905 TAPES



AB side: Slow moving looping buzzing melodies and drones ....can't tell if this is synth or guitar.. / JB side: Blown out but also pretty feedback drones and heavily effected guitar.


'deaf in the valley is an assemblage of killer sight and sounds from fifteen amazing artists who dabble in both crafts. the release consists of two pro-dubbed 30 minute cassettes and a full-color offset printed zine, all packaged in a brown kraft box with clear plastic lid, limited to 200 numbered copies. each artists involved contributed one page of artwork and one track from either a solo project or a group they are in. those included are:

thurston moore, john olson / lost anchors, joe denardo / growing, chris pottinger / cotton museum, christopher forgues / kites, witchbeam / telecult powers, heath moerland / sick llama, dennis tyfus / vom grill, brent eyestone / aughra, dan dlugosielski / mossy throats, britt brown / acid wash, daniel la porte / earth crown, joe breitenbach, jeremy bradley earl / the creeps, kevin mceleney / droughter'---Label Description


'installment two of the brains on backwash compilations. twenty three tracks loaded and layered with no gaps to stop the motion. this time around the gems are dropped by a snake in the garden, roman wolfe, blue sabbath black cheer, sorc'henn, cold turkey, dr. quinn medicine woman, century plants, john pyle, andreas brandal, kgb man, heat conference, david russell, regosphere, teeth collection & concrete arteries, pillars of heaven, being, mike khoury & jason shearer, mutant ape, expo 70, grasshopper, josh lay, ajilvsga, and fossil night suit.'---LABEL DESCRIPTION

A SOUNDESIGN RECORDING



Great organic scum from COAGULATOR and dreamy synth from FUTURE SPORT...an odd split for sure!


'The sixth tape in the ASR 'versus' series finds two members of Relentless Corpse going head to head. First up, Russell collages 8 clips of swindled ADD percussion and voice. Then Kirschner rages 10 minutes of pure contact mic hatred on metal. >> White tapes with red and blue spraypaint stencil, color laser print insert.'---LABEL DESCRIPTION


'c23 edition of 50. Playfully zoned synth compositions fluttering in like cosmic emissions. Recorded live at Beachwood Place in late Summer ’09 by Samuel Goldberg and Jeff Host.  >> Black tapes with yellow spraypaint stencil, lavender cardstock and black transparency inserts.'---LABEL DESCRIPTION


'The sixth tape in the ASR 'versus' series pairs acoustic compositions from two of the best acts in contemporary American underground jazz. Side A presents a ferocious workout on saxophone and double bass by Chicago's Mike Forbes and Andrew Young (both of Tiger Hatchery). Side B contains a stunning solo drumkit performance by Cleveland’s finest free drummer, J Guy Laughlin. >> White tapes with 3 color spraypaint stencil, color laser print insert..'---LABEL DESCRIPTION




The second tape in the ASR 'versus' series pairs up Cleveland luminary Samuel Goldberg with Michigan skronker Body Morph (1/2 of Uneven Universe). Sam gets back to basics on side A, with a cascading synth piece seered in nightshade. Then, Body Morph squeals and burns his way through the atmosphere with some intense noise-sax. >> Black tapes with various color spraypaint stencils, xeroxed insert on a variety of art papers in various colors.---LABEL DESCRIPTION


This is a PERFECT NOISE 7 INCH.... A side is classic menacing SG flutter, junk metal clatter and minimal piercing electronics. B-side is a collage of a crowd in panic assulted with feedback and low end drones of hate. MANDATORY! HIGHLY RECOMMENDED! Co-released w/ MISTAKE BY THE LAKE.


Compilation of tracks from oop and rare releases from OHIO's SOUNDESIGN label run by DAVID RUSSELL. Contains tracks from: RELENTLESS CORPSE, JERK, SKIN GRAFT, FREE TIME, HOWLAND/RUSSELL, BOWERS/RUSSELL, TUSCO TERROR, and TERRORIST OTHER.

AA RECORDS



'The source material for this release is a live recording of a pre-Basketcase project called Mr. Asthma from sometime before 1999. Originally an improv jam session on Detroit public radio, this updated mutation by Nate Young consists of tape manipulation, reeds, brass, cello and strange, metallic loops completely restructured to sound ancient. Sort of a collaboration a decade later. C-30 '---LABEL DESCRIPTION


'Montreal should be in Michigan. This release makes me think about the possibilities of forced continental drift. Merging Montreal with Detroit would definitely be an improvement. Upgrade for Detroit, Montreal might be pissed. Blake Hargreaves on homemade electronics, mixers and synths. Alex Moskos on guitar, synth and overall destruction. 3 tracks on a c-30'---LABEL DESCRIPTION

ACCRETION DISC



Heavy violent Computer Power Electronics.

ADOLESCENT



ORIGINAL SEALED COPIES of this intense synth weirdo LP from 1981..Strange mix of dark synth and Classical Japanese melodies... Check out the killer samples, but excuse the rough quality..I just used the Mutant Sounds rips since I don't have my record player hooked into my computer at the moment. The records sound much better than the mp3's here.

From back cover notes: 'I do not want to play music which sounds as if it comes from familiar instruments, music which is based on chord patterns, or music which fits nicely within any particular stereotyped tradition... What I want is the terrifying, the menacing, the cruel, the chaotic, the darkly exciting, the ecstatic, the irrational -- music that resounds between the cells and in the intergalactic voids...' --Slava Ranko

Nuff said there really... if you are into fucked up synth records you NEED to own this. He also worked with FACTRIX and TUXEDOMOON if that means anything to ya... HIGHLY RECOMMENDED!

mp3 samples: Golden Peaches -- Half-Animal

AJNA



Now, for the first time, all of the music composed for the soundtrack project has been compiled into a single public release. The Lucifer Rising Suite begins with the 1967 version of the soundtrack and continues through a logical sequence of the recordings made in the years spanning 1976-79. With respect to the latter, the original master tapes were mined for music that had not been heard by anyone in nearly three decades. The newly unearthed recordings were then restored, cleaned up and combined with those previously released to make the anthology as complete as possible. The compositions that comprise the Suite are sequenced in an order that tells a story, after a fashion. It is a story that may be impossible to tell in a strictly literary manner, one that -- like a mirror's reflection into another -- is both personal and allegorical. A complete anthology of the recordings made for the Lucifer Rising motion picture soundtrack by Bobby Beausoleil with The Freedom Orchestra and The Magick Powerhouse Of Oz. This fully authorized and definitive release will include: - Remastered recordings spanning 11 years, from the '67 recording to the Tracy Prison recordings of '78. - 4 full-length LPs worth of Lucifer Rising material with half being never-before-heard sessions personally selected by Bobby BeauSoleil. - 9 new pieces of art from Bobby: 8 record sleeve panels and one 2' x 3' poster. - 2 posters: one by Bobby BeauSoleil and one by Dennis Dread. - A much-extended version of the 'Fallen Angel Blues' piece by Bobby that originally appeared in the Kenneth Anger DVD set. - 'Hymns to the Solar Temple' -- impressions on a visit to Bobby at the Oregon Correctional Facility in Pendleton, Oregon by Dennis Dread. - The Saga of a Soundtrack by Michael Moynihan. - Art from Dennis Dread for the back of the LP box, also to be included as a 2' x 2' poster. - Art from Dennis Dread for the front lid of the box which will provide a window into the works of Bobby's to be found within. Remastered by Robert Ferbrache, well known for his work with Blood Axis, 16 Horsepower and others. All art has been created specifically for this release.

ALGA MARGHEN



Man...this dude is FUCKING AMAZING... Not fully 'sound poetry' but more like surreal electronics and spliced tapes using ALOT of vocal sounds...is that a genre? Dude is fucking amazing...check out his 3 CD rerospective on FYLKINGEN and way out DVD that we're carrying... Fans of NWW and that type of stuff should DEFINITLY check out this dudes stuff. BACK IN STOCK!!! Maybe for last time!


'The VocSon series presents on limited edition LPs the most advanced international vocal experiments and is mainly dedicated to the documentation of sound poetry. This series includes now the new LP record by Charlemagne Palestine titled Voice Studies. Charlemagne Palestine's introduction to music or sound was first with his own voice. He began at four years old to sing versions of popular songs and operas in his own way. Later on, a director of a Jewish sacred music choir auditioned him to sing with them, Charlemagne was seven years old at the time and for the next seven years, he sang all over the East Coast and the U.S. as a member of a choir that sang with many of the greatest European Chazans (Jewish Sacred Singers) who had fled Europe during the rise of anti-Semitism and resettled in America. From them he learned to sing in a long chanting style with his own natural voice. At the same time he met Pran Nath, the master of Kirana singing and studied a short time with him as well as Javanese singing with Ki Wasito di Puro at Cal Arts. Over the years, Charlemagne Palestine has performed and recorded vocal works as an important part of his output as a sonic artist. This LP includes the very early 'Surrealistic Studies,' recorded in Brooklyn in the beginning of the 1960s. Using a Webcor reel-to-reel tape recorder and discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. No other electronic sound manipulation techniques were used. 'Voice + Piano Study I & II' are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. Recorded at Cal Arts on September 29th, 1971. 'Voice Study' was recorded in Manhattan in the mid-1960s. In this study Charlemagne sings in a falsetto duet with himself on two separate tracks. Sung in a resonant space reminiscent of a synagogue in the falsetto voice that he began to develop from Jewish male sacred chant falsettos. He searches for intervals that resonate together and respond like electronic sound wave oscillators played against each other. Finally, there is the fantastic 6-minute 'Beauty Chord + Voice' with Charlemagne playing piano and singing. Edition limited to 385 copies.'---LABEL DESCRIPTION


'As the title well underlines, 'Sound 1' electronic sonority is a starting point in Charlemagne Palestine researches for the Golden Sonority. Previously unpublished, this radical and foundamental work has now been released on LP record in collaboration with the New Media Dept of Centre Pompidou (National Museum of Modern Art) in Paris for the first 'Œuvres sonores' event, December 15th, 2008.

Charlemagne Palesitne started to dream of an expressive continuous evermoving everchanging sound form; an enormous sonorous 3-dimensional sculptural canvas in mid-air, using electronically produced sounds. At first he began experiments with simple sine tone generators emitting the purest sound waves without any overtones. Then, gradually, with access to moog and arps, he constructed sounds using the sine / sawtooth / square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Palestine experimented in this way from 1964 till 74 in NYC and then, in California, finally he assembled his own drone machine of 16 ultra stable oscillators designed by Serge Tcherepnin and 4 band pass filters designed by Donald Buchla. He would build up a sound, oscillator by oscillator, then add ever so slightly to the oscillator imput, tiny increments of white noise that would gradually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees. Charlemagne played them very very loud, making all the room and objects in it resonate while outside all was quiet and sleeping. He worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, mixing adding and then lying on the mattress and listening and fine tuning. Finally, at a certain point, after several nights, the sonority seemed ready to record. He'd put on the tape, prepare the tape machine with the proper level as not to overload it and record the texture.

This 1-sided LP was issued in an edition limited to 500 copies, and about 350 of those copies were offered to the audience partecipating to the first 'Œuvres sonores' event at Centre Pompidou. Less than 200 copies are available for distribution.'---LABEL DESCRIPTION


Alga Marghen proudly presents the first ever release of Illuminatios, or Charlemagne Palestine and Simone Forti duo interactions, illuminated with dim red lights. In early 1970 Mort Subotnick asked Charlemagne Palestine to join his soon to be created Media Department at the new Dream School of the Future endowed by the Disneys to be called the California Institute of the Arts. Charlemagne and Simone Forti met there in 1970, when La Monte Young asked them to arrange a California concert for Pandit Pran Nath. They decided to try an improvisation session together and Charlemagne invited Simone the first time to the electronic music studio where he worked regularly. Their medium blended as a play of interacting sound waves and solid matter in motion as Charlemagne and Simone shared energy and focus. The three previously unreleased recordings on this LP were made between October and December 1971. The first take, titled Illumination, is for two voices moving in the space with small bells and crystal glasses while Simone Forti plays the molimo, a corrugated tube meant for connecting the gas stove. The second take titled, Wed Oct 13th 1971, has Simone and Charlemagne in a song dialogue as animals do. It was also at Cal Arts that Charlemagne Palestine first encountered a Bosendorfer Imperial Piano of Vienna. He played it often as Simone danced during their Illuminations. Take three is a song sang in falsetto while playing the Bosendorfer Imperial in an arpeggiated style that predates the strummings. Listening to these three takes 40 years later, they ooze a timeless, carefree mystical, magical, dreamy atmosphere that evoked the times of the late 60s to early 70s in Charlemagne and Simone part of the California Art Scene. Illuminations were a unique open spontaneous form of performance, ritual and prayer. Edition limited to 365 copies with an essay by both Charlemagne Palestine and Simone Forti, as well as photos of the performances reproduced on the LP front sleeve.---LABEL DESCRIPTION


INTENSE INTENSE INTENSE INTENSE INTENSE INTENSE HEAVY DUTY SOUND, HEAVY DUTY BOOK, HEAVY DUTY INSERTS!!! HIGHLY RECOMMENDED!!!! - AD

'Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the U.S. and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts ('26'1.1499' for a String Player' by John Cage, 'Duet II' by Toshi Ichiyanagi and two works by Giuseppe Chiari: 'Per Arco' and 'Ave Maria di Schubert,' both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's 'Synergy,' a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of 'Plus Minus' by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert 'Sonata No. 1 for Adults Only' and especially the first performance of 'Opera Sextronique,' both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's 'Duet II' and an abbreviated version of 'Cage's 2'1.1499' for a String Player.' Of the famous 'TV Cello' -- conceived by Paik for Moorman as a 'living sculpture' -- the third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This version contains respectively the 'TV Cello Duets' with Paul Garrin and the 'Concerto for TV Cello and Videotapes,' largely improvised, 'including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience.' The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition 'The Long Hot Summer,' sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video 'Waiting for Commercials,' realized by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full color photos and scores; a set of 16 full color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. First boxset edition limited to 500 copies.'---LABEL DESCRIPTION


HIGHEST RECOMMENDATION! FUCKING AMAZING!!!!-AD

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




'François Dufrêne (1930-1982) is one of the leading artists from the post-war European and French art scene. He played a key role in many of the initiatives of Lettrism, Nouveau Réalisme and sound poetry. In François Dufrêne's oeuvre, art and poetry intersect in a reciprocal experimentation of the possibilities of transgression of their specific grammars. His oeuvre constitutes a singular example of this special relationship between art and language, which throughout the 20th century proved to be one of the most fertile grounds for expanding the limits seemingly imposed on Western art via the history of artistic genres. Many of his artistic creations use objects retrieved from the urban context, such as posters or stencils, or use the voice in non-linguistic contexts. Examples of the latter include his creation of the crirhythm, wherein he reinvented sound poetry and the relationship between performance and text. The present catalog attempts to present François Dufrêne's work as a totality, wherein it would be artificial to separate his status as a poet from that as a visual artist. Poems, books, records, recordings, reverse sides of posters, stencils, films and photographs documenting the artist's actions are combined together in a mosaic that makes it possible to reinterpret François Dufrêne's work as one of the most singular adventures of his epoch, and also re-evaluate the relevance of the challenges he posed to contemporary culture. The CD offered in the catalogue includes the fantastic crirhythm from 1970 titled 'Belle nuisances hantez nos nuits,' the complete 'Osmose-Art' from 1969 where crirhythms are superimposed to classical music, 'Eryximaque' and two 'Lecture-collage' from 1965 as well as the 1958-70 'Comptinuum.' All the sound works presented on the CD are also included in the 4LP boxset anthology issued by Alga Marghen and titled Oeuvre Desintegrale. Full colour catalogue in A4 size, 250 pages, all texts translated in English, French and Portuguese. The book includes a large selection of experimental visual works dating from 1957 to 1981 as well as the biography, essays and original texts (among them 'Pragmatics of Crirhythm' and 'The Crirhythm and the Rest' both from the mid-1960s). Full discography and filmography are also included. First edition of this large catalog, the first ever to fully document the work of François Dufrêne.'---LABEL DESCRIPTION


Alga Marghen proudly presents an LP edition including two experimental sound works by Gherasim Luca, created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. As Henri Chopin wrote some years later in his legendary Poésie Sonore Internationale book, Ghérasim Luca made a big impression at the Third Stockholm Festival in 1970. Luca was born in Bucarest in 1913. Before leaving to Israel, he had a leading role among the Roumanian Surrealist group. He eventually moved to Paris where he lived until the end of his life in 1992. Gherasim Lucas work is very personal, giving his poems a very uncommon and ironic character. Again Henri Chopin underlines that in his recordings, which are not many, he superimposes his very warm voice, marked by his Roumanian accent; its a sound wonder. In fact Luca is not a sound poet. He is more a speaker who managed, without complex, to enter into the Fylkingen studio vortex. On 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter can not understand French. Autres Secrets Du Vide Et Du Plein (April 1971) and Crimes Sens Initiales (April 1972) were both recorded one track at the time on a 4 track tape and afterwards subjected to electronic treatments. They were recorded in Sweden at EMS and first performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Edition limited to 385 copies, also including the reproduction of a wonderful drawing by Gherasim Luca on the front cover, a photo portrait of the author by Gilles Ehrmann from 1959 and an essay by Henri Chopin.---LABEL DESCRIPTION


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




Limited edition of 830 copies. released in 1997. La Digestion was first recorded in 1972 at the authors studio in Ingatestone. Les Pirouettes Vocales Pour Les Pirouettements Vocaux, Henri Chopin last audiopoem, was recorded at the authors studio in Paris in 1995. Les Souffles Des Tempêtes (Quadriphonic Tape) was first recorded in 1993 at Fylkingen, Stockholm (Sweden). A stereo version was expressly produced for this edition. This important audiopoem isdedicated aux Suédois.---LABEL DESCRIPTION




Killer LP of nearly an HOUR LONG of a dude reading from his book of the same name...which is just page after page of the letter 'I', so ya..Thats an hour of a dude saying the letter 'I' over and over... FULLY RULES.. This was a great one to put on at the Encore Record Shop to get annoying customers annoyed. Edition of 240 copies.


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


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


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


Second edition (with black cover). Seriously mental MEtal gong clatter and drone from one of the masters of early sound art. RECOMENDED!




'in 2001 thomas buckner organized a series of concerts at the merkin hall in new york city asking contemporary classic composers to perform together with another artist of their choice. when robert ashley – already one of the most anticipated guests – decided to invite his old friend walter marchetti to perform together, the peak event of the series was set. it was the first concert of italian composer marchetti in the states for more than 30 years. the night of october 25th, 2001, the audience at the merkin hall had the privilege of being presented one of the most dense, intimate and breathtaking events in contemporary music history.

the 2lp set, limited to an edition of 300 copies and published by choose, is produced by emanuele carcano (alga marghen) and jörg hiller (choose).

side a and b include the live rendering (realization?) of two walter marchetti sound works previously issued on cd by alga marghen. a 25 min excerpt of 'nei mari del sud. musica in secca' and one painful variation from 'de musicorum infelicitate'. the performance of those tape pieces was conceived as an action theatre event.

side c includes the recording of robert ashley's 'yes, but is it edible?', a composition for piano and voice dedicated to thomas buckner who performs it with the composer. this 27:30 min long piece is a true masterpiece, with robert ashley introducing us to creation and coincidence, space and time, private parts and characters, with direct references to the once group and his friends david behrman, alvin lucier, gordon mumma, pauline oliveros, terry riley, 'blue' gene tyranny, george manupelli, as well as maria calas and patsy cline, elvis and lennon, monteverdi, pop music, irish and jewish new-comer's broadway musica parody of america, lloyd-weber, 'saturday night life', chinese opera, mariachi bands, country music and much more.

side d includes 'practical anarchism', a touching homage that robert ashley dedicated to walter marchetti. previously published as a text by alga marghen in the booklet of 'antibarbarus' cd, this is actually the first time ever that this piece for solo voice, performed by the same robert ashley, is made available on record. here robert ashley mainly refers to walter marchetti's trip in the states, touring with zaj in the early 1970s at the invitation of john cage who considered zaj 'the only composers of genius and dignity'. as robert ashley says '...genius and dignity radiate for thousands of miles. i know of walter marchetti because of the radiation of the genius and dignity. weeks later he and juan hidalgo and esther ferrer appear at the bus station in oakland california. genius and dignity light up the humble landscape of the bus station in oakland california. i have never felt such presence. they give two concerts. the american audiences are baffled and arrogant. hostile to brilliance. an hour of almost silence. the most modest and sweet sounds in my experience. then walter's piece a roar. the audiences are baffled. maybe the most important concerts of my life. a kind of dignity long lost. perhaps truly extinct...'. also on side d is 'musica per un bicchiere non molto grande', an early zaj piece by walter marchetti, performed here by robert ashley.'---LABEL DESCRIPTION *** co-released with CHOOSE***


STRAIGHT AMAZING collection of recordings by this Swedish Sound Poet RULER...dating from 1965 - 1995. Tape manipulations of vocal sounds and sometimes added electronics or percussions. One of my FAVORITE Alga M releases.. Saw this dude play in Sweden a few years back and was one of the most BIZZARE and AMAZING performances I've ever seen. AMAZING.


Alga Marghen proudly presents one of the highlights of his catalogue, an exclusive LP edition with the recordings of Takis electro-magnetic sculptures. Takis is the originator of this new approach to the musicality of sound, which consists in laying bare the repetitious structure of musical form and its functional derivation, thus rejecting the symbolism of representation. Takis was born in 1925 in Athens. Preferring, as a matter of principle, to teach himself rather than study in an institution, he left Greece in 1954 and lived as a citizen of the world, traveling through Europe and the USA. Some of his earliest manifestations in the 1940s consisted of explosions carried out in open places. His first Signals date from 1954: they were rods consisting of piano wires which created musical vibrations as they stuck against each other in the wind. In fact they constituted the first appearance in his work and in contemporary art history of a form of musical expression in which sounds are called forth in an un-programmed way, owing to the action of natural forces. In 1961 Takis meets Marcel Duchamp in New York. Duchamps perpetual moving bicycle wheels inspired Takis hydromagnetic sculptures. In the period between 1964 and 1965 Takis conceives his Pendules magnètiques and constructs his first Sound Sculptures. After the exhibition of Takis titled Electro-musical relief at Indica Gallery in London in 1966, the New Scientist magazine in an article entitled The sounds of tomorrow commented that Takis, Iannis Xenakis and John Cage are the most promising musicians of the century. Takis Pendules magnétiques are based on the simple concept of using magnetic waves caused by electricity as a means to activate repeated musical sounds: the latter are to be heard every time a needle strikes a string, when attracted by a magnet. The sounds reproduced in this edition were recorded in 1993 by Samon Takahashi at Takis retrospective at Jeu de Paume in Paris. Takis participates in 1984 at the exhibition titled The Century of Kafka at Centre Pompidou in Paris and sound work with the same title is also reproduced on this LP edition. As an artist he seeks a natural origin for the construction of sound, and in particular that origin which is furthest removed from the artists arbitrary decision. For about forty years now, it has been Takis purpose to investigate language as a natural function, conceiving function as a form of work. Furthermore, he has broken down the frontiers between sculpture and music in a number of pieces which can only be read by identifying their functionalism as structured units, with their morphological, visual and acoustic aspects. Edition limited to 380 copies with full-color sleeve, printed inner-sleeve reproducing a testimony by Marcel Duchamp and insert with photos of the Pendules magnètiques and a testimony by William Burroughs.---LABEL DESCRIPTION


'Live recording at the Rotonda del Pellegrini, Milan, January 21st, 1959 featuring John Cage, Morton Feldman, Juan Hidalgo, Leopoldo La Rosa, Walter Marchetti. Among all the events involving John Cage during the long stay in Europe that followed his controversial appearance at Darmstadt Ferienkurse in September 1958, the concert he held in Milan on January 21st perhaps represents a less well known episode. The edition includes a 36 pages essay with photos and full documentation of the event.'--LABEL DESCRIPTION

ALGA MARGHEN: DIE TAUBNESSEL



'A record of extreme poetry and sound. Arnulf Meifert was the first drummer in the legendary German group Faust (he is only present on Faust, the first LP issued by Polydor). Later, and for many years, he was a companion of Vienna actionist Guenter Brus, whose 50th birthday was celebrated with the publication of the Panishes Liederbuch LP (the now mythical first LP issued by Die Taubnessel back in 1988). For the recordings of this new project, Meifert met Kommissar Hjuler and his wife Mama Baer, also experimental musicians, but nearly two generations younger. They have been working together for just a few hours, so everything had to be totally improvised. Nevertheless, Meifert brought some texts with him, fascinated by confrontations of word and music. These texts range from the Old Testament to Renaissance artistry and Christian hate-speech from the 20th century, ending with a modern guide for the voyage from death to rebirth. The impressive and singular cover artwork was done by Klaus Holzmann, an upcoming Austrian artist. Two letters showing the discussion between Meifert and Hjuler after the meeting are also included. Edition limited to 280 copies.'---LABEL DESCRIPTION


'One-sided LP record. After completing the Unrein Bis Zum Abend/Reise Ins Diesseits LP recordings, Arnulf Meifert decided to be available for the Slashdeath project, this time under the direction of Kommissar Hjuler and in collaboration with Mama Baer. What resulted is a kind of death-metal-pastiche or parody, spontaneously realized with nearly no instruments at all. Quite noisy and primitive screams with percussive cymbal ostinato! Black cover with no info at all, except Slashdeath in printed lettering. Edition limited to 115 copies.---LABEL DESCRIPTION '

ALGA MARGHEN: MARQUIS



At the beginning of the metabolic year 1980, after Maurizio Bianchi finished the embryonal experience as Sacher-Pelz, he decided to undertake the concrete-synchronized course as M.B., a long-lived acronym that will accompany him along his next way of neuro-synthetic experimenter. His first ever release was the private cassette-tape entitled Metcpyo/Blut. An hematopoietic experiment decomposed during the months of March and beginning of April 1980 at Mectpyo Studio. Proposed here in its original layout, this 2LP set holds intact, at a distance of almost three decades, the epicenter of M.B. sonorous universe, projected towards an euphonic cacophony. Mectpyo/Blut consists of two tragic sections imbued with synthetic chloroform: the 1st, Maidanek Bakterium / Musique Belzec, exhales an icy atmosphere conveying a sense of mystery and annihilation. The 2nd, Mutant Brain / Mord Banhof assembled the most disparate electro-hypnotic levitations into a vertical rationality, bold, morbid and haunting. Psychic-cerebral works, they seem to spring from a neuro-atomic continent, with unreal outlines, where its influence artificially expands the ankylotic tissues by environmental arthrosis. Edition limited to 300 copies in full colour gatefold sleeve, reproducing various graphic materials from the original cassette edition. Attention: this is the real thing, top powerful and modern in its integral length (and not a meaningless edited excerpt as other inexperienced labels in demand would have cheaply proposed you!). On red-colored vinyl.---LABEL DESCRIPTION

ALGA MARGHEN: PLANAM



Giuseppe Ielasi and Nicola Ratti, two musicians from Italy with an extensive solo activity, started the Bellows project together in 2006 and released their first CD in 2007. Their second release, an LP available now on PLANAM, was recorded in November 2009 in Tübingen, Germany. Quite different from the first, this new project was developed around the simple technique of cutting/destroying and amplifying vinyl records with contact microphones, creating new grooves and physical loops while capturing the sounds on a Revox tape machine with long tape loops. No further transformations or processing were applied even if a couple of effect pedals and simple sine waves were sometimes used too. The result is a sort of very atmospheric and modern-electronic music as if these sonorities were recorded at the beginning of the last century on 78rpm shellac records. The sleeve features the original artwork by Italian artist Amedeo Martegani. Edition limited to 250 copies.---LABEL DESCRIPTION


Cornelius Cardews opus magnus Treatise is a 193-page graphic score written between 1963 and 1967 while he was performing with the improvisation group AMM. The scores graphic notation, with its intricately devised graphic lines, shapes and symbols, was intended to question the limits of compositional practice. Decisions concerning pitch, timbre and duration, along with the choice of instruments and the number of performers, are left entirely to the discretion of those willing to devise the rules and means for its performance. This realisation of 4 pages from Treatise by Keith Rowe (tabletop guitar) and Oren Ambarchi (guitar), possibly the most powerful ever achieved, was recorded live at Bimhuis in Amsterdam on Feb 8th 2009. Rowe and Ambarchi use the guitar as a point of departure for completely new techniques and sound environments. Already in the 1960s Rowe made a radical departure from traditional jazz, redefining the guitar in the British collective AMM. He prefers to lay the instrument on the table to manipulate its sound with springs, fans, office appliances and electronics. Ambarchi, also in Sunn O))), Menstruation Sisters and Burial Chamber Trio, predominantly mould guitar sounds into dark sonic patterns. Cornelius Cardew might be considered the most relevant contemporary composer from Great Britain. In the end of the 1950s Karlheinz Stockhausen was very impressed by Cardews abilities as a musician and his knowledge of new music and invited him to participate to the historical Kontrefestival concerts in Cologne (an important pre-fluxus event). In 1960 Cardew was at Darmstadt were he met John Cage, David Tudor and among others Walter Marchetti. Cages experimental techniques were very inspiring for Cardew who, in 1969 founded the Scratch Orchestra, a large, rotating group of professional and amateur performers committed to collective experimentation which might be considered as one of the most convincing collective experiments in the history of 20th century avant-garde culture. Edition limited to 300 copies, reproducing, on the sleeve and the innersleeve, the 4 pages from Treatise performed by Rowe-Ambarchi.---LABEL DESCRIPTION


'Dendoshi is Keith Connolly (No Neck Blues Band), Raymond Dijkstra (Asra), Dave Nuss (No Neck Blues Band) and Timo Van Luyk (Af Ursin, In Camera). Dendoshi: 'he who comes to propagate the ceremony' or 'missionary' (japanese). There had actually been a previous incarnation of Dendoshi (hence Dendoshi 2), which was a large group performance in New York which concentrated on elucidating the memories of a dead tree which had been re-contextualized as a sculptural exhibit.

Some thematic reference: The name 'Dendoshi' originates from the work of japanese filmmaker Kyoshi Kurosowa, whose films also inspired the content of the first performance.  When the opportunity presented itself for Connolly, Dijkstra, Nuss and Van Luyk to come together to make a session, it was the perfect opportunity to realize Dendoshi not as a one-off performance on a theme, but as a recurring ritual in development.  The resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of Franz Mesmer.  Mesmer, the eighteenth century Austrian spiritualist healer, was among the first to put forth the theory of what he termed 'animal magnetism', regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of Eliphas Levi's concepts. What seemed to set Mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent to his work an aura of portent - thus the parallel with the music captured as Dendoshi 2.  Reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstacy. 

The symbol, or mark on the front cover created by Connolly came intuitively and without revision. It's applied function is that of distinction rather than that of protection or as a seal. It was first applied to the photograph by Clarence H. White form 1904, where the first resonant depiction, or personification, of reverie and oblivion as applied to Dendoshi was found. By applying the mark Connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. The other images followed, and each of them was recognized instantly without having to search. The last was Vermeer's image from Van Luyk's basement, and upon recieving this the series of 4 inserts was complete. There is a trace of fear and a sensation of suspended time in these images which suits the music very well.

Edition limited to 300 copies on gold cover.'---LABEL DESCRIPTION


'Entering their 20th year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the Gollaboration series. Volume 2, Pandamoniahbleeummm!!!! marks the encounter with Charlemagne Palestine, pioneer of strumming music and piano maximalism, in the St. Eustache Church in Paris, known for its world famous church organ. The following battle, in the form of a long incantatory improvisation, Charlemagne Palestine playing the church organ and GOL doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual. Edition limited to 300 copies, also including a large insert with liner notes and great graphics by Jean-Marcel Busson who also designed the front and back cover.' ---LABEL DESCRIPTION


For this new gollaboration the French combo GOL confronts the British drums legend Charles Hayward for a rough/delicate and intense/mellow paradoxical music delight. The studio side compiles four improvised sessions exploring some possible oblique acceptations of the word rock, while the live side recorded at 104, Paris, in Dec 2008 during the Sonic protest festival, takes the encounters into the realm of psychedelia. The apparently chaotic home-made electronics of GOL find a perfect counterpoint in Haywards This Heat-ish incomparable kickass-snare-cymbals style machinery of straightforward beats meet subtle and continuously reinvented variations. A touch of pop, gamelans from afar, an unexpected song underlined by a frenetic electric organ, make this LP a surprising journey into sonic explorations. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. On this record GOL play modified synths, modified organ, bass guitar, home-made electronics, SH101 and crackle box. This LP is the third in the gollaboration series after records by GOL with Dumitrescu/Avram and with Charlemagne Palestine. The very minimal sleeve features a four color reversible double front side with sinister photo portraits of Charles Hayward and the GOL members. Black and white inner sleeve with title tracks and liner notes. Edition limited to 350 copies.---LABEL DESCRIPTION


On Christmas Eve, 2004, John Duncan received a mysterious email from an archaeologist working at the site of the Nazca Lines in Peru. He claimed to have discovered, and over time recorded, a variety of sounds actually generated by the enigmatic lines themselves. Familiar with Duncans Infrasound-Tidal, composed from source recordings taken from tides, seismic activity and barometric data from the Australian coastline, he suggested to Duncan the composition of a piece with these sources. All of the sources were modified in the studio of John Duncan, some radically, to bring out an unsettling, haunting quality. In mid-June 2005, the glorious 5-track piece was finally ready. John Duncan sent several messages to the archaeologist, none of them ever answered or returned. A hard disk crash effectively destroyed all of the email correspondence between them. What remains are the notes he sent that ostensibly describe the details of sites and times for the source recordings. Those notes have been reproduced on the insert included in this edition, also presenting John Duncan liner notes. First pressing limited to 380 copies, with embossed total-black cover, insert and full-color inner sleeve with wonderful space images of the Nazca Lines..---LABEL DESCRIPTION


Planam proudly presents the second LP production by Klaus Röder featuring two more pieces from the electronic Kristallisationen series, or Kristallisation 5 (1993) for microphone recordings of children chimes (played by children), Yamaha TX 802 digital synthesizer and EMS Synthi A analog synthesizer, Kristallisation 7 (1997) for microphone recordings and computer sounds, as well as Frozen Sounds (2002) for electric guitar sounds and computer sounds and the more concrete Life-Music 1 (1999) for microphone recordings in the zoo of Wuppertal, computer sounds and Yamaha TX 802 digital synthesizer. Klaus Röder is the archetype of the challenging challenger -- the perfect outsider. Nothing bad about it -- true geniuses often are hiding behind their uncompromising ethic. Ethic in the attic would define the home-studio work of this ex-Kraftwerk banned banned banned auf Die Autobahn. The independent, time-stretching composer Klaus Röder is by necessity an inventor. Systems, machines, treatments, everything is (hand)made to provoke, to induce a musical result not only technically superb but loaded with the authors intimacy: humour, sound elements of a private life, a kid giggling... indeed a highly emotional and poetical approach. Klaus Röder mixes and plays with outside influences -- cut-up, musique concrète, psychedelia, plunderphonics, pop, even blues! -- in order to create a patchwork-like but coherent corpus over nearly 40 years of compositional activity. His music blends the warmth of strings and of humanity with the icy matter of electrical components and seems to have just one borderline: that of our ears. Edition limited to 420 copies with full-color sleeve.----LABEL DESCRIPTION