Forced Exposure - EXPERIMENTAL

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Artist	Title	Format	Label	Catalog #

EASTMAN, JULIUS	Stay On It	LP	WEEK-END RECORDS	WE 001LP
$28.00 PREORDER RELEASE DATE: 8/26/2022 It has power, is unpredictable, bringing together familiar things before disbanding them again. It reshuffles the deck: The composition "Stay On It", written by Julius Eastman (1940-1990) in 1973, turns the coordinates of avant-garde music on its head. It is minimal, but unashamedly groovy; it is open to improvisation, grants performers all the freedom they could need, but it isn't jazz and never slips into the non-committal. Once the musicians have gotten used to the discipline, have adopted the groove that Eastman demands of them, a vast field of new connections opens up to them, leading to sublime sonic unions. For fans of Arthur Russell, Laurie Anderson, Philip Glass, Meredith Monk. Comes with full cover artwork by Infuso Giallo (Kame House) with illustrations by Joshua Gottmanns (Oracles). Remastered by Manmade Mastering (Berlin).

Artist	Title	Format	Label	Catalog #
LETTERA 22	Exposition of Clove	LP	NASHAZPHONE	NP 038LP
$26.00 PREORDER RELEASE DATE: 7/22/2022 Exposition of Clove is the new fast electro-acoustic album by the duo of Matteo Castro and Riccardo Mazza. Hailing from the farthest North-East glacial tip of Italy, Lettera 22 utilize elements of musique concrete sound sources, delicately sampled, looped and edited; resulting in five very subtle and rich compositions of textured noise and field recordings via analogue tapes and feedback. Recorded and mastered in 2020 by Ricardo Mazza and Matteo Castro. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 300.

Artist	Title	Format	Label	Catalog #
SKULLFLOWER	Ophidian Vibrations	LP	NASHAZPHONE	NP 036LP
$26.00 PREORDER RELEASE DATE: 7/22/2022 "Sound coiled and uncoiling, the (well) spring and trap set and first trilogy concluded with three wordless hymns to the Apep serpent, and the serpent power in general. Skullflower slithers and glides through their third LP for Nashazphone, always revolving like geologic time sufis, conjuring wrinkles and portals in the multiverses stiff unyielding fabric. As Brian Wilson still might sing 'she's givin' me serpent vibrations'." --Matthew Bower and Samantha Davies West Yorks, UK August 2021. Skullflower: Matthew Bower- Aire Delta Slide, Travis Bean Koa, Coiled Crimson Serpens; Samantha Davies: violin, Ibanez Destroyer, Descending Gold Serpens. Vinyl master and lacquer cut by Frederic Alstadt, Angstrom Studio. Edition of 333.

Artist	Title	Format	Label	Catalog #
BASTIEN, PIERRE	Sonic Folkways	LP	DISCREPANT	CREP 092LP
$25.00 PREORDER RELEASE DATE: 7/15/2022 By now counting more than four decades of constant activity, Pierre Bastien erected such a towering and influential body of work that any blurb attempt regarding his music could easily fall into redundancy. Not that his revolving soundworld, deeply personal and unique, has ever stalled into gimmick or self-mimicry, being Bastien the tireless explorer whose vision can never be complete, only continuously redefined in a process of discovery equally playful and challenging. So, completely in touch with Discrepant's ethos. Returning to the label after 2017 The Mecanocentric Worlds of Pierre Bastien, the French musician, composer, and instrument builder, brings an array of instruments from different cartographies and legacies with the appropriately titled Sonic Folkways. Resorting to different types of horns, prepared trumpet, an army of percussion, from gongs and tambourine to castanets and maracas, violin and too many others to mention here, Bastien weaves together a highly textured and hypnotic mosaic that projects an exotica beamed from scraps of the future. "Aha!" in the same interstellar wavelength as Sun Ra's cosmic tones, "Moor's Room" almost orchestral tapestry of small percussion and insects or the non-western strings and tunings salvaged from ancient alien ceremonies on "Pan's Nap". In an era where so much ink has been shed about world building in experimental music, Bastien can actually claim that to himself. The otherworld is right here, indeed. Artwork collage by Evan Crankshaw. Mastered by Anne Taegert at Dubplates & Mastering.

Artist	Title	Format	Label	Catalog #
VA	Spring Snow	LP	MIRAE ARTS	MA 006LP
$20.50 PREORDER RELEASE DATE: 7/15/2022 Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia. The word, nostalgia, in particular comes from the Greek "nostos" (homecoming) and "algos" (pain), which are reflected on both sides of the record. Li Yilei's "SHI", meaning "time" in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima. The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story. Things take a deeper turn with Gaël Segalen's "The Bed of Wewa", which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled "Inguinal". Artwork design by Steffany Tran. Mastering and lacquer completed by Frédéric Alstadt.

Artist	Title	Format	Label	Catalog #
PRINCESS DIANA OF WALES	Princess Diana of Wales	LP	A COLOURFUL STORM	ACOLOUR 038LP
$27.00 PREORDER RELEASE DATE: 7/8/2022 Princess Diana of Wales, by London-based Australian Laila Sakini, is A Colourful Storm's latest and most curious project. Someone, no one, a notion, a feeling... Sakini offers clues but no simple answers. Vocal-led pieces "Still Beach" and "Fragments of Blue" are brittle and intoxicating, contemplating recklessness and unfulfillment of a past life: "Watching the future wash away/ Giving it up to have this day". She studies closeness and, incredulous of the feelings that emerge, wonders if detachment is impermanent. She catalogs these emotions as a series of memories, colors, and images. "Evaporate", sedated and hushed, is a secret confession and ode to resolution, albeit, fatally, only a temporary one: "Take some form/ Later on when I can do this/ When we can do this/ Together". Behind the album is a stage of dubwise disorientations evoking in-between states of the everyday. "Swing" and "Closer" are woozy and dreamlike, their voices summoning ghosts of fortunes past while "Exhaust" finds an aperture in our protagonist's daydream. A perilous foreshadowing of the incantatory "Choir Chant", whose spell pacifies her inquisition, submerging both self and feeling into the deep blue sea. RIYL: Grouper, Kali Malone, Drew McDowall. Full-color sleeve with insert.

Artist	Title	Format	Label	Catalog #
FERRARI & CHRISTOPH HEEMANN, BRUNHILD	Sturmische Ruhe	LP	BLACK TRUFFLE	BT 090LP
$33.00 PREORDER RELEASE DATE: 7/1/2022 After her stunning collaboration with Jim O'Rourke -- Le Piano Englouti (BT 055LP, 2020) -- Brunhild Ferrari returns to Black Truffle with Stürmische Ruhe, her first duo with Christoph Heemann. A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum, and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik), and Plastic Palace People (with Jim O'Rourke), and the precise cinema pour l'oreille constructions of his solo works. Created together in Ferrari's Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into an intricately woven fabric of haunted electronics, unexpected edits and disorienting processing. Banging with the jarring thump of a slamming door (an element that will reappear periodically throughout the piece as a kind of punctuation mark), it is immediately obvious that concrete sound is used here in a free, poetic way outside of the strict confines of documentary field recording. The wind captured by Ferrari's microphone roars and whistles, accompanied by thick clusters of wavering tones whose unpredictable rises and falls in volumes are synchronized with the bumping and thudding of windows and doors. At some points the microphone sound melts into a wavering low-bit digital smear before fanning out into broad, atmospheric depths. The cinema for the ear constructed here suggests not linear narrative or documentary, but an organic flow of cross-fades, double-exposures and abrupt cuts, a free-associative dream in which wind and water take on mythical characteristics. Throughout the piece's second half, layers of synthetic floating tones, and pinging upward glissandi negotiate a constantly shifting balance with wind-borne whispers and rustles, at times dropping to silence, at others rising up with elemental force. As Ferrari explains in her liner notes, Stürmische Ruhe is a meeting of "completely opposite sound worlds" in which "almost-violence" is joined with a "reconciling harmony". Reaffirming the infinite possibilities of the musique concrète tradition while avoiding its academic tropes, Stürmische Ruhe is accompanied by tri-lingual liner notes from Brunhild Ferrari and arrives in a sleeve graced with the beautiful art informal paintings of her father, Wolfgang Meyer Tomin. Cut at 45rpm for maximum fidelity. Includes insert.

Artist	Title	Format	Label	Catalog #
MINIATURA	Geometría Prohibida	LP	KEROXEN	KRXN 018LP
$24.00 PREORDER RELEASE DATE: 7/1/2022 Melancholic energy blast from Gran Canaria's cult trio, MINIATURa, helmed by Eduardo Briganty. Formed in Las Palmas in 2007 and with three records under their belt, Music Box (2007), La Huida Concéntrica (2012), and Estrategias de Perdición (2015), the trio now unleashes its fourth album with a distillation of Briganty's musical and artistic references, coming like a cross of concept album and an unintentional imaginary soundtrack to a David Lynch flick -- an island version of a depressed or irate David Lynch. Featuring deep rock workouts to somnambulant ballads, Geometría Prohibida presents itself like a statement from the band, a crystallization of the bands intentions with a concise and precise 26 minutes of masterfully produced music showcasing the kind of restrain you'd expect from past giants like Joy Division, Neu!, or Scott Walker. The hallmarks of krautrock and shoegazing/dream pop haunt this record like a benevolent force, another unique reference of music made through an insular lens of remoteness that Keroxen drives to showcase to the world. More unobvious island music to the outer world.

Artist	Title	Format	Label	Catalog #
ALTERATIONS	Up Your Sleeve	LP	PARADIGM DISCS	PD 037LP
$26.00 PREORDER RELEASE DATE: 7/1/2022 Reissue, previously released in 1980 on David Toop's Quartz label at a time when improvised music in London was settling into a long spell of excellence. The players here are Steve Beresford, Peter Cusack, Terry Day, and David Toop. Terry had been a member of The People Band in the '60s, one of the groups forming part of the first wave of British improvisation. The rest of the group could be regarded as pioneers of a second generation of improvisers who emerged out of the explosion of musical development that came in the wake of AMM, Derek Bailey, SME, etc. Out of this burst of musical energy a platform soon emerged in the form of the London Musicians Collective. A permanent venue and an open network were soon established and the seeds were planted for a wide range of new and exciting players to explore the possibilities of free improvisation. The first Alterations LP from 1978 exemplifies this, with new ideas literally brought to the table -- alongside the numerous conventional instruments played by the group, a plethora of simple musical toys, sound makers, and homemade instruments were used. Up Your Sleeve is their second LP and operates in a similar territory, but takes things to another level with its casual embrace of noise and feedback, and somewhat controversially for improv; fragments of familiar songs and a hearty indulgence in rhythm. In short, Up Your Sleeve is free improvisation drawn from a very broad range of components. It should be said that all the members of the group were also at the same time in bands that played songs, most notably Steve's involvement with The Slits and The Flying Lizards. David also briefly basked as a Lizard, but all four members were singing the same tune in both The 49 Americans and The Promenaders. Maybe it's not so surprising to hear stylistic clashes exploited on this record. London was awash with musical development in the early '80s. Apart from the burgeoning LMC scene there were many post-punk and experimental groups like This Heat and Swell Maps that enriched the creative atmosphere. London labels like Quartz along with Recommended Records, It's War Boys, Incus, Industrial, United Dairies, and countless others were all releasing ground-breaking experimental music. It was arguably the best time for experimental music in London. There was certainly something in the air. Four-page insert; edition of 500.

Artist	Title	Format	Label	Catalog #
VA	La Ola Interior: Spanish Ambient & Acid Exoticism 1983-1990	2LP	LES DISQUES BONGO JOE	BJR 059LP
$35.50 PREORDER RELEASE DATE: 6/24/2022 2022 repress. 2020 release. Following La Contra Ola (BJR015), Bongo Joe is pleased to present La Ola Interior, a compilation exploring the ambient side of the Spanish electronic music produced in the '80s. As a general rule, the Anglo-Saxon tropism did relate the Spanish peninsula's ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza's nightclubs. But this music takes place in the productive territory of experimental music, and particularly in its two main breeding grounds: the tape-recording underground and the independent musicians-producers scene. Inseparable from the processes of self-publishing, distribution, and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz/Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al Desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German kosmische musik and "krautrock", also develops here. The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the '70s. Some were influenced by American minimalism (Luis Delgado/Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth World music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz. These two scenes and generations that make up La Ola Interior intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which the label has called "Acid Exoticism" because of its permanent search for trance or contemplation. Features Miguel A. Ruiz, Camino al Desván, Mecánica Popular, Finis Africae, Orfeón Gagarin, Victor Nubla, Javier Segura, Jabir, Esplendor Geométrico, Luis Delgado, Mataparda, Suso Saiz, and Eli Gras.

Artist	Title	Format	Label	Catalog #
LINDE, OKSANA	Aquatic And Other Worlds (1983-1989)	LP	BUH RECORDS	BR 160LP
$31.50 PREORDER RELEASE DATE: 6/24/2022 Oksana Linde belongs to the same creative trail started by artists such as Delia Derbyshire, Suzanne Ciani, or Laurie Spiegel, because like them she knew how to create a personal universe by exploring electronic sounds and to find a place in an eminently masculine environment. Aquatic And Other Worlds is her first album, which compiles electronic synthesizer pieces recorded between 1983 and 1989. Born in Caracas, Venezuela, in 1948, into a family of Ukrainian immigrants, Oksana Linde's work became known at the beginning of the '80s, coinciding with the emergence of a new scene of Venezuelan electronic synthesizer music, with names such as Ángel Rada, Miguel Noya, Musikautomatika, Vinicio Adames, Oscar Caraballo, Aitor Goyarrola, and Jacky Schreiber. In 1981, at the age of 33, Oksana Linde left her job as a researcher due to health issues and began to devote more time to music and painting. She borrowed a Polymoog synthesizer, then a TEAC open reel tape recorder and a Moog Source. With this equipment she set up her small home studio and began to compose her first pieces around 1983-1984. She eventually expanded her equipment, acquiring a 16-channel mixer, a Roland Tape Echo, a TR-505 drum machine, a Korg M1, and years later a Korg TR-88. Between 1984 and 1986 she recorded more than 30 pieces. Between 1989 and 1996 she continued to produce another 30 pieces, thus accumulating a large archive that has remained unpublished. Oksana Linde's music can be intensely hypnotic and psychedelic, but also melodic and playful. Linde programs and plays all the instruments and develops melodic lines that are superimposed on loops and sequences, as well as various layers of reverberant and floating sounds that come and go, and always establish a very cinematic narrative, very typical of the tradition of synthesizer music. The early work of women in electronic music in Latin America is one of those areas that has yet to be worked in depth. In Latin America, the introduction of the synthesizer in experimental, progressive and electronic music from the '70s on, is associated almost exclusively with male figures, which is why the work of Oksana Linde gains particular relevance, as she establishes herself as a figure who breaks that hegemony, and whose extensive production in turn places her as one of the most prolific and notable exponents of synthesizer music in Latin America. Compiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado. Art by René Sánchez. Edition of 300.

Artist	Title	Format	Label	Catalog #
BRADSHAW-LEATHER, DON	Distance Between Us	2CD	DISTANCE	DIST 101CD
$19.00 PREORDER RELEASE DATE: 6/24/2022 Reissue of the cult 1972 album. During the long, dark hangover of the "Summer of Love", the classically-trained Essex prodigy approached CBS Records with demo recordings. A forward-thinking A&R executive must have seen a potential revenue stream in Don Bradshaw-Leather's avant-classical noise. The artist was given an advance to record an album. He used the funds to create a large studio in Sussex with many instruments including an actual church organ. Here, on his own, without the use of any electronic sequencing, he recorded Distance Between Us using multitrack tape, layering each part of the composition. Upon hearing the product of their financial investment -- four side-long tracks of blurry organ drones, frantic piano tinkling, and ritualistic percussion -- CBS got cold feet. The album was self-released on Bradshaw-Leather's own Distance imprint; a vanity label established for the sole purpose of releasing the album. The sleeve art is full of mysteries, from the misspelling of "Bradshaw" ("Bradsham"), to the coal-blackened visage of the bohemian madman on the cover (DBL himself?), to the rear photo collage depicting the same madman accosting a nude woman. The music isn't any less mysterious; shapeless symphonies of smeared-out Mellotron, tribal drums, and wordless vocals. Don Bradshaw-Leather passed away in the '90s. Presented in a matt-laminate gatefold digisleeve.

Artist	Title	Format	Label	Catalog #
SIGILLUM S	Coalescence Of Time: Other Conjectures On Future	LP	SUBSOUND RECORDS	SUBSOUND 115LP
$28.50 IN STOCK Sigillum S, have been covering unknown territories among extreme electronics, fringe acoustics, and occultist noise since 1985. The result has been an endless series of mutations, where, from the droning ritualism and ethnic explorations of the late '80s through the surreal science fiction soundtracks of the '90s, they have arrived at the super deep complexity of the new millennium. "... we propose to study a generalized growth model, including all categories of unconventional literatures and yet coalesce them around critiques of linear thought... hence our estimates would be some of the endless positive examples for further conjectures on the end of time... this could drive the need to communicate perception samples to all other forms of intelligence... evocative prescriptions which could offer potentially misleading guidance for future research, but nonetheless alter sensorial mixing times with random cycles and fragmentation chains..."

Artist	Title	Format	Label	Catalog #
SIGILLUM S	Coalescence Of Time: Other Conjectures On Future (Orange Vinyl)	LP	SUBSOUND RECORDS	SUBSOUND 115LTD
$35.00 IN STOCK LP version. Orange vinyl. Sigillum S, have been covering unknown territories among extreme electronics, fringe acoustics, and occultist noise since 1985. The result has been an endless series of mutations, where, from the droning ritualism and ethnic explorations of the late '80s through the surreal science fiction soundtracks of the '90s, they have arrived at the super deep complexity of the new millennium. "... we propose to study a generalized growth model, including all categories of unconventional literatures and yet coalesce them around critiques of linear thought... hence our estimates would be some of the endless positive examples for further conjectures on the end of time... this could drive the need to communicate perception samples to all other forms of intelligence... evocative prescriptions which could offer potentially misleading guidance for future research, but nonetheless alter sensorial mixing times with random cycles and fragmentation chains..."

Artist	Title	Format	Label	Catalog #
VAN DER GELD, TOM	Small Mountain: Music for four Marimbas	LP	BLACK SWEAT RECORDS	BS 066LP
$26.00 PREORDER RELEASE DATE: 6/24/2022 Black Sweat present a reissue of Tom Van Der Geld's Small Mountain, originally released in 1986. In 1986, the vibraphonist Tom Van Der Geld composed his personal ode to creation, a tonal poem for all natural beings called Small Mountain. It reveals a pure minimalist inspiration, a vibrant style of sound variations that is decidedly more Zen-impressionistic than the mathematical-metaphysical works of Steve Reich. This music, for four marimbas and other percussion instruments, suggests an emotional osmosis with all the elements, a flow of ecstatic progressions that is more immanence than transcendence. It's the rain that falls softly on fragrant moss or the fog that hides the frost on the grass; an exotic spectrum of multi-form colors, dances of leaves, branches, sticks, fronds, lianas, swirls of petals and bark. Ode to the wind, to the rainforest, a psalm to the waters energy that opens the portals of the temples of nature. As in the Aboriginal songlines, every place or being on planet Earth becomes, through music, space for the sacred.

Artist	Title	Format	Label	Catalog #
STEENKISTE & U. SCHUTTE, G.	G. Steenkiste & U. Schutte	Cassette	UMOR REX	UR 136CS
$13.50 PREORDER RELEASE DATE: 6/17/2022 These two pieces, recorded in sessions in Ghent, Belgium and Hamburg, Germany, represent the first musical collaboration between long-time friends U. Schütte (half of the German duo Phantom Horse, with several releases on Umor Rex) and G. Steenkiste (aka Hellvete). In this work, two specific traditions of the avant-garde of modern electronic music of the meet elegantly: the systematic, evolutionary and minimal construction of harmonic and solemn forms, with the patience and aesthetics of long durations -- where small changes take time but are always punctual and precise. U. Schütte & G. Steenkiste built a beautiful meeting between electric and acoustic music, basically carried out with a harmonium, a shruti box and modular synthesizers. Beauty is in the details and what Schütte and Steenkiste do here is to cover two long landscapes with well-consolidated details that invite contemplation and moments of extreme sensory relaxation. You have to give yourself a space to listen and see-through sound, and these two long pieces are a rare and perfect opportunity to do so. Recorded by G. Steenkiste and U. Schütte in December 2020 in Sint-Denijs and Hamburg. Mastered by Edgar Medina. Photos and design by Daniel Castrejón. Includes download code; edition of 100.

Artist	Title	Format	Label	Catalog #
NIBLOCK, PHILL	Working Touch	USB CARD	TOUCH	TO 109USB
$36.00 PREORDER RELEASE DATE: 6/17/2022 USB in digipak; 11 films, three hours 55 minutes. Films includes: Praised Fan, for bassoon (2016, 17 min) Dafne Vicente-Sandoval, bassoon. Commissioned for the Adelaide Festival, Australia, by Ilan Volkov. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. First Out, for guitar (2015, 22:14) David First, guitar. Completed in November 2015 in Hong Kong. Premiered on Czech Radio in Prague, Czech Republic, Nov. 27 2015. Material recorded at Berklee School of Music, Boston, MA; DreGliss (2015, 19:15) Erik Drescher, glissando flute. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany; V&LSG (2015, 21:20) Lore Lixenberg, voice, Guy De Bievre, lap steel guitar. Material recorded at Johan Vandermaelen's studio in Aaigem, Belgium. Bag (Sept 2014, 21 minutes) David Watson, bagpipe. Material recorded at Berklee School of Music, Boston, MA; A Rooks Pun (2014, 21 min) Ulrich Krieger, soprano saxophone. Material recorded at The California Institute for the Arts, Valencia, CA; Ronet (2014, 21:08) Neil Leonard, tenor saxophone. Material recorded at Berklee School of Music, Boston, MA; Octavio Perc (2014, 20:45) Julien Ottavi, percussion. Material recorded at APO33, Nantes, France; Vlada BC (Nov 7, 2013, 20:00) Elisabeth Smalt, viola d'amore. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. Euph (Nov 2013, 23:40) Melvyn Poore, two-belled euphonium. Material recorded in the Ensemble Musikfabrik studios in Koln Germany; Unipolar Dance (Oct 2 2013, 25:04) Pauline Kim and Conrad Harris, violins and violas (for two violins and two violas, recorded in stereo). Material recorded in Robert Poss's Trace Elements studio in NYC, NY. The music is eleven minutes longer than the film length, so the last music piece is faded at the end of the film, but is complete in the music files which are on the USB memory stick in 24 bit, 44.1. "Phill Niblock's music and films contravene the drive of local memory and anticipation integral to much musical and cinematic experience, the sense that each moment is conditioned by what directly preceded it and what came before that, while simultaneously pointing forward to resolutions or further complications, driving toward closure, always toward the sense of an ending in which all threads are tied, all paths satisfactorily closed. This conception of temporality is fundamental especially to pre-20th century Western music, and basic to both conventional narrative cinema and even advanced artists' moving image works . . . The films, I suggest, require a suspension of expectation, the viewer opening himself/herself up to an experience of delight in color, in scale, rhythm, in the unfamiliar; in the visual arrangement of shaded planes on a flat screen surface that simultaneously depicts figures in recessive space. The films demand an embrace of a continuous presence, with future and past fading into irrelevance as they recede from and come into being. Only the present has import. Conventional cinematic concepts like closure, montage, and development are out of play. It is the joy of the moment based on the hypnotic magic of the recording of motion, of sound, of time -- relatively recent achievements in the long history of human technology." --Grahame Weinbren

Artist	Title	Format	Label	Catalog #
MORSE, ALEJANDRO	Stonewalling	Cassette	UMOR REX	UR 135CS
$13.50 PREORDER RELEASE DATE: 6/17/2022 Stonewalling offers a collection of electroacoustic pieces taking as input the Mexican vernacular music from the golden age of Mexican cinema of the first part of the 20th century. In those films, music was used as communication due their poor verbal communication-skills. This is an album about communication, about the impossibility to do so to resolve conflicts. In the technical side, some of the sources used as layering in the tracks come from radio frequencies taken from explorations into the software-defined radio universe, mixed with microphone feedbacks, oscillators, and random textures with field-recordings. In the melodic/harmonic structures of the tracks, the main instrument used is a classical guitar with hyper-processed chords using DSP tools. Stonewalling, in some way, follows to 444 (Umor Rex, 2019), serving as a Morse's follow-up into the Mexican vernacular music expeditions. Produced by Alejandro Morse aka Edgar Medina in León, México. Mastered by Edgar Medina. Photos and design by Daniel Castrejón. Includes download code; edition of 100.

Artist	Title	Format	Label	Catalog #
COTTON, ALISON	The Portrait You Painted of Me	LP	FEEDING TUBE RECORDS	FTR 658LP
$27.50 PREORDER RELEASE DATE: 6/17/2022 Orange vinyl (US exclusive). "Here we have the third solo LP by London's Alison Cotton, following on previous successes, All Quiet at the Ancient Theatre (FTR 424LP, 2019) and Only Darkness Now (FTR 564LP, 2020). And as with each of Cotton's projects it is a stylistic advance as well as another example of her dark signature sound. Alison's work with bands is well documented by recordings with Saloon, 18th Day of May, Trimdon Grange Explosion, and her current, ecstatic folk/psych duo, The Left Outsides. But her solo recordings always seem a bit more experimental in terms of song structure and musical texture, as the six tracks on The Portrait You Painted of Me clearly demonstrate. The touchstones of her sound are viola, harmonium, and voice, but these are merged together in all sorts of different ways, creating a rich and thoroughly artastic suite of songs. 'Murmurations Over the Moor,' is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of Northeast England (from whence she hails.) 'The Last Wooden Ship' evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley's Sirens urging listeners to a rocky demise. 'I Buried the Candlesticks' has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. 'That Tunnel Underground Seemed Neverending' is a musical vision of Northumberland's mining culture at the dawn of the 20th Century -- labyrinthine, subterranean, dimmer than night. 'Violet May,' the only 'song' on the album, was inspired by a trip to Vita Sackville-West's Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound, make me think of a post-modern approach to lyrical concerns dealt with by folk singers of the British '60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. And finally, we have '17th November 1962,' inspired by nearly forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison's voice again evoking the Sirens. Damn, what a good spin. As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison's partner, Mark Nicholas. She expressed concern at one point that the album might be a little too heavy in spots for some listeners, but that is a canard. I think one of the main things people relish about Alison's solo work is exactly the somber, exquisite melancholy she creates. This is some serious and remarkable stuff." --Byron Coley, 2022

Artist	Title	Format	Label	Catalog #
SCHULKOWSKY & GEBRUDER TEICHMANN, ROBYN	Time Bends	2x12"	NOLAND	NOLAND 009LP
$36.50 PREORDER RELEASE DATE: 6/17/2022 Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time. They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed, double speed, 33 rounds per minute, or was it 45? Just try both. World percussion meets techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form associations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex. No need to put a label on it." --Roland Schimmelpfennig (excerpt).

Artist	Title	Format	Label	Catalog #
RILEY, TERRY	Organum for Stefano	CD	I DISCHI DI ANGELICA	ANGELICA 050CD
$22.50 PREORDER RELEASE DATE: 6/17/2022 Organum for Stefano, the third record that I Dischi di Angelica dedicates to the work of Terry Riley, represents a significant example of "coming full circle": indeed, in 1997 AngelicA Festival organized a concert in Bologna for Terry Riley and Stefano Scodanibbio -- it was their first tour together, and the beginning of a collaboration that would last for years, promoting their first album Lazy Afternoon Among the Crocodiles, recorded in the Shri Moonshine studio in Riley's home between 1994 and 1995. After his magnificent piano solo at the 2000 edition, AngelicA invited Riley back in 2013 to dedicate a special tribute-portrait to him, presenting his music in a series of concerts held in three different cities (Bologna, Modena, and Lugo), with different line-ups: The 3 Generations Trio (with Tracy Silverman and Gyan Riley); the ARTE saxophone quartet from Switzerland; and indeed a concert, commissioned as a world premiere, dedicated to Stefano Scodanibbio who had passed away the year before, in January 2012. The venue selected for the concert was the Basilica of Santa Maria dei Servi, hence Riley decided to use its historic Tamburini opus 544 pipe organ for the concert paying homage to the memory of Stefano. The organ was built in 1968 based on a design by Luigi Ferdinando Tagliavini, with a total of approximately 5000 pipes divided into 60 registers. As Riley himself explains in the liner notes: "... Stefano and I had a long history of touring and playing concerts together and one of the features of our concerts was always an arrangement of a vocal raga for bass, voice and tamboura. Stefano, although not trained in Indian classical music, had an uncanny ear for the right choices in pitch and rhythm to accompany my traditional vocal renditions. Two of Stefano's favorite ragas were Malkauns and Bageshri, late night ragas with deep feelings ideally suited to the profound sounds emanating from his string bass. The concert was completely improvised, introducing the melodies of ragas Malkauns and Bageshri, both vocally and in the harmonized organ passages of an intuitively structured form. The last section is an improvisation upon the passages of my composition 'Simply M...', a piece I frequently played for Stefano." The result was a very precious concert -- the only official recording of Riley on the pipe organ -- which ranges from minimalism to Indian music, grandiose Bachian architectural constructions, even progressive echoes -- in a kaleidoscopic flow of ideas which, both spontaneously and with a great clarity of intention, travels through moments and reminiscences of the respective musical identities and experiences shared by the two musicians.

Artist	Title	Format	Label	Catalog #
DESILUSAO OPTICA	In Trux We Pux 02	LP	FAVELA DISCOS	FAVELA 052LP
$19.00 PREORDER RELEASE DATE: 6/10/2022 In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 02 contains the first of Favela Discos' collective pieces to be published, and it was chosen to represent a long series of site-specific pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label's archives. Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object. Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound you hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds. The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when you watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses. Like in dub music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master/sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals. Printed inner sleeve.

Artist	Title	Format	Label	Catalog #
MILTETO	In Trux We Pux 03	LP	FAVELA DISCOS	FAVELA 053LP
$19.00 PREORDER RELEASE DATE: 6/10/2022 In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. Milteto is an informal orchestra born out of the Favela Discos collective somewhere in 2014. The idea, that had been around for a while, was materialized for a concert in one of the first events hosted by Favela, in the extinct Picadilly Pub in Porto, a small strip club turned underground venue. It was one of those wet pre-covid nights where the condensation dripped down the mirrored walls, in a loud endurance contest that resulted in a fainted audience member. For a very large number of reasons, it would be hard to define Milteto's whole "career" in an album: the band has always inhabited the live context, trying to create massive immersive sound experiences for both the listeners and the musicians, subconsciously seeking to achieve transcendence by volume. So, in reality this is a momentary reflection of an always mutating entity, instead of trying to define the several years of drastically different experiences in just 45 minutes, they took to the album as just another live presentation where they adapted to the idea of what a record could be as if they would adapt to a venue. Faced with the idea of creating an album that reflected the project's mutability, the band looked at the medium itself for inspiration, as the vinyl record has two sides, they thought that maybe it would be a good idea to reflect that on the music. So, the recording sessions were split into two days, with two different groups of guests. One side set to recreate a more physical manifestation of the band, the other a more mental side, the first teeming with percussion, the other with electronic devices and synthesizers. Printed inner sleeve.

Artist	Title	Format	Label	Catalog #
PINKCOURTESYPHONE	All Intensive Purposes	CD	ROOM40	RM 4188CD
$17.50 PREORDER RELEASE DATE: 6/10/2022 Richard Chartier's Pinkcourtesyphone operates at nexus of recollecting 20th century anxiety and opulence. Over the course of this project, he has created a lush and overtly queer sound world of drifting rouge atmospheres, smudged lipstick electronics, and cavernous architectures that dwarf the sense of human interaction in favor of omnipotent acoustic voyeurism. All Intensive Purposes aches with a deep sense of longing, held aloft with tangible suspension. Voices and sounds float, haunting a murky, aged and diminished mansion. The music hums a tune of a song forgotten, amidst the satin-like sheen of perfume that has sat too long, thick in the air. From Pinkcourtesyphone: "A decade has passed since Pinkcourtesyphone's unexpected debut album Foley Folly Folio (LINE)... time does fly in face of expectations, since expectations are just future resentments. All Intensive Purposes is a lush compliment to Pinkcourtesyphone's previous outing for Room40 Leaving Everything To Be Desired. Immured within the deep deep pink velvet lining of their sonic smudge satchel ooze forth the obsessions and peculiar delicacies that have captivated both Pinkcourtesyphone and audiences alike. Moody glowering, ghostly utterances re-situated, hissy, distant and sad, all the while light and tender. It is that sound that is at the fluffy heart of a long string of successful though surprisingly varied albums. A new sparkling jewel that already gathers cloudiness in its facets. This album can be best characterized by one word -- charm, well, maybe two words -- questionable charm. 'I could listen to it for hours' -- a possible proclamation for these inconsistent consistencies. Theoretical A and B sides makes one long for the warmth of antiquated plastic possibilities, if only for a moment to distill the gnawing hungry need for consumption within. Seven 'songs' lilt and wallow, indefinable, intangible, yet always... there. This is 'catastrophe muzak', the sound of sympathy, romanticized and ruined. Here is a collection of moods which we anticipate and enjoy with no misgivings. A long trail of evening debris awaits your ears' pleasure. Let it procure that pleasure for you, let it devour you. I can't imagine... you will."

Artist	Title	Format	Label	Catalog #
JENSEN, CLARICE	Drone Studies	LP	VAAGNER	VAA 006LP
$27.00 PREORDER RELEASE DATE: 6/10/2022 In the past few years, Clarice Jensen has forged her own path. Recently, her focus has shifted to film scoring, successfully recording work for three feature films between 2020 and 2021. At the same time, Clarice continues to serve as artistic director of the American Contemporary Music Ensemble, while continually collaborating with an impressive array of musicians, such as Max Richter, Björk, and Stars of the Lid, to name a few. That being said, it was her 2019 tape release on Geographic North, Drone Studies, that initially caught the attention of a wider audience, with the work showcasing a compelling assembly of deeply immersive drones, and elegantly orchestrated compositions, in which neoclassical elements collide with electric density. Three years later, the work has lost none of its innovative character and appeal. It also documents a turning point in Clarice's career, one where her classically trained background started to converged and overlap with her interests in improvisational electronics and drone music. As a result, the aptly titled Drone Studies shows Clarice at her most exploratory, introspective, and daring, channeling her areas of interest into a collage of richly textured timbers and cello movements of sublime tension. Now for the first time, the original album can be experienced through an expanded vinyl reissue, mastered by Rafael Anton Irisarri, and carefully adjusted for vinyl by Ian Hawgood. The new reissue also features an additional track by Clarice called "Platonic Solids 2", which was originally conceived around the same time as Drone Studies, and which has now been made available exclusively for the vinyl edition. Edition of 300.

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