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Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. EMEGO 296 features two new major works from this audacious sound explorer.
Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein’s now famous quote regarding quantum mechanics, this is spooky audio at a distance.
Fortuna Ribbon is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the 6 examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A.
Schmickler’s ongoing investigation of sound matter conjures impossible audio that delight’s in the extremity of form and resulting effects on the listener. Schmickler’s audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound.
Thanks to the Experimentalstudio crew, Detlef Heusinger, Björn Gottstein, Julian Rohrhuber and Peter Rehberg.
Cut 01/2021 by Andreas Kauffelt at Schnittstelle, Berlin.
Artwork by Neo-Metabolism

An utterly timeless collection of vocal improv takes its first bow on vinyl, as Laura Cannell & Polly Wright’s debut tribute to the landscape, history and people inspired by a 19th-century book of Norfolk customs and ballads graces our Editions imprint. It’s a wondrous, humbling, and haunting album bridging folk and medieval styles with a plaintive magick that only appears intensified on record - a huge RIYL Hildegaard von Bingen, Arc Light Edition’ Psalm singer recordings, Julianna Barwick.
Remarkably conceived, recorded and released in 2019 - the same year they first met - ‘Sing as the Crow Flies’ is a super-natural meeting of mutual souls seeking to limn a sort of deep topographical reading of their home turf in a series of haunting, near-wordless hymns. Shockingly effortless in execution and spine-freezing in effect, the nine songs are Laura & Polly’s beautifully concerted effort to rectify the lack of historical female voices in text or music hailing from the Norfolk/Suffolk borders where they live and create. With little to go on, they decided to add their joint female voices and experiences to the rural sound ecology and culture of East Anglia, and created something un-arguably unique in the process.
Drawing on a shared formative background in classical music (and specialities in medieval composition), Cannell & Wright nod to the sort of heterophonic improvisation found in Psalms from the Isles of Lewis (as heard on those amazing Arc Light Editions volumes), as well as Hildegaard Von Bingen inspired call-and-response styles, while taking select words from the 18th C. text ‘Norfolk Garland, A Collection of the Superstitious Beliefs and Practices, Proverbs, Curious Customs, Ballads and Songs, of the People of Norfolk’ to provide structural underpinnings. But what happens in between is just a spellbinding sort of magick, using Raveningham Church as a sounding chamber for their finely controlled but naturally keening and graceful, unhurried expressions of tradition and folklore.
A forlorn, late decade masterwork in a field of its own, ‘Sing As The Crow Flies’ is an unusually life-affirming record that channels centuries, near a millennia, of uncanny expression into its wordless hymns to the land. Perhaps it’s fair to say that folk were emoting very similar feelings during the OG pandemics of yore.


Transversales is very glad to announce the release of « Mémoire Magnétique, vol.2 » spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.
Remastered high-resolution audio transferred directly from the original tapes.
Exclusive liner notes and pictures.
A1 / "Témoignages" - 1972.
Générique pour la série télévisée de Pierre Houdain.
A2 / "Pop secret" - 1970.
Version remixée pour concert de la musique créée avec le groupe
"Third Ear Band" au Royal Festival Hall, Londres.
A3 / "Voyage Conseil" - 1970.
Musique pour la publicité de : "Voyage Conseil".
Version non utilisée.
A4 / "Lion d'or" - 1988.
Générique pour l'émission radio de Georges Léon diffusée sur France Culture
le 22/02/1988.
A5 / "Flash sports" - 1975.
Indicatif de l'émission télévisée éponyme diffusée sur Antenne 2.
A6 / "Spot pub" - 1971.
Spot publicitaire non identifié, non utilisé.
A7 / "Journal TV 2" - 1981.
Indicatif du journal télévisé d'Antenne 2.
A8 / "Stade 2" - 1976-1986.
Indicatif de l'émission : "Stade 2".
Antenne 2, émission sport. Animation : Peter Foldès.
A9 / "L'art au monde des ténèbres" - 1982.
Série documentaire télévisée de Mario Ruspoli.
A10 / "Sonal Roissy" - 1971-2005.
Signal sonore de l'aéroport Roissy-Charles-de-Gaulle.
B1 / "Bongo fuego" - 1967.
Film d'animation de Peter Foldès.
B2 / "Electrorythmes" - 1966.
Version remixée pour concert ; film de Peter Foldès avec la chorégraphe Marpessa Dawn.
B3 / "E Pericoloso sporgersi" - (élément) - 1991.
Musique radiophonique ; commande de France Culture.
B4 / "Une mission éphémère" - 1993.
Film d'animation de Piotr Kamler.
B5 / "Une honorable partie de Gô" - 1978.
Série documentaire télévisée de Jean-Emile Jeannesson,
"Lettres du bout du monde".
B6 / "Sonal Roissy" - (inédit) - 1971.
Maquette de signal sonore pour l'aéroport Roissy-Charles-de-Gaulle.
Version non utilisée.

From Mecánica Popular, which has seen remarkable re-evaluation in recent years, gorgeous faces such as Esplendor Geométrico and Javier Corcobado, who are familiar as the leading industrial in Spain. From
-Track List-
A1 Erizonte Obertura
A2 Mecánica Popular, Erizonte Dos veces en la vida
A3 La Fura Dels Baus, Erizonte ¡ Mierda de guerra!
A4 Macromassa, Erizonte Tonsura
A5 Mar Otra Vez Calma
A6 Erizonte Trío para dúo de generadores
B1 Erizonte (Des) educación
B2 Esplendor Geométrico, Erizonte Clerecía
B3 Pelayo Fernandez Arrizabalaga, Eli Gras, Erizonte Miedo a la verdad
B4 Erizonte Difracción
B5 Erizonte, Jesús Alonso En el país del silencio
B6 Scud Hero, Erizonte Hipnosis colectiva
B7 Erizonte, Javier Corcobado Sol sotnemurtsni es nacot
B8 Erizonte Coda


Throughout his vast career, the New York based Australian composer JG Thirlwell has adopted many masks as a means of infiltrating and subsequently subverting a wide range of pop cultural forms. His work under the Foetus moniker has taken on everything from big band to opera to noise-rock. Steroid Maximus embraced exotica and the world of soundtracks, while his Manorexia project continued his quest to the outer limits of contemporary composition and musique concrete. Thirlwell has also carved out a significant output in the field of the soundtrack via the large body of work created for the animated television shows Archer and The Venture Bros. In addition he has been commissioned to create compositions by such notables as Kronos Quartet, Bang On A Can, Alarm Will Sound, String Orchestra of Brooklyn and many others.
Now we have ‘Omniverse’, the second release under the moniker Xordox. Xordox is a synthesizer-based project, and on this evocative album we see the project branch into many new avenues. The science fiction element brushes up against crime noir, even veering into areas that could well fit in the video game soundtrack genre. With an audacious attitude and an arsenal of machines Thirlwell serves up a selection of thrilling retro-future mind capsules. This is music made from a life saturated in culture, both underground and mainstream, high and low. Tense sequencing and noir tinged keyboard lines invoke a powerful visual image of films and memory, of screens and speakers, of sound and space, all entering the cosmos and the subsequent galactic race. Thirlwell’s decades long exploration of sampling and sequencing, composing and ingesting a daunting amount of audio and visual artworks speaks volumes for the bold assimilations exposed here. ‘Between Dimensions’ lays out a tense theme which starts off like a score to a a crime thriller before morphing into a simulacra of Kraftwerk scoring a video game. The living ghosts of Giorgio Moroder and John Carpenter haunt ‘Oil Slick’ as it permeates wormholes, updating lifeforms with its stealth sequencing and tense momentum.
‘Omniverse' is a synthesised soundtrack journey, one which embraces past forms whilst reshaping them for the new unknown. ‘Omniverse' is a thrilling liquid ride through fear and hope, and like all the best of Thirlwell’s output, is simply one hell of an enjoyable journey to take.


A Magnum Opus of pure oceanic sound and Roach's most sophisticated atmospheric work to date. The final track "Altus", Latin for both "high" and "deep", says much about this work. The most demanding and textural of Roach's work, it has more in common with 20th century avant-garde than other genres. A chilling and beautiful continuous flow of harmonic sound-worlds. Melody and harmony are present throughout in a surreal play of light and dark colors.
"Sequenced as one continuous piece, Void is an astral-gothic collage of fear, transcendence, and weightlessness; a high-water mark of space music; and one of Roach's finest hours."
-James Rotondi






There was a rumble which echoed as it emerged from the murky depths of the cave. Deep down in the tomb below was the sound of distant drums which banged and roared with pride and promise as they began to wake the dead from their long slumber. Few had ever imagined that they'd rise again, the stories told of ancient ruins and magical creatures had long been deemed irresponsible nonsense told to scare children and for fireside tales. Now, it seemed as if they were wrong, very wrong indeed...
Ramses is set to release a new EP on Dill Dodos Recife (serie of Discolored Field’s label focuses on club reflections), a Lyon based record label with a promising future. The EP is a weird, mutated assortment of heavy hitting club sounds and low end weight.

