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Bladder Flask - One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (CD)
Bladder Flask - One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (CD)Sonoris
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
Bladder Flask - One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (LP)
Bladder Flask - One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (LP)Sonoris
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。
Steve Roden - The Radio / Airria (Hanging Garden) / Vein Stem Is Calm (CD)
Steve Roden - The Radio / Airria (Hanging Garden) / Vein Stem Is Calm (CD)Sonoris
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.
Steve Roden - The Radio / Airria (Hanging Garden) / Vein Stem Is Calm (LP)
Steve Roden - The Radio / Airria (Hanging Garden) / Vein Stem Is Calm (LP)Sonoris
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.
Beatriz Ferreyra - Senderos de luz y sombras (LP+DL)Beatriz Ferreyra - Senderos de luz y sombras (LP+DL)
Beatriz Ferreyra - Senderos de luz y sombras (LP+DL)Recollection GRM
« Senderos de luz y sombras » (2016/20), 30’13 Senderos de luz y sombras (Paths of Light and Shadows) – Commissioned by the French State for INA grm – 2016-2020 In memoriam Bernard Baschet, Bernard Parmegiani and Carlos Pellegrino. A 16-channel piece inspired by astrophysics, the mystery of the pre-Big Bang era and some of the uncanny motions of the unconscious mind, where strangeness meets the ordinary. The themes that permeate Senderos de luz y sombras simultaneously engage the overwhelming, unyielding immensity of the beginnings of the universe and the forces at work in the unconscious mind. What connects these themes are the dark energies operating outside our knowledge, far beyond the conceptual scope of our limited thinking. How to convey all this and build music from these concealed forces? What Beatriz Ferreyra achieves, thanks to her trademark virtuosity, is precisely to summon energies, to bring in the raw forces that govern the laws of Acoustics, so as to trigger sonic storms as one would call the rain, to transform all sound matters into the core of a ritual. Indeed, Beatriz Ferreyra addresses the mind-body reconciliation, for in providing this unique sound and musical experience, with a rare sensitive intensity, the great composer simultaneously invites us to engage in a personal experience. François Bonnet, Paris, 2021

V.A. - I Killed The Monster (CS)V.A. - I Killed The Monster (CS)
V.A. - I Killed The Monster (CS)Shimmy-Disc
In the late 1980's, Kramer brought Daniel Johnston into his Noise New York recording studio and produced the LP that remains - to this day - his masterpiece; "1990". Prior to these recordings (his very first in a "professional" studio), Daniel was an underground/'outsider' artist with an extraordinary catalog of cassette-only releases, a small but infinitely loyal cult following, and a fast-widening range of established artists covering his songs and proclaiming him to be the best songwriter of his generation. They were right. "1990" (originally released on Shimmy-Disc) brought his rapturous songs to new ears. In American Indie Music, there was the world before "1990", and the world after. It was a watershed moment in the musical arts. There was nothing else like it. There still isn't. Daniel's place in history will be studied for centuries to come. He had many disciples, but no peers. His songcraft stands alone in the American songbook. Following the global success of "1990", Kramer travelled to West Virginia the following year and produced "ARTISTIC VICE", a very different LP of songs featuring a full band that Daniel had been performing concerts with while living at his parent's home. The recordings were made in their garage over the course of 3 days on a barely functional 8-track tape machine. The resulting LP was the perfect follow-up to "1990", and set Daniel on a path that would bring him a major label deal with Atlantic Records, and the attention he'd always deserved both as a songwriter and as a visual artist. It wasn't long before his drawings began to appear in art galleries, and eventually his work was featured at the renowned Whitney Biennial. The rest is history. Daniel left us on September 11, 2019. We will never see the likes of him again, but we can experience his music anew with "I KILLED THE MONSTER", available now for the very first time on Vinyl following its initial 2006 CD-only release. Kramer re-Mastered all 21 songs from the original CD, and hand-picked 11 of his favorite songs for this limited-edition Vinyl LP release. The Cassette and Download versions include all 21 songs. (Note: This is the first Cassette release from Shimmy-Disc since the 1990's. We love Cassettes. TAPE, is where it all began. We are thrilled to bring this archival format back to the Shimmy-Disc catalog. Nothing sounds as good as tape, and we have spared no expense in bringing the highest quality product to the avid Cassette collector.) This "Various Artists" compilation of songs by Daniel Johnston filters the Texas genius's snow-globe sad-pop confections through the mercurial lens of indie rock and anti-folk. Daniel's painfully honest lyrics and gently ecstatic melodies easily lend themselves to the interpretations of others, whether it's the genius collaborations of Danielson & Sufjan Stevens ("Worried Shoes") or Jad Fair & Kramer ("True Love Will Find You in the End"), the honest-to-goodness real-life realities of Kimya Dawson ("Follow That Dream") or Jeffrey Lewis ("Adventures of God As a Young Boy"), or the proto-psychedelic pop of R. Stevie Moore ("Cathy Kline") and home-grown Shimmy-Disc artist Lumberob, or Kramer himself with the definitive version of the song he considers Daniel's very best, "Bloody Rainbow". Produced by Kramer in 2005/2006, the LP closes with his daughter Tess singing Daniel's seminal tearjerker, "It's Over". Recorded when she was 13 years old, it's the perfect song to bring the curtain down on this indispensable LP.

Uniform & The Body - Everything That Dies Someday Comes Back (SB 15 Year Edition) (Silver Vinyl LP)
Uniform & The Body - Everything That Dies Someday Comes Back (SB 15 Year Edition) (Silver Vinyl LP)Sacred Bones Records
On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse's clenched-jaw noise, middle-period Ministry's penchant for metallic post-industrial everything, New Order's nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body's approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as "the middle ground between Robyn and Corrupted, but weirder." The collaboration between the two bands was built upon mutual admiration for each other's work, which led to bonds of friendship. After the release of the debut collaborative effort, Uniform released the critically praised The Long Walk and embarked on a smash tour with Deafheaven and Drab Majesty, while The Body released the widely acclaimed I Have Fought Against It, But I Can't Any Longer and took to the road for their own successful and extensive North American tour. The demand for the collaboration eventually necessitated a U.S. jaunt, pairing the collective for rare dates with Author & Punisher and Street Sects on both coasts. It was on those dates that the bands started to plant the seeds for what would become Everything That Dies Someday Comes Back.Much like the collective's bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own. Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.
ハレルヤズ Hallelujahs - 肉を喰らひて誓ひをたてよ Eat Meat, Swear an Oath (LP+7")ハレルヤズ Hallelujahs - 肉を喰らひて誓ひをたてよ Eat Meat, Swear an Oath (LP+7")
ハレルヤズ Hallelujahs - 肉を喰らひて誓ひをたてよ Eat Meat, Swear an Oath (LP+7")Black Editions
A dreamlike dispatch from mid-80's Japan, the first and only Hallelujahs album is an entrancing and gentle work of psychedelic pop brilliance. Friends gathered in the studio by Shinji Shibayama (Nagisa Ni Te), Hallelujahs created a music of deep feeling and wonderment with simple song craft and a guileless magic. The album was the first release by the now revered ORG Records in 1986 in a micro-edition of 300 copies. With affinities to the sounds of the Rough Trade and Flying Nun labels, the Paisley Underground and Galaxie 500, the album is an utterly unique masterpiece that remains a touchstone for generations of like spirited artists in Japan and around the world. Black Editions is proud to present this all-time classic in a deluxe vinyl edition, remastered from the original tapes and presented in a heavy tip-on jacket with textured paper, mounted high quality print, foil stamped finishes and spot colors. Also released with a special limited edition 7" featuring two previously unreleased tracks and hand stamped envelope with seven photo cards.
Rex - C (Rose Vinyl 2LP)
Rex - C (Rose Vinyl 2LP)Numero Group
Hovering somewhere at the intersection of Nirvana and Neil Young, Rex exploded—or drifted, rather—onto the slowcore scene in the mid-1990s. Taking its cue from bands like Codeine, which drummer Doug Scharin was a part of, Rex managed to synthesize the dynamic eruptions of grunge, twinkling guitars of folk, and sprawling string arrangements of chamber pop on its seminal 1996 album, C. In recording C, Scharin, along with bandmates Curtis Harvey and Phil Sprito, created an untamable and uncategorizable beast. The album’s 11 tracks clock in at an hour and 7 minutes, most often winding from folk warbles to distortion-drenched power chords and back. End-to-end, listening to C feels like being granted access to one of the band’s most unfettered jams.
Peter Barclay - I'm Not Your Toy Cat (Pink Vinyl LP)
Peter Barclay - I'm Not Your Toy Cat (Pink Vinyl LP)Numero Group
The diminutive Peter Barclay was that guy in early ’90s Oakland, the eccentric with the most style, the most talent, the local magician. This self-taught musical wizard recorded at home and produced two barely-released albums, 1990’s dreamlike Acceptance and 1992’s synth pop What Kind Of World, winning over the few who heard them. But fame outside his small circle was not to be, and Barclay was lost in the late-’90s crest of the AIDS epidemic. Rediscovered for a new generation, this is queer music at its finest… Welcome to the world of Peter Barclay.
Discovery - LP (Deluxe Edition) (Orange Vinyl LP)Discovery - LP (Deluxe Edition) (Orange Vinyl LP)
Discovery - LP (Deluxe Edition) (Orange Vinyl LP)XL Recordings
Side projects that sound overly similar to the artists' main band are always a letdown. Why not take some chances, do something crazy, or head off in a totally unexpected direction? Rostam Batmaglij of Vampire Weekend and Wes Miles of Ra Ra Riot have taken this to heart on their collaboration, Discovery. There is absolutely no trace of the precise, orchestrated, indie popcraft of Ra Ra Riot or the jittery, Afro-pop of Vampire Weekend to be found on the duo's debut record LP. Instead they go for a crazily warped version of modern R&B jams filtered through '80s dance music, '00s hip-hop, and Jamaican dancehall that is both hilarious and wonderful. Hilarious because the synth tones are so fat, the beats so cliched, the EFX so corny that you can't help but laugh; wonderful because the duo know exactly how to put all the elements together to make a thrillingly silly and fun album. Whether they are bringing in Angel Deradoorian from Dirty Projectors to sing the hook on "I Wanna Be Your Boyfriend," hijacking the Jackson 5's "I Want You Back" for some dreamy deconstruction, conjuring up the ghost of the Art of Noise (and their huge drum machines) on the mind-bending "So Insane," or constantly laying down beats that would make Cameo blush, the pair never let the fun stop or make a false move into sincerity or authenticity. Sure they manage to write some sweet melodies (like on "Carby" and "Osaka Loop Line"), sing in tender falsettos (Batmaglij and Miles split vocal duties evenly), and write sensitive lyrics instead of loverman boasts or pleas, but overall, the feeling you get from the record is that of a couple of guys having an incredibly fun time creating music that has absolutely no socially redeeming values at all. Who needs those anyway when LP is so joyous, perfectly conceived, and flat out fun? Stick to the duo's day jobs for that, come to Discovery for the jamz! ~ Tim Sendra
Ghost Funk Orchestra - Night Walker / Death Waltz (Opaque Red Vinyl LP)
Ghost Funk Orchestra - Night Walker / Death Waltz (Opaque Red Vinyl LP)Colemine Records
Back in 2016, producer Seth Applebaum released two EPs that marked the inauguration of the band Ghost Funk Orchestra. ‘Night Walker’ and ‘Death Waltz’ were conceived as one-man-band, reel-to-reel tape recorded experiments that would bring together elements of all the sounds that Seth most adored at the time: tape-saturated drums, gratuitous spring reverb, surfy guitar, Latin-style percussion, odd time signatures, and Spanish-language female vocals. Initially released only in the digital domain and on a short run of cassette tapes, these two EPs that defined the early era of GFO are now finally available together on a single LP via Colemine Records. The tracks have been lovingly remastered by Doug Krebs. We invite you to take a dive into the humble beginnings of a project that has continued to grow, shape shift, and accrue new and exciting sounds for its sonic palette.
Phoebe Bridgers - Punisher (CS)Phoebe Bridgers - Punisher (CS)
Phoebe Bridgers - Punisher (CS)Dead Oceans
Punisher is the second studio album by American singer-songwriter Phoebe Bridgers, released on June 18, 2020 by Dead Oceans. Bridgers first established herself with her 2017 debut, Stranger in the Alps, a widely acclaimed indie rock effort. In the years preceding her second album, the California native formed the bands boygenius and Better Oblivion Community Center. On Punisher, Bridgers' songwriting is somber and sardonic; deeply personal in nature, it explores topics like dissociation and fragmenting relationships.
Coil - Queens Of The Circulating Library (Clear Vinyl LP)Coil - Queens Of The Circulating Library (Clear Vinyl LP)
Coil - Queens Of The Circulating Library (Clear Vinyl LP)DAIS Records
Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound’s Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions” upon its initial release in 2000, the album remains a compelling case study in Coil’s exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra’s mother – a career opera singer, in her 80’s at the time of recording – sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: “Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university.” As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a “bliss out,” static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all." Dais-exclusive Lenticular Limited Editions : Come in lenticular plastic jacket that animates when tilted, using frames of projections from Coil's live performances during the era.
Mac DeMarco - Salad Days (LP)
Mac DeMarco - Salad Days (LP)Captured Tracks
“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP ‘Salad Days,’ the follow up to 2012’s lauded ‘Mac DeMarco 2.’ Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), ‘Salad Days’ gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, Salad Days isn’t the same record that breezily gave us “Dreamin,” and “Ode to Viceroy,” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick’s mixing board in 1972, but with that peculiar Mac touch that’s completely of right now. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco.“Treat Her Better” is rife with “Mac-isms,” heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.
Godspeed You! Black Emperor - Lift Your Skinny Fists Like Antennas To Heaven (2LP)
Godspeed You! Black Emperor - Lift Your Skinny Fists Like Antennas To Heaven (2LP)Constellation
未体験の方はこの機会に是非。言わずと知れた実験的なポスト・ロックの世界的大名作!ケベック・モントリオールで結成されたカナダのポスト・ロックを代表する屈指のバンド、Godspeed You Black Emperor!による2000年名作『Lift Your Skinny Fists Like Antennas to Heaven』のアナログ・リイシュー盤。風刺的、政治的、あるいは私的なメッセージの込められたサンプル素材と、メランコリックで破滅的なアトモスフィア、エピックなサウンドが溶け合う破格のインストゥルメンタル・ポスト・ロック/シューゲイズ大名作!
You've Got Foetus On Your Breath - Ache (LP)
You've Got Foetus On Your Breath - Ache (LP)Self Immolation
Ectopic Ents is proud to announce the long-awaited vinyl reissue of the second Foetus album, ACHE, to coincide with it’s 40th anniversary. Released under the moniker You’ve Got Foetus On Your Breath, the ACHE album was originally released in 1982 on JG Thirlwell’s Self Immolation label, whilst he was resident in London. It was recorded at Lavender Sound Studio in South London and engineered by Harlan Cockburn. On its release it was acclaimed by the music press, John Peel and even cited by Leonard Cohen on more than one occasion. Over the years the album has become a highly sought-after collectors item. The 2022 reissue was remastered by Josh Bonati and is in a limited run on white vinyl. The album is packaged with a reproduction of the original promo poster from the album, and a download code.
Duane Pitre - Varolii Patterns (CS)Duane Pitre - Varolii Patterns (CS)
Duane Pitre - Varolii Patterns (CS)Important Records
"While experimenting with microtonal electronics for a piece I was writing for Zinc & Copper, which would eventually be titled Pons, I came across a process-based technique that I was quite keen on. Although I wouldn't use this technique on the Zinc & Copper piece, I would later implement said process to make up some of the electronics on Omniscient Voices. During this time I carried out dozens and dozens of instances of this process and recorded them all. Varolii Patterns is composed of a small collection of these recorded takes, ones I felt were stand-alone pieces on their own and that worked well together as a whole."
Wanderwelle - All Hands Bury The Cliffs At Sea (LP)
Wanderwelle - All Hands Bury The Cliffs At Sea (LP)Important Records
After Black Clouds Above The Bows (IMPREC 507CD), Amsterdam-based collective Wanderwelle presents the second entry of their trilogy for Important Records, which is dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. For this album the artists incorporated the sound of a dying organ, fatally wounded in a climate related event. All Hands Bury The Cliffs At Sea consists of electro-acoustic threnodies for an environment at risk due to the effects caused by receding coastlines around the globe. Wailing odes tell the story of the catastrophic activity of eroding waves and winds shaping the land that are enhanced by the climate crisis. Firsthand experiences and meetings with local maritime experts on the subject of these receding coastlines inspired Wanderwelle to compose these albums. During their travels, the artists stumbled upon a small church in a town on the east coast of Scotland. The building was quite damaged, the roof was being stabilized and the ancient walls showed great tears running vertically down the structure. The damage had been caused by a nearby cliff that collapsed in the sea, an event increasingly common in the region. The church organ was ruined in such a way that it was deemed unplayable, as most of the pipes were gravely damaged and in dire need of restoration. Despite the damage, the artists were allowed to record a few tones of the instrument with their equipment, which was actually meant to be used for field recordings later that day. In Black Clouds Above The Bows, antique cavalry trumpets were recorded and manipulated. Similar processing was used on the recordings of the dying organ, resulting in spectral, deconstructed tones beyond recognition. In addition to the damaged organ, the artists recorded piano, cello, and synthesizers in later stages of the composition process, manipulating these sounds to mimic the sea shaping the land. Furthermore, a great deal of inspiration was found in maritime superstition, lore, and mythology. As told in the legend of Aspidochelone, a legendary sea creature of enormous size, was once mistaken for an island. After sailors docked and lit a fire, the beast submerged resembling a land mass sliding into the sea. The album's title is derived from the saying "All Hands Bury The Dead", a maritime burial phrase, as the duo likes to think "All Hands" refers to all of mankind since we are all responsible for these impending catastrophes.
Harry Bertoia - No Date Tapes 2 (CS)Harry Bertoia - No Date Tapes 2 (CS)
Harry Bertoia - No Date Tapes 2 (CS)Sonambient
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.
Harry Bertoia - Hints Of Things To Come (CD)
Harry Bertoia - Hints Of Things To Come (CD)Sonambient
In 1970 Harry Bertoia had been developing his sonic sculptures for over ten years. He had only been composing/recording for two years and the four long pieces chosen for this CD find him starting to arrive at the sonic forms he had been searching for. Hints Of Things To Come is one of the most unique and melodic pieces discovered so far in the Bertoia tape archive. In this piece we hear him slowly create and articulate a musical riff. Bertoia builds this phrase patiently until the composition reaches an intense climax where the riff is played heavily and distinctly. 7 ½ & 7 ½ Combined, another historic standout, is one of the earliest examples of Bertoia overdubbing by playing a tape and then performing along to the playback. This CD is defined by ambient passages, long drones, gongs that sound like whales, shimmering harmonics and the feeling of an artist searching for sounds deep within his own sonic sculpture. These are among the best pieces found in the archive so far.
Tod Dockstader - Aerial #2 (2LP)
Tod Dockstader - Aerial #2 (2LP)Aerial #2
Tod Dockstader's Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist's work and this second volume is available in an audiophile quality double LP. Tod Dockstader's Aerial series is sourced from his life-long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere. Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal cloud clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. These sounds pull you in as their density and rhythms come and go. Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music. Artwork by John Brien (Imprec) is inspired by the propagation of shortwave radio signals throughout the earth's atmosphere. Edition of 500. Tod Dockstader on the Aerial project (September 14, 2003): "... When I was very young, people got most of their entertainment from radio. They called it 'playing the radio,' as if it were a musical instrument. That's what I've tried to do in this piece. About this time, a few people encouraged me to look into using a computer for this work. I'd never used one, but I saw it would allow me to keep my mixes digital -- no more transfer losses. So, at the end of 2001, I got a computer and an editing program for it, and spent what seemed a long time learning it. I began selecting mixes and loading them into the computer in late March, 2002. Out of the 580, I selected 90 'best' mixes -- eventually reduced to 59, the ones on the CDs. Finally, in assembling the CDs, I followed David Myers' suggestion to allow each piece to flow into the next - making a continuous journey to the end." "This return of Dockstader is something to cherish, not just because his output has been so limited and scarce but because what we do have is so intriguing, persuasive and cliche-free; the music of an inspired explorer who trails in nobody's slipstream." --The Wire
Manuel Göttsching - E2-E4 (35th Anniversary Edition) (LP)
Manuel Göttsching - E2-E4 (35th Anniversary Edition) (LP)MG.ART

180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984. "As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork

Eliane Radigue - 11 Dec 80 (2CD)Eliane Radigue - 11 Dec 80 (2CD)
Eliane Radigue - 11 Dec 80 (2CD)Important Records
On December 11, 1980 Eliane Radigue performed live on KPFA. Her full performance is included here, remastered, on two compact discs. Upon hearing these performances for the first time in many years Radigue declared them to be the best versions she'd ever heard. Included are full in-studio performances of Chry-ptus and the world premiere of parts one and three of Tryptych.

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