u0026amp;color=%23fe0000\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Double LP","offer_id":15533304021055,"sku":"","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF007LP_CU.jpg?v=1571718643"},{"product_id":"blank-forms-volume-4-intelligent-life","title":"BLANK FORMS - Volume 4: Intelligent Life","description":"\"Taking its name from Maryanne Amacher's visionary, unrealized opera, the fourth issue of Blank Forms' journal, Intelligent Life, features a select group of unpublished, newly translated, or otherwise rare texts. The issue opens with a short literary essay by the author Marcia Douglas, in which a deep bass riddim guides a deaf narrator and a reincarnated Bob Marley through important sites in Rastafarianism's development. Next come two interviews with crucial figures in postwar avant-garde music: the Japanese guitarist Kazuo Imai and the American composer Robert Ashley, along with pianist and frequent collaborator \"Blue\" Gene Tyranny. The previously unpublished interview with Imai was conducted by Blank Forms' editor and artistic director Lawrence Kumpf during Imai's first trip to the United States, in 2018, and finds the artist reflecting on recent work with the collective Marginal Consort as well as his foundational experiences playing with two other titans of Japanese experimentalism, Takehisa Kosugi and Masayuki Takayanagi. The interview with Ashley and \"Blue\" Gene, meanwhile, first published in German in 1984 on the occasion of a staging of Ashley's opera Atalanta, was translated for the first time into in English for this publication. Intelligent Life continues with a series of longer pieces showcasing a diverse set of complex practices and histories, beginning with that of Detroit-based artist Onyx Ashanti. Onyx contributes his own Octavia Butler-referencing \"sonocybernetic manifesto\", first published online in 2016, which exists simultaneously as theoretical treatise, memoir, and practical guide to his idiosyncratic technology-based practice. Following this is a comprehensive essay on Catherine Christer Hennix's engagement with intuitionism and other esoteric approaches to math, written by the mathematician and musician Spencer Gerhardt. Gerhardt's lucid, previously unpublished essay serves as a necessary complement to Blank Forms Editions' forthcoming collection of Hennix's abstruse, mostly unpublished body of writing, Poësy Matters and Other Matters. The issue continues with a sort of titular essay, a rich analysis of Amacher's \"Intelligent Life\" -- the first such piece on this work -- by Amacher scholar Amy Cimini. Intelligent Life was an incredibly prescient work that sought to upend any remaining vestiges of traditional operatic form and staging. Intelligent Life -- the journal issue -- then concludes with a lengthy interview with the artist Walter De Maria. One of the few interviews De Maria gave in his lifetime, this one, created for the Archives of American Art in 1972, sheds significant light on De Maria's early intellectual and artistic development as well as his work as a musician. Although he largely stopped playing music by 1970, and although few recordings of his efforts exist, De Maria played alongside musicians ranging from Lou Reed to Don Cherry to Henry Flynt. Edited by Lawrence Kumpf. Other contributors and featured artists include: Werner Durand, Peter Gente, Heidi Paris, Adrian Rew, Paul Cummings. 302 pages; 6x8 inches; paperback.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Book","offer_id":15533332660287,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BLANK004BK_CU.jpg?v=1571718643"},{"product_id":"jarman-joseph-black-case-volume-i-and-ii-return-from-exile","title":"JARMAN, JOSEPH - Black Case Volume I and II: Return From Exile","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"New edition of this book originally published in 1977 by the Art Ensemble of Chicago Publishing Co. With a preface by Thulani Davis and an introduction by Brent Hayes Edwards. \u003c\/span\u003e\u003cspan\u003e142 pages, \u003c\/span\u003e\u003cspan\u003e8.25 x 6.75 inches. \u003c\/span\u003ePaperback, perfect bound edition of 1,000. \"Joseph Jarman (1937 - 2019) was a saxophonist and multi-instrumentalist best known as a founding member of trailblazing avant-garde jazz group Art Ensemble of Chicago. Jarman was responsible for the Art Ensemble’s signature face paint and elaborate costumes as well as the pioneering theatrical and multimedia elements of their shamanistic performances, which could include dance, comedy, performance art, surreal pranks, and—notably—the recitation of Jarman’s poetry.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eIn 1977, Art Ensemble of Chicago Publishing Co. published Jarman’s \u003c\/span\u003e\u003cem\u003eBlack Case Volume I and II: Return From Exile\u003c\/em\u003e\u003cspan\u003e, a collection of writing conceived across America and Europe between 1960 and 1975. Comprised largely of Jarman’s flowing, fiery free verse—influenced by Amus Mor, Henry Dumas, Thulani Davis, and Amiri Baraka—the book also features a manifesto for “GREAT BLACK MUSIC,” notated songs, concert program notes, Jarman’s photos, and impressions of a play by Muhal Richard Abrams, the founder of the Association for the Advancement of Creative Musicians of which Jarman was also an original member. Jarman writes poetry of personal revolutionary intent, aimed at routing his audience’s consciousness towards growth and communication. He speaks with compassionate urgency of the struggles of growing up on Chicago’s South Side, of racist police brutality and profound urban alienation, and of the responsibility he feels as a creative artist to nurture beauty and community through the heliocentric music that he considers the healing force of the universe. A practicing Buddhist and proponent of Aikido since a 1958 awakening saved him from the traumatic mental isolation of his time dropped by the US army into southeast Asia, Jarman sings praise for the self-awareness realization possible through the martial arts. With cosmic breath as its leitmotif, his poetry both encourages and embodies a complete relinquishing of ego. While some of the poems contained within \u003c\/span\u003e\u003cem\u003eBlack Case\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ehave already been immortalized via performances on classic records by Jarman and Art Ensemble of Chicago, its republication in print form breathes new life into a forgotten document of the Black Arts Movement.\" - Blank Forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e“Joseph Jarman, a musician of rare poetic gifts, was also a remarkable poet. \u003c\/span\u003e\u003cem\u003eBlack Case\u003c\/em\u003e\u003cspan\u003e, a lost treasure of the Black Arts Movement, combines protest against injustice with heart-breaking introspection and fierce commitment to the Great Black Music tradition to which Jarman contributed with gentle yet mighty force.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—Adam Shatz\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e“Joseph’s recitation of ‘Non-Cognitive Aspects of the City’ (from \u003c\/span\u003e\u003cem\u003eBlack Case\u003c\/em\u003e\u003cspan\u003e) moved me to set the words of this poem for Baritone Voice and Orchestra and became part of the Art Ensemble of Chicago’s standard repertoire. Joseph had a bold and passionate creative spirit. I feel privileged to have shared the stage with him.”  - \u003c\/span\u003eRoscoe Mitchell\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"'Though in reality all the words are music themselves' is the reality to which all poetry aspires, whether in verse or prose, theory or story, criticism or craft. Joseph Jarman always knew that for black musicians, which is to say black speakers, exile is our public holiday. We live through that. We live through that. Black Case is all and everything in this regard. 'Whats to say,' he says, is that 'we sing because\/we love you\/because we\/love you\/because\/we love\/you.' We are loved beyond judgment by the music, he says, and we say thanks.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—Fred Moten\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":31169282998335,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/36501_JosephJarman_BlackCase-Blank-Forms-3.jpg?v=1573236442"},{"product_id":"connors-loren-autumns-sun","title":"CONNORS, LOREN - Autumn's Sun","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eRepublication of a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. \u003c\/span\u003e82 pages, 5 x 7.5 inches, paperback edition of 1,000. \"One of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, and Kim Gordon.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eIn the mid-80s, Connors took a partial break from music and focused instead on the art of haiku, for which he received the Lafcadio Hearn Award in 1987. With his wife Suzanne Langille he also co-wrote an article on blues and haiku, “The Dancing Ear,” published in the Haiku Society of America’s journal. It was during this period that Connors penned the material that appears in \u003c\/span\u003e\u003cem\u003eAutumn’s Sun\u003c\/em\u003e\u003cspan\u003e, a chapbook first published by Thurston Moore and Byron Coley’s Glass Eye in 1999. The text features diary excerpts from 1987, lyrically fragmented observations interspersed with haiku-like poems that paint an idyllic impression of the passing seasons in his home of New Haven, Connecticut. With synesthetic perception, Connors gazes from tranquil domestic streets. Sycamore, elm, and catalpa trees are activated by the breeze and made to rustle in unison with their natural and artificial surroundings, including the howling dogs from which Connors derived his ‘Mazzacane’ moniker. As summer fades to winter, Connors portrays death as an undramatic certitude, the flux of his own maturation reflected in musings on his son’s. Like his music, \u003c\/span\u003e\u003cem\u003eAutumn’s Sun\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis tender without being sentimental, conjuring those rare, delicate moments when time stands still.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis edition includes “The Dancing Ear” and an introduction by Lawrence Kumpf.\" - Blank Forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":31169324646463,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/Autumn_s_Sun_cover_border_280x420_65cbda01-f7e5-42bf-b50e-628f00b855a5.png?v=1573236624"},{"product_id":"hennix-catherine-christer-poesy-matters-and-other-matters","title":"HENNIX, CATHERINE CHRISTER - Poësy Matters and Other Matters","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e*2 individual books, packaged together.* 759 pages in total. 6.75 x 9.5 inches. Paperback edition of 1,000. \"\u003cspan\u003eThis two-volume set, \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003c\/em\u003e\u003cspan\u003e, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, \u003c\/span\u003e\u003cem\u003ePoësy Matters\u003c\/em\u003e\u003cspan\u003e, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, \u003c\/span\u003e\u003cem\u003eOther Matters\u003c\/em\u003e\u003cspan\u003e, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction \u003c\/span\u003e\u003cspan\u003eof Hennix’s 1989 work \u003c\/span\u003e\u003cem\u003eThe Yellow Book\u003c\/em\u003e\u003cspan\u003e. The first comprehensive publication of Hennix’s written work, \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eillustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eBest known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuitionist mathematics, poetry, and prose as well. Born in Stockholm in 1948, Hennix became involved with the local jazz and electronic music communities while in her teens, meeting visiting musicians such as Eric Dolphy and Albert Ayler, studying with trumpeter Idrees Sulieman, and becoming a member of the Elektronmusikstudio. In the late 1960s Hennix traveled to New York City, where, through Åke Hodell, she met Dick Higgins and, in turn, many other members of the New York avant-garde, including La Monte Young, who would become a formative figure for Hennix and introduce her to both Henry Flynt and her eventual guru, Pandit Pran Nath. In the ensuing decades Hennix has continued to compose and perform music in a variety of formations, including in Flynt’s Dharma Warriors, a quartet with Arthur Rhames, and more recently, with her own Chora(s)san Time-Court Mirage. Hennix’s ongoing explorations of mathematics, meanwhile—namely, the work of L.E.J. Brouwer—have led to teaching positions at SUNY-New Paltz and at MIT, and an extended collaboration with Alexander Esenin-Volpin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe texts in \u003c\/span\u003e\u003cem\u003ePoësy Matters and Other Matters\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003ereflect Hennix’s diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde’s most implacable, not to mention overlooked, creative minds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Although it may at first confound, Hennix’s work, given the deep engagement it requires and deserves, opens up a philosophical and spiritual bounty for her readers. \u003cem\u003ePoësy Matters\/Other Matters\u003c\/em\u003e constitutes a major historiographical contribution to our understanding of experimental music post–John Cage”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— Canada Choate, \u003c\/span\u003e\u003cspan\u003eArtforum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“This tremendous collection will allow us, finally, to study the winding paths taken by Catherine Christer Hennix in five decades of virtually peerless exploration. As a roadmap, it promises nothing like answers. Instead, committed readers will find themselves edged further into a lim\u003c\/span\u003e\u003cspan\u003eitless space of multiplying questions: a fitting tribute to this bright magus and her luminous worlds.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— Benjamin Piekut, Cornell University\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Hennix was among the first to connect constructive approaches in the foundations of mathematics to theories of tuning, minimalism, and art practices of the post-Cage avant-garde. These writings put forward a singular and highly individualistic agenda linking Brouwer’s Creative Subject, Lacanian psychoanalysis, formal linguistics, categorical logic (and more) to the existence of an inexhaustible interior world.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— Spencer Gerhardt, Composer and Mathematician\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":31169376354367,"sku":"","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/36502_Poesy_Matters_Hennix-Blank-Forms-Book.jpg?v=1573236873"},{"product_id":"afuma-songs-from-the-shore-blank-forms-cd","title":"AFUMA - Songs From The Shore","description":"\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3876903223\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\"http:\/\/blankformseditions.bandcamp.com\/album\/songs-from-the-shore\"\u0026gt;Songs From the Shore by Afuma\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\"In Japanese folklore, Afuma indicates a time of day marked by spiritual or mysterious encounter. In Latin, one who inhales. Together as Afuma, Stefan Tcherepnin and Taketo Shimada breathe sepulchral energies into the brooding, cosmic fringes of guitar-based song vernacular. Tcherepnin's baritone and Shimada's lap steel guitar intertwine, smearing across world's-end horizons that propel Tcherepnin's ragged, foreboding vocal delivery and its lyrical portents of departure, of life's vessel unmoored onto a fathomless periphery. Shimada, a Tokyo-born musician and artist who has lived with Herbert Huncke and worked with Henry Flynt, also contributes Indian double-reed instrument shehnai to the band. And Stefan Tcherepnin, a contemporary artist and composer in fourth generation (continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin), embellishes their dirge-scapes with electronics from the Sonica, a lute shaped version of the Serge synthesizer developed by his uncle. A family friend and student of Maryanne Amacher, Tcherepnin's piano playing alongside Marianne Schroeder's additionally graced Blank Forms Edition's publication of Amacher's Petra (BF 005CD\/LP). Tcherepnin and Shimada are joined by drummer David Silver for Songs From The Shore, their debut LP, featuring artwork in the form of \"A Rip In The Void\", a newly commissioned painting by Bobby Beausoleil.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"CD","offer_id":31411545374783,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF010CD_CU.jpg?v=1575386520"},{"product_id":"afuma-songs-from-the-shore-blank-forms-lp","title":"AFUMA - Songs From The Shore","description":"\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3876903223\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\"http:\/\/blankformseditions.bandcamp.com\/album\/songs-from-the-shore\"\u0026gt;Songs From the Shore by Afuma\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e \"In Japanese folklore, Afuma indicates a time of day marked by spiritual or mysterious encounter. In Latin, one who inhales. Together as Afuma, Stefan Tcherepnin and Taketo Shimada breathe sepulchral energies into the brooding, cosmic fringes of guitar-based song vernacular. Tcherepnin's baritone and Shimada's lap steel guitar intertwine, smearing across world's-end horizons that propel Tcherepnin's ragged, foreboding vocal delivery and its lyrical portents of departure, of life's vessel unmoored onto a fathomless periphery. Shimada, a Tokyo-born musician and artist who has lived with Herbert Huncke and worked with Henry Flynt, also contributes Indian double-reed instrument shehnai to the band. And Stefan Tcherepnin, a contemporary artist and composer in fourth generation (continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin), embellishes their dirge-scapes with electronics from the Sonica, a lute shaped version of the Serge synthesizer developed by his uncle. A family friend and student of Maryanne Amacher, Tcherepnin's piano playing alongside Marianne Schroeder's additionally graced Blank Forms Edition's publication of Amacher's Petra (BF 005CD\/LP). Tcherepnin and Shimada are joined by drummer David Silver for Songs From The Shore, their debut LP, featuring artwork in the form of \"A Rip In The Void\", a newly commissioned painting by Bobby Beausoleil.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":31575439999039,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF010LP_CU.jpg?v=1578245660"},{"product_id":"blank-forms-blank-forms-vol-5-aspirations-of-madness-blank-forms-book","title":"BLANK FORMS - Volume. 5: Aspirations of Madness","description":"\"Aspirations of Madness, Blank Forms' fifth collection of archival, unpublished, or newly translated texts, takes its title from a series of interviews with Japanese free jazz pioneer Masayuki Takayangi that were published in Japanese in 1975-76 and are published here in English for the first time. The interviews provide a rare look at Takayanagi's eccentric practice and personality, both long under-recognized by audiences outside (and often, inside) of Japan. The postwar Japanese history that Takayanagi describes also surfaces in this publication's opening piece, a poetic tribute by the writer and artist Louise Landes Levi to one of Takayanagi's contemporaries, the poet Kazuko Shiraishi. Aspirations of Madness includes a second Levi poem as well, \"A Deep River\", written while at La Monte Young and Marian Zazeela's Dream House in 2003, while Charles Curtis was rehearsing \"Just Charles and Cello in the Romantic Chord\", a composition by Young that Blank Forms plans to present in Spring 2020. Complementing this tradition of Japanese free improvisation and poetry is the republication of a 1977 interview with Joseph Jarman, the great composer, poet, and multi-instrumentalist. The interview took place a few months after the publication of Jarman's book Black Case Volume I \u0026amp; II: Return from Exile, a collection of writings from 1960 to 1977 (Blank Forms, Fall 2019). The volume also feature Charles Stein's introduction to Being = Space x Action. In its specificity and rarity of focus, Stein's text offers valuable information on a vibrant artistic network of the recent past, as well as an extended look at the evolution of Catherine Christer Hennix's complex practice. Further along, Aspirations of Madness features an excerpt from The Tree of Music, a cross-cultural treatise by the Russian musicologist Genrich \"Henry\" Orlov, the English translation of which has never been published before. The Tree of Music is a sweeping philosophical study of global music and cultures with universalist and spiritualist ambitions, excerpts of which are here selected and introduced by the composer and pianist Leo Svirsky. Aspirations of Madness closes with one of Maryanne Amacher's final pieces of writing, The Agreement, from 2009. The text takes the form of a letter between Amacher and the Open Ended Group, with whom she had planned to collaborate on her final, unfinished project, Lagrange: A Four Part Mini Series. Aspirations of Madness features additional contributions by Alan Cummings, Bill Dietz, Peter Kastakis, Art Lange, Leo Svirsky, Satoru Obara, and Tomoyuki Chida, and is edited by Lawrence Kumpf with Joe Bucciero. 242 pages; 6x8 inches.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Book","offer_id":31960618598463,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BLANK005BK_CU.jpg?v=1584646076"},{"product_id":"takayanagi-new-direction-unit-masayuki-axis-another-revolvable-thing-blank-forms-2cd","title":"TAKAYANAGI NEW DIRECTION UNIT, MASAYUKI - Axis\/Another Revolvable Thing","description":"\"Axis\/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD\/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling \"non-section music\" after leaping beyond the confines of his prior descriptor \"real jazz\". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious \"gradually projection\" and explosively virulent \"mass projection\" concepts across six pieces, titled \"Fragments I-VI\". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis\/Another Revolvable Thing 1 (BF 015LP) and Axis\/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order. Double-CD version presents the Another Revolvable Thing concert in chronological sequence for the first time.\n\nMasayuki \"Jojo\" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's \"Free Form Guitar\" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Double CD","offer_id":32886771810367,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF01516CD_CU_febe1822-89bb-4126-8d5e-5d27c57895aa.jpg?v=1597330915"},{"product_id":"exotic-sin-customer-s-copy-blank-forms-lp","title":"EXOTIC SIN - Customer's Copy","description":"\"Customer's Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson's grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys's instruments as well as their synergetic integration of music with artistic practice. Preferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic '90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry's instruments: one of his trumpets as well as two of his \"zen saxophones\", handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don's kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics '70s duos from Don Cherry's maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton's work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard's Sing Me a Song of Songmy (1971), and Muhal Richard Abrams's electronic works. On album opener \"Dot 2 Dot\", Karlsson's measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott's 1989 film Black Rain, the schizosphere of \"Charlie Vincent\" interfaces ominous, dystopian synthesizer with permuted organ swells before album closer \"Canis Minor\" sets gentle sail for a distant bed of lonesome stars. A visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don's compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record's three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon's 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":32963973251135,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF014LP_CU.jpg?v=1599005319"},{"product_id":"takayanagi-new-direction-unit-masayuki-axis-another-revolvable-thing-1-blank-forms-lp","title":"TAKAYANAGI NEW DIRECTION UNIT, MASAYUKI - Axis\/Another Revolvable Thing 1","description":"\"Axis\/Another Revolvable Thing 1 is released alongside Axis\/Another Revolvable Thing 2 (BF 016LP). Axis\/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD\/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling \"non-section music\" after leaping beyond the confines of his prior descriptor \"real jazz\". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious \"gradually projection\" and explosively virulent \"mass projection\" concepts across six pieces, titled \"Fragments I-VI\". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis\/Another Revolvable Thing 1 (BF 015LP) and Axis\/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order.\n\nMasayuki \"Jojo\" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's \"Free Form Guitar\" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":32963973873727,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF015LP_CU.jpg?v=1599005320"},{"product_id":"takayanagi-new-direction-unit-masayuki-axis-another-revolvable-thing-2-blank-forms-lp","title":"TAKAYANAGI NEW DIRECTION UNIT, MASAYUKI - Axis\/Another Revolvable Thing 2","description":"\"Axis\/Another Revolvable Thing 2 is released alongside Axis\/Another Revolvable Thing 1 (BF 015LP). Axis\/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD\/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling \"non-section music\" after leaping beyond the confines of his prior descriptor \"real jazz\". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious \"gradually projection\" and explosively virulent \"mass projection\" concepts across six pieces, titled \"Fragments I-VI\". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis\/Another Revolvable Thing 1 (BF 015LP) and Axis\/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order.\n\nMasayuki \"Jojo\" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's \"Free Form Guitar\" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":32963974168639,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF016LP_CU.jpg?v=1599005321"},{"product_id":"still-house-plants-fast-edit-blank-forms-lp","title":"STILL HOUSE PLANTS - Fast Edit","description":"\"Fast Edit is the second LP by Still House Plants, a Glasgow and South London-based three-piece collective made up of Finlay Clark, David Kennedy, and Jessica Hickie-Kallenbach. As artists who started to write music together during their second year at The Glasgow School of Art, Still House Plants emerged from the eclectic scene surrounding Glasgow's Green Door Studio and soon found a home at London's Cafe OTO, where they undertook a six-month residency in 2018. Factor in a semester spent living with an emo band in Chicago and the intimate aggregation of the trio's sound heterodoxy -- an astonishing cohabitation of fractured R\u0026amp;B, wistful sensitivity, and harmolodic guitar -- begins to show its strands. With punk autonomy, Still House Plants navigate a similarly divergent approach to ostensibly kindred artists Linda \u0026amp; Sonny Sharrock or James \"Blood\" Ulmer, but instead cite the cut-up effect of UK garage as the impetus for their sparse treatment of chords and words as samples; stuttered, fragmented, and permuted by living drums, guitar, and Hickie-Kallenach's unmistakable husky voice. Written aided by mobile phones, dictaphones, laptop recordings of rehearsals, conversations, and live shows, Fast Edit is a collage of different fidelities and aural spaces, a palimpsest most tenderly exhibited on album centerpiece \"Shy Song\". Things sit on top of each other, fall over one another, or click into place, with hearts on sleeves and spirits in motion.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":32969288679487,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF013LP_CU_69db4ee3-1c06-4f95-8920-6d3c681e6869.jpg?v=1599004788"},{"product_id":"hamann-judith-music-for-cello-and-humming-blank-forms","title":"HAMANN, JUDITH - Music for Cello and Humming","description":"\"Nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann's own \"Humming Suite\" and \"Study for Cello and Humming.\" Having arisen intuitively from Hamann's investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism. Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies' \"Loss,\" a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis's storied desire for an instrumentalist to play with the sorrow of knowing they can't do everything. With an arc suggestive of sudden life change, \"Loss\" casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies's signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould's 1982 Goldberg Variations or Pauline Oliveros's Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann's humming work with a breakable, human strand, here as humbling as it is uncomfortable. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton. It's presented alongside the LP set, Shaking Studies (BF 017LP). Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse-based project, \"Materialities of Realisation.\" She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O'Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young, and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada's Duets, Graham Lambkin's Community, Alvin Lucier's Illuminated By The Moon, and Gossamers, with Rosalind Hall. Edition of 500.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"CD","offer_id":37565679894717,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF018CD_CU.jpg?v=1605722547"},{"product_id":"hennix-catherine-christer-unbegrenzt-blank-forms-empty-editions","title":"HENNIX, CATHERINE CHRISTER - Unbegrenzt","description":"\"Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works (2018) and Selections from 100 Models of Hegikan Roku, named the #1 archival release of 2019 by The Wire (BF 007LP, 2019), in addition to a two-volume collection of Hennix's writing titled Poësy Matters and Other Matters. Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, electronics) and Hans Isgren (bowed gong), Hennix's realization of Karlheinz Stockhausen's \"Unbegrenzt\" (German for \"unlimited\") from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen's conception of \"intuitive music,\" a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young's event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer's Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen's 1969 recording, Hennix's alternative realization of the \"Unbegrenzt\" score's instructions to \"play a sound with the certainty that you have an infinite amount of time and space\" is based on her concept of \"Infinitary Compositions\", the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young, and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen's compositional method of \"moment-forming\" to heart, her version's dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen's score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind. Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.\" - Blank Forms\/Empty Editions.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":37565680058557,"sku":"","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF011LP_CU.jpg?v=1605722548"},{"product_id":"hamann-judith-shaking-studies-blank-forms-lp","title":"HAMANN, JUDITH - Shaking Studies","description":"\u003cp\u003e\"Nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, Shaking Studies, is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann's conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand's tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann's alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding. It's presented alongside the CD set, Music for Cello and Humming (BF 018CD). Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse-based project, \"Materialities of Realisation.\" She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O'Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young, and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada's Duets, Graham Lambkin's Community, Alvin Lucier's Illuminated By The Moon, and Gossamers, with Rosalind Hall. Edition of 500.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"LP","offer_id":37767954235581,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF017LP_CU.jpg?v=1608652829"},{"product_id":"lambkin-graham-solos-blank-forms-4lp-box","title":"LAMBKIN, GRAHAM - Solos","description":"\"The years between Graham Lambkin's tenure with the legendary Shadow Ring and his more recent improvisational duos mark a distinct period of creative production within the artist's insular career. Living with his family in Poughkeepsie, NY, from 2001 through 2011 Lambkin recorded and self-released four solo albums that valorized mundane domestic situations while reveling in the liminal spaces between the acts of listening, recording, and producing. Created through an ingenious economy of means, these solo records are as beguilingly seductive as they are uncanny. Perpetually laughing in his own duplicitous face, Lambkin breathed new life into musique concrète and sound poetry, giving outmoded forms a contemporary consciousness while setting the gold standard for a continuously unfolding canon of 21st century tape music. Poem (For Voice \u0026amp; Tape) (2001), Salmon Run (2007), Softly Softly Copy Copy (2009), and Amateur Doubles (2011) are now remastered and finally back in print, with Salmon Run and Softly Softly Copy Copy available on vinyl for the first time. This deluxe boxed set of Graham Lambkin's first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.\n\nGraham Lambkin (b. 1973, Dover, England) is a multidisciplinary artist who first came to prominence in the early '90s through the formation of his experimental music group The Shadow Ring. As a sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations, and the thick ambience of domestic field recordings. His Kye imprint, founded in 2001, was an instrumental platform for the dissemination of and dialogue between work by an intergenerational cast of artists using sound, including Henning Christiansen, Anton Heyboer, Moniek Darge, and Gabi Losoncy. He began showing his visual art in 2014 with Came To Call Mine, an exhibition curated by Lawrence Kumpf and Justin Luke at Audio Visual Arts in conjunction with the publication of Lambkin's children's book (for adults) of the same name, and has since exhibited his work at 356 Mission, Künstlerhaus, PiK, and Blank Forms.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"4 LP Box Set","offer_id":39823729000637,"sku":"","price":90.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF01922LP_CU.jpg?v=1621615116"},{"product_id":"hennix-chora-s-san-time-court-mirage-catherine-christer-blues-alif-lam-mim-blank-forms-lp","title":"HENNIX\/CHORA(S)SAN TIME-COURT MIRAGE, CATHERINE CHRISTER - Blues Alif Lam Mim","description":"\"Having already unearthed three collections of archival 1970s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer's music by turning to more recent work with this first-time vinyl edition of Hennix's Blues Alif Lam Mim in the Mode of Rag Infinity\/Rag Cosmosis, a 2014 piece first released as a CD in 2016. The double album captures the April 22, 2014 premiere of the composition by the Chora(s)san Time-Court Mirage, Hennix's expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the origins of the blues in the Eastern musical traditions of raga and makam, Blues Alif Lam Mim in the Mode of Rag Infinity\/Rag Cosmosis has its roots in Hennix's 2013 realization of an Illuminatory Sound Environment, a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix's own The Electric Harpsichord. As Hennix explains in Other Matters, Blank Forms' 2019 collection of her writings: \"Rag Infinity\/Rag Cosmosis presents fragments of 'raga-like' frequency constellations following distinct cycles and permuting their order, creating a simultaneity of 'multi-universes.' When two such 'universes' come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated -- the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically 'transfinite' Poincaré cycles (cyclic returns to initial conditions). As with Hennix's best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Over this mesmerizing ebb and flow, vocalists incant an Arabic-language devotional poem written by Hennix that features quotations in praise of Allah from the Quran. Also reproduced on the album's gatefold jacket is Hennix's elegant reduction of the sacred text, represented as the first letter of its first line gradually paired down to a single dot, which invites the contemplator to bring their inner knowledge to the composition for use as a meditation prompt. Listeners without spiritual inclinations, but who are willing to immerse themselves in the music, will find the work's serene intensity to be its own reward.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"LP","offer_id":39907976708285,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF012LP_CU.jpg?v=1622300434"},{"product_id":"cherry-s-new-researches-featuring-nana-vasconcelos-don-organic-music-theatre-festival-de-chateauvallon-1972-blank-forms-2cd","title":"CHERRY'S NEW RESEARCHES FEATURING NANA VASCONCELOS, DON - Organic Music Theatre Festival de Chateauvallon 1972","description":"\"In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism \"the stage is home and home is a stage.\" By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician. The five-person band -- Don and Moki Cherry, Christer Bothén, Gérard \"Doudou\" Gouirand, and Naná Vasconcelos -- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta \"Dha Dhin Na, Dha Tin Na,\" and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance -- including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) -- all punctuated by outbursts of possessed glossolalia from the puppeteers. \"Relativity Suite, Part 1\" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Double CD","offer_id":39990985097405,"sku":"","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Double LP","offer_id":48807092551899,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF023CD_CU_ae3524cb-d886-4723-a43a-700734fe5668.jpg?v=1625238867"},{"product_id":"cherry-don-the-summer-house-sessions-blank-forms-2cd","title":"CHERRY, DON - The Summer House Sessions","description":"\"In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high-profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions. Long relegated to the status of a mysterious footnote in Don's session-ography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of \"collage music,\" a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. The double-CD version includes a bonus CD with a track featuring Jacques Thollot joined by Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\" - Blank Forms.","brand":"Blank Forms","offers":[{"title":"Double CD","offer_id":39990985130173,"sku":"","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Double LP","offer_id":48807102775515,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BF024CD_CU_ef9f191a-7107-42b8-b4fe-3ae3cec2455f.jpg?v=1625238865"},{"product_id":"rochester-folk-art-guild-three-musicians-music-from-the-rochester-folk-art-guild","title":"ROCHESTER FOLK ART GUILD - Three Musicians - Music From The Rochester Folk Art Guild","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"main_2FbVC\" data-mce-fragment=\"1\"\u003e\n\u003csection id=\"release-notes\" class=\"section_9nUx6 open_BZ6Zt\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"content_1TFzi\" data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eDouble CD release. Includes \"Three Musicians\" LP 1977 and \"Reflections Cassette\" from 1981. Instrumentation includes, flute, dulcimer, cymbalom, tenor recorder, dombak, dholak, daff, voice, bells and gongs. Made by a community that still exists today.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\"The Folk Art Guild is an intentional community and craft center located in the heart of the Finger Lakes in Middlesex, NY. For over 50 years, Guild artisans have been producing fine crafts including pottery, woodworking, weaving, natural fiber clothing and folk toys. Membership includes both non-residents and residents. Residents live on-site year-round, sharing meals and working together in an effort to live more sustainably.\" -Rochester Folk Art Guild\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"main_2FbVC\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"main_2FbVC\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e","brand":"Rochester Folk Art Guild","offers":[{"title":"Double CD","offer_id":40809888678077,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/image_d3a179c4-783e-4243-960f-a7fd5384410d.jpg?v=1665415045"},{"product_id":"hennix-catherine-christer-poesy-matters-other-matters-blank-forms-book","title":"HENNIX, CATHERINE CHRISTER - Poesy Matters \u0026 Other Matters","description":"\u003cp\u003e\"This two-volume set, Poesy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, Poesy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix's 1989 work The Yellow Book. The first comprehensive publication of Hennix's written work, Poesy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuition mathematics, poetry, and prose as well. The texts in Poesy Matters and Other Matters reflect Hennix's diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde's most implacable, not to mention overlooked, creative minds.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43113802498267,"sku":"","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781733723503_CU.jpg?v=1659011342"},{"product_id":"licht-alan-common-tones-selected-interviews-with-artists-and-musicians-1995-2020-blank-forms-book","title":"LICHT, ALAN - Common Tones: Selected Interviews with Artists and Musicians 1995-2020","description":"\u003cp\u003e\"Conversations with the avant-garde's leading lights--from Suicide to Anohni -- by experimental music's go-to interviewer, guitarist and sound artist Alan Licht. For the past 30 years, Alan Licht has been a performer, programmer and chronicler of New York's art and music scenes. His dry wit, deep erudition and unique perspective -- informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock -- have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public exchanges and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate's Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer and Yo La Tengo's Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43113802563803,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781953691019_CU.jpg?v=1659011344"},{"product_id":"tomokawa-kazuki-try-saying-you-re-alive-kazuki-tomokawa-in-his-own-words-blank-forms-book","title":"TOMOKAWA, KAZUKI - Try Saying You're Alive!: Kazuki Tomokawa in His Own Words","description":"\u003cp\u003e\"A vivid account of life on the margins and Tokyo's 1970s underground culture from a Japanese folk legend Tokyo in the 1970s was a magnet for young musicians, poets and painters. Among them was Kazuki Tomokawa, a prolific singer-songwriter from Japan's northern provinces, whose guttural vocals and incisive lyrics earned him the unofficial title of 'screaming philosopher.' The stories in this memoir--originally published in 2015 in Japan and now appearing as the first English translation of Tomokawa's writing -- are told with a rambler's wit and wisdom, bringing together his memorable reflections on six decades of day labor, drinking, gambling, acting, singing and writing. Figures such as Kan Mikami, Nobuyoshi Araki and Shūji Terayama drift through this down-and-out vagabond's memoir, which observes the turbulence of postwar countercultures and the explosion of Tokyo's underground film and music scenes. Also available from Blank Forms Editions are Kazuki Tomokawa's first three records: Finally, His First Album (1975), Straight From the Throat (1976) and A String of Paper Cranes Clenched Between My Teeth (1977). Kazuki Tomokawa (born 1950) is a prolific singer-songwriter from Hachiryū Village (now the town of Mitane) in the Akita Prefecture area of northern Japan. Since his debut in 1974, he has released more than 30 albums. He is additionally known as a poet, painter, keirin enthusiast and inimitable drinker. The 2010 documentary about his life, La Faute des Fleurs, won the Sound \u0026amp; Vision award at the Copenhagen International Documentary Film Festival, and that same year saw the Japanese release of the book Dreams Die Vigorously Day by Day, a collection of his lyrics spanning 40 years. His most recent albums are Vengeance Bourbon (2014) and Gleaming Crayon (2016), both on the Modest Launch label. Damon Krukowski is a musician and writer based in Cambridge, MA. His most recent book is Ways of Hearing (MIT Press, 2019) and his latest album is Damon \u0026amp; Naomi's A Sky Record (202020, 2021). Daniel Joseph is a translator, editor and musician. He holds a master's degree from Harvard University in medieval Japanese literature, and recently contributed translations to Terminal Boredom (Verso, 2021), a collection of stories by science fiction pioneer Izumi Suzuki.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43113802629339,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781953691033_CU.jpg?v=1659011345"},{"product_id":"jacks-the-vacant-world","title":"JACKS, THE - Vacant World","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"First official vinyl reissue in decades of this 1968 stone-cold masterpiece. Remastered from the original analog tapes, and packaged in a deluxe, film-laminated tip-on sleeve. Includes a full-color booklet with photos and an essay by esteemed rock writer Manabu Yuasa (in both Japanese and English).\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hSSHjINqftM\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Arriving on the Japanese music scene during the Beatles-inspired cover band boom of the late ’60s, Jacks instantly distinguished themselves from their fluff-peddling, copycat peers with stripped-down, original compositions, nihilistic lyrics and raw performances.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTheir tenure was short - ’67 to ’69 - but Jacks managed to cut a handful of singles and two albums in that time, the first of which, Vacant World, is now widely considered in Japan to be one of the greatest rock albums the country has ever produced. The combination of Yoshio Hayakawa's arresting baritone and austere guitar work, drummer Takasuke Kida and upright bassist Hitoshi Tanino's jazzy, loose interplay, and lead guitarist Haruo Mizuhashi's searing fuzz leads was alchemical, and Vacant World captured the band at the peak of their powers.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSome have described Jacks as the Velvet Underground of Japan — a singular, revolutionary group that had little commercial success in their day but whose influence and legend grows exponentially with each passing year. The comparison is apt. Unlike V.U., however, Jacks remain largely unknown outside Japan, and Mesh-Key hopes\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ethis first-ever officially licensed international release does something to fix this injustice.\" - Mesh Key.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“The album that gave birth to Japanese underground\/psychedelic rock, and the one that influenced me the most when I was young.” — Shintaro Sakamoto\u003c\/span\u003e\u003c\/p\u003e","brand":"Mesh-Key","offers":[{"title":"LP","offer_id":43498362110171,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/a1355954040_10.jpg?v=1665619936"},{"product_id":"copy-of-aunt-sally-aunt-sally","title":"AUNT SALLY - Aunt Sally","description":"\u003cp\u003eA few more copies sourced from a distro.. \"This seminal, eponymous post-punk album by Japanese group Aunt Sally, fronted by experimental singer Phew, was first released by the iconic Vanity Records label in 1979. Over the past forty-plus years, Phew has forged a singular path through a wide range of styles - from free improvisation to pop - and has collaborated with the likes of Ryuichi Sakamoto, members of Can, DAF, Einstürzende Neubauten, The Raincoats and more. But Aunt Sally is where she got her start and, despite the members’ young ages (still in college at the time), Phew and the band delivered a mature, timeless take on minimalistic punk. Remastered from the original analog tapes. The album is packaged in a heavy, tip-on jacket from Stoughton, and is housed in a double-sided, printed inner sleeve.\" - Mesh-Key.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4059720598\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Mesh-Key","offers":[{"title":"LP","offer_id":43498365878491,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/a3776836000_10_a56e644b-29bc-4640-a36e-577b22b07faf.jpg?v=1665620314"},{"product_id":"ramirez-richard-memorial-hospital-productions-2lp","title":"RAMIREZ, RICHARD - Memorial","description":"\"First time vinyl reissue. As part of the 25th anniversary of Hospital Productions, the second CD from Richard Ramirez appeared in the sacred year of 1997 on the monolithic Praxis Dr. Bearmann imprint from Germany producing classics in a near perfect label discography from Merzbow, Macronympha, Militia, Aube, Taint, and more. In tribute to the late Kevin Ogg who was an early and influential member of Black Leather Jesus, Memorial stands as one of \"the ones\" that put Mr. Ramirez on the map with his more structured and long atmospheric industrial noise compositions. Featured in part on Berghain 09 mix, if you're looking for a place to start in the vast catalog of Richard Ramirez, this is your answer. Faithfully replicated layout from the original CD on high gloss gatefold format.\" - Hospital Productions.","brand":"Hospital Productions","offers":[{"title":"Double LP","offer_id":43517789438171,"sku":"","price":43.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOS768LP_CU.jpg?v=1666044873"},{"product_id":"human-toilet-leap-year-hospital-productions-7","title":"HUMAN TOILET - Leap Year","description":"\"Human Toilet, who gave up the ghost in 2013, have a new 7\" of old songs about what they excelled at; failure and self-sabotage . . .  Human Toilet was singer Suarez, guitarist Diamond, bassist Young, and drummer Cran. The band, gleefully too dumb for one kind of bad hardcore and too smart for another kind of bad hardcore, set out to be a Jesus Lizard rip-off band and succeeded beyond their wildest expectations at sounding like The Cows covering Lazy Cowgirls . . . Lesser souls and minds might see Human Toilet as a noise-ROCK outlier amongst the label's catalog of oceanic drones and scabrous techno, but Hospital Productions is first and foremost, a freak scene.\" --Zachary Lipez Splatter vinyl; edition of 250.\" - Hospital Productions.","brand":"Hospital Productions","offers":[{"title":"7\"","offer_id":43517789569243,"sku":"","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOS711EP_CU.jpg?v=1666044878"},{"product_id":"threadgill-very-very-circus-henry-spirit-of-nuff-nuff-black-saint-italy-lp","title":"THREADGILL VERY VERY CIRCUS, HENRY - Spirit Of Nuff... Nuff","description":"\"Originally released in 1991 this was Henry Threadgill's new band's debut release. That's where Threadgill introduced the unique concept of dual tubas and dual electric guitars. In Very Very Circus's ultra-layered sound world all roles melt equally into an unprecedented sound experience. A big step forward in modern jazz from one of the greatest composers of our time. Personnel: Henry Threadgill - alto saxophone, flute; Curtis Fowlkes - trombone; Brandon Ross - electric guitar; Marcus Rojas, Edwin Rodriguez - tuba; Gene Lake - drums.\" - Black Saint .","brand":"Black Saint","offers":[{"title":"LP","offer_id":43517793272027,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BS120134LP_CU.jpg?v=1666044918"},{"product_id":"cherry-dewey-redman-charlie-haden-eddie-blackwell-don-old-and-new-dreams-black-saint-italy-lp","title":"CHERRY\/DEWEY REDMAN\/CHARLIE HADEN\/EDDIE BLACKWELL, DON - Old and New Dreams","description":"\"Reissue. Recorded in 1976 and originally released in 1977, this was the debut album by the legendary Don Cherry, Dewey Redman, Charlie Haden, and Eddie Blackwell quartet. Old and New Dreams spans the whole late '70s post-free universe with passion and lucidity. From the fast harmolodic phrasing of Ornette Coleman's \"Handwoven\" to the deep lyricism of Charlie Haden's \"Chairman Mao\". This is timeless music performed at maximum energy and profound inspiration. Personnel: Dewey Redman - tenor sax, musette; Don Cherry - pocket trumpet; Charlie Haden - double bass; Ed Blackwell - drums.\" - Black Saint .","brand":"Black Saint","offers":[{"title":"LP","offer_id":43517793337563,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BS520002VLP_CU.jpg?v=1666044919"},{"product_id":"zimmerman-joshua-burkett-tucker-tunnel-visions-idea-lp","title":"ZIMMERMAN\/JOSHUA BURKETT, TUCKER - Tunnel Visions","description":"\"In the 1970s, Tucker Zimmerman made some low-key acoustic guitar records in England. He was raised in California, and sang like it. And between those two circumstances, Zimmerman happens to have sat in with a whole lotta famous people; The Spiders From Mars, guys from Yes and Traffic and T Rex, Mary Hopkin, Paul Butterfield, Aynsley Dunbar, Ricky Fataar, and plenty more. The seriously famous are always moving along to whatever's new. But Zimmerman has kept his hand in. There were a couple records in the '80s, an interest in novels and words, one in the '90s, an '00s collaboration with another American expat who works on the Belgian version of The Voice, etc. Now he has a new record for the teens. Of himself reading poetry no less. And that is exactly the sort of project that could easily degenerate into the underground dude's answer to a Stan Lee cameo. The reason it doesn't is less about the words chosen (though they're fine) and more about the obvious lived grit in the Mucinex-wracked glottis that is Zimmerman's voice these days. The sensitive folk rocker has given way to a grizzled gentleman. Zimmerman is more confident as his 77 years and sounds like a paisley Sam Elliott who spends days wandering outside dispensing advice to clouds and dogs. Zimmerman has also found a precise complement in accompanist Josh Burkett, whose life reads like an indie update to the performer Zimmerman was in the '70s. Burkett runs a record store in Western Mass., and has been a heavy in interesting underground projects of one sort or another for roughly 30 years (Vermonster, Bimbo Shrineheads, Tarp, playing with Ed Askew, and solo records). The seams are allowed to show on these recordings. You can hear Zimmerman stop and go back to correct himself, and the sound levels vary. That puts things firmly in the contemporary camp, ensuring that this ain't no greatest hits that never were. In fact, Josh nips in with his acoustic guitar so subtly, and gets the rhythm of each talking point so just right so that the two performers dovetail again and again. And so, the record can exist between them both, a new thing all it's own.\" --Angela Sawyer\n\n15 sections span the course of two sides, creating a total run time of 41 minutes and 52 seconds that is reminiscent of the Groupe de resherches musicales (GRM). Old Style Tip-On jacket at Stoughton Pressed at QRP in Salina, Kansas 2022.\" - Idea.","brand":"Idea","offers":[{"title":"LP","offer_id":43517793698011,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/IDEA060LP_CU.jpg?v=1666044929"},{"product_id":"tholfsen-david-walk-with-me","title":"THOLFSEN, DAVID - Walk With Me","description":"\"\u003cspan data-mce-fragment=\"1\"\u003eDavid Tholfsen is an American musician and artist living in San Leandro, CA. He was the primary voice and songwriter of the group U.S. Saucer, an electric folk trio active in the 1990s who recorded three LPs and a 7\" for the Amarillo Records label. In the two decades prior, Tholfsen performed in many groups in Iowa, Arizona, and ultimately San Francisco, \u003c\/span\u003ewhere\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehis\u003cspan data-mce-fragment=\"1\"\u003e heavy art-rock outfit Blow reduced itself to the slow-drip syrup \u003c\/span\u003eof his flagship endeavor.\u003cspan data-mce-fragment=\"1\"\u003e During this time, he also appeared on recordings by Thinking Fellers Union Local 282 and the Zip Code Revue. Post-Saucer, David shared a split 7\" with Suzanne Langille on the Road Cone label's Instress series. He continued to record music privately throughout the 2000s, solo and with his bluegrass band The Tinnitans. His work outside of music includes a skilled practice in ceramics\u003c\/span\u003e, sculpture,\u003cspan data-mce-fragment=\"1\"\u003e and puppetry\u003c\/span\u003e—\u003cspan data-mce-fragment=\"1\"\u003eoften vehicles for the same narrativ\u003c\/span\u003ees\u003cspan data-mce-fragment=\"1\"\u003e, jokes, and wordplay of his songwriting. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWalk With Me \u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ecomes 25 years after his last appearance on a vinyl record.\u003c\/span\u003e\n\u003cp dir=\"ltr\" class=\"CDt4Ke zfr3Q\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWalk With Me \u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eshowcases David's signature vocal stylings, in the form of multitrack renditions of chants that arose while regularly hiking the Oakland hills in recent years. If one was so curious to pry, there's likely an anecdote and specific location to apply to each track\u003c\/span\u003e—\u003cspan data-mce-fragment=\"1\"\u003ebut here they are offered for general utility and enjoym\u003c\/span\u003een\u003cspan data-mce-fragment=\"1\"\u003et. The spike of endorphins, mantric \u003c\/span\u003emind\u003cspan data-mce-fragment=\"1\"\u003e loops, literal peaks and valleys, and fluctuation of available breath color his chants with a natural dynamism. Tholfsen's \u003c\/span\u003epersonal intention\u003cspan data-mce-fragment=\"1\"\u003e is one of practical use for the listener, as an encouragement to sing along and achieve the same mental and physical workout. For the home listener: tuneful mouth music, mostly non-lexical folk tunes with lots of lilting vocables and wild harmonizing to swirl up unusual patterns, b\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eolstered by the giant spirit of a guy who's been doing this a long time.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e Through a squint, these recordings could be reckoned as more of a text-sound performance deal\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\"\u003efor\u003c\/span\u003e those who brain about in fancypants\u003cspan data-mce-fragment=\"1\"\u003e—but no need to detract from the charm and liveliness of the natural composition ('improvisations over improvisions'). A\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003elways a \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efamiliar melody or song form to keep on the path, with enough craggy embellishments and curious tangles on the periphery to keep it interesting. A new rendition of an old Saucer track, \"Shake Smear Laugh and Roll\", along with two others, even offer something in the way of lyrics (\u003c\/span\u003etip: they\u003cspan data-mce-fragment=\"1\"\u003e all \u003c\/span\u003ehave lyrics\u003cspan data-mce-fragment=\"1\"\u003e if you listen enough times). \"Pick out a song, set it on loop and walk for miles,\" is an alternate suggestion from David. As an accommodation, files can be acquired directly by contacting the publisher upon purchase of an LP from anywhere.\" - Spoooor.\u003c\/span\u003e\u003c\/p\u003e","brand":"Spoor","offers":[{"title":"LP","offer_id":43541333049563,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/a2600616149_10.jpg?v=1666542361"},{"product_id":"gynecologists-the-john-wayne-gacy-original-80s-punk-rock-from-indiana","title":"GYNECOLOGISTS, THE - John Wayne Gacy: Original 80s Punk Rock from Indiana","description":"\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\"Howlin' from Bloomington, Indiana, \u003c\/span\u003e\u003cb\u003eThe Gynecologists\u003c\/b\u003e\u003cspan\u003e were probably one of the most outrageous and repellent punk bands ever. Inspired by the everlasting violence of American society, their songs evoke a chilling maelstrom of depravation and amorality, while their obsession with sex and feces makes \u003c\/span\u003e\u003cb\u003eGG Allin\u003c\/b\u003e\u003cspan\u003e look like a priest. The material on this anthology has never been released before on vinyl: while confirming a challenging musical creativity and the powerful vocals of frontman \u003c\/span\u003e\u003cb\u003eTommy Afterbirth\u003c\/b\u003e\u003cspan\u003e, it reveals unexpected links with American classic rock (take a listen to their cover of \u003c\/span\u003e\u003cb\u003eGrand Funk Railroad\u003c\/b\u003e\u003cspan\u003e's \"We're An American Band\").\" -Rave Up.\u003c\/span\u003e","brand":"Rave Up","offers":[{"title":"LP","offer_id":43551361007835,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/RUR088LP_CU_0841d655-d0fa-41ff-99d7-92858b0a6496.jpg?v=1666709137"}],"url":"https:\/\/www.fusetronsound.com\/collections\/november-3-2022.oembed?page=4","provider":"fusetron","version":"1.0","type":"link"}