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viewing 1 To 12 of 12 items
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Book
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KPUS 619826BK
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"Hardcover, 468 pages. In the wake of his Cause And Effect cassette label and distribution service, Hal McGee launched Electronic Cottage International Magazine. Running from 1989 to 1991, its six issues focused on the independent home recording community -- artists who had developed their craft in the post-punk DIY era. The contributors were nearly all members of the hometaper community. The magazine featured articles providing helpful tips and highlighted the challenges hometapers faced. It included insightful artist and label profiles. And it could be a hotbed of controversy and debate. Though its mission was to serve the hometaper community, Electronic Cottage's coverage of independent music contributed as much as any of the era's publications. The 468 pages produced stand as crucial documents of an era that was melting into the next. Foreword by Jerry Kranitz, author of Cassette Culture: Homemade Music and the Creative Spirit in the PreInternet Age. Design by Studio Bertin."
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Book
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KPUS 619819BK
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Hardcover, 524 pages. "In the mid-1990s, Mason Jones of Charnel Music edited and published four thick, annual issues of Ongaku Otaku magazine. Operating from San Francisco, California, Mason's goal was to spread the word about the compelling independent music being produced in Japan. With dozens of interviews and articles, and many hundreds of reviews, the magazine was an influential voice, sharing words about Aube, Cornelius, Yamamoto Seiichi (Boredoms, Rovo, Omoide Hatoba), Shizuka, Jojo Hiroshige (Hijokaidan, Alchemy Records), MeltBanana, Ruins, KK Null, and many more. This facsimile edition brings the original pages to readers three decades later. Mason Jones has run the Charnel Music label since 1988, and has released many albums, both as a solo artist recording as Trance and as a member of SubArachnoid Space, Numinous Eye, and Collision Stories. He began visiting Japan regularly in the early '90s and arranged U.S. shows for many artists from Japan. Ongaku Otaku was a labor of love aided by many contributors to whom he remains grateful. Design by Studio Bertin."
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CD
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KP 3022
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"The fourteenth installment in this series is a mini CD by Peter Rehberg. For his rework, Rehberg used the recordings of the very first Kapotte Muziek workshop (and concert) held in September 1997, as part of Staalplaat's 'Masterclass' event at the Korzo Theatre, in Den Haag. Rehberg moved away from the digital computer noise recently and for this work crafted together a beautiful, soft but outspoken piece of music. The piece lasts 17:30. Peter Rehberg (aka Pita) (b. 1968, London) is an author and performer of electronic audio works. He has collaborated with: General Magic, Jim O'Rourke, Christian Fennesz, Tina Frank, Tujiko Noriko, Kevin Drumm, Stephen O'Malley, Marcus Schmickler, Michaela Schwentner (aka Jade), Russell Haswell, Florian Hecker, Carlos Giffoni, Gert-Jan Prins, Mika Vainio, Zbigniew Karkowski, Z'ev, Rosy Parlane, Keith Rowe, Dennis Cooper, Gisele Vienne, SUNNO))) as well as being a member of MIMEO."
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CD/BOOK
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KP 3026
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"Bringing Audiotoop back home. That is what this book is about. Audiotoop is not 'just' a live event, held in a particular place at a given time. That's only one half of the story. The book is the other half. As much as Audiotoop is not a radioplay, it's not 'just' an event either. Audiotoop is like a biotop: it's an environment, completely packed with colours, sounds, people, and installations full of possibilities. That makes up the story that is brought to you. Right from the start, early 2005, Audiotoop is a live event with radioplays, closely-linked artforms and a CD/book. Early 2005 we invited various artists to present some form of radioplay, to be brought in a live context. How this is to be done, is up to the artists, but the visual element is to be reduced, not to be ignored. On a given night, we see for instance a table filled with turntables, children's toys, flutes, violin, drums, effects. Or the findings of a scrap yard. People dressed up like English teachers. For instance. All to make the illusive sounds to create a world around the story. One or more persons sitting behind and telling a story, because it's the story that matters. Sometimes the stories are illuminated by singing, drawings or simply a powerpoint presentation. To expand on the idea of stories, several installations were presented, such as the abstract band of Freek Lomme: 'bass, bass, drums, bass, guitar, bass.' Perhaps without the involvement of any living person, such as the mummified drums, complete with dancing nails and hair, as presented by Quinten Dierick. Extrapool becoming the biotop of Audiotoop when it all turned black and white, complete with noise and fluorescent paint. This book (17x19 cm) has 28 pages, printed in full color by Knust, of texts and collages by the various artists. The CD has eleven tracks by Jana & Bertin, Jan Schellink, The Bohman Brothers, Freek Lomme & Remco van Bladel, Quinten Dierick, Jorg Piringer & Elffriede, Jeroen Kuster, Lem & Lemoineau, Marten de Wind & Tamar Frank and Vernon & Burns. Texts in English, German and Dutch and sometimes even no text."
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CD
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BROM 011CD
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"Many years ago, Felix Kubin's uncle Walter Knoth was looking for a composer to musically illustrate some of his old-fashioned brilliant Schlager texts. Naturally, his first choice was his own nephew Felix -- but obviously this young guy did not have the versatile qualities to manage such a thing on his own. Walter placed some big advertisements in all the important German music mags. After a long period of auditioning Madonna-lookalikes, Wanna-be-Genesis-P-Orridges and Bearded Kraut Rock Acidheads, Dutch pop mogul Frans de Waard showed interest and decided to take the Rotterdam group Coolhaven into the boat -- an ecclectonoclast trio consisting of Dorn, Fregge and Guy Simons. This menage-á-quatre was supposed to record another top-selling album for de Waards Brombron series. Due to budget reasons the musicians were only given a period of one week to work on their songs in a dirty old studio in Rotterdam. Nevertheless, the hyperactive quartet managed to record about 18 hours of rough material which was finally melted down to 42 minutes of sheer brilliance. Under the influence of strange instruments, dusty corners and atmospheric pain, the recording resulted in a fruitful mixture of German Weirde Welle, Optagonism, conservative hiphop, Stockhausen schläger, no improv mixing and gabberpop."
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CD
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BROM 008CD
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"I primarily used cassette tapes and Giuseppe used a guitar, but we also both played synths and electronic doodads and microphones, and I made some tape recordings around the city that I brought back in to our improvisations. Our minds were open, and we experimented without deciding in advance what sort of album we might be making. We'd then take a long walk, go to the Nijmegen record shops (where Plurex records are still cheap!), have some lunch, maybe also a snack, and then start to edit out the good bits from the morning. We'd also add some effects and change some parts, use the recordings as source material in a small way. Then we'd return to the record shops to buy the records we hesitated on in the afternoon, have some dinner and relax. The next day, we'd wake up, have coffee, and do it again. Our pace of working and comfort matched quite well. For the final few days of the residency, we started to piece together our bits until they worked as compositions. Then we edited some more until the album emerged." --Howard Stelzer
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CD
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KP 3016
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Compilation with Asmus Tietchens, RLW, Merzbow, Freiband and John Watermann. "Over the course of his life John Watermann worked with almost every conceivable artistic medium. In many ways, he was the epitome of the 'total artist'; almost every element of his life being in some way his own artistic project. As a young man in his native Germany he worked as a photographer and documentary filmmaker, also etching, painting and writing. His experience as a youth in Germany in the Second World War influencing his work from then right through until his death. He first released his music in 1989 in the form of the album Warmth is the Fifth Room. Over the next 10 years he released numerous albums and contributed to a number of compilations, both under his own name as a solo artist, in collaboration with others (such as Merzbow) and under a number of pseudonyms (including Radio Mull, Spinal Machine and Total Disease). Sadly, on April 2nd 2002 John Watermann died suddenly of an infection resulting from his ongoing treatment for cancer. Having in the final year of his life returned to painting and writing (alongside a burgeoning interest in cooking), he still had vast plans for future projects. Among these unfulfilled projects were plans to collaborate with Frans de Waard on a new release. Although only preliminary discussions on the collaboration took place and Watermann never completed any work towards the project, Watermann's source material that was to be the basis of the work now serves as a basis for this tribute release. Despite his vast artistic output, Watermann has been known almost exclusively for his music and even then his work remains largely undiscovered, perhaps for no other reason than its sheer unavailability. In many ways Watermann could be considered a classic example of the artists' artist, his work influencing many far more prominent sonic alchemists. And perhaps then this release serves as a record of Watermann and his influence, documenting the respect he reserved from his peers and, hopefully, introducing his work to a new audience."
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CD
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BROM 007CD
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"The seventh release in the Brombron series. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully- equipped sound recording studio. Natalie Bruys (Kodi) is foremost a visual artist who studied at De Rietveld Academie in Amsterdam, where she graduated with the production of a vinyl record of her own music. She then moved temporarily to Berlin where she continued to produce her unique blend of soundscaping, plunderphonica and techno. Lukas Simonis (aka Pausa) has his roots as an instrumentalist and musical 'activist' in the industrial music and noise rock of the eighties (Throbbing Gristle, the Residents, Pere Ubu, Sonic Youth and beyond). On In One Week And New Toys To Play Kodi & Pausa combine their totally different background of rock and techno, playing the studio's analogue synth collection (aka the new toys to play) but also guitar, banjo, rhythmbox and a touch of the city's sounds through their use of field recordings."
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CD
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KP 3021
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"Johannes Frisch has worked since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other open-minded styles. On his main instrument, the double bass, he has worked for more than three decades on an individual expressive language. Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion). Tränende Würger is based on free improvisations by the Frisch/Wehowsky duo, reworked with electro-acoustic means. The compositional process did not intend to mask the nonlinear nature of the improvisations. Quite on the contrary, their organic character has been emphasized by crystal-clear sharpening of details. You'll find complex structures and dark atmospheres, not unlike those on some P16.D4, This Heat or Mnemonists releases, though absolutely rooted in the 21st century. Beauty and poisoning are not far from each other. Tränende Würger comes in a plastic bag, 15x15cm with the artwork on six separate sheets, dealing with poisonous plants."
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KP 3019
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"The thirteenth installment in this series is the first full- length CD split by Richard Chartier and Boca Raton. Their approaches to sound are similar, so it is a good idea to combine them on a split release. Boca Raton is an ongoing musical project started by Martijn Tellinga (1974, Amsterdam, Netherlands) in 1999. It hovers at the edges of synthesized and concrete-acoustic soundworlds. The abstraction, or rather reflection, of concrete sources through electronic synthesis and manipulation creates an alias in sound which shares the associative and narrative character of the everyday soundtrack that surrounds us. More than relying on melody, harmony and rhythm, these soundworks are constructed from the fundamental building blocks of music: texture, volume and time-elapse. A composition is made by arranging and re-arranging elements, magnifying their characteristics, outlining tendency and by emphasizing the intrinsic value of the material. As well as displaying an autonomously existing sonic object, these environments are as much a carrier for the compositional form and musical gesture."
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KP 3011
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"A Touch of Brimstone features many unreleased recordings from 1989 to 1995, as well as a one cut from the now long-deleted Scala Destillans LP. This release comes with a 32-page booklet, with many exclusive flyers from concerts and hilarious, never before seen, photographs of the band and a fully updated discography. Many of the previous releases by Beequeen are no longer available and this collection fills a gap in many ways: the gap in the collection of truly devoted fans and newcomers alike, who wish to take a look in the past. Beequeen explores the depths of mind music in their own blend of electronics, drones and unique use of samples."
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CD
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KP 3009
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"Exactly two years after the disaster with Russian submarine Koersk, the album It's Good To Be On A Well Run Ship by Dutch group Smalts is released. It's dedicated to those who died and in support of the those left behind. Musically Smalts move between Harry Partch, John Lee Hooker, Brian Eno, Residents, Minny Pops, Heiner Goebbels, Terry Riley and Lee Perry, as a soundtrack to a film by Serjey Paradzjanov. It has been quiet for Smalts in the last twenty years. The band was formed in 1982, right after the release of the Minny Pops album 'Sparks In A Dark Room'. Minny Pops members Wim Dekker and Pieter Mulder work together on instrumental music, at first to be the basis of new Minny Pops songs, but soon it became clear they worked on their own sound. The two musicians become a quartet, together with drummer Rubin Oates and Minny Pops soundman Zip Boterbloem. In this line up they still exist. Currently Smalts is recording classical minimal music compositions by people as Terry Riley and a pure intonation piece inspired by Harry Partch."
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