|
Search Result for Genre EXPERIMENTAL
viewing 1 To 25 of 2553 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ZORN 120LP
|
$29.50
PREORDER
RELEASE DATE: 10/2/2026
Edition of 300 copies on rough-sided printed sleeves with printed inner sleeve. Stone Music returns with Into the Cosmic Forest, a deep and patient journey into open-air improvisation. The group was founded in 2022 by Tokio Hasegawa, a core member of the legendary Taj Mahal Travellers, and brings together a wide circle of musicians from Japan's ambient and experimental scenes. While the name is new, the spirit continues. Stone Music extends the free-form, site-responsive approach that defined Taj Mahal Travellers -- music shaped by environment, duration, and collective awareness rather than fixed structure. Into the Cosmic Forest consists of two long-form pieces, each exceeding 20 minutes, both recorded live outdoors. Side A was captured at Japan's Off-Tone Festival. It unfolds slowly and organically -- layers of voice, strings, electronics, wind instruments, and percussive textures gradually forming a shifting sonic landscape. Side B was recorded on the grounds of Mithila Museum in the mountains of Niigata, an art space managed by Hasegawa himself. More intimate in atmosphere yet equally immersive, the piece centers on voice and subtle interplay, allowing space and silence to become part of the composition. What you hear is direct and unpolished: air moving, sound resonating, musicians responding to each other and to their surroundings in real time. Following tours in India during 2023-24, with performances in national museums and universities, Stone Music continues to explore music as shared space rather than spectacle. Into the Cosmic Forest invites listeners into that space -- unedited, unhurried, and fully alive.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PD 043CD
|
$16.00
PREORDER
RELEASE DATE: 9/25/2026
Further Explorations follows on from Gentle Fire's 3CD retrospective box set Explorations, released in 2020. These new archive recordings came to light in the process of unearthing the tapes for the 4CD box set by their fellow Stockhausen collaborators Intermodulation. The pieces used on this CD are taken from two sessions recorded for German radio in 1973 and 74, one for Sender Freies Berlin and the other for Hessischer Rundfunk in Frankfurt. These beautifully recorded and preserved pieces are finally rescued from the depths. Gentle Fire were a quintessentially British group and these recordings have about them a similar atmosphere to much of the music on Brian Eno's Obscure Records series and would not have been out of place on this predominantly Anglophilic label. Slow, eccentric and experimental are terms that come to mind. Of the five pieces they play on this CD three are devised by members of the group, and one piece each by the Berlin composer Erhard Grosskopf (a text-based piece with instruments, live electronics and tape) and "Edges" (a different version to the one on the 1974 LP by Gentle Fire), by the legendary Christian Wolff. Over 79 mins of music by a group that failed to get much attention in the history books. Comes in a 6-panel card cover with 8-page booklet. Hand numbered edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RM 4285CD
|
$17.50
PREORDER
RELEASE DATE: 9/11/2026
A note from Mike Cooper: "In the past some reviewers and critics of my series of ambient/electronic/exotic releases mentioned Jon Hassell and even suggested that we should make an album together. That never happened of course and probably never would have. An influence of his music on my exotica music is in some ways true but initially to be honest it was the cover art by Mati Klarwein for Aka/Darbari/Java and Dream Theory in Malaya that I would sometimes turn to look at for inspiration. They reminded me of places that I loved to be and why I was making the music. They were non-existent or imaginary places that I might have visited in dreams or half remembered from real places. Mati also provided art work for the covers of Miles Davis's records, from Bitches Brew onwards and for Carlos Santana amongst many others. There is also a lot of King Tubby and Lee Scratch Perry's influence here in the process as well as the poetry and novels of Nathaniel Mackey which were referenced often during the gestation period." Featuring Mike Cooper (samples, field recordings, voice, lap steel guitars), Pierre Bastien (valve cornet), and Mark Cunningham (trumpet). Mastered by Lawrence English at Negative Space. Design by Traianos Pakioufakis. Cover image by Mike Cooper.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAK 030LP
|
Children of the forest play emotionally resonant hymns to the human experience. Coaster Pine offer 11 musical haiku each as contorted and beautiful as nature itself. As played and produced by Gaute Granli. Art By Elena Blasco. Back layout by Laurel Donovan. Silkcreen By Alan Sherry at SIWA.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 082CD
|
Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 087LP
|
Stenka Bazin's Guanajuato. LP handmade sleeve with fanzine booklet, limited 120 copies. Reissue of the 1985 cassette, adapted to vinyl format from the original. Stenka Bazin is an intervention group made up of a sound operator and physiological contributors, neither artists nor theorists, but human beings. An intervention by Stenka Bazin is a massive ceremonial of exculpation, a primary act of psychotherapy, an exorcism.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 039CD
|
Certainly one of the greatest UFOs in the history of music, Cromagnon and their 1969 concept album Orgasm were the precursors of what was to come thirty years later: industrial, metal, and experimental music bathed in improvised experiments on LSD. "The project couldn't be smooth, otherwise humanity would be lost. There's room for computers, but the soul is gone." Cromagnon is: Brian Elliot , Austin Grasmere, Salvador Salgado, and The Connecticut Tribe. Brian, Bob and Sal were responsible for lyrics, and Brian was the biggest contributor. Bob, Vincent, Peter, Gary, and Louie all helped create the music (writing chord changes etc.)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TW-Z LP
|
Few artists have expanded the possibilities of the voice as radically and masterfully as Berlin based voice artist, composer and improvisor Ute Wassermann. For her, the voice is an ecosystem: a living field of relationships between body, object, space, and the listener's ear. Her music moves between the transcendental and the quotidian at once -- breath as ritual, sound as touch, acoustic experience as something simultaneously otherworldly and utterly present. Dissolving the perceived boundaries between mind and body, she offers instead a full-bodied immersion in ever-changing stillness, an idiosyncratic engagement with sound that is all-at-once fierce, tender, and free. On her new album chimeric, Wassermann extends her voice with a wide array of implements; breath-driven drums, hydrophones used as throat microphones, bird whistles, jaw harps, brass megaphones. These objects don't just function as embellishments or demonstrations, but rather, as companions -- materials with which she communicates and is herself transformed. The result is a music in which the lines between self, object, and environment are constantly blurred, erased and redrawn. Across six pieces, Wassermann's voice moves with uncanny immediacy: lips smacked, gurgles roared, harmonic tails snapping through space. Recorded with a striking spatial presence -- using stereo microphone placement that allows sound to shift with the smallest movement -- the listener is placed almost between the ears of the performer, inside the throat's resonant chambers as it flickers from whisper to warning, from animal cry to sculptural multiphonic bloom. What emerges is not theatrical representation but embodiment: a confrontational tenderness, a call to arms meant for hugging. Steam valves and pistons of breath cycle into quick rhythmic stabs; ritual supplants noise, noise tilts into song. Wassermann reverses the trained control of the voice to discover empowerment in growls, screams, baby-animal whines, and undersea calls. These are song forms not as fixed structures, but as living organisms -- colorful tendrils of sound, improvisation as feedback between inner listening and the outside world. In the album's final movements, her voice becomes something both larger than a person and tinier: an army of intimacies, gnawing at the root, feeding. chimeric is an album teeming with vivid colors and transcendental beauty that reveals the voice as a truly limitless instrument.Deluxe LP housed pressed at Optimal, Germany housed in die-cut neon spot-color sleeve with spot UV gloss with two full color inserts and printed inner sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 088CD
|
Infini is an encounter between Marc Hurtado, known for his duo project Étant Donnés created in 1977 from the French experimental and industrial music scene, and Mark Cunningham from the New York No Wave scene since the late '70s, under the entity Mars. Infini was born in 2020 and completed in 2023, and this particular project is a kind of 360° astral voyage at the speed of light, swept up in the grace, madness, fire and kaleidoscopic whirlwind of the telescoping of the two artists' burning souls. Against a backdrop of Mark Cunningham's trumpet, bass and guitar, Marc Hurtado lays down his noisy drones and bewitching voice, a moment of sealing and construction of an edifice whose stones seem to be cut and refined like real diamonds. The atmosphere is psychedelic, cosmic, vaporous and blindingly dark. Infini is the sound of blood, the blood of sound, a shattering mirror of fire, a wave of light in the sky, a path, a voice, a silence, a cry. Marc Hurtado: vocals, sounds; Mark Cunningham: trumpet, guitar, bass.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CSR 370CD
|
$15.50
PREORDER
RELEASE DATE: 8/21/2026
Legendary Japanese experimentalist Keiji Haino (Fushitsusha) and London's fearless drummer Steve Noble took to the stage at Cafe OTO in 2012 for a monumental concert -- with Haino's extreme treatments of electric guitar, and feedback, with Noble on a lot of percussion. While Keiji Haino theatrically sweeps between bleak and uninhibited paranoia, deep-level zoning and bluesy contemplation, Steve Noble's huge set up and graceful approach brings space, light and shade -- so much so that at one point Haino unplugs his guitar and picks up a small wooden flute. Dynamic, dramatic and surprisingly uplifting. From Londonears: "The sounds came across as random explosions, with passages of near-silence abruptly giving way to percussive clatters and sustained guitar roars. Then suddenly, they leaped into full chaotic freak-out mode, with Noble sending his small gongs and bowls flying as he pummeled the skins, unleashing a veritable thunderstorm of raucous sound. Meanwhile, Haino switched on the fuzz and feedback, his guitar screaming like a beast possessed, with molten solo after molten solo cascading out of the amps. Just as quickly, they'd revert back to contemplative mode, Haino twisting and twitching his strings with the delicate touch of a brain surgeon. The interplay between the two was bewitching." CD in matt digipak, with concert photographs by Andy Newcombe.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 082LP
|
LP version. Gatefold sleeve. First time vinyl reissue. Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LTNC 019LP
|
2026 restock. "After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season. Inspired by her encounter with author NK Jemisin's Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin's books. These are stories where a broken heart can tear apart a continent. In contrast to the precision-tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah's collaborators -- Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) -- encircle her confrontational character studies with iridescent, cinematic chamber-bass moves. These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah's mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland's 'Don't Despair' and acid-impressionist prodigy Lili Boulanger's 'Old Buddhist Prayer.' Album highlight 'You, at the End' deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and French dream-trap wraith Lala &ce features on 'Le Malentendu'. The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker -- a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah's elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HH 014LP
|
III is an intimate, cinematic and dream-like body of work -- written, produced and mixed by Morita Vargas, and recorded in Buenos Aires between 2014 and 2025. The album was mastered by Rafael Anton Irisarri at Black Knoll Studio (NY), adding depth and clarity to its carefully built sonic landscape. The visual world of the record is an essential part of the release. The cover artwork was crafted by Juliana Guglielmi, Ariadna Aylen Barrios, and Noelia Garreffa, whose combined vision creates a unified visual narrative that reflects the album's emotional depth and atmospheric essence. The LP layout and full manufacturing realization were carefully executed by Ilja Tulit, translating the complex design ideas into their final tangible form of a vinyl release. III marks a very special release for Hidden Harmony Recordings. Morita Vargas was among the first artists the label released when it began in 2020-2021, and her work played an important role in shaping the spirit and direction of Hidden Harmony. Five years later, Hidden Harmony are proud to continue this long-standing collaboration and to present her new album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
DC 989CD
|
"Totality! Automaginary! The in-studio convergence of Natural Information Society and Bitchin Bajas: two albums made over a decade of time, brought ye now together on CD. Congenial and organic, individual and ensemble inclinations incline in crafting new rhythm 'n gravity pieces. Invisible force meets ancient object: unique passages in time by two ensembles in shared and separate forever arcs."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD
|
|
XI 151CD
|
$27.50
PREORDER
RELEASE DATE: 6/26/2026
The Dave's Waves House Band is the ultimate outgrowth of an installation project David First created in 2003 entitled Dave's Waves: A Sonic Restaurant. In 2018, after numerous iterations in various European cities, he began presenting it at the Sunview Luncheonette in Brooklyn and for the first time included live performances in what had previously been an individual, headphone-only experience for people entering his establishment. After a few years of putting together one-off situations for different groupings of players, he decided to flip the switch and see how deep things could get using the same players every time. "I've always been a strong believer in bands -- whether it's the Miles Davis Quintets, Cecil Taylor's classic Unit, the Art Ensemble of Chicago, Ornette Coleman and John Coltrane's quartets, Phillip Glass and Steve Reich's early ensembles, Meredith Monk and Robert Ashley's vocal troupes, Karlheinz Stockhausen's core players, or the Grateful Dead, there's something irreplaceable about staying together and vibing long-term." The outcome is this 3CD album entitled Trust Patterns on XI Records. Discs 1 and 2 in this set were recorded live at the Sunview Luncheonette. They did have the pleasure of illustrious guests sitting in, including composer/performer Sarah Hennies, who also guests here on disc 3, which was recorded in sessions at Bard College at the invitation of composer Matt Sargent who came to hear them play one night and offered the facilities he is in charge of as head of the electronic music department. David First has always been fascinated by opposites and extremes. At 20 he played guitar with renowned avant-jazz pianist Cecil Taylor in a legendary Carnegie Hall concert. Two years after that he was invited to create electronic music in the EMS at Princeton and leading a Mummerʼs String Band in Philadelphia parades. He has played in raucous drunken bar bands, semi-legal DIY basements and in pin-drop quiet concert halls. First's performances often find him sitting trance-like without seeming to move, unless he is playing with his psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactivity. He has had music released on Important Records, Dais, Ecstatic Peace, Mode, and others.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BR 201LP
|
ALGOL is a new electroacoustic trio formed by Christian Lillinger (Germany), Elias Stemeseder (Austria), and Camilo Ángeles (Peru). The project was born during a collaborative tour and recording sessions in early 2024, between Mexico City and Guadalajara, and has since expanded with performances across various cities in Europe and Latin America. Conceived as an open system of real-time sonic construction, ALGOL operates at the intersection of composition, improvisation, and electroacoustic experimentation. Its music articulates a language that integrates percussion, piano, flute, and synthesizers. Each member contributes a distinct universe: Lillinger, German drummer and producer, is renowned for his highly structured rhythmic approach and his ability to reformulate the tradition of contemporary European jazz. Stemeseder, Austrian composer and performer, explores the intersections between the acoustic and the digital, moving between piano, spinet, and synthesizers. Ángeles, Peruvian flutist and composer, redefines his instrument through extended techniques, self-built aerophones, and a microtonal sensibility that expands the boundaries of performance. Recorded at Estudios Noviembre (Mexico City) and finalized between Switzerland and Berlin, ALGOL's debut album employs electronic processes that extend the timbre of acoustic instruments. Structures emerge and dissolve within a continuum that challenges stylistic categories. Like the stellar system that inspires its name, ALGOL is a constellation in motion. Its music balances density and transparency, writing and indeterminacy, tradition and rupture. In that point of equilibrium, its true nature is revealed. ALGOL's debut album is released by Buh Records, in digital format and as a limited vinyl edition. Mixed by Michael Brändli at Hard Studios (Winterthur, Switzerland) and mastered by Christian Lillinger at Plaist (Berlin, Germany). Artwork and design by Muriel Holguín. Gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BR 199LP
|
Buh Records presents the release of Respuestas, the new album by Chilean sound and transdisciplinary artist Nicole L'Huillier, based in Berlin. Her work centers on the exploration of sound and vibrations as materials for reflecting on agency, collectivity, and vibrational imagination. This approach has taken shape through sound sculptures, immersive installations, experimental devices, performances, compositions, and more. Respuestas originates from Resonaciones, an exhibition by L'Huillier conceived in collaboration with Francisca Gili and guided by Karen Urcia, a Mochica healer and cultural activist. Presented at ifa Gallery Stuttgart, with curatorship by Bettina Korintenberg and Carolina Arévalo, the exhibition revolved around the activation of whistling vessels from the Moche culture, safeguarded at the Linden Museum, to bring forth an immersive soundscape in constant transformation. The album Respuestas gathers this process, compiling recordings made with contact microphones, electromagnetic sensors, and listening devices designed by the artist herself. The vibrations of the vessels expand in dialogue with recordings of planetary tremors, environmental oscillations, visitor contributions, and AI-mediated reinterpretations created in collaboration with musician and engineer Manaswi Mishra, forming a dynamic sound field that resonates across past, present, and future. The result unfolds as a laboratory where fragments, noises, and textures are organized into dense, reverberant layers. In the spirit of musique concrète and sound collage experiments, L'Huillier weaves together heterogeneous materials that, through interlacing and transformation, generate an immersive listening experience highlighting the materiality of sound and its ability to open new perceptual spaces. Sounds emerge and submerge, as if circulating between visible surfaces and hidden depths. Based on a principle of reciprocity, Respuestas proposes listening as an act of mutual transformation. Each piece becomes an exchange -- a call and response -- connecting ancestral imaginaries with contemporary technologies, opening possibilities for new forms of sonic inquiry and continuity. Respuestas is released by Buh Records in digital and vinyl formats. All compositions by Nicole L'Huillier. Produced and mastered by Juan Necochea. Experiments and AI system by Manaswi Mishra. Art and design by Stoodio Santiago Silva.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BR 198LP
|
En la orilla is the debut album by Sebastián Rojas, a composer and musician born in Mexico City. After years of playing in various bands and collaborative projects, Rojas embarks on a solo journey where the song format expands with unexpected turns, immersive atmospheres, and unconventional arrangements. In the early 2020s, luck seemed to turn against him: the pandemic cut short a tour with his former band just as they were about to take off; he returned from Berlin with no money, and his mother fell gravely ill. In the midst of that chaos, he fell in love. That love helped him rebuild, and together with producer Hugo Quezada, he shaped En la orilla. The album narrates the passage from emotional shipwreck to a new sense of stability, through songs that explore introspection, longing, and vulnerability. The album finds its path somewhere between experimental song, synth pop and balladry. Each piece is woven with synthesizers, melodic bass lines, and saxophones that emerge like emotional flashes. There's a strong melodic sensibility and an intimate tone that allows the sounds to unfold with freedom. Echoes of artists like Arthur Russell and Robert Wyatt can be felt, as well as the nocturnal spirit of Neil Young's On the Beach. Mexican bolero forms -- Pedro Infante, Álvaro Carrillo, Los Panchos -- drift in more subtly, alongside traces of 1980s sentimental pop, with figures like Luis Miguel or Miguel Bosé appearing more as emotional references than stylistic ones. From Cuba, his father's homeland, the music of Benny Moré lingers as an early imprint on his musical memory. Highlights include "Demasiado pronto" and "Pulmón del trópico," the latter inspired by a verse from Roberto Bolaño. The album's emotional range is amplified by the production of Quezada, a key figure in Mexico's independent music scene. Also contributing are Américo Hollander (The Americojones Experience) on bass and Emiliano Tinajero (Demencia Infantil) on saxophone.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SCIE 3925LP
|
Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit -- born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk. These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal -- sensual and incendiary, seeping into the music like spice into flesh. Jac Berrocal: voice, words, trumpet, double bass; Timo van Luijk: guitar, piano, vibraphone, percussion; Vincent Epplay: field recording, drums, percussion, EMS Synth A, Noizoid OCS 2, double bass.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
METAPHON 028LP
|
Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On April 28, 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art. Owing to its exploratory electric sound world and Plank's distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation. Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo '70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances. The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously released studio material, retaining the distinctive "Wired" sound while situating it within a live, site-specific context. Production: Timo van Luijk. Painting: Wayne Jacob. Mastering: EARLabs. Design: Meeuw.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/BOOK
|
|
RM 4270CD
|
A note from Lawrence English: "In late 1975, Annea Lockwood realized her composition World Rhythms. It represents one of the first creative works exploring the potentials of field recordings in a multichannel setting. It is a landmark work and a composition that, on its 50th anniversary, has gently carried forward over the decades, but arguably now is only starting to come into true focus, and be understood for exactly how revolutionary it was. World Rhythms was a work concerned with a practice of sustained listening into the world, and beyond. It expanded outward from many of the compositions and themes Annea Lockwood had been exploring since the 1960s. It sought to take those learnings and apply them to a new set of terrains and circumstances. Moreover, it suggested a sensing of sound that was drawn from profound curiosity, matched only by patience. In 2019, I reached out to Annea and started a conversation about a revisitation of World Rhythms. My initial proposition was a simple one: a re-issue that was remastered and touched up, reflecting Annea's thoughts on the piece in this moment. The conversation quickly spun outward though, and before long Annea had asked if I might be interested to revisit the master tapes with the thought that the work could be revived and prepared for performance presentations going forward into this century. On listening to the materials, during the period of restoring the audio from the original master tapes, I was struck by the profound dynamism of the recordings. Each of the sound-fields held an attentive flux, a rhythmic pulse that was breathing. Each one a story of the pulses of the world, and our universe, that spoke to a possible reading of reality that sits in excess of our everyday capacities. A poetics of pulse if you like. Here then is the result of those conversations and also the presentations of the piece that followed -- several of which Annea has overseen herself. On this newly rendered imagining of World Rhythms, new relations, listening paths and ways of exploring her sound-fields are brought into focus. The core of the piece remains, a prioritized zone of listening, but emerging from deep within it new sonic formations emerge, a reminder of the dynamism of our energetic world and its surroundings." Composition by Annea Lockwood; gong performed by Vanessa Tomlinson and Annea Lockwood; mix realized by Lawrence English. Design by Traianos Pakioufakis; essay by Lawrence English.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP
|
|
METAPHON 026LP
|
Slipcase edition with 8-page booklet. 250 copies. Metaphon presents this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy. Liliane Donskoy (1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis. Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions. Donskoy's oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication. Anthology produced by Timo van Luijk. Mastering by EARLabs. Booklet edited by Vincent de Roguin. Design by Meeuw. Also available as hardboard linen box set edition with 8-page booklet and download code (METAPHON 026BOX).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP BOX
|
|
METAPHON 026BOX
|
Hardboard linen box set edition with 8-page booklet and download code. 250 copies. Metaphon presents this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy. Liliane Donskoy (1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis. Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions. Donskoy's oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication. Anthology produced by Timo van Luijk. Mastering by EARLabs. Booklet edited by Vincent de Roguin. Design by Meeuw.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CORTIZONA 029LP
|
Dienne creates hazy pieces of music full of the melancholy of remembrance and loss combining analog instruments with reverb-drenched vocals and shimmers of processed electronic sources. Her new album Conducturis emerges as a sensory exploration of the human spirit and the boundless horizons of artificial intelligence. "Abundant in beauty and rich in disturbances" serves as the guiding principle for Belgian composer, Dienne, as she builds songs and soundscapes that portray the images and stories that play behind her eyes. Combining analog instruments like the oboe, the piano, and the flute with reverb-drenched vocals and shimmers of processed electronic sources, she creates hazy pieces of music full of the melancholy of remembrance and loss. Her debut album Addio (OP 067LP, 2022) was released on Nicolás Jaar's Other People imprint. Addio is a 32-minute study on loss and mourning. Following the death of her grandmother due to Covid-19, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. The result is a deeply intimate work that channels classical instrumentation through foggy electronic experimentation. Her second album, Conducturis, accompanies an immersive film installation delving into speculative fiction, conceptualized by Mira Sanders and Cédric Noël. Conducturis is an immersive film installation project that delves into the realms of speculative fiction, employing the cinematic language of the road movie to envision the ramifications of constructing an artificial brain within the Swiss landscape. Following their encounters with key figures in the Human Brain Project during an art research expedition in Geneva from 2019 to 2020, conceptualized by Cédric Noël and Mira Sanders, they stumbled upon a remarkable discovery: a hidden fiber-optic cable linking Geneva to Lugano. Anchored at both ends by the Human Brain Project in Geneva and the CSCS (Centre Suisse de Calcul Scientifique) in Lugano, this conduit facilitated the transmission of intricate brain simulations from the imposing computational hub in Lugano to Geneva via a "superconductor" cable. Guided by the principle of being "abundant in beauty and rich in disturbances", Dienne embarks on a sonic exploration of the Swiss landscape, translating its ethereal beauty and technological wonders into evocative musical compositions. Printed inner sleeve; includes 8p art booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CSR 358LP
|
Written in 1971 and read here by the author himself, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film Blue, it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalizing autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press/Prototype Publishing, and The Estate of Derek Jarman. Limited 500 copies on heavyweight 180gm black vinyl in gloss sleeve.
|
viewing 1 To 25 of 2553 items
Next >>
|
|