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SNS 025CD
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Audio Archaeology Series Volume 3: Brest. Sheet Erosion is the third episode in a series of works based around ideas of audio archaeology and found sounds. The setting this time is the city of Brest in France. It is composed of field recordings made in early 2020 during the storms Ciara and Desmond plus a batch of found open-reel tape recordings dating from the '70s and '80s. The tapes include domestic home recordings but mostly document recordist Michel's tastes in music and radio programs of the time. Daily life bleeds into these lo-fi recordings of radio and TV shows. Captured with a mic in front of a speaker rather than directly cabled, ambiguous activities can be heard in the background; babies crying, feedback, chairs scraping and muffled conversations. In the composition, family histories and musical tastes are transposed over a more contemporary soundscape of Brest. Over-saturated tape distorts time as well as sounds. Speeds change. Chronologies become confused. Different instances in time are blended and fused. What seeps through these chronological crevices are events and incidents unmoored from linear time taking place in a chimerical non-space.
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SNS 026CD
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Spuren & Gegenworte began with a quasi-telepathic collaboration between Kohei Matsunaga and Ralf Wehowsky. Both recorded a track on May 3, 2021, from 8:00 PM to 8:10 PM. These recordings were subsequently transformed, combined, juxtaposed, and further modified over the course of several months, resulting in the completion of the four pieces on the CD. Spuren & Gegenworte can be translated as "traces and antonyms," opening up a wide range of interpretations. "Traces" may refer to the remnants of the original sounds that have been transformed in the process of reworking, or it can symbolize the cultural and musical influences that can be discerned. "Antonyms" oscillates between contrasting/contradictory and complementary meanings. Of course, other interpretations are also possible. The four titles are indicated as Japanese terms on the cover: 痕跡、対立、変動、補完. They stand for the themes of traces, confrontation, fluctuation, completion.
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SNS 024CD
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This four-CD box edition collects all concert music by Michèle Bokanowski, a composer of electroacoustic music living in Paris, France. Passionate about music from childhood, it wasn't until later, at the age of 22, after reading À la recherche d'une musique concrète by Pierre Schaeffer, that she decided to study composition. After classical training in harmony, she met Michel Puig, a pupil of René Leibowitz, who taught her writing and analysis upon Schönberg Theory. In 1970, she began a two-year internship at the Research Department of the ORTF under the direction of Pierre Schaeffer. Between 1973 and 1975, she took part in a research group on sound synthesis, studied computer music at the University of Vincennes as well as electronic music with Éliane Radigue. She mainly composes for concert and for cinema (music for Patrick Bokanowski's short films and for his feature films L'Ange and Un Rêve solaire). She has also composed for television, theater and dance. In her music, often infused with a mysterious atmosphere, she uses evocative and poetic concrete sounds, with a mastery of looping and feedback techniques and with an art of cinematic editing. "Why musique concrète is so attractive to me, as opposed to written music? To write music implies that an idea or a thought is at the origins of the composition and that the final thing is the sound rendering of this thought. The sound is at the end of the line, in other words. Musique concrète is the exact reverse of this process: you start from sounds... sounds that will perhaps lead you to a constructive thought. Here, it's the material that induces the thought, or the writing. The possibilities of finding or inventing new sounds and, therefore, new forms are tremendous, infinite... Moreover you can use chance to a much greater extent." (Excerpt of an interview with Michael Karman for Asymmetry Music Magazine, 2007)
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SNS 021CD
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Full title: One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling. Bladder Flask's debut (in fact only) LP, originally issued by Orgel Fesper Music in 1981, is one of the most eclectic albums of the post-industrial era. It is both challenging and perplexing... So, put down your puny instruments of normality and breathe in the frenzied fungal spores of Bladder Flask. The fact that Steven Stapleton of Nurse With Wound is a big fan of this album is testament to its greatness: "I love Bladder Flask's One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling and what a great title, perhaps my favorite ever. I must have listened to the album so much in the '80s. I listened to it again recently and it was like welcoming an old friend." Personnel: Richard Rupenus, Philip Rupenus + Sean Breadin, John Mylotte, Nigel Jacklin. Recorded at Wrongrong Studio and Spectro Arts Workshop 1980-1981. Audio restoration and mastering: Colin Potter @ IC Studio.
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SNS 021LP
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LP version. Full title: One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling. Bladder Flask's debut (in fact only) LP, originally issued by Orgel Fesper Music in 1981, is one of the most eclectic albums of the post-industrial era. It is both challenging and perplexing... So, put down your puny instruments of normality and breathe in the frenzied fungal spores of Bladder Flask. The fact that Steven Stapleton of Nurse With Wound is a big fan of this album is testament to its greatness: "I love Bladder Flask's One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling and what a great title, perhaps my favorite ever. I must have listened to the album so much in the '80s. I listened to it again recently and it was like welcoming an old friend." Personnel: Richard Rupenus, Philip Rupenus + Sean Breadin, John Mylotte, Nigel Jacklin. Recorded at Wrongrong Studio and Spectro Arts Workshop 1980-1981. Audio restoration and mastering: Colin Potter @ IC Studio.
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SNS 023CD
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Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
"On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began -- an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others -- work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4's own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, 'Aufmarsch, Heimlich,' consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4's best albums." --Rolf Semprebon/AllMusic
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SNS 023LP
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LP version. Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
"On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began -- an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others -- work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4's own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, 'Aufmarsch, Heimlich,' consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4's best albums." --Rolf Semprebon/AllMusic
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SNS 022CD
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Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
"This music is staggeringly original and innovative, and while it's possible to locate it in a chain of circumstance that links it to 'industrial' music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kühe In 1/2 Trauer's accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn't -- like the milk churn on 'Paris, Morgue' or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they're played very weirdly. It's not even made clear who was doing what; the main credit is 'Concept,' which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion's share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings." --Ed Pinsent, The Sound Projector
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SNS 022LP
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LP version. Reissue, originally released in 1984. P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling, and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW. Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design. The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
"This music is staggeringly original and innovative, and while it's possible to locate it in a chain of circumstance that links it to 'industrial' music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kühe In 1/2 Trauer's accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn't -- like the milk churn on 'Paris, Morgue' or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they're played very weirdly. It's not even made clear who was doing what; the main credit is 'Concept,' which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion's share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings." --Ed Pinsent, The Sound Projector
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SNS 020CD
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RLW (aka Ralf Wehowsky) whose work deals in the transformation of prerecorded sound material, the permutation of the senses and the metamorphosis of the sensitive, has been a proponent of long-distance collaborations for decades, long before lockdown made this manner of working popular. This goes way back to his beginnings with Permutative Distortion or P16.D4 and the Selektion label. He is a strict and disciplined composer, a formal organizer of discernible objects. Tunnel presents five pieces built using fragments of Annette Krebs's voice. Far from being anecdotal, the work reveals a true alchemy. Vocal prints are converted into roaring metallic textures lost in an endless sonic vortex, both sculptural and masterful.
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SNS 017CD
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Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez and Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic -- like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film. Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s. A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering French free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, "a guitar used as a flame thrower thrashed and fiercely held up as machete totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures" (Le Non_Jazz) He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M, etc. and has collaborated either live or on records with Masaya Nakahara, Meyna'ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko, etc.
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analog synthesizers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica. From 1987 to 2018, he was the director of Metamkine, a non-profit organization dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming coordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.
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SONORIS 004LP
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LP version. Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez and Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic -- like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film. Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s. A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering French free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, "a guitar used as a flame thrower thrashed and fiercely held up as machete totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures" (Le Non_Jazz) He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M, etc. and has collaborated either live or on records with Masaya Nakahara, Meyna'ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko, etc.
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analog synthesizers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica. From 1987 to 2018, he was the director of Metamkine, a non-profit organization dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming coordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.
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SONORIS 019LP
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Larme Secrète is the result of an astonishing encounter between a minimal and discreet musician attracted as much by Erik Satie as he is by various pop classics, and a poet/performer who has worked with Lydia Lunch, Genesis P-Orridge, Michael Gira as well as Alan Vega. Pascal Comelade and Marc Hurtado (Étant Donnés) are two important figures of a French underground and alternative music scene which has always attempted to interfere with other musical genres. They are both also producers, fans and cultured listeners who meld a vast array of elements and references into a dark synthesis, a hypnotic and cosmic electroshock. This project was born following the collaboration on stage by Pascal Comelade and Marc Hurtado during a tribute to Alan Vega that Marc Hurtado organized in Paris in 2018. Larme Secrète is the sound of an electric shock, the sound of two hearts beating at the same rhythm, united in the thrilling and hypnotic music of Pascal Comelade, melted in the fire of the celestial poems of Marc Hurtado. Synthesizers, guitars, drums, organ, piano, sound loops seem to collide high in the sky with whispered, yelled, possessed voices. Double-LP cut at 45rpm comes in gatefold cover; includes three bonus tracks exclusive for this vinyl edition.
Pascal Comelade was born in Montpellier. After living in Barcelona for several years, he produced his first album, under the name of Fluence, influenced by electronic music and by the group Heldon. Since 1980, Pascal Comelade has released music under his own name. Since then, his music has become more acoustic and is often characterized by the sounds of toy instruments, used as solo instruments or as part of the sound of his group, the Bel Canto Orchestra.
Marc Hurtado is half of the French experimental duo Etant Donnés. Active since the late 1970s, the group has released several albums, also collaborating with people like Alan Vega, Lydia Lunch, Michael Gira or Genesis P-Orridge. Marc Hurtado has directed many films and has also released several solo albums under his own name.
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SNS 018CD
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Sonoris announce the release of some important works from the influential and respected artist Steve Roden. These tracks, which mix conceptual composition and musicality, transcend the ambient or lowercase categories too quickly applied to his music, due to its ghostly beauty. In the tradition of John Cage's Cartridge music amplified objects, Steve Roden extracts a fine and delicate music through his manipulation of specific objects, with an apparent simplicity that hides a captivating magic. Whilst reinventing a form of ambient music which is discreet and atmospheric, Steve Roden delivers sound textures, gives shape to color swatches, traces vibrant frequencies and creates visual art objects. Roden, both a visual and a sound artist often tagged as minimal for want of a better description, builds the sound design of a life, a new construction for the future which encompasses architecture, visual arts, and painting in a single form. "The Radio" (1996): The sound sources are derived from the object itself -- the airwaves as well as the internal mechanics (aerial, springs, knobs). Originally released as a mini-CD by Sonoris, this work centered on Roden's voice and found sound loops is now unexpectedly considered a classic and was seen as "a particularly modest form of genius" in a review by The Wire at the time. "Airria" (Hanging Garden) (2003): Arnold Schönberg's work The Book Of Hanging Gardens haunts the piece, and is used as a backbone over which a ghostly and exhilarating vocal hovers. Both unsettling and relaxing, this track from the Speak No More About The Leaves CD has strangely become a mini phenomenon on YouTube with its number of views and comments. "Vein" (1996): A few seconds taken from a Ralf Wehowsky piece are shaped into a nocturnal raga imbued with substances of an indeterminate nature. Mastered by Giuseppe Ielasi. Cut by Fred Alstadt at Studio Angström.
Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case -- sound concerned with subtlety and the quiet activity of listening.
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SONORIS 005LP
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LP version. Sonoris announce the release of some important works from the influential and respected artist Steve Roden. These tracks, which mix conceptual composition and musicality, transcend the ambient or lowercase categories too quickly applied to his music, due to its ghostly beauty. In the tradition of John Cage's Cartridge music amplified objects, Steve Roden extracts a fine and delicate music through his manipulation of specific objects, with an apparent simplicity that hides a captivating magic. Whilst reinventing a form of ambient music which is discreet and atmospheric, Steve Roden delivers sound textures, gives shape to color swatches, traces vibrant frequencies and creates visual art objects. Roden, both a visual and a sound artist often tagged as minimal for want of a better description, builds the sound design of a life, a new construction for the future which encompasses architecture, visual arts, and painting in a single form. "The Radio" (1996): The sound sources are derived from the object itself -- the airwaves as well as the internal mechanics (aerial, springs, knobs). Originally released as a mini-CD by Sonoris, this work centered on Roden's voice and found sound loops is now unexpectedly considered a classic and was seen as "a particularly modest form of genius" in a review by The Wire at the time. "Airria" (Hanging Garden) (2003): Arnold Schönberg's work The Book Of Hanging Gardens haunts the piece, and is used as a backbone over which a ghostly and exhilarating vocal hovers. Both unsettling and relaxing, this track from the Speak No More About The Leaves CD has strangely become a mini phenomenon on YouTube with its number of views and comments. "Vein" (1996): A few seconds taken from a Ralf Wehowsky piece are shaped into a nocturnal raga imbued with substances of an indeterminate nature. Mastered by Giuseppe Ielasi. Cut by Fred Alstadt at Studio Angström.
Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case -- sound concerned with subtlety and the quiet activity of listening.
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4CD BOX
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SNS 016CD
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Repressed. A four-hour work, recorded at Jim O'Rourke's studio, Steamroom, between 2017 and 2018. Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in a constant state of flux. The finely crafted art of subterfuge. The four-CD set To Magnetize Money and Catch a Roving Eye is a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory. Composer, performer, and multi-instrumentalist Jim O'Rourke was born in Chicago in 1969. He is a veritable chameleon working at the frontiers of very diverse musical genres.
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6CD BOX
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SNS 015CD
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Jeu Du Monde is a collection of around twenty musique concrète pieces which spreads over more than six hours of music. Each CD has been designed as an audio film which tells a full story. The box set includes previously released works which have long been unavailable, reworked versions of digital releases, as well as unreleased pieces especially composed for this occasion. With the use of a complex sound palette (synthesizers, analog and digital manipulation, percussion, low fidelity samplers, radios, Revox, vocals, prepared piano, field recordings, etc.), Lionel Marchetti takes you through an audio landscape in which the acoustic imagination feeds on nature and its diversity: the desert, the upper atmosphere, mankind, night and day, fire, death, until you disappear into the ocean space... Includes 32-page booklet (in French) illustrated by Adèle Marchetti; Presentation texts by Denis Boyer, Régis Poulet, Frédéric Neyrat, Yann Leblanc, and the composer himself. Some compositions were co-written with Yôko Higashi and Olivier Capparos. Seijiro Murayama, Sébastien Églème, Isabelle Duthoit, Patrick Charbonnier are also featured.
Lionel Marchetti is a French composer of musique concrète and an improviser (various analog and digital electronic instruments and modified speakers). He also writes poetry and essays on the art of musique concrète, as an artist working within the genre. His musique concrète works follow in the steps of composers such as Pierre Henry, Bernard Parmegiani, and Michel Chion.
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2LP+CD
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SONORIS 003LP
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Double LP version. Six-panel, double gatefold sleeve; Includes CD. Inexplicable Hours is the sequel of the successful six-CD boxset Elapsed Time, also released by Sonoris in 2017 (SNS 013CD). The material on the first LP of Inexplicable Hours documents a new direction in his music, with some of his last electroacoustic experimentations with audio generators, field recordings, and various electronic devices. The material on the second LP explores the same ambient/drone territories as the boxset, but there is less static and it is more complex than it appears on the first listen. And as always with recent Kevin Drumm's music there's a sense of majesty, of mystery and a melancholic beauty that is uniquely his own. Some words about the boxset are also appropriate for this record: "Despite Drumm's noisy reputation, his music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide." Mastering by Giuseppe Ielasi. CD version comes in cardboard cover.
Acclaim for Elapsed Time (2017):
"The vast array of styles and works to be had here makes it an engaging challenge, one that can differ widely from disc to disc, but never lacks the cohesion and touch of a master craftsman and composer working at the top of his game." --Brainwashed
"These pieces, despite their length, are like perfect miniatures, timeless puzzles that you try and unravel through close listening. And their sense of place, of home, of sanctuary, feels more important than ever right now." --The Wire
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CD
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SONORIS 003CD
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Inexplicable Hours is the sequel of the successful six-CD boxset Elapsed Time, also released by Sonoris in 2017 (SNS 013CD). The material on the first LP of Inexplicable Hours documents a new direction in his music, with some of his last electroacoustic experimentations with audio generators, field recordings, and various electronic devices. The material on the second LP explores the same ambient/drone territories as the boxset, but there is less static and it is more complex than it appears on the first listen. And as always with recent Kevin Drumm's music there's a sense of majesty, of mystery and a melancholic beauty that is uniquely his own. Some words about the boxset are also appropriate for this record: "Despite Drumm's noisy reputation, his music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide." Mastering by Giuseppe Ielasi. CD version comes in cardboard cover.
Acclaim for Elapsed Time (2017):
"The vast array of styles and works to be had here makes it an engaging challenge, one that can differ widely from disc to disc, but never lacks the cohesion and touch of a master craftsman and composer working at the top of his game." --Brainwashed
"These pieces, despite their length, are like perfect miniatures, timeless puzzles that you try and unravel through close listening. And their sense of place, of home, of sanctuary, feels more important than ever right now." --The Wire
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6CD
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SNS 013CD
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Since his emergence in the experimental music scene, about 20 years ago now, Kevin Drumm has perpetually shaken up conventions of various sub-genres with his major albums, for example, shifting from the tabletop/prepared guitar with his first self-titled album (1997), to noise with Sheer Hell Miasma (EMEGO 053LP, 2002), to ambient/drone with Imperial Distortion (HOS 134LP, 2008). He has been notably prolific recently, with numerous self-released CDR and digital releases. Elapsed Time is a collection of some of these recent works, dating from 2012 to 2016: desolate ambient drone (Middle Of Nothing (2016), February (2016)), "cassette tape music" or raw musique concrete, (Earrach (2013), The Whole House (2012)), computer assisted live electronics and rough spectral music (Crooked Abode (2015), Bolero Muter (2015)), with additional tracks from Tannenbaum (2013) and Shut-In (2014). Elapsed Time documents one of the key figures in American avant-garde at his peak of creativity. Remastered by Giuseppe Ielasi; Hi-fi system recommended.
"'Elapsed Time' is undoubtedly destined to be a classic, and one of the finest experimental tomes to emerge over the last years. . . . despite his noisy reputation, KD music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide. While you may not find an answer, you can certainly get lost in the question." --Fabio Carboni (SoundOhm/Die Schachtel)
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LP
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SONORIS 001LP
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L'art De La Fuite is a selection of first recordings originally released in 1995 as a self-titled homemade tape by eRikm. Mainly composed with turntables and prepared records (with various other sources), these recordings have laid the foundation for his future work as turntabilist/improviser/composer. 20 years later, this unique blend of musique concrète and post-industrial still sounds innovative. Mastered by Giuseppe Ielasi. Edition of 300. "This is an excellent record; if you are into turntablism, good ol' fashioned experimental music with a fine dash of noise sewn into this or just into overlooked obscurities." -- Vital Weekly.
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LP
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SONORIS 002LP
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Restocked. Rabid consists of six tracks mixed by Phillip B. Klingler, aka PBK, between 2004 and 2006 using Wolf Eyes source material, this is the Wolf Eyes lineup of 2000 to 2005: Nate Young, John Olson and Aaron Dilloway. Klingler: "I was given the audio sources (via cdr) by John Olson at the Ear Candy Festival in Dearborn, Michigan, in 2004. None of the compositions on the album were completed using a computer, they were all recorded live in my home studio or at gigs and radio shows directly to digital." Three of the pieces on the LP were previously released in Russia on the CD, Under My Breath in 2009. Also in 2009, the American Tapes label run by John Olson released a CDR of the PBK & Wolf Eyes collaborative tracks as part of the ongoing "Live Frying" series. Later, Rabid was available for a brief time as a net release. One review from the time stated: "Not a single track passes by without conveying grisly and creepy sensations of imminent death or disaster." Mastered for vinyl by Giuseppe Ielasi and with the beautiful cover illustration created by Pole Ka. American composer, Phillip B. Klingler, better known as PBK, has been active in the experimental music underground since 1986. His compositions are created using extreme turntable manipulation, sampling, analog and digital synthesis. Improvising spontaneously and with little preconception, PBK creates pulsing, dense soundscapes of unknown sonic origin. Wolf Eyes is a post-industrial/noise band from Detroit, Michigan. They are widely considered the "kings of US noise." "Their development since the earliest rumblings in 1997 has yielded some of the most staggering and genre-defining sounds of noise and sound art's dense, largely obscured history." -- Allmusic.
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6CD BOX
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SNS 012CD
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Sold out, no confirmation of possible repress. Every Color Moving consists of six discs, covering seven hours of the first fifteen years of Steve Roden's musical activities. The first four discs contain unreleased works and impossible to find small editions. The last two discs offer a selection of tracks made for compilations during the same period. From the surprising early experiments to the development of his often imitated but never equalled "lowercase" aesthetic, these are some of Roden's earliest works, documenting numerous rare and unreleased recordings. The discs are accompanied with a 32 page booklet with an essay and extended track notes, written by the artist. Steve Roden (1964) is a visual and sound artist born in Los Angeles. Roden's work includes painting, drawing, sculpture, film/video, sound installation, and performance. Roden's earliest musical experience was as the singer of the Los Angeles punk band Seditionaries from 1978 to 1982, performing locally with some famous bands from this scene. Roden's early works moved from loud to quiet in the midst of an emotional crisis at age 18, fueling a shift in his work, with the discovery of Eno's Obscure label. In the early -1990s Roden discovered the Broken Music catalog (an encyclopedic survey of records related to visual artists), offering a context for an artistic practice rooted in both visual and sound art. In 1990, Roden released his first recording on a self-released cassette titled the secret of happiness under the artist name In Be Tween Noise. Since then, Roden has released 45 solo recordings on various labels, alongside numerous collaborations and compilations. By the late 1990s, Roden began to use his own name as the artist of his solo recordings. Most of Roden's sound works tend towards using a singular source - such as objects, architectural spaces, field recordings, or texts. These things become abstracted through humble electronic processes to create new audio spaces, or "possible landscapes". In 2000, he used the term "lowercase" to describe a music that "bears a certain sense of quiet and humility". Over the years, he has created a rich and diverse body of work that is uniquely his own, mixing conceptual rigor, experimentation and musicality.
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CD
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SONO 42
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"The super-group (Gunter Muller + Erikm + Norber Moslang & Andy Guhl -- best known as Voicecrack) recorded live at Taklos festival, Zurich, and Unlimited XIII festival, Wels. Tense and vibrating improvised electronic/electroacoustic music."
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CD
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SONO 43
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"Supersternal Notch mixes a rehash of extracts from live solo performances and studio work. Mostly performed on Theremin and analog synth (including a cameo by guitarist Dominique Répécaud), the music is quiet but tense. Live electronics music between the works of some pioneers and modern digital music. Laurent Dailleau is a founding member of Tiolid and Le Complexe de la Viande."
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