Browse by Label: ALGA MARGHEN (ITALY)

Artist:	TAZARTES, GHEDALIA
Title:	Une Eclipse Totale de Soleil
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 005CD

2006 repress of this classic from 1997. "The first record released by Ghedalia Tazartes in 1979. Far away from contemporary music intellectualisms or from synthetical noise purists, this was certainly one of the most original and creative records of the 70s featuring a new form of musical expression...the value of this work was underestimated and only a few people had a chance to listen to its beautiful music. Now, due to the new growing interest, Alga Marghen has taken the decision to reprint all Tazartes records, starting with his first work. Originally conceived in two parts, Une Eclipse... has been remastered and is now integrated by a 25 minute new piece ('Part III'), composed expressly for this CD." A unique record, utilizing collage, strange vocals by Tazartes, trance-ethno backing splices, droning organ and childish naivete, in a spirit all of its own.

Artist:	HANSON, STEN
Title:	The Sonosopher Retrospective
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$30.00
Catalog #:	ALGA 017LP

1998 release, restocked -- as Alga Marghen does a little vault cleaning. Limited stock on all of these... "Fylkingen has, in the course of its many years of activity, become a familiar factor in Swedish, as well as international, musical life, a unique forum for the presentation of experimental art. Since very early it began to work in collaboration with an electronic music studio in Stockholm for the creation of technically satisfactory performance possibilities. The movement within Sweden in sound poetry/text-sound composition took hold in the early 1960s with the reorganization of Fylkingen, aiming to develop the relation between art and technology. Sten Hanson's work is an excellent example of sound poetry treated extensively in an electronic studio; The Sonosopher Retrospective LP covers the long period of 30 years activity."

Artist:	HODELL, ÅKE
Title:	200 Volts Buddha
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$30.00
Catalog #:	ALGA 018LP

1998 release, restocked. Another Fylkingen-related release; both of these feature previously unreleased material, in limited editions of 545 copies. "Åke Hodell was a fighter pilot in the 1940s and came into contact with literature after a bad accident which resulted in a long spell in a hospital. In the 1960s Hodell made a comeback with strongly experimental art -- concrete poetry, picture-poems, multi-media work -- playing a a prominent role in text-sound composition. '220 Volts Buddha, Electronic Purgatorium' was commissioned by Fylkingen in 1970."

Artist:	CORNER, PHILIP
Title:	On Tape From the Judson Days
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 019CD

"'On tape from the Judson days. Remember? When you made these things at home, on the best equipment you or your other poor friends could find? Electronic music from the 1960s. And you had that Japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961.' This compact disc presents tape music recorded between 1962 and 1963 for the friends meeting once a week in a loft in NYC. The first track, 'Lucinda Pastime,' was the soundtrack for a dance piece by Lucinda Childs: 'the tape was made in the kitchen sink, with primitive equipment and all the different kinds of plates and bowls in the house. The enjoyment of listening to this musique liquide at night, in bed, and always finding it too short.' 'Memories: Performances': 'Ah yes...yes! The principle of this tape is the recombining of recorded performances from the past, my past, this time. Because the idea, and practice, of collage was really around in that time.' 'From Thais,' was made on request of Yvorine Rainer, 'collaging mostly extracts from Massenet opera, mix after mix to get thrown around fragments of the opening until the thin, otherworldly quality of the ending.' 'Oracle, a Canata on Images of War,' was commissioned by the Living Theatre: 'All sounds in violent counterpoint, made by me at home...playing with real noises, with a deliberately pulverized reality made of over-recorded close-miked crashes which even blew the machine's circuitry. Mixed into the Darkest White Noise ever made.' 'Flares' used dancers and musicians and slides and lights in a total-space multimedia'; this is the only piece on this compact disc which uses purely generated tape sounds. 'Circus Tape' was for 'a whole evening of inspired crazy-fun, from burlesque to creaking doors.' All previously unreleased works presented in a digipack CD with 16 pages booklet.

Artist:	MOORMAN/NAM JUNE PAIK, CHARLOTTE
Title:	TV Cello
Label:	ALGA MARGHEN (ITALY)
Format:	2LP
Price:	$42.00
Catalog #:	ALGA 019LP

"A documentation of Charlotte Moorman activities as a performer is generally available only on the iconographic level in various catalogues which documents the crucial intersection with the work of Nam June Paik or the association with events connected to the Fluxus movement. One of Charlotte Moorman's more substantial merits is having consciously reversed the traditional role of the virtuoso performer on her own instrument, uncovering by this overturning one of the most authentic keys for comprehending the aesthetics of experimental music. It was properly the natural spontaneity in this attitude to fascinate Paik and to have decreed her indispensable capacity as a performer, thus giving rise to the reasons animating their fecund and symbiotic collaboration. Cello Anthology is a collection of documents (sonic and photographic) as well as original texts and testimonies, made available for the first time in a unitary form by Alga Marghen. One of the CDs included in the edition, currently in a final process of realisation, will offer an in situ recording of the famous 'TV Cello', realised in September 1982 during the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago. The 2LP edition presented here introduces to a different version of the same piece, conceived by Paik for Moorman as a 'living sculpture': the 'Concerto for TV Cello and Video Tapes' historical World Premiere, recorded at Galeria Bonino, New York City, 1971. More rough and primitive than the masterpiece recorded in 1982 in Chicago, these uncompromisingly obscure original recordings will not be included in the forthcoming 4CD anthology. 2LP set in gatefold cover reproducing photos of Charlotte Moorman with John Lennon and Yoko Ono playing the TV Cello at Galeria Bonino 1971 vernissage. Private edition limited to 200 copies."

Artist:	HEIDSIECK, BERNARD
Title:	50/70
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$30.00
Catalog #:	ALGA 022LP

1998 release, restocked. 3rd LP on this by this French sound-poet on the label. "Featuring 'Poème-Partition "B"' (1957), for Bernard de Pontcharra, killed in Algeria; 'Poème-Partition "M"', suggested by a comment made by Henry Miller about 'Déserts' by Edgar Varèse; 'Démocratie II' (1977) and 'Publicité' (1979). The first two compositions belong to the Poème-Partition series, the starting point of Bernard Heidsieck's work, specially focused on the problem of a poetical direct communication and directly inspired by Nono, Stockhausen, Boulez and Cage. The latter two works were included in the Passe-Partout series, a formally more experimental one, based on electronic and reel-to-reel recording machine manipulations."

Artist:	KRUSI, HANS
Title:	Ex Hk.
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$31.00
Catalog #:	ALGA 023LP

"While preparing a new edition of Anton Bruhin works, Alga Marghen discovered some mysterious tapes by Hans Krüsi. Fascinated by the raw and brute contents of those sounds, mixing field recordings of insects, sheep and distant bells with primitive chanting, percussive noises and distorted radio folk songs, Alga Marghen started to conceive one of the most obscure editions in his catalog. The Swiss-born, self-taught painter Hans Krüsi (1920-1995) was a wiry man who eked out an existence on the margins of society. Even among outsider-art experts, his work is less well known than that of his Swiss compatriot Adolf Wölfli, who died in 1930 and whose richly patterned drawings have become treasures of classic European art brute, or raw art, made by untrained, visionary artists. Krüsi was orphaned as an infant and brought up on a farm in northeastern Switzerland by foster parents who largely ignored him. He scraped by with odd jobs (including gardening work) and eventually settled in the city of St. Gallen. There Krüsi lived in run-down buildings. In his late 20s, he began commuting by train almost daily to Zurich, to the west, where he sold flowers and, later, his artworks, on the Bahnhofstrasse, one of the most luxurious shopping streets in Europe. Among the wall-to-wall clutter of Krüsi's ramshackle lodgings, where pigeons flew in and perched, evidence of an unexpectedly experimental spirit abounded, including Krüsi's old cameras and the second-hand tape recorders with which he liked to capture the sounds of birds, insects and church bells. The artist's inventiveness and fertile imagination seemed to contrast sharply with his humble way of life. Krüsi took subjects from the agrarian world that he knew: alpine farmhouses, forested mountains, cows, birds, rabbits and cats. In his varied oeuvre, the folkloric and the psychedelic often appear to converge. Some works are even hallucinatory, with bright, brushy passages of acid green, lemon yellow or Pepto-Bismol pink in which watchful, lounging cats, clusters of dithering birds or watery human figures huddle or writhe. LP edition limited to 200 copies, issued in collaboration with the Swiss Kunstmuseum des Kantons Thurgau (the repository of the artist's estate) and published on the occasion of Alga Marghen's invitation to the Artist's Record Pavillion at Art Basel 2008."

Artist:	ANIMA-SOUND
Title:	Musik für Alle
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 027CD

"Paul and Limpe Fuchs music, better known as Anima, represents the most original and obscure event among German Kraut Rock. Here they play a wonderful and very inspired duet on Paul Fuch's self-built instruments with the pot-production collaboration of Will Neubauer's Echolette Ringmodulater. Privately issued on LP record in 1972 for the artists' own label Altepfarhof, these two 17 minute long improvisations titled 'n da da uum da' and 'traktor go go go' can surely be considered as one of the best psychedelic experiences ever created. Due to the intensity of the recording, Alga Marghen, in agreement with the artists, decided not to add more material to the CD reprint. Presented on digipack CD in a first pressing of 1000 copies. Excerpt from cover notes: 'In the summer of 1971 the authors of this record parked their wooden stage caravan, hauled by a Hanomag tractor, in front of Willy Neubauer's recording studio in Düsseldorf. They had been travelling for 6 months at a speed of 20 km/h through the country, chugging and building up their stage. After touring, they spent three isolated days in the studio and let Willy and his newly discovered electronics add wings to their minds."

Artist:	PATTERSON, BEN
Title:	Early Works
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 028CD

"Alga Marghen proudly presents the first record ever produced by Ben Patterson: 'This is not only my first CD, but also the first recordings of these works available to the general public.' Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avantgarde music classics, a crossover between John Cage exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: 'Duo For Voice And A String Instrument' and 'Variations for Double-bass,' both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. 'Duo' was Patterson's most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while 'Variations' represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; for this purpose a collaboration was asked to Philip Corner, Walter Marchetti, Davide Mosconi and a few more friends. These newly recorded pieces include 'A Simple Opera' (1995), a repetitive hommage to Emmett Willons on his 70th birthday; 'Paper Piece' (1960), the work that cut the umbilical cord to all of the author's previous classical and contemporary musical training and experience, and 'Pond' (1961), a piece that reminds of Richard Maxfield's electronic music with voice collage. The edition includes a fold-out 16 page insert with original scores and photos."

Artist:	ASHLEY, ROBERT
Title:	String Quartet.../How Can I Tell The Difference
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 030CD

"'String Quartet Describing The Motions of Large Real Bodies' was composed as the potential orchestra for an opera based on the text of 'In Sara, Mencken, Christ and Beethoven There Were Men And Women'. When the work was composed, in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound producing devices as yet undreamed of. The piece consists of an electronic orchestra of 42 sound producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here few of the technical resources were available. Now, of course, there are computer 'patching' programs that would make the job possible, but complicated. Such are dreams, when technology promises a 'new world'. Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II, to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of 'How Can I Tell The Difference?' the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the 'String Quartet' as an 'orchestra', in the way it was intended to be used in the opera. In Version Two of 'How Can I Tell The Difference?' a solo string player using the same playing technique as in the 'String Quartet' opens and closes the sound 'gates' to electronic reverberations and prerecorded sounds running continuously with the performance. A digipack CD edition including an 8 page booklet with scores and liner notes written by Robert Ashley."

Artist:	VA
Title:	Rumoriallarotonda
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 031CD

"Live recording at the Rotonda del Pellegrini, Milan, January 21st, 1959 featuring John Cage, Morton Feldman, Juan Hidalgo, Leopoldo La Rosa, Walter Marchetti. Among all the events involving John Cage during the long stay in Europe that followed his controversial appearance at Darmstadt Ferienkurse in September 1958, the concert he held in Milan on January 21st perhaps represents a less well known episode. The reasons that justify the necessity to present here, after forty years, the complete recording of the concert, and that restore the measure of the exceptionality of this rare document can be summarized in the contrasting reactions catalyzed by this event. Featuring Cage's intervention both as composer and performer of one's own work as well as of two piano pieces by Morton Feldman, the concert at Pellegrini's 'Rotonda' may be considered the first event of experimental music in Europe in which the presentation of American and European composers consciously acted on an agreeing and equal aesthetic horizon. Both the set of pieces in programme and the peculiar environmental frame of the concert were fit intentionally for emphasizing the radical aesthetic conceptions of the compositions performed. Cage's choice was highly representative and relapsed into those works of his recent catalogue that more than any other was pushed on the way of a conscious neutralization of compositive intention. The Duo which opens the concert significantly consists of the parts for flute and viola excerpted from his celebrated 'Concert for Piano and Orchestra'. Cage then completed his participation in the concert, besides performing some unspecified numbers from 'Music for Piano' (the piece that showed him the possibility to de-conceptualize the resort to chance operations transcribing the paper pointal imperfections), also performing two of the three 'Piano Pieces' with which Morton Feldman, in 1954, was reconverted to conventional notation, while preservrarifyingame rarefying qualities his music formerly acquired by means of the systematic adoption of aleatory graphic notations. Juan Hidalgo, Walter Marchetti, and Leopoldo La Rosa on the contrary premiered six compositions purposefully written for this occasion, employing aleatory procedures for the first time in their works. Both Hidalgo and Marchetti wrote a trio and a quartet firstly following a common notational stylization, which provides the spatial distribution of a prearranged, but reversible, sequence of intervals within a flexible temporal grid, structured fixing each subsequent time limit. Curiously, those procedures forerun the so-called 'temporal-brackets' technique that Cage will employ, at the end of a long creative career, in time-structuring his famous 'Number Pieces'. The cyclical alternation between the instrumentally always-heterogeneous ensemble works and the slight sonority of the solo piano pieces, was presumably regulated, in fact, by an evident principle of symmetry. More than constituting a restriction, a so rigid performing frame plausibly acted as an efficacious form of conjugation in strict connection with the environmental space. Exploiting the circular architectonic structure of the concert hall all the performers were spread abroad among the audience, with the piano exactly in the centre. According to Cage, in the integration of the physical space into the performing process one can recognizes a basic requisite that consented to transform music composition in an unforeseen event in which the physical separation of the performers allows the sounds to issue from their own centers and to interpenetrate in a way which is not obstructed by the conventions of European harmony and theory about relationships and interferences of sounds. At a distance of only few months since Cage described with these words -- in one of the three lectures given in Darmstadt then collected under the title 'Composition as Process' -- one of the distinctive features of his conception of an experimental work, the concert at Pellegrini's 'Rotonda' perhaps represented the first concrete opportunity to verify and extend these same concepts. So, not only the concert at Pellegrini's 'Rotonda' was characterized by the performance of works that accepted the indeterminacy as their own operative premise, but also for having been a collective event in which the individual contribution of each composer, the strict succession of the works without solution of continuity, the dislocation of the sound sources in the space, mutually acted as autonomous elements, but interrelated in the comprehensive design of their concordant dimensioning in the environment. The edition includes a 36 pages essay with photos and full documentation of the event."

Artist:	CORNER, PHILIP
Title:	3 Pieces For Gamelan Ensemble
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 034CD

"'Gamelan' means for Philip Corner more than the name for Indonesian orchestras. The composer uses the word the way, apart from Europe, someone might say 'symphony'. A basis of making music, adding a few wonderful ideas from the Orient: a precise relation between the scale of time and that of musical space; a simple formal concept, expressed directly through sensual attractiveness; some freedom, or mystery, added to the precision. 'Gamelan' is the name of the first piece. In 1975 at Livingston College where Barbara Banary, who had just constructed the earliest instruments for Son Of Lion, invited Philip Corner to compose a piece. Its opening gong stroke and long resonance has gone through several revivals over the years since, and has come to seem like a 'classic'. This piece is the link to the composer's earlier works, particularly those of struck resonant instruments, like Metal Meditations, which are intensely focused on the immediate presence of the sounds. What is added here is counting, although counting so long a length dissolves again into the intuitive. The second track on this CD is titled 'The Barcelona Cathedral'. The composer Tom Johnson wrote about it in 1978: 'A few weeks ago I attended a rehearsal of New York's own gamelan ensemble, Son Of Lion. One of the works I heard that evening was a new composition by Philip Corner. Corner was conducting in big slow beats that fell heavily once every few seconds. With each beat about ten mallets fell onto the metallic percussion instruments with a tremendous clang. A variety of pitches resulted, and the general effect was much like a big church bell. The piece went on for nearly half an hour, always with that same relentless beat, but with slightly different effects.' These first two compositions, first issued on LP for Lotta Poetica, have been remastered for this CD edition that also features a previously unpublished major work entitled 'Belum'. The author wrote about it: 'There is improvisation within a structure that only reveals itself over many repetitions. The melody is quite difficult, with many syncopations and rhythmic irregularities. We have learned it well, but since no one knows exactly how each will play, there is individual freedom and group chance results. Bringing together different cultures in a new kind of harmony. ...It [the music culture of Indonesia] has added to my previous development sense of music as wonderful-sound, the sense of music as wonderful-measure. Thanks to this, I now love numbers and with no diminishing of the senses...'. 16 page booklet, color photos, graphic notations and scores are included with liner notes written by Philip Corner."

Artist:	PALESTINE, CHARLEMAGNE
Title:	Alloy (Golden 1)
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$19.00
Catalog #:	ALGA 035CD

2008 repress. "The Golden Research is the name chosen for the complete documentation of previously unpublished works by Charlemagne Palestine starting from the early 1960s to the mid-late 1970s. Such a huge project will include seminal collage and electronic music, Bell Studies, New York and California Drones, Piano drones as well as more specific compositions. All the recordings will be exclusively available through Alga Marghen. Be ready to change your own opinion about minimalism and music in general? Holy1 and Holy2 were both recorded in NYC in 1967. Charlemagne Palestine was listening to a lot of ethnic world music; he was also immersed in the late night New York soundscape and absorb the spatial sound diversity and beauty that such a big city could only express very late at night? He worked also at night building up a sound, oscillator by oscillator; then add tiny increments of white noise that would gradually make the sounds thicker and thicker until they were immense sacred machines humming like gargantuan Tibetan bees. The sounds were played very very loud making all the room and objects in it resonate while outside all was quiet and sleeping. Holy1 & Holy2 were done this way. Then, in 1969, Tony Conrad asked Charlemagne Palestine to make some carillon music for his film Coming Attractions. They were seeing each other regularly when the Free Music Store of radio station WBAI asked Palestine to create a piece for an event they were preparing to broadcast live on radio. So he asked Tony, his saxophonist Bob Feldman and his then wife and soprano Deborah Glaser to collaborate on a work that he would organise around an instrument that he invented at that time called an Alumonium. Tony Conrad played an instrument that he invented, the Long String Drone, that was a long string attached to a long wooden structure and amplified. Bob played the chimes and a conch. Deborah sand and played chimes and Charlemagne sang, also played the chimes and some percussion instruments that they found lying around the hall where they played. The piece became Alloy and the sound used as all electronic background continuum, played through loudspeakers in the hall, were Holy1+2 from 1968. Digipak CD edition with folded insert and liner notes."

Artist:	M.E.V.
Title:	Spacecraft/Unified Patchwork Theory
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$19.00
Catalog #:	ALGA 038CD

2008 repress! "In the fall of 1966 a group of composers that included Frederic Rzewski, Alvin Curran, Allen Bryant, Jon Phetteplace, Giuseppe Chiari and Richard Teitelbaum organized 'Avanguardia Musicale I', a festival of several consecutive nights at the Accademia Filarmonica Romana. The program included tape music, Fluxus performance art pieces and live electronic works. It was also the beginning of the group MEV. One year later the group was in Rome, Italy, but also involved in a very active period of touring in Northern Europe, mostly in Germany. It was the period of the first major collective pice, 'Spacecraft'. In many ways, the music of that period was the most unique and radical in the group's thirty years history. The instrumentation included Rzewski's amplified glass plate to which he attached coiled and stretched springs of various kinds, all highly amplified with contact microphone. With it he generated a range of sounds from the screaming of wild animals and viscous percussive clangs to richly resonant low gong sounds. Alvin Curran used contact mikes to amplify a large Italian olive oil can, an African thumb piano and various items of junk he scavenged at the site of the gigs, as well as a distorted amplified trumpet. Allen Bryant's idiosyncratic instrument, an old electronic organ he had bought in a Roman flea market and re-wired by trial and error until he got the sound he liked, and Richard Teitelbaum's Moog, which he played by twirling knobs while triggering it with his brainwaves and toes and amplified heartbeats made up the 'synth' section. Finally, Ivan Vandor's (at that time also member of Gruppo di Improvvisazione Nuova Consonanza) wildy wailing alto sax -- usually long, high sustained screams or low guttural honks -- rode above the dense noise textures that gradually evolved and grew over time into violent climaxes. These in turn gave way to soft, slow and meditative sustained vocal and electronic drones and chants. This CD, the first in a series of editions devoted to MEV, introduces us to the integral 42 minutes of 'Spacecraft' recorded in Cologne, Germany (1967), as well as to the more recent 'Unified Patchwork Theory' recorded at Rote Fabrik in Zurich (CH), in 1990 featuring Curran (sampler and synths), Rzewski (piano), Teitelbaum (synths), Steve Lacy (soprano sax) and Garrett List (trombone, voice and electronics). Digipack CD edition including a folded insert with original photos of the group from 1967, the text by Frederic Rzewski titled 'Plan for Spacecraft' (first published in Source Magazine) and an excerpt from 'Some MEV Memories' by Richard Teitelbaum."

Artist:	MARCHETTI, WALTER
Title:	De Musicorum Infelicitate
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 039CD

"As Walter Marchetti told to the producers of De Musicorum infelicitate, i.e., The Unhappiness of Music, this will probably be his last music work, but this is not the only point making this edition a very special one. Coming after two CDs previously issued for Alga Marghen (Antibarbarus in 1998 and Nei Mari del Sud in 1999) these 'Ten Pieces in the Form of Painful Variations' dispose in their unceasing and implacable sequence the landing at an anaphorical finis terrae, the extreme and impassable threshold, beyond which music can but sink in the abyss of its own loss of consciousness, in front of the horizon of the definitive loss of its exhausted tradition. 'De musicorum infelicitate', anamnesis of the condition of music, a barren aesthetic code ineluctably suspended between self-mystification and expression of the inauthentic, having reached the limit of its own fertility and every faculty of the imagination. 'De musicorum infelicitate', longing for a magniloquent destructio musicae, the destruction of an administrated practice, of a tautological exercise devoid of inner necessity. As Gabriele Bonomo, the project coordinator of the complete Walter Machetti editions for Alga Marghen, remarks in the liner notes, music has been reduced to leading a ghostly existence, haunting the cemetery of history and frustrated by the impossibility to adhere to itself; if only music were able to recognize its own superfluity it could fulfill its destiny. While listening to these 'Ten Pieces in the Form of Painful Variations', each one with the precise duration of six minutes, you will realize that music, this extremely dense sonority close to the pulverisation limit, is talking about itself."

Artist:	BRUHIN, ANTON
Title:	Rotomotor
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 041CD

"The new compact disc by Anton Bruhin issued by Alga Marghen is titled r o t o m o t o r and covers two different areas of the artist's research. The first one is represented by a group of works including the short and mysterious environmental recording 'ORAX' as well as 'Lange Tone', 'VERSUCHPILZ 6' and 'Paul is 35', three excerpts from the epic 'MC-10 zyklus' created between 1976 and 1977 recording various layers of sound sources on two cassette recorders with loudspeakers. The complete zyklus consists of 12 different episodes (each one ten minutes long) which investigate the multi-layer ping-pong recording technique; the spatial illusion of the monoaural replay which moves away from the listener's ears into the depth of space. Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. 'r o t o m o t o r: ein motorische Idiotikon', the title track, is a 28 minutes long reading, one of Bruhin's major works. Rotomotor is a poetic Idiotikon of the swiss-german dialect where, instead of the straight alphabetical order, the words are organised according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an AKRE."

Artist:	CORNER, PHILIP
Title:	Gong +
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 042CD

"Gong + presents three previously unpublished compositions by Philip Corner recorded in New York City, 1974. 'Metal Meditations with Listening Center', a 29 minutes long piece, is a collaboration between Philip Corner and Bill Fontana. At that time Bill Fontana was very interested in the resonance properties of every object, putting his ear to everything, and sometime recording what he called 'Listening Centers' (soon to be issued by alga marghen). A microphone placed in a resonating space (for example a jar, or a pipe) recording the environment with no intervention from the artist. This time the 'Listening Center' was integrated as an active element on two pages from 'Metal Meditations' ('one stroke: vigorous: one resonance' and 'these are twirlings, sworlings') performed at the Intermedia Foundation. The continuous resonance of metal objects mixed with the chaotic sounds of New York City distorted through the 'Listening Center'. 'Gong!' is a series of works and can be considered forms of kinds of 'Metal Meditations'. They are more-elaborated performing plans for/on this 'prototype of all rich resonances', so, are musics assuming long-resounding & more-than-single-pitched large-surfaced (likely) lower-tone-favoring metals. Some substitutions are possible: piano? low clusters and selected sonorities. Colors controlled from pedal. Struck by soft stick(s)--- or from keyboard. This specific version, titled '2 as entrance ? passageway (resounding regularly)', was recorded on May 22nd, 1974 at The Kitchen and performed by Philip Corner, Brian Dallow, Daniel Goode and Carole Weber. The piece starts with deep resonances of the gong played by two performers and very slowly fades into the pulsation of the low-key strings of the piano. The last composition on this compact disc, taken from a different series of works titled 'Pulse Polyphony', was also recorded at The Kitchen during the same festival. 'Pulse Polyphony' compositions may use very different materials; one of them (the central part of 'Oracle', an electronic music piece) was included in On tape from the Judson years, a previous compact disc issued by alga marghen. The version presented here is the passage from string piano to bell-tree."

Artist:	LORA-TOTINO, ARRIGO
Title:	Fonemi
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$18.00
Catalog #:	ALGA 043LP

"Arrigo Lora-Totino is probably best known for having been the editor of the famous sound poetry anthology issued by Cramps Records in the 1970s with the title Futura. But only a few know about his sound poetry production. Following Henri Chopin's idea that poetry is above all an expression of the body through its own language, Lora-Totino started his important poetical practice in 1965 with 'Fonemi', a sound sample of erasure: the reading of a text recorded on tape is filtered through an electronic pulse generator that splits it into small fragments. Also featured on this LP is 'Poesia liquida & liquimofono': in 1968, together with the artist Piero Fogliati, Lora-Totino staged a 'liquid poetry and music' show. While he 'dove' and 'drowned' words into the idromegafono and watered the audience with liquefied consonants, Fogliati operated on the liquimofono, a sort of water organ, thus producing liquid music. LP edition limited to 345 copies."

Artist:	VA
Title:	OU 20-21/OU 23-24
Label:	ALGA MARGHEN (ITALY)
Format:	PIC. DISC
Price:	$43.00
Catalog #:	ALGA 045.1LP

"Available now in very limited quantities (less than 40 copies of each title) the single picture LPs of the Revue OU series. The picture LPs are the same pressing as the one included in the Avant Marghen Vol.3 boxset, but they are not numbered. Including Bernard Heidsieck 'Poème-partition D4P, Ou Art Poétique'; Brion Gysin 'I Am'; Brion Gysin 'Pistol-Poem'; Henri Chopin 'Vibrespace'; François Dufrêne 'Batteries Vocales'; François Dufrêne 'Paix En Algérie; François Dufrêne 'Ténu-Tenu'; Mimmo Rotella '7 Poèmes Phonétiques'; Bernard Heidsieck 'Poème-Partition J'; Bernard Heidsieck 'Poème-Partition H1 + H2: Le Quatrième plan'; Brion Gysin '3 Permutations'; Henri Chopin 'L'énergie Du Sommeil.'"

Artist:	VA
Title:	OU 34-35/OU 36-37
Label:	ALGA MARGHEN (ITALY)
Format:	PIC. DISC
Price:	$43.00
Catalog #:	ALGA 045.3LP

"Including François Dufrêne 'Haut-Satur (June 1967)'; François Dufrêne 'Haut-Satur (December 1967)'; François Dufrêne 'Haut-Satur (November 1968)'; Bob Cobbing 'Marvo Movie Natter'; Bob Cobbing 'Spontaneous Appealinair Vontemprate Apollinaire'; Henri Chopin 'Mes Bronches'; Ladislav Novák 'La Structure Phonétique De La Langue Tchèque'; Hugh Davies 'Shozyg 1 & 2'; Sten Hanson 'Don't Hesitate Do It, Do It Right Now'; Sten Hanson 'The Glorious Desertion'; Henri Chopin 'Les Grenouilles d'Aristophane'; Bernard Heidsieck 'Ravaillac, Tu Connais?: Passe-Partout N° 1'".

Artist:	VA
Title:	OU 26-27/OU 42-43-44
Label:	ALGA MARGHEN (ITALY)
Format:	PIC. DISC
Price:	$43.00
Catalog #:	ALGA 045.5LP

"Including Raoul Hausmann 'B b b b et F m s b w'; Raoul Hausmann 'K' Perioum'; Raoul Hausmann 'Poème Sans Titres'; Raoul Hausmann 'Oiseautal'; Raoul Hausmann 'Chanson, Vali Tali, Baste'; Bernard Heidsieck 'La Convention Collective'; Bernard Heidsieck 'La Cage'; Bernard Heidsieck 'L'exercise: Biopsie II'; Henri Chopin 'Indicatif 1'; Henri Chopin 'La Fusée Interplanétaire'; Bernard Heidsieck 'Quel Age Avez-Vous?: Biopisie V'; François Dufrêne 'Dédié À H. Chopin'; Gil J. Wolman 'La Mémoire: Mégapneumes'; Henri Chopin 'Le Ventre De Bertini'; William S. Burroughs 'Reading'; Ake Hodell 'Numro Ba Besch'; Charles Amirkhanian 'Each' LL'; Ladislav Novák 'Two Poems'; Henri Chopin 'Le Vrai Sonnet Des Voyelles'; Henri Chopin 'Les Mandibules Du Déjeuner Sur L'Herbe'.

Artist:	CHOPIN, HENRI
Title:	Revue OU
Label:	ALGA MARGHEN (ITALY)
Format:	4CD/BOOK
Price:	$90.00
Catalog #:	ALGA 045CD

"Alga Marghen proudly presents a new edition of the already historical Chopin's Revue OU. All the original contents (4CDs + book + complete inserts) have also been included here, but presented now in a more modern and flexible way. The first press heavy boxset had been substituted with a lighter and colour slipcase while many important details and info about the contents of this anthology (missing in the original layout) are presented on a new colour obi." Incredible that this has been reissued again, at a slightly cheaper cost even! Miraculously over-the-top presentation of Henri Chopin's famous sound-poetry "magazine", issued on 4CDs (or 6 LPs -- a few copies of the original LP reissue box still available). "Since the end of the fifties, Henri Chopin, an explorer in the new recorded sound poetry field, has never ceased, through hid own work as well as through his publishing activities (Revue OU, a magazine with record from 1963 to 1974) to defend the electronic exploration of the voice and the body. If Henri Chopin's Revue OU is such a remarkable publication, then this is surely because it is one of the truly -- and most authentically -- 'contemporary' publications of its time. Yet at first sight, the word 'contemporary' seems to offer a rather simplistic description of such a visionary publication as Chopin's OU. When we consider in the general cultural context of the sixties, for example, aren't all mid-century art publications generally 'contemporary' in one way or another? And when considered in terms of most other poetry publications of the sixties, doesn't Chopin's OU clearly stand out as one of the most significant 'experimental' or 'avant-garde' publications of the mid-century? As Chopin observes, he considered the sound poetry published on the records in OU to be a distinctively 'new form of art'. On one hand sound poetry constitutes an almost archetypal practice, but on the other hand sound poetry also emerges from the very sources of recording technology by means of its use of electro-magnetics. As this collection of CDs (remastered under the supervision of Henri Chopin) reissuing the complete Revue OU records indicates, Chopin's most striking achievement was to consistently identify and publish the first major works of many of the most visionary transatlantic artists exploring the new recording technologies of the fifties, sixties and seventies. Far from attempting to establish any monodimensional 'movement', Chopin characteristically championed a wide veriety of those poets, writers and composers whom he perceived to be 'in movement', and whom he subsequently applauds as 'Fabulous Independents'. Following an editorial logic of selectively eclectic inclusion, Chopin's OU records published an astonishing diversity of inter-generational and international experiments. These include intense electronic readings by William Burroughs and Brion Gysin; pioneering optophonetic works by the Dadaist Raoul Hausmann; 'crirythmes' and vocalic improvisations by François Dufrene and Gil J Wolman; fragmentary poemes-partitions by Bernard Heidsieck; high-tech text-sound works by composers such as Ake Hodell and Sten Hanson; electronic abstractions by Bengt Emil Johnson; phonetic poems by Mimmo Rotella; 'handy tech' performances on self-built electronic instruments by Hugh Davies; haunting tape-manipulations by Ladislav Novak; playful improvisations by Bob Cobbing with Anna Lockwood; dramatic monologues by Paul de Vree; electronic concrete music by Jacques Bekaert and -- of course -- Chopin's dynamic orchestrations of the body's 'factory' of corporeal sounds. Chopin's writings equally consistently championed the 'electronic language revolution' facilitated by what he describes as 'technological means which extend the human body', thereby inaugurating an enormous expansion of human expression. Many manifestos and theoretical texts, as well as original photos, have been published in a 76 page book. Also included are 30 fold-out black and white OU inserts reproducing the original scores of the audio works featured on the 4 CDs (by Chopin, Heidsieck, de Vree, Davies, Cobbing, Bekaert) as well as graphic works by John Cage, Tom Phillips, Arrigo Lora-Totino, Michel Seuphor, Ben Vautier, Stefan Themerson, Richard Orton, Pierre Albert-Birot."

Artist:	PALESTINE, CHARLEMAGNE
Title:	In Mid-Air
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$19.00
Catalog #:	ALGA 047CD

2008 repress. "The first electronically generated sounds that Charlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especially the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the electronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous 'Podme Electronique' of Varese, Xenakis and 'Gesang der Junglinge' of Stockhausen. He immediately reacted buying a cheap reel to reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sounds waves looked and sounded like through an oscilloscope and he began studying Helmholtz's on the sensation of tone. He started dreaming of an expressive continuous evermoving, everchanging sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Five early electronic compositions including 'Sine Tone Study' (1967); 'Open Closing' (1968), created through speed alterations of 'Holy 1+2'; 'Seven Organism Study' (1968); 'Negative Sound Study' (1969) and 'Timbral for Pran Nath' (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously unreleased. 3-folded digipak cover with original photos and liner notes written by the composer."

Artist:	POUSSEUR, HENRI
Title:	Paysages Planetaires
Label:	ALGA MARGHEN (ITALY)
Format:	3CD BOX
Price:	$68.00
Catalog #:	ALGA 051CD

"In year 2000 Henri Pousseur was asked by Philippe Samyn, architect of Brussels who likes to work in association with other arts, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus making the hours between 6 a.m. and 10 p.m. Henri Poussuer imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south 'slices', themselves divided into three perpendicular 'rings': north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 'great hours' of the total duration, Pousseur associated three regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe. Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer's son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous Etudes paraboliques) in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, 'Alaskamazonie' is self-explanatory. Something like 'Gamelan Celtibere' brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work. Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring two long essays by Henri Pousseur: 'Paysages Planetaires' and 'Athmospheric and Cultural Sources for Each of the Landscapes'. Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life's multiplicity on this sailing Earth as she travels through cosmic space. All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer. Heavy cardboard slipcase with 3CDs and 60 page booklet."

Artist:	NEUHAUS, MAX
Title:	The New York School
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 052CD

Previously unreleased recordings, made 1964-68. Different realizations than those featured on the Columbia LP Electronics and Percussion -- Five Realizations from '68 (available on the Japanese Sony CD SICC 79). "The term 'New York School' refers to a circle of composers in the 1950's who orbited around John Cage: Morton Feldman, Earle Brown, Christian Wolff and David Tudor above all. Their music paralleled the music and events of the Fluxus group, and drew its name from the New York School of mostly Abstract Expressionist painters who had got their start in the 40's: Motherwell, Pollock, de Kooning, Rothko, Kline. What brought these artists together was a faith in the liberation of the unconscious and an excitement drawn from the street energies of Manhattan. This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of 'Four Systems - For Four Amplified Cymbals', recorded between 1964 and 1968), Morton Feldman (three realizations of 'King of Denmark', recorded between 1965 and 1968) and John Cage (one realization '64 and two realization '65 of 27'10.554'). All three composers conformed to the ethos of the 60's, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrument or of a tape with concrete sounds in the Cage performances) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music. This edition includes a 16 pages booklet with original photos and concert programs, Max Neuhaus' own comments on the original scores, an editorial note by John Rockwell, reviews by Malcolm Goldstein and Theodore Strongin."

Artist:	NEUHAUS, MAX
Title:	Zyklus
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 054CD

Four previously unreleased realizations of "Zylus" (different recordings than the one featured on the Columbia LP Electronics and Percussion -- Five Realizations (CD: SICC 79). Recorded 1959-68. "The term 'New York School' refers to a circle of composers "'Zyklus' was written in 1959 and is one of the first solo pieces to utilize such a large number of percussion instruments (twenty one). When Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it. Coming from the world of jazz Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing twenty one simultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre. Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform 'Zyklus' on the first American tour. Stockhausen came over to New York to hear Neuhaus play, but he wasn't satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before. Each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This CD also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetic of freedom and control. This edition includes a 12 pages booklet with original photos of both official concerts and performances for invited audiences, Max Neuhaus' own comments on the original score and an editorial note by John Rockwell."

Artist:	CORNER, PHILIP
Title:	More from the Judson years, early 60s - Volume One
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 055CD

"Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater. There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescript: Yoko Ono's studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene. The creation of the Dance Theater: Philip Corner involvement with it from the beginning. Excerpts from the liner notes of Volume One, written by Philip Corner: 'Passionate Expanse of the Law' (1959), extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, Malcolm Goldstein. 'I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development my exploration of maximum disjunction.' 'Air Effect' (1961), first performance, featuring Philip Corner, Alison Knowles, Malcolm Goldstein. 'From 1961 already my music became characterized more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing.' 'OM emerging' (1971). 'As pure to begin' (1963), Philip Corner, piano with preparations, objects and amplification. 'The purity of keyboard sounds turn progressively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones'. 'Music, reserved until now' (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, Chieko Shiomi. 'A score for non-traditional sound sources.' 'Composition with or without Beverly' (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation."

Artist:	CORNER, PHILIP
Title:	More from the Judson Years, early 60s - Volume Two
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 056CD

Excerpts from the liner notes of Volume Two, written by Philip Corner: 'Everything Max Has' (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. 'A performance of Max's taking down all of his stuff; tons of equipment filling entire stages'. 'Big Trombone' (1963), Jim Fulkerson improvisation over tape collage. 'Homage to Revere' (1962) for ensemble of copper-bottom kitchen utensils. 'Punkt' (1961) for ensemble of staccato sounds. 'Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music'. 'Passionate Expanse of the Law' (1959) for ensemble, recorded at the Composers' Forum, NY, 1972. 'Expressions in Parallel' (1958) for ensemble. 'From my earliest compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity.' Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.

Artist:	MILK FROM CHELTENHAM
Title:	Triptych of Poisoners
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 057CD

"Milk fron Cheltenham is the first in a series of Alga Marghen editions documenting the activities of the It's War Boys underground label, founded by Amos (of The Homosexuals fame) in the late 1970s. The original LP was issued in an edition limited to 300 copies. The material was recorded from 1979 to 1981 but wasn't released until 1983 due to problems with the silkscreened sleeve. The band only put out this record, a real hidden gem. Lepke said that he wanted it to sound like a Beach Boys LP by using lots of different studios but it was mostly done on a cassette machine with a primitive 'surround' function. Lepke is the man who does the impossible every time he picks up a tin, carton, bottle or instrument. The first person with enough originality to adopt 'anything' to his own idiosyncratic style. Retired to an obscure basement, still without peers in the world. Lounge makes rhythms that by this time need no words of praise with a wallop, that when left, makes the usual praise words disintegrate. A mix of inestimable ability with feelings as wild as it is rare. 'Salamander' has that certain something that most people can never have even if they practice for an eternity. Most important in his influence, most endearing in his emotional impact and most convincing in his new-found authority. If The Homosexuals were a strange prospect, and their music should fit into a similar spot as that of angry young men like Wire and Magazine who carried their penchants for art-school angst in the midst of proto-thug posturing, Milk from Cheltenham were an even more extreme band. Not only progressive with a certain artistic notion (a reference could be found in This Heat, Family Fodder and Chris Cutler's bands Henry Cow and the Art Bears) but also closer to more primitive sound experimentations of a cryptic and sinister Residential perspective. This release finally documents one of the most important projects developed in the scene explored by The Homosexuals. Amos&Sara, Sara Goes Pop, Nancy Sesay & The Melodaires and more hidden mysterious activities will soon be available through Alga Marghen. Digipak first edition limited to 500 copies."

Artist:	BERROCAL, JACQUES
Title:	Catalogue
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 058CD

"Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jaques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story."

Artist:	MARCHETTI, WALTER
Title:	Utopia Andata e Ritorno
Label:	ALGA MARGHEN (ITALY)
Format:	2CD
Price:	$35.00
Catalog #:	ALGA 059CD

"Music: the foundation of that presence in which we find ourselves shows itself as pure negative. Everything is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. But, accepting its negativity, makes of this self-negation the real act, the true reality -- the true foundation, the real and actual continuity: this is music's sense. Utopia Andata e Ritorno is the title of the new composition by Walter Marchetti, recorded in Milano in 2005. It has two parts, each one CD long. The first part, 'L'Andata,' puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a 'piano concert'. The second CD, 'Il Ritorno', reverses the direction of the first record and literally destroys itself. In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotal in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. 'L'Andata' is one of the great works of music of our time, or, as José Luis Castillejo remarked, 'it may be the best modern piano concert since Brahms.' In the second part, 'Il Ritorno,' sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. 'Il Ritorno' announces the end of musical avant-gardism and its technocratic aspirations. It points to the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. 'Il Ritorno' is such a problematic work also because its subject is failure and impossibility. Three-folded digipack 2CD edition. It includes a 32-page booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies."

Artist:	N.A.D.M.A.
Title:	Paura
Label:	ALGA MARGHEN (ITALY)
Format:	CD
Price:	$17.00
Catalog #:	ALGA 060CD

"N.A.D.M.A. was officially born between August and the beginning of September 1972 during the time spent in a little village in the Tuscan-Emilian Apennines. The identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sensibilities coming from avant-garde jazz experiences liberated by post-free currents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. All the group members assimilated and creatively incorporated the most progressive influences of Afro-American music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-European, especially African, musical cultures. The Natural Arkestra Da Maya Alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by RCA in 1973. The group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. The concerts took place mostly in Milan during 1973-74. The CD starting this series, Paura, is named after the first track of the N.A.D.M.A. concert at Circolo Lepetit in Milan in March 1973, presented here in its entirety. In this concert, the very first live concert preserved on tape, N.A.D.M.A. already performs a well-established repertoire, integrating and expanding upon the material of the RCA LP. Davide Mosconi himself documents the aesthetic and existential horizons of N.A.D.M.A. in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. The 16-page booklet also includes an essay by Gabriele Bonomo as well as original documents and photos."

Artist:	PATTERSON, BEN
Title:	A Fluxus Elegy
Label:	ALGA MARGHEN (ITALY)
Format:	LP
Price:	$23.00
Catalog #:	ALGA 061LP

One-sided LP in an edition of 345 copies. "The new Ben Patterson piece, issued on Alga Marghen's VocSon series, is based on the basic principles of the polyphonic music of the Bantu tribes of West and Central Africa. First principle: the practice of interlocking individual pitches or tones performed by one person into spaces between other pitches or tones performed by another person, thus alternating pitches or tones of one part with those of another part to create a whole. Second principle: use of cyclical and open-ended forms involving one or more ostinato melodic/rhythmic pattern as a foundation. Third principle: community participation...non-specialists are encouraged to join in long performances with much repetition. Fourth principle: rhythmic complexity with the juxtaposition of double and triple patterns, multiple layering of different patterns, and interaction between a core foundation and improvised parts. And, most important, the family 'ownership' of a specific tone: in the musical culture of these tribes, each ancestral family 'owns' and is responsible for one or more specific tones, which must be sounded at specific points, sequencing with the many other specific tones 'owned' by other families, to create a seamless melody. Ben Patterson made a music based on this information by taking the initials of artists listed in Fluxus: The Most Radical and Experimental Art Movement of the Sixties and encoding them in basic International Morse Code. These 'dots and dashes' were then performed on a Yamaha DJX keyboard (voice pattern setting), connected to a Digitech JamMan Looper (over-dub setting), connected to an Eurorack MX 602A mixer. Front cover reproducing the original score."

Artist:	NITSCH, HERMANN
Title:	Requiem für meine Frau Beate: Musik der 5.6.Aktion
Label:	ALGA MARGHEN (ITALY)
Format:	2CD
Price:	$42.00
Catalog #:	ALGA 062CD

"Alga Marghen proudly present the documentation of Requiem für meine Frau Beate, which took place in the Chiesa di Santa Lucia in Bologna, Italy, in 1977 shortly after Beate Nitsch's death. This was not only one of the strongest and most powerful aktionen by Hermann Nitsch but also a crucial point in the development of his art. Beginning in 1977, Beate Nitsch was travelling in Schwarzwald. She has been inaugurating a nursery-school and wanted to meet some relatives in Stuttgart when, near Ulm, she had a terrible car accident. Beate had supported her husband's art not only sharing the sentimental part of their life but also actively collaborating to the organization of his work. She organized the purchase of a castle in Prinzendorf, the central place where Nitsch would develop his Orgien Mysterien Theater. For Hermann Nitsch, this loss was a complete collapse. He suddenly felt to be on the opposite side of life, alone and full of despair. In those days, he reached the deepest point of black unhappiness. Nitsch decided then to go Naples where he organized a Lehraktion at Morra Gallery. His friend Kubelka joined him from the USA. During the Lehraktion, he was told about a big Performance Festival that would have taken place in Bologna. Nitsch was invited to participate with an aktion to be performed in a big old church. It was clear to Nitsch that he would have conceived an aktion dedicated to the memory of Beate. A requiem, even. Before the aktion in Bologna, Hermann Nitsch's music was basically released as a wall of noise. The musicians could play what they wanted and the only instruction was to play as loud as possible. Only the duration, the starting point and the noise level of each instrument was fixed. For the first time with the Requiem, Nitsch started to conceive longer tone clusters, specially for the wind instruments. The perfect acoustics of the church with its wonderful organ, which shocked Nitsch with its intensity and power, suggested him a new direction in music. Among the lucky audience were many friends coming from all over the world to witness the event. For everyone the Requiem was an important and ecstatic experience. The big success of the aktion gave Nitsch the strength to continue his work. Shortly after Bologna he was invited to create new aktionen in Canada and Los Angeles. First time 2CD edition, in tri-folded digipack, reproducing the impossible-to-find 3LP art gallery edition issued in Naples in 1977 for the Radiotaxi series. Including a 12-page folded insert with drawings and directions from the LP boxset original graphics. This edition also includes a 32-page shocking full color photo documentation of the aktion, for the first time available now. Edition of 1000 copies."

Artist:	MOORMAN, CHARLOTTE
Title:	Cello Anthology
Label:	ALGA MARGHEN (ITALY)
Format:	4CD
Price:	$135.00
Catalog #:	ALGA 064CD

Stunning oversize boxset (similar in production to Alga Marghen's OU box of a few years ago). Historic Fluxus sound documentation at its finest. Featuring music by: Earl Brown, Sylvano Bussotti, John Cage, Giuseppe Chiari, Toshi Ichiyanagi, Terry Jennings, Jackson MacLow, Nam June Paik and Karlheinz Stockhausen. Recordings from 1964-66 & 1982. Performed by David Behrman, Philip Corner, Malcolm Goldstein, Terry Jennings, Charlotte Moorman, Nam June Paik, etc. Limited to only 500 copies and worth the extra pennies.

"It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realized in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's oeuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author.' The presence of Charlotte Moorman as catalyst must be realized in such an evaluation. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimo

Artist:	VA
Title:	OU 28-29/OU 30-31
Label:	ALGA MARGHEN (ITALY)
Format:	PIC. DISC
Price:	$43.00
Catalog #:	ALGA 045.2LP

Artist:	VA
Title:	OU 38-39/OU 40-41
Label:	ALGA MARGHEN (ITALY)
Format:	PIC. DISC
Price:	$43.00
Catalog #:	ALGA 045.4LP