MUSIC

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

"2015 reissue. Originally released on FBWL in 2000. Remastered in 2014 by Taylor Deupree at 12k." "... For those who believe they've heard all Connors has to offer, seek this out because it will astonish and mystify you while simultaneously changing your mind. For the rest who are fans, this is one of the man's records you need, because it, more than any other, expresses who he was during its recording. Painfully honest, vulnerable, raw, and graceful, Portrait of a Soul is unlike any record ever made." --AllMusic

Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth. File under Electronic / Tape Music. “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, Forest, my US my booking agent asked me if I wanted to tour with someone from his roster and I suggested Mr Dilloway, the first show we played together was in Toronto, he started with a very groovy loop, some kind of soul extract that felt just right. With that, he levelled the dynamics and the atmosphere of the room, moving back and forth from the stage to the audience to double check if everything was sounding right. I have never seen such an elegant, disturbing and powerful show at the same time, it was a wild combination. We played a couple more shows together and on my journey throughout the states I was never in a place where his name didn’t pop up with a positive comment of admiration. We became extremely close and utopian. We started this record during a two week visit of mine in NYC, we crossed our signals, sometimes his affecting mine, or the other way around, we just wanted to make a fun, weird and inevitably emotive record that somehow captured so many things we love about music, to put oneself in character and go with the flow.” — Lucrecia Dalt “Lucrecia and I met briefly 10 years ago while performing at a festival together. We traded some releases and I was very excited by what I heard. Her records stuck out to me over the years as something very special. I was a fan. We met again recently while performing on a bill together in Toronto, and while watching her perform, I was mesmerized by her selections of sounds, as well as her movements and control of the mixing board. I felt like we worked similarly. We struck up a very close friendship and what followed was a year of intense discussions about art, music, performance and recording. Immediately we began working on music together and her expertise in mixing and her highly trained ears and overall drive were very inspirational. This album was recorded in 3 different locations, Pioneer Works in Brooklyn, NY where Lu was doing a residency, sessions at Lu’s home in Berlin, Germany and finally at my home in Oberlin, OH. It was one of the most inspirational periods of my life and helped me overcome some intense musical and psychological obstacles. I learned so much by making this record.” — Aaron Dilloway Recorded by Lucrecia Dalt & Aaron Dilloway 2019 – 2020 Mastered by Rashad Becker Cut by Warren Defever Art by Pieter Schoolwerth

“Gyropedie,” Anne Guthrie’s third record for Students of Decay, takes us further into their hermetic practice, wherein expertly captured field recordings, French horn, and electronics are woven into potent and richly imagined electroacoustic environments. In Guthrie’s own words, “Quite literally a record of pilgrimage from East to West. Remnants of Midwest and East Coast soundmarks, instruments sold to lighten the travel load, sketched out and then buried under the new. Winter birds and crunching snow, frozen playgrounds, broken synths - I spent a year decoupaging over this, but of course it's still there. A second moon appears occasionally in the daytime, and there are frequent, murky transmissions. California has something alien about it I'm still trying to grasp. Primarily vintage, unabashed, corny, I find myself becoming an impressionist.”

Anne Guthrie is an acoustician, composer, and French horn player. They studied music composition and english at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where they completed their Ph.D in 2014. Their music combines their knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Their composition has focused on the orchestration of non-musical sounds, speech in particular. Their French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Their acoustics research has focused on the use of ambisonics for stage acoustics.

A masterpiece of heavenly beauty minimal poetry left by Robert Ashley, a solitary composer who has made his name in the history of American contemporary music, in 1977! The most important masterpiece of Ashley's career as a legendary experimental music collective and Sonic Arts Union with Alvin Lucier, David Berman and Gordon Mumma. Recorded at Mills College's Center for Contemporary Music in 1977, and put on a clear examination of piano, polymoog, and clavinet by the famous performer "Blue" Gene Tyranny, who has also left many works on Lovely Music. Krishna Bhatt's tabla sounds fluently, and Ashley's spiritual poetry is layered on top of each other.

A computer-based work by David Behrman, a major figure in American experimental music. An exceptional masterpiece that uses a computer to synthesize the sounds of musical instruments played by Rhys Chatham, Ben Neil, and Takehisa Kosugi, and develops a fantastic sound with sharp edges. Unlike the content received by core contemporary music fans such as "Wave Train", it is a comfortable and easy-to-listen content that appeals to ambient to club music lovers.

"PHONEMES (1981)" is newly added to the LP released in 1984 by Tudor when it is made into a CD. "PULSERS" that uses a composite modulator designed by Gordon Munma, Takehisa Kosugi's electronic violin, etc. as a sound source, and "UNTITLED" that has a strong electronic circuit in addition to Takehisa Kosugi's vocalization. You can enjoy your own analog electronic circuit.

Alvin Lucier、David Behrman、Robert AshleyThe world's earliest pioneering experimental music collective led by"Sonic Arts Union"Don of the US experiment / electronic music world, who is also well known for his activities inGordon Mumma.. A large collection of avant-garde music in the country <Lovely Music>from2000A compilation album full of important sound sources released in the year. Famous as a masterpiece79From year first"The Dresden Interleaf 13 February 1945"、"Music From The Venezia Space Theater"、 86Year"Mesa / Pontpoint / Fwyyn"of"Pontpoint"Etc. all6The definitive edition containing songs. 

Timekeeper is a collection of temporal impressions. Each track is entitled with a time of day, mapping the ways that changes in energy and emotion form a continuously shifting sense of time. Using a palette of acoustic recordings and digital synthesis, each piece depicts either a temporal field (expansive, unpredictable), wave (swelling momentums) or rope (singular linearity).

per customer 1 copy. Within the history of noise music, there are few artefacts, as seminal as The New Blockaders' Changez Les Blockeurs. Anyone who has even a casual interest in noise music should need no introduction to The New Blockaders. Hailed by Ron Lessard (of legendary US noise label RRR) as, ‘The first truly devoted noise artists,’ TNB self-released their debut LP in 1982. That original LP is now one of the most sought-after (and expensive) noise records ever. The fact that Changez Les Blockeurs is held in such high esteem by the likes of Steven Stapleton (Nurse With Wound), who was the first person to hear the LP back in 1982 and recently reworked the album as NWW Plays Changez Les Blockeurs, David Jackman (Organum), Thurston Moore (Sonic Youth), Masami Akita (Merzbow), Toshiji Mikawa (Incapacitants) and countless others is testament to its greatness and well-deserved legendary status. Laying in wait for almost 40 years, the LP emerged again in 2004 as a limited edition on the German Vinyl-On-Demand label, and since then has remained rare, elusive, and coveted - until now. 2022 will mark the 40th anniversary (or, more accurately, antiversary) of Changez Les Blockeurs and in celebration of this Urashima is proud to present a limited reissue which has been expertly remastered at Audiplex Studio in Hamburg by Asmus Tietchens, himself a well-know German avant-garde composer. ‘’Changez Les Blockeurs caused a lot of fuss back in the early ’80,with its two ‘tracks’ of disorientating junk noise, squeaks, scrapes and the pitter-patter of rain on a tin roof. Lumps of metal get thrown around in a bid to resurrect the ghost of Tristan Tzara, two invalids in wheelchairs fencing with broken car aerials, two elephants fencing on bicycles, two squeaky wheelchairs fighting over a slack spring, it could or an army of tin men dismantling a Jean Tinguely sculpture while bouncing around on pogo sticks in need of 3-in-1. We’ll never know, and that’s half of the appeal. Changez Les Blockeurs sounds like nothing else before or since. It’s magnificent in its absurdity. Its construct is simple but yet devastatingly effective. Today you’d be hard pressed to find anyone involved in Noise who doesn’t cite TNB as an influence. ‘’Mark Wharton Pressed on 100% black virgin vinyl to ensure optimum audio quality, Changez Les Blockeurs is a true wonder to behold. A beautifully presented LP which includes a 12”x12” insert, limited to just 199 copies. Absolutely essential.

Time for your booster! More childish theatricals from everybody's favourite 'bone heads. Comprising seven previously unreleased subterranean events. Out of The Ground. 500 limited edition digipak C.D.s

Named for a familial forested retreat on Wisconsin’s Shell Lake, Scout Island is the vessel for Jungle Gym audio boss Jared Carrigan’s compact and compelling instrumental guitar vignettes. His latest, Laurentian Voyage, charts a rich trip down river through the North Woods of Minnesota and beyond, a formative landscape of his youth (recently revisited during Covidian isolation). The collection’s 19 tracks flow through twilight psych, sunset jangle, dockside devotionals, and whispering pines soft rock, a gallery of glimpses into scenes and seasons come and gone. Lean guitar figures ripple, riff, refract, and reverberate, framed by filtered drum loops, organ, synth, or bass. The mood softly sways between reverie and reflection but skews more autumnal as it unfolds, a sense of waning warmer days, a paler shade of light, campfires long since lit. Even so, the embers of memory cast their own warmth: faces, cabins, summers, music drifting out across the water. The clarity of fleeting moments, captured in snippets of strings and melody, slicing through choppy waves like the nose of a boat towards distant lightning.

The Czech group Gurun Gurun is made up of Tarnovski, Tomáš Knoflíček, Federsel, and Ondřej Ježek. who took their name from the fictional planet in the old school Slovak children’s TV show She Came Out of the Blue Sky. Uzu Oto is his first album for the Peruvian label Buh Records. Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe. They have played concerts across Europe, including London’s Café Oto, as well as successfully touring Japan. They have shared the stage with artists including Michael Gira, Tim Hecker, Robert Aiki Aubrey Lowe (Lichens), Keith Fullerton Whitman, Kate Carr, and Lichens. This new album, Uzu Oto, was also created in concert – each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of our common conception of time, the history of the new recording reaches back to before theird previous record, Kon B. Uzu Oto features the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa. The LP cover is by Czech artist, inventor, and sonic anarchist Petr Válek. Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire.

Limited green & white marble color vinyl specifications. A new talented woman from the prestigious label , Which leads the ambient / experimental scene! New album by Diatom Deli, a multi-instrumentalist / vocalist based in Taos, New Mexico. This work is an ambient folk work with a beautiful and pure soundscape with beautifully layered vocals, classical guitar, field recording, synthesizer, and sampler. Although it is experimental, it has a gentle and calm atmosphere throughout the album.

Matthew Linares aka Hidden Rung makes his solo debut on Good Morning Tapes. Having previously released on the label as a member of Pataphysical, Matthew is no stranger to the wizardry of GMT. "Happier" charts into uncanny territory, with it's deep, dubby sonics and fleeting spoken dialogue treading the line somewhere between a familiar land and a new and slightly unnerving horizon. Really lovely stuff. We can't get enough. Highly recommended every time!

Mekonium is Michael Anklin’s solo debut. He is a drummer, electronic musician and producer living in Switzerland. To expand his sound spectrum, he uses field recordings, analog synthesizer, tape machines, as well as self-constructed instruments and sound objects. His sound is characterized by prepared acoustic drums, various objects and sound manipulations. Anklin collaborates with artists such as Dim Grimm, Kilchhofer, Janiv Oron and Wordcolour. He is one of the founding members of the open structured band «UFO» and the science-fiction ritual band «Liebeslied». He produces music for theater, dance and sound installations. Inspired by the pureness of ritual and traditional music, Mekonium sounds like a documentation of a fictional ceremony. Topics such as temporal consciousness, minimalism and anti-virtuosity as well as sounds barely perceptible by our auditory system influenced the production process Drones, soundscapes and slowly morphing repetitive patterns establish a state of time. To represent the concept of reduction, each track starts off with a single instrument or sounding object on which the composition slowly started to grow. Like grapes fermented into wine, acoustic sounds developed into different sound manipulations, still preserving the „taste“ of the original sound sources. The Tracks „Exon“ and „Zymosis“ contain a musical deconstruction of Lucas Rössner’s bassoon. Sounds from the Instrument were dissected with different types of microphones and rejoined into a collage. Hagneck, a hydroelectric powerplant next to Lake Biel was stocked with a number of contact microphones resulting in a huge powerful drone which built the fundament of the track. Mekonium deals with the feeling, condition and dilation of time. Musical fragments are played simultaneously at different speed, acoustic sounds were frozen, deformed, stretched and rearranged.

Budapest, Hungary-based producer Laurine Frost, popular for his series of works based on the story of his imaginary daughter's life, has released her latest album under the name Haramia Tapes for the first time in four years! A dope blend of dub, broken beats, and jungle. 7 groovy, cleverly stripped down, hypnotic tracks. Mastering and cutting at by Helmut Erler. Limited to 300 copies.

Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties (it’s one of the reason some of that body of work is still being sorted through and released 20+ years after his passing). Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT. Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal the Invizible, essentially a compilation of material from multiple other releases* that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30!) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal the Invizible is both a way to issue those tracks on vinyl as the Archive Series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums. The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001” (although that album came out in 1998 and Jones sadly was not making anything by 2001, only leading to more questions). This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? (Well, probably not that last one.) One thing we don’t have to question is the quality of the tracks here, regardless of familiarity. The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” (possibly the most misleading to longtime listeners - it has indeed been heard on it’s almost-namesake album, but there it’s known as “Mint Tea With Gadaffi”) is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. The result doesn’t touch on every single mode explored throughout the vast body of Jones’ work (you’d need a box set for that), but does prove to be a multifaceted experience that also serves as an excellent introduction to or refresher on Muslimgauze as a whole.

Arguably one of the highpoints from both these UK sonic pioneers (John Bolotten aka The Rootmsan and Bryn Jones aka Muslimgauze). This is the first vinyl issue of original material previously published in 1997 on CD by Third Eye Music (Rootsman’s own CD imprint). Another collaboration between Muslimgauze and The Rootsman following the Amahar release.

Af Ursin, a project of Timo Van Luijk, who also works with Andrew Chalk in the units Elodie and Mirror, and organizer of La Scie Dorée, released this work in 2017. The work is a masterpiece in which his worldview is deployed without regret, with improvisations that gradually build up heat with an unobtrusive yet drone-like energy, and sound works that have the feel of In Camera/Mirror. The natural analog soundtrack further enhances the perfection of the piece.

Three introspective instrumental compositions for English horn, flute, percussion, double bass, Hammond organ. Performed, recorded and mixed by Timo van Luijk at Kulta Saha, 2010-2012. Remastered May 2020.

This version of the ‘imâra starts with the qahili introduction in the form of a prayer to the prophet, then the tawhid (the affirmation of divine unicity) : « lâ illâha illah llah ». This same dikhr (psalmody) quickens its pace, at first very slowly, then more and more rapid until the name of Allah is repeated to a binary rhythm. The fuqâra will shortly retain only hu (from Allahu) as it is gradually imposed by the qutb (the pole). The hu is transformed by this special ‘imâra alchemy into the unique breath of the spirant hamza (the sound emission technique is purely abdominal), and then, when the qutb claps his hands, it becomes more and more prominent. Associated with the name of Allah, the hu asserts itself by accelerating and quickening the pace to the point of metamorphosing itself into hamza. The balance between the soloist who sings the mystical poems and the rest of the assembly is progressively established, and then the accelration of the hamza finally throws the participants into the abyss of ecstasy.

The Suwa Daiko is a tradition of Kagura (= sacred music and dance) and drums of the SUWA TAISHA Shrine that enshrines the life of the TAKEMINAKATA (= one of god in Japanese mythology). It is a folk performing art that is recorded in an ancient document of the “Koshin-etsu-Senroku (=Koshin-etsu War Record)”. The document says that it is also medieval military music. Shingen TAKEDA（1521-1573）, who was a great warlord in 16th-century known for his equestrian corps said to be the strongest in Sengoku period, formed 21 people of Suwa Daiko and raised the spirit and willingness of the Takeda army soldiers by Suwa Daiko at the battle of Kawanakajima (1553-1564). Mr. Daihachi OGUCHI has collected traditional drums with different tones of various sizes and created an original group drum. He opened 15 branches nationwide, 12 branches overseas such as San Francisco, New York, Chicago, Toronto, Singapore etc. and helped spread the Suwa Daiko world wide. Osuwa Daiko Preservation Society is an intangible cultural property that inherits the will of Daihachi OGUCHI. This album was recorded at the Osuwa Daiko Preservation Society dojo in Okaya City, Nagano. One of the two songs is created as DTM by veteran jazz pianist Masahiko SATO (studied at Berklee College of Music in 1966-68 and has many awards). His DTM adds unique musicality to this traditional sound and makes it lively and original. Also, the artwork was licensed to use “Shingen TAKEDA statue” drawn by Tohaku HASEGAWA (=Tohaku HASEGAWA (1539-1610) was the highest painter played an active part from the Azuchi Momoyama to the early Edo period. Now many of his works designated as national treasures.) It is an important cultural property in the Seikei-in Temple at Mt. Koya.

Pauline Oliveros's The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity. An utterly essential document of early American minimalism from Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice (IMPREC 140LP). "The Wanderer" is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, "Song", is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, "Dance", demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures. The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed January 27, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting. "Horse Sings From Cloud", written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of "Horse Sings From Cloud" has been recorded on Accordion & Voice. An early version of the score reads, "Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it." This time, "Horse Sings From Cloud" is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.