Avant-Garde / Contemporary

In 2018 experimental festival Organ Reframed commissioned Éliane Radigue to write her first work for organ, 'Occam Ocean XXV'. Radigue worked closely with organist Frédéric Blondy at the Église Saint Merry in Paris before transferring the piece to Union Chapel for its premiere at Organ Reframed on 13 October 2018. The recording on this compact disc was made at a private session at Union Chapel on 8 January 2020. 'Occam XXV' inaugurates the very special record series of works exclusively commissioned by Organ Reframed, the organ-only, one of a kind experimental music festival, carefully curated by Scottish composer/performer and London's Union Chapel organ music director Claire M Singer. Paris-born Éliane Radigue is one of the most innovative and influential living composers of all time. After working under Pierre Schaeffer and Pierre Henry in the late 1950's/early 60's she mainly worked with tape before developing a deep relationship with modular synthesis in the early 1970's. Over the next three decades she pushed her own conceptions of musicality forward developing a deep relationship with her ARP 2500. Through endless exploration and drawing on her personal journey as a practicing Buddhist she created an entirely new landscape of experimental sound. In the early 2000's she made an extraordinary shift into writing predominantly for acoustic instruments. 'Occam XXV' is the latest chapter of Radigue's broader series of works Occam Ocean which she has been composing in the last decade. Carefully selected by Radigue she has closely collaborated with various extremely experienced yet sensitive instrumentalists. For Occam XXV Radigue collaborated with pianist, organist, composer, improviser, artistic director of the Orchestra of New Musical Creation, Experimentation and Improvisation (ONCEIM) Frédéric Blondy, which is their second collaboration in the Occam Ocean series. 'Occam XXV' premiered in 2018, and was later recorded privately in 2020 at London's Organ Reframed headquarters Union Chapel. "We live in a universe filled with waves. Not only between the Earth and the Sun but all the way down to the tiniest microwaves and inside it is the minuscule band that lies between the 60 Hz and the 12,000 to 15,000 Hz that our ears turn into sound. There are many wavelengths in the ocean too and we also come into contact with it physically, mentally and spiritually. That explains the title of this body of work which is called Occam Ocean.The main aim of this work is to focus on how the partials are dealt with. Whether they come in the form of micro beats, pulsations, harmonics, subharmonics – which are extremely rare but have a transcendent beauty – bass pulsations – the highly intangible aspect of sound. That's what makes it so rich. When Luciano Pavarotti gave free rein to the full force of his voice the conductor stopped beating time and you could hear the richness in its entirety. Music in written form, or however it is relayed, ultimately remains abstract. It's the performer, the person playing it who brings it to life. So the person playing the instrument must come first. I've always thought of performers and their instruments as one. They form a dual personality. No two performers, playing the same instrument, have the same relationship with that instrument – the same intimate relationship. This is where the process of making the work personal begins. The purely personal task of deciding on the theme or image that we're going to work from. Obviously, because this is Occam Ocean, the theme is always related to water. It could be a little stream, a fountain, the distant ocean, rivers. Out of the fifty or so musicians I've worked with no two themes have been the same. Each musician's theme is completely unique and completely personal. The music does the talking. This is one of those art forms that manages to express the many things that words aren't able to. Even at an early stage, all those ideas need to have been brought together." - Éliane Radigue

Alga marghen very proudly presents the last chapter from the Feedback Works documentation series, a brand new LP including “In Memoriam-Ostinato” and “Danse des Dakinis”, two previous unreleased tracks by Eliane Radigue.
 
    Among the works of fixed duration from the feedback period, “In Memoriam-Ostinato” is the link between “Jouet Electronique” (alga marghen LP, cat. Alga029) and “Opus 17” (alga marghen 2LP, cat. Alga045), and allows us to understand the evolution of her approach. It is a measured gesture, slow, it is music without any major event, an extending state, contemplation. “In Memoriam-Ostinato” is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. The ear ventures into it, lets itself go and gets lost.
As Eliane Radigue recalls: “This piece was commissioned for a Happening, Mémorial. It was a sort of secular procession to the castle of Verderonne, a beautiful place. The pools bordering the edifice were lit, and everyone was dressed or draped in mauve. It terminated in one of the grand salons of the castle where I played “In Memoriam-Ostinato”.”
Eliane Radigue’s working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences.
 
    Even though it bears the same name as the third part of “Adnos III”, “Danse des Dakinis” is a peculiar work in Eliane’s oeuvre.
Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. The piece seems to resonate between two mountains. An echo folds time untiringly. We are in the memoir echo-chamber of Eliane Radigue’s spirit, a hall of mirrors that reflects and multiplies her, diffracting her as through a prism. Or, more precisely, reflecting her sensibility at different stages of her life.
There is a feedback ostinato conceived around 1969 and which refers to “In Memoriam-Ostinato” and “Opus 17”. All through “Danse des Dakinis” we plonge into the sound of a creek recorded at Mills College campus that brings us back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct “Elemental1” (alga marghen LP, cat. Alga029) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path.
There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So she left with just a few tapes taken from her own collection, drawn from different periods, and composed “Danse des Dakinis” with those old elements.
There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. Such versatility will surprise those who know the music of Eliane Radigue, it is a unique but powerful example of her way of dealing with sound, of exposing herself with it, integrating with it.
In this Elaine Radigue is faithful to the theme suggested by the title: A dakini is a female deity in Vajrayana Buddhism or a female demon in Hinduism. Spirits of nature, they are witches, or female demons in India and the Himalayas. In Tibetan Buddhism they can be subjugated earthly deities, wrathful female forms of bodhisattvas or buddhas, or simply historic or legendary figures. The dakinis symbolize a wild and natural state and, according to a buddhistic interpretation, absence of ego or mental obstacles, nature itself revealed.
“Dance des Dakinis” is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

«I met Simone through Dr. Richard Alpert, a professor at Columbia University who went to India to study with a Hindu guru and he himself became a guru afterwards called Baba Ram Dass. Coming back to US he brought Pandit Pran Nath with him. It was a time when everybody was experimenting. All came with a lot of orientalism because people were into timelessness, meditation and being stoned. It was in that atmosphere that I met Simone because she also knew Pran Nath. Around that time I moved from NY to California to work with electronic music at the newly invented school California Institute of the Arts. Simone was also living in LA and even though she was not officially connected to CalArts she knew many of the artists who were teaching there. It was in the halls of CalArts that Simone first approached me around the possibility to have Pran Nath invited to LA. In summer 1970 Simone was invited by Allan Kaprow (one of the Deans of CalArts) to do an evening of dance at the Pasadena Art Museum. One day she came to me and said “I’ve been given this commission to do a piece and I’d like to do it with music and I was wondering if you would want to do it with me?”. So I replied “Well why don’t you come to the electronic studio where I work and see how it goes? I’ll put on some sounds, we’ll make some space and see how you feel”. It immediately clicked!!!! So we decided to perform a duet together. In January 1971 in Pasadena we did our first “Illuminationss”. I played the piano, I sang a little bit, she moved a little bit when I was singing, I moved when I was singing. A Jewishy-kinf-of singing. Not only singing, but singing and running, singing and falling. I did all what eventually became my “Body Music”. Simone was also doing it but coming from a different tradition. All of a sudden we were doing a new kind of jamming together. Everybody in the audience loved it because it was so dreamy and they found amazing how a man and a woman can act in that strange, very dreamlike oriental way as in trance,,,,,together. This kind of collaboration between man and woman was uncommon at that time. Mostly other artists were doing very structural works while our performances were totally like we were on magicness drugs. Our performances had certain fixed elements like the piano or some electronics. It turned out we liked red lights so we started to always do it in red light. We liked to do it in a resonant spaces. It became more an approach than a piece, because there were never two Illuminations that were alike.» - Charlemagne Palestine «The aspect of Charlemagne’s music that most inspired my imagination was his melodies. Sometimes their texture of repetitions and evolving variations are so close that the term melody doesn’t seem to apply. What most determined our “Illuminations” was Charlemagne’s way of letting the elements in the music develop only very gradually. Once, just before a performance, Charlemagne sang to me, “Simoney don’t worry, you will dance and sing all right.” And of course I did as we walked arm in arm circling the wide-open space, a grand piano to one side shining black and covered with Teddy Bear deities, Charlemagne reflecting his childhood time as devotional cantor, and I, my childhood time striding along in the Tuscan hills, belting out Italian folksongs with my cousins. And sometimes when Charlemagne drew clear, high tones from his brandy snifter we would play our voices together more softly. Our recurring melodies were mostly Charlemagne’s. But I brought one too, with a song about not drifting away into the beyond.» - Simone Forti

Alga Marghen presents the new edition of Eliane Radigue's "Jouet Electronique" (1967) for feedback on magnetic tape and "Elemental I" (1968) for feedback of natural sounds on magnetic tape. This LP was first issued in 2010, and it's now presented for the first time with its own specific artwork and layout. Both works were recorded at Pierre Henry's Studio Apsome in Paris. Between 1967 and 1968, Radigue was Henry's assistant, mainly for the editing of L'Apocalypse de Jean (1969). Henry also put her in charge of organizing his sound archive; Radigue enjoyed doing this work, even if it took a long time. She decided to set the machines of the studio to do some work of her own. "Jouet Electronique" and "Elemental I" were born this way during her time as an assistant; working with feedback is something that Radigue learned through Henry. Do you remember Henry's Voyage (1969)? There's that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback; one has to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. Fine-tuning could yield beautiful results: low pulsations, high-pitched sounds (sometimes both at the same time), or long sounds. All of these could be slowed down or accelerated, which gave beautiful source material. With "Jouet Electronique", Radigue had a lot of fun, hence the title. As far as "Elemental I" is concerned, it was the first attempt at something which was important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. Using it, Radigue built a minimal sound library, consisting of not more than ten reel tapes. This was the starting point; in 1968 she used these recordings for her work with two reel tape machines. New edition of 200, with liners by Radigue and portrait photos by Arman.

In 1978 Having Been Built on Sand was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts. The first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one another in closely valued hues. Weiner, meanwhile, volleys between the LP’s title phrase and cornerstone proclamations such as “the artist may construct the piece. The piece may be fabricated. The piece need not be built.” The closing cut makes curious use of delay and alto flute, Landry’s breath and the inherent percussiveness of the instrument’s keys creating a slick rhythmic support that courses through overlapping vocal phrases, advancing and receding declarations of presence and intent.

Don Cherry, who pioneered free jazz as Ornette Coleman's right-hand man and has been noted for his collaborations with Coltrane, has moved to Sweden with his partner Moki and daughter Nene. Don Cherry, who was a pioneer of free jazz as Ornette Coleman's right-hand man and also attracted attention for his collaborations with Coltrane, gathered local musicians when he moved to Sweden with his partner Moki and daughter Nene, and held weekly meetings at the ABF (Workers' Educational Association). From February to April 1968, Don Cherry, who has been attracting a lot of attention, held weekly workshops at the ABF (Workers' Educational Association). From February to April 1968, Cherry was giving lessons in this workshop as an extension of improvisation. Göran Freese, the saxophonist and recording engineer who later recorded Organic Music Society and Eternal Now, invited Cherry and the Turkish drummer to his summer house for a series of rehearsals and jam sessions to practice the aforementioned workshop. However, this lost tape, which has long been treated as a mysterious footnote in Don Cherry's session records, has been discovered in the vaults of the Swedish Jazz Archive and is now being published. With additional bonus material from other records recorded on the same day, this is a must-have for fans!

Don Cherry, who pioneered free jazz as Ornette Coleman's right-hand man and has been noted for his collaborations with Coltrane, has moved to Sweden with his partner Moki and daughter Nene. Don Cherry, who was a pioneer of free jazz as Ornette Coleman's right-hand man and also attracted attention for his collaborations with Coltrane, gathered local musicians when he moved to Sweden with his partner Moki and daughter Nene, and held weekly meetings at the ABF (Workers' Educational Association). From February to April 1968, Don Cherry, who has been attracting a lot of attention, held weekly workshops at the ABF (Workers' Educational Association). From February to April 1968, Cherry was giving lessons in this workshop as an extension of improvisation. Göran Freese, the saxophonist and recording engineer who later recorded Organic Music Society and Eternal Now, invited Cherry and the Turkish drummer to his summer house for a series of rehearsals and jam sessions to practice the aforementioned workshop. However, this lost tape, which has long been treated as a mysterious footnote in Don Cherry's session records, has been discovered in the vaults of the Swedish Jazz Archive and is now being published. With additional bonus material from other records recorded on the same day, this is a must-have for fans!

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 favourite 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 & Mastering: Colin Potter @ IC Studio

Nurse With WoundのSteven Stapletonもその大ファンであることを公言しているアヴァンギャルド音楽史上に刻む大傑作にして、TNBことThe New BlockadersのPhilip Rupenus & Richard Rupenus、John Mylotte (Metgumbnerbone)、Nigel Jacklin、Sean Breadinらにより結成されたカルト・グループが残した幻の名作。1981年に〈Orgel Fesper Music〉から限定500部でリリースされたBladder Flaskのデビュー作が〈Sonoris〉からCD&LPリイシュー。ポスト・インダストリアル時代における最も多彩なアルバムの一つであり、挑戦的であると同時に当惑させられるインダストリアル/サウンド・コラージュの傑作。Colin Potterの手により〈IC Studio〉でリマスタリング。

The Wire's critically acclaimed 1999 album is now available on LP and CD for the 21st year. His 1999 work, praised by The Wire, has been reissued on LP and CD for the 21st year. It is an ink painting-like sound work created with his own voice and found sound loops, weaving dry sounds. New mastering by Giuseppe Ielasi.

The Wire's critically acclaimed 1999 album is now available on LP and CD for the 21st year. His 1999 work, praised by The Wire, has been reissued on LP and CD for the 21st year. It is an ink painting-like sound work created with his own voice and found sound loops, weaving dry sounds. New mastering by Giuseppe Ielasi.

No Date Tapes 2 is the second official cassette release from Harry Bertoia's tape archive and, like the first cassette, these recordings were chosen from a small collection of tapes in Bertoia's archive missing recording dates. This cassette is packaged in a metallic shell and produced on super-ferro tape for incredible analog sound. First printing of 100 copies.

Eliane Radigue's Chry-Ptus is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double-LP was mastered by Golden and pressed at RTI for maximum fidelity.

From the original press release: "Chry-Ptus (1971). Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University. The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue's first concert in New York, April 6th, 1971. "It's with the Buchla that I constructed Chry-ptus, a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae." --Eliane Radigue

"I don't hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning." ~ Harry Bertoia, 1976

Harry Bertoia's Complete Sonambient Collection features all 11 of Bertoia's original records newly restored from their master tapes and housed in replica jackets. A heavy duty box, printed with metallic inks, holds the 11 discs as well as a 100 page book containing a lengthy historic essay, Smithsonian interview with Harry Bertoia, exclusive Sonambient era material from the Bertoia archive, modern and archival photos of the Bertoia barn as well as reflections on Bertoia from David Sefton, Tom Welsh, David Harrington (Kronos Quartet) and all three of Bertoia's children. The Complete Sonambient Collection celebrates 100 years of Harry Bertoia in 2015, the centennial of his birth.

In the late 1950s Harry Bertoia (1915-1978), already a renowned American sculptor, began creating long-form, improvised pieces of music utilizing pure acoustic tones evoked from his sound sculptures. Around this time Bertoia came up with the term "Sonambient" to describe the music and environment created by his tonal sculptures and their lush harmonic overtones. In a renovated barn on his property deep in the Pennsylvania woods Harry curated a harmonious selection of his sculptures and gongs, often recording his frequent, intuitive sound experiments using fout overhead microphones and a 1/4" tape recorder. Bertoia dedicated the last twenty years of his life to his Sonambient work and in 1970 he released the first Sonambient LP. In 1978, in the final months of his life, he selected recordings from his archive and produced ten more Sonambient records. He would not live long enough to see or hear these records himself. Bertoia died in 1978, at age 63, and was buried beneath a giant gong behind his Sonabmient barn.

Bertoia's recordings are as much a celebration of sustained tones, slow decay, healing vibrations and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics, pulsing tones and pure gongs Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interview. Harry's single greatest piece of art is the totality of his life which is nearly impossible to measure but easy to feel. It's our hope that somehow this box set evokes some of the same sacred, personal feeling that one has in Bertoia's barn.

Your purchase directly supports the preservation of Harry Bertoia's Sonambient archive. 

Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint. The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience – at once forlorn and eerily calming – through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus. Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music. Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time.

Prima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques – revolving mostly around the use of overtones – that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group's physiognomy, which was realized purely through the human voice. La Coda Della Tigre, the group's sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi. As the original liner notes state, "The music of Prima Materia may sound radically new, yet at the same time it is likely to ring some distant bell and evoke ancient emotions. This is not due to chance: indeed, the very name of the group points to a specific path, namely, the unfolding of the potential implicit in the alchemical symbol as embodying a process of transmutation of consciousness." Prima Materia's four members (Laneri, Claudio Ricciardi, Gianni Nebbiosi and Susanne Hendricks) combine voices to create a singular, beautiful drone that is (as the group's name suggests) both impossible to define and fundamentally simple. This first-time standalone reissue is recommended for fans of La Monte Young, Terry Riley and Disques Ocora.

"Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhite and Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space. The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde -- such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan -- feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands. This first-time reissue is limited to 500 numbered copies. Comes with poster."

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists. LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of "assemblings." (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: "The music is free, but you have to pay for the plastic, paper, ink, glue and stamps." This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground artists. In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Kinzua debut a ritualistic, zonked outernational ambience, downbeat and cyberpunk bliss on Vladimir Ivkovic’s Offen Music - RIYL Morphosis, To Rococo Rot, CS + Kreme, Black Zone Myth Chant. Formed by Lucas Brell in Berlin and Leipzig’s Marvin Unde (Qnete), Kinzua emerge from the German club undergrowth with hypnotic slants of brownfield-pastoral electronica and meter-messing motorik pulses on their first release ‘None of the Above’. Smeared over a double LP, the hour-long album pitchbends with a properly lysergic quality as it executes its functions between the folksy crackle of ‘First Chapter’ and the grungy, viscous, post-D&B rolige of ‘Breath’. Rhythmic prompts ranging from klassic kosmiche to ‘90s UK armchair music and contemporary dembow dancehall underline Kinzua’s lines of melodic thought and dream-textured electronics in swirling permutations that feel in-the-moment but ever rolling towards an uncertain horizon. Kinzua act as spirit guides for the mind expanding new generation of trippers, with effortlessly oily grooves and keen attention to detail that suspend a sense of disbelief and mesmerise to their method. Seductive oddities such as ‘Domestic Affair’ follow to Detlef Weinrich-esque electro on ‘Elevator Moving Flor’ and ‘Heidi Peter’ echoes original Harmonia from a bleaker perspective, while supremely groggy drone in ‘Surface’ gives way to arid dancehall abstraction on ‘Sahara’, and ‘Gobi’ slopes off on a crooked outernational tip to a highlight of Laila Sakini-like scenes in ‘The Dancing Smoke’ starring vox by GiGi FM reciting from Baudelaire’s ‘Les Fleurs de Mal’.

Feedback Moves returns with a vinyl reissue of Pat Thomas’ New Jazz Jungle: Remembering. The album was originally released on CD in 1997, at a time when Pat had already spent years playing on the free improvisation circuit with the likes of Lol Coxhill and Derek Bailey. Thomas is largely known as a jazz and improvising pianist, but can be heard using electronics as far back as 1989 on an electro acoustic work called Monads and on the Bailey-led Company ’91 recordings. Thomas identified jungle’s weirdness and intensity and saw a space open for his own interpretation, on New Jazz Jungle: Remembering he utilises his classical training and knowledge of the tonal systems used by 20th century composer’s Schoenberg and Webern, and fuses that with his earlier experiences using electronics, keyboards & sampling techniques. What we end up with is 10 tracks of bass heavy jungle breaks, which are intersected with vocal and orchestral samples, and layers of percussion rotating at varying time signatures. It’s in this fashion that the album seems to present itself: in layers. Layers of samples, keyboards and FX, deployed at varying speeds, never losing their intensity. The re-issue of this lost classic comes at a time when Thomas continues to go from strength to strength, having recently released various solo and collaborative works with a wide range of musicians and projects such as Matana Roberts, Elaine Mitchener, حمد [Ahmed], Black Top, XT and many more. 2 x 12" vinyl w/ liner notes and interview by Edward George (The Strangeness of Dub, Black Audio Film Collective). Edition of 500. Mastered by Beau Thomas @ Ten Eight Seven.

Tape comes in only 199 copies with O-card 300g wrapping clear box with j-card and laser print orange shell.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise.
Originally released on CD in 1990 by Alchemy Records as part of the Good Alchemy Series, Rainbow Electronics marks the pinnacle of Merzbow's late 80’s noise phase. Selected and transformed from about 21 hours tape of primitive raw material recorded during three years (1987-1990) in 14 fragments lasting about 74 minutes, this monumental work is an aural trip through a cold plotted universe of intergalactic space ships and golden celestial bodies. Remastered in December 2019 and split into four parts directly by the artist for the double vinyl version it opens up with a slow, kind of creepy tempo, reaching from dirty harsh noise flows coupled with eerie reverbed screeches and scrapes of iron objects. Noise and blasts come from every angle, and all you can do is sit and take it. Then continues with solid drumbeats briefly emerging from the static and disappearing just as quickly, again long stretches of subdued electronic drones buzzing along sleepily and the occasional sudden shift of noise into something more violent, though it all happens kind of slowly and gradually. A truly mesmerizing and immersive body of sound and its intense finish is something of pure artform.
“I don't need a lot of words about Merzbow. All you have to do is immerse yourself in the sound.” translated from Japanese liner notes of Alchemy Records CD by Toshiji Mikawa.
Double vinyl comes in only 299 copies with gatefold cover that faithfully reproduces the original art work plus a 12" size insert. If you looking for a great starter title by Merzbow, an amazing piece of art, or something to get high to, this double LP is perfect! 

Tape reproduces the original art work and comes in just 199 with O-card 300g wrapping clear box with j-card and laser print green shell.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise.
Green Wheels is Merzbow in its most straightforward, most genuine, most uncontrolled and refined form. Originally released by the legendary US label Self Abuse Records in 1995 on CD and 5-inch vinyl record, both housed in a foil-lined cardboard box with the abstract and impressive art work created by the artist himself, which has become another of the fetishist objects of Merzbow and now incredibly hard to find. Like all of his work since the early nineties, Green Wheels is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early 80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise.
The three tracks of the CD which are neatly reissued on the first three sides of the vinyl, radiate the listener from the rackets of a rain of nails on metal plates, the synthetic crashing of bombing, industrial percussion and the metal (green) wheels that roll and scrape. The last side of the record contains the two very short 5-inch tracks that hurt you with thousands of jabs in just a matter of minutes. Then closes with two unreleased tracks from the same fantastic mid-1990s period which can undoubtedly be considered two wonderful discoveries for their intensity and beauty; musical pieces that blend perfectly and complete the reissue on this double vinyl. When you get to the end of the fourth side, you will feel purified, once the granite landslide subsides. It is like mental liposuction, eradicating all anguishes and hesitations.
Everything was perfectly recorded and mixed in March-May 1995 at ZSF Produkt Studio, Masami Akita’s home studio from the late 80s to late 90s; the outcome it's warm and bright as the bare steel of Shinjuko skyscrapers under the (rising) sun of hot Japanese summers.
Of all the incredible artists to have emerged from Japan’s thriving noise scene, it is hard to call to mind a figure as iconic, visionary, or influential as the composer and performer Masami Akita. His work represents ground zero for nearly everything that has followed in its wake. In addition to its incredible noise sounds, this positions Urashima’s newly remastered and expanded Green Wheels 2LP in only 299 copies with gatefold cover that faithfully reproduces the original art work as an incredibly important event. Not only does it present the best sounding release of these recordings to date, but it expands to a double LP, with a never before issued two tracks recordings. Yet another crucial reissue offering from Urashima that towers with historical importance, this one is impossible to recommend enough. 

Magic Square, by French composer and pianist Melaine Dalibert, is a fantasy journey. Epigrammatic as it is melancholic, this piano suite is born from and designed for introspection.

Across the album’s eight tracks, the French pianist and composer takes listeners on a “fantasy journey”. Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert’s music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.