CD-R Aa1 - "Live at Electroline" (Dars records)

aa1 (Vasily Kuznetsov) - master of performances from Ural whose concepts are always unexpected and very interesting. All compositions are created by means of own musical algorithms developed in PD environment. Each performance of aa1 is unique, because it does not have in advance prepared loops, melodies, rhythmic figures. Music is created in the course of a concert, live, from prerecorded soundbites and generated sounds. This CD is a recording of an improvised a concert at the first South Ural electronic music festival Electroline (Russia) in 2005. It's a 50-minute mix of sound-collaging, electroacoustics, ambient, and minimal noise. More about Aa1 Vasily Kuznetsov's main creative interests are experiments with algorithmic music generation. In particular, the "telephonenternals" CD, was created using an IP-telephone program Naumen Phone. He also participated in a project called "Water digitizer" with the art group "Where the dogs run". Installation includes a sound generator developed in PD environment. Vasily also scored several ballets for "Kipling" dancing company and Taras Burnashev. Together with Stepan Zlokazov (Microboss) played live at the “OUT VIDEO” festival (Ekaterinburg) in 2004 and 2005. Last years the basic direction of activity Aà1 are experiments with independent and interactive sound automatic devices. Radio-Campanile project (festival Radio Revolten in Halle, Germany) featured an SMS-controlled 76-bell carillon at Roter Turm. Collaboration with the Iguan dance company (St. Petersburg) explored music generation devices controlled by a dancer's body.

CD-R Antn Hrkwk "Mutually Assured" (Recycling records)

"Mutually Assured" is an album of musical synonyms. Each song is made up of pieces of an already existing song - chopped up, re-arranged and layered to make new, generally unrecognizable compositions. Soaring melodies are transformed into frantic beats. The album is product of nothing more than sound-editing technique, as no audio effects or filters are used on it. "/Highly recommended

CD Lloyd Barrett "Mise en Scene" (Room40)

For well over a decade, Australia's Lloyd Barrett has been issuing all manner of intricate sound works – from diligent examinations of postconcréte sound and abstracted rhythmic projects to spacious ambient works. In 2005, he committed himself to create Mise en Scene, a work drawing on the concepts of filmic sound and exploring the possibilities of philosophies suggested by authors and theorists such as Michel Chion. The resulting album heralds a bold statement of intent from Barrett. Deeply evocative, maintaining moments of extreme intimacy and vast remoteness, this record is characterised by highly realised imagined sonic language. It speaks to the notions of acousmatic composition and delivers a document rich with decomposed found sound, unfamiliar texture and instrumental passages reflective of electroacoustic methodology.

CD Tomasz Bednarczyk Painting Sky Together (Room40)

Wroclaw based sound artist Tomasz Bednarczyk has a penchant for capturing the emotion in moments of stasis. It’s this acute sense of expanding fleeting moments and exploring their detail that informs the sonic palette of his latest full length recording Painting Sky Together. Akin to his acclaimed debut edition 'Summer Feelings' (Room40), which elegantly documented a uniquely Polish experience of summer replete with distantly warm bursts of piano, and crisp glitch ridden pulses, Painting Sky Together is an considered exploration in minimalism. Bednarczyk relishes the intimacy of his sound world, taking the most restrained compositional actions and allowing them to unfold with a hazy stillness that blurs time. It’s an album that’s both crisp and fragile, but ultimately its textures are overwhelmingly warm and generous. A statement of hushed awe – listen with care.

CD-R The Best Of Polish Smooth Jazz ...Ever!  (Recycling Records)

20 anonymous polish artist smashes 20 polish top hits transforming pop s**t into modern avantgarde music. The idea of plunderphonics is here expanded from just messing with bits and pieces of original tracks to creating some good music from unpleasant pop sounds. So except mashups you get some breakcore, ambient, digital hardcore, noise and many other unclassified forms. Your mom won't like it.

CD Big City Orchestra = the four cassettes of the apocalypse (the subelectrick institute)

One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. An album of authentic sea-shanties? A wall of noise? A shimmering downpour of lullabies whispered to the wind? A humorous or thought-provoking album of Sound Collages? Vocal excursions set to make Rod McKuen blush? We press play, leaning forward with slight apprehension. We await the first wave of blissful deception. We are perpetually rewarded.

CD Alessandro Bosetti = "Il Fiore della Bocca”

Produced in 2003 for the sound art department of a german radio station, "Il Fiore della Bocca" is one of the most controversial text sound compositions by Alessandro Bosetti. Composed exclusively with the voices of physically and mentally handicapped people, the piece displays an impressive richness, depth and variety of sound, covering the full range of musical possibilities of the spoken voice; from heavily processed to completely unprocessed, naked and direct. The piece has an ambiguous nature that lies somewhere between an experimental radio play and an extended, powerfully voice driven, noise composition. Bosetti has taken an impressive journey into what is commonly perceived as "disturbing". He has thus engaged in a process of transformation and metamorphosis with both the sound materials and their perceptions in order to develop musical beauty out of these "abnormal" voices.

A long series of conversations, where spastic, aphasic and larynx-less persons are confronted with examples of "deconstructed voice" (in the tradition of experimental music and sound poetry), has been the core of a two year long intimate relationship with those speakers and the starting point of the compositional process. All commentaries, reflections and reactions had been recorded in order to create a new composition with those collected materials. Similar to his other text sound pieces like "African Feedback", "Everyday Objects", "The Listeners", "The Mouth" or "Zwölfzungen", conversations, human interaction, comprehension and misunderstanding are essential to this piece. Since it's premiere on Deutschland Radio Kultur in 2004, it has been performed many times; in presence of the original speakers and in several live multichannel performances which provocated a wide and passionate range of reactions and discussions. "Il Fiore della Bocca", is intended as a piece in the form of a flower, either one of the red roses Claudia is singing about in the middle section of the composition, or a mouth-flower, as the title suggests. Also, a flower close in inspiration to the weathered, ephemeral and dying flowers that Zeami used to describe the quality of Nô theater actors. It's a piece based on love, human interaction and the contemplation of differences which reaches the point where the extremely different becomes the same.

LPBöttcher/ Hubweber - Schnack  (auf abwegen)

Schnack is the Live-Duo of improvising musicians Paul Hubweber (Cologne) and Uli Böttcher (Wiesbaden). The play a fascinating and restless mix of trombone noises and real time sampling and electronics. Paul Hubweber began with trombone studies in 1971 mainly concentrating on improvised music. He has developed his own special "trombone voice" and his musical focus. It is the special affinity for the balladic and the noisy, i. e. the non-separable combination of tone and sound belonging to the same origin. The description for music (tones, sounds, noises) as totally independent from stereotypes like extemporization and composition - "Home is where the heart is!" Continuous co-operation with: a. o. Claus van Bebber, Martin Theurer, Erhard Hirt, Ulrich Phillipp, Hainer Wörmann, Paul Lovens, John Butcher, Markus Eichenberger, Peter Kowald, Wolfgang Schliemann, Dirk Marwedel. International concert tours and festivals, e. g. FreeMusicAntwerpen, Moers, HumaNoiseCongress, MusiktriennaleKoeln, DerGuteTon, Symposium Contemporary Music, Forum 20 DDF, MusicaNovaBremen, Dance + Music Dresden, Documenta VIII, Ars Electronica, etc. Uli Böttcher has studied art education. Since the early 90ies he has been working as a percussionist in Salsa ensembles. He moved on to improvised music in the mid 90ies and has been a member of the legendary outfit Maxwells Dämon (with Stephan Mathieu). He also is a member of 'Ensemble 2inc'. He lives and works in Wiesbaden, Germany.

CD-R ciszak/kitty_kit/kalinka = vaporous equivalent (xvparowek)

(improvised music)

CD chris brown = talking drum (pogus)

Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99.This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space "grows" its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets.

CD Calabi-Yau "Compactified" (Faria records)

Calabi-Yau (called in the names of two mathematicians (Eugenio Calabi) and (Shing-Tung Yau )) spaces may be that microscopic shape, deep inside the hidden dimensions of string theory. There are many such spaces…  According to string theory, space-time isn't 4-dimensional as you might expect, but 10-dimensional. Where are the extra six dimensions? One answer is that they're "compactified": roughly speaking, rolled up into such a small space as to be unobservable at human scales. You are in the forest, it is night, and in a moment you are in space, exploring the phenomena, for which there is no explanation and knowledge in our days…And You hear the sound of loquacious water far away from You. The sky is in front of You…You can observe all the planets to be clearly. And there are plenty of animals around You, which You‘ve never seen before, which are so close, that they are almost touching You. Thought is equal to movement, there is no difference between them. There is only one way to understand these visions… It is possible because of «calabi-yau», spontaneous movements and feelings inside myriads of spaces…

            10€

CD HONG CHULKI/CHOI JOONYONG "hum&rattle" (Ballon&Needle)

review on Startling Moniker by DaveX> From the Seoul-based Balloon & Needle label, “Hum and Rattle” features some of label head Hong Chulki and Choi Joonyong’s phenomenal turntable and opened CD player compositions. Advantageous use of noise bursts that could make Merzbow flinch, contrasted with periods of near (or total) silence make this an ideal album for headphone listening– especially in regards to the delicacy of Choi’s contributions, which comprise everything from the the faintest digital seek-sound, to full-blown read error exploding into unlikely patterns of bitrate-lacework.

If you like music of Steve Roach - you will like it too! The natural beginning of all life on the Earth intertwines with estrangement pressing on the person the incomprehensible power of an external world (space). Too extraneous and severe really to be a monastery of each of us, as if a mourning bed-sheet swallowed light. In this contradiction, someone finds something attractive for search of the external forms not similar to ours, but probably forgets that its house, a family and surrounding close friends as anybody another is important to him. And being behind an understanding side, and remains not untangled ball drawing to only when on it is unique a question exciting you to you by all means (here and now) it is necessary to receive it is unique a right answer. Stay in a womb, a birth, individual search of sense of existence, leaving in the other world. Spring (awakening) before fading in a cold twilight of mature autumn (death). All is marvelously simple. After all the, Nature does not suffer intervention in its nature. When it exists without our presence – flows and sounds absolutely other light. But the Creator comes and by a wave of an invisible conductor's baton twists a surprising pattern on beauty, in which the voice of a far-far star is audible. The teamwork purpose (the present album) consisted, first of all, in desire to grope some integrity of a universe and attempt to find room for this perception in presented on seventy five minutes of a music material.

CD-R Cordell Klier "Measure Here and Be Now" (Afe Records)

Ambient / Minimal / Experimental. Cordell Klier is an avantgarde sound artist, graphic designer and label owner from Minneapolis, Minnesota, USA. Since the beginning of his career in music Cordell has continued to carve his own trails and musical nitches with his sincere abilities to bridge the widest of gaps between many of the divided music cultures and sub-cultures. Sometimes to the dismay, and sometimes to the rejoicing of critics and fans alike. Through the years he has worked within many genres of sound. Everything from Noise to Metal, to Punk, Pop and Hip Hop, but currently recognising silence, drone, and glitch as his main mediums of output. Starting out in 1987 with his first Metal band Shadow, Cordell has since moved on to form numerous other acts such as Vedisni, Dream Eternal, Climb to Zalem, No Human Day, Monstrare, Under Crushing Wings and more. His music was successfully released by many labels worldwide including Ad Noiseam, Dragon Flight Recordings, Angle Records, Mystery Sea and many more. "Measure Here and Be Now" was recorded between September 2005 and January 2006, it features four tracks of minimal ambient and lowercase explorations...

CD Eric Cordier "Breizhiselad" (Erewhon)

In making Breizhiselad I have tried to rewrite some masterpieces of the traditional music of French Brittany. Apart a few field recordings all the material on this record originates in extracts from two songs of the A side of a 10" 1960s reissue of a 78rpm. The story begins when a Breton cousin discovered the record at his grandmother's house. On first listening, I found it to be horrible - but a work of genius. Horrible because of the catechism-like vocal arrangements but a work of genius in terms of the beauty of the melody and the conviction of the singers. Another particularity is the importance of the disc itself, whose vinyl surface is nearly erased, polished under a sea of cracks. My project has been to transpose this traditional music into the tape music medium with a view to preserving what is strong in the source material and erasing the sugary, churchy treatment of these originally popular songs.

CD Rod Cooper "Friction" (Room 40)

Friction is the culmination of over a decade of instrument building practice and design. My predominant choice of material is metal. I am attracted to its qualities like a shiny lure that reflects light and filters sound.

Each instrument can take up to three years to design and several weeks to construct. Initially I focussed on percussion and bowing, however recent instruments have employed continuos bowing mechanisms.

Coming from a background of sculpture and later working as a furniture designer, gives me the freedom to imagine wild objects and the discipline to actually produce them. I was never satisfied playing a traditional instrument, yet I had a burning desire to make music. My instruments are like a riddle, which I have solved through my own means.

In my life I have spent much time in nature and I feel this comes out through my music as much as the industrial qualities of metal are apparent. The more intentional aspects of my sound are the open space, or the big sound as other people have put it to me. Most of the tracks are pieces of music composed specifically for each instrument and are just recorded as one take. The instrument is the composition.

CD Crawling With TartsOchre Land, Blue Blue Skies/ Grand Surface Noise Opera Nr. 7(pogus)

Long overdue, long promised release. This may be the last Tarts track (and opera) and one of the first solo composed Gendreau recordings. Or I could be making that all up. Anyway, wonderful music and sounds - it is a Crawling With Tarts opera and OLBBS is a killer.

CD cycoclima "celestis" (Gravitator records)

The members of this Russian duo, MK [keyboards, music, sampling, market rituals] and LM [drums, programming, sound engineering, electronic manipulations] reside in Moscow and have been involved in electronic music since 1997. They met in 1998 and formed Cyclotimia shortly thereafter with the purpose of making experimental music together. They have subsequently become one of the most respected and well-known Russian projects in the electronic scene today.

Cyclotimia's trademark sound proceeds from using a mix of the state-of-the-art synthesis technologies and vintage analog / Soviet machines.

Their inspiration in global, free market aesthetics and using of religious samples makes Cyclotimia's message quite disturbing. The created crossover soundscapes are referred to as L'Electronique Mondial by the musicians and Glamour Industrial by the music critics.

CD-R DARUIN / TORTURING NURSE / STPOCOLD split (abgurd)

This is the second part of Harsh Noise 3-way split series. DARUIN, guided by Kazuya Ishigami, is rather well-known among adorers of experimental Digital Post-Industrial. 19-minutes-long track filled with action: it starts off with a Glitch prelude, streams towards schizophrenic TV-collages, trembles with piercing Digital Noise, whirls with a storm of heated noise. A 20-minutes-long track of TORTURING NURSE is recorded by duo of Youki and Junky. Wall of noisy feedbacks interrupted by guitar passages, pick scrapes and screams. STPOCOLD — project of INSTANT MOVIE COMBINATIONS, researching wastelands of Digital Noise. 21-and-a-half minutes of asthmatic asphyxia. Fine-dyspersated gravel of noise is forced through ears by howling and droning frequencies.

Format: CD-r Edition: 114 copies

CD Nick Didkovsky Tube Mouth Bow String (pogus)

These pieces are about the details of musical evolution that emerge from rule-based compositional systems. Using electric guitar, string quartet, electronics, and computer software, we explored territories held together by systems of agreements, forms specified in software, real-time musical choices, and notation.

CD Thomas Dimuzio "Louden" (Odd Size)

Louden remasters original cassette releases from 1987 and 88 (Delineation of Perspective and Flux) exploring noise processes not just as sublime tumult (although "Of Vast and Barren, Rotting Wastelands" has an undeniable magnitude) but through a more abstract analysis of process and technique. "Self-Proclaimed Contention (Without Variation)", using bass, microphone, processors and mixer, is a series of dynamic build-ups segued over each other: an endless take-off that conveys the velvet thunder of intergalactic spacecraft rather than Industrial screaming metal. Dimuzio's equipment includes samplers, analogue synths, E-bow, and tape recorder - the mixture of technical systems generating an intelligent vocabulary of power, impulse, velocity and rhythm. A nice foray into the experiential complexities of modernism. —Matt ffyche /The wire

CD The Domestic Front "Having Achieved Balance, You Cannot Be Moved Sideways...So You Rise" (Belsona)

consists of 4 epic-length tracks (two exceeding the 13-minute mark) of electrified beauty and brutality, recorded + composed in various locations in urbanized Japan and the deserted American plains. More dynamically varied than ever; possibly the best Domestic Front release from a musical standpoint. A concentrated attack on 'anthropocentrism'. A pure sensation./Electroacoustic/Musique concrète.)

2CD dielectric drone all stars (dielectric records)

A couple lists back, we reviewed the most excellent "Dielectric Vol. 1" comp cd from our friend Drew(cifer)'s most excellent Dielectric label. Not one to rest on his laurels, Drew now presents a double cd dose of drone, from a pick-up band dubbed the Dielectric Drone All-Stars. It's all part of Drew's desire to mix and match interesting musicians, facilitating creative collaborative collisions in the studio where he works. This project was based on improvised performances (with the instruction to 'drone') by musicians who had perhaps never even met one another before, later processed and mixed by Drew. The results are pretty stellar for this sort of thing, good enough that Drew decided that not just one but two discs were in order. The All-Stars are comprised of Karen Stackpole (forty inch symphonic gong), Bill Norertker (double bass), Garth Klippert (accordion), Tony Cross (violin), Ben Hayes (didgeridoos), and Drew himself in the guise of Die Elektrischen (electric train). Yes, you read that right, electric train! Kinda makes up for any qualms you might have about the digeridoos... If you've already heard the comp tracks or 12" records on Dielectric by either Ms.Stackpole or Mr. Elektrischen, you'll have an idea of the sort of detailed, dark, dense drone they can conjure. Ok, without using the word 'drone' again, let's try to describe this. The lengthy (of course) tracks can be spacey and wide open, or claustrophobic and ominous. The shimmer of the gong and the sawing of the strings and the breathing of the digeridoo are all almost felt more than heard, I mean, you can pick out things from the mix but the various textures are merged into a slow moving mass, a glacial agglomeration that sometimes sounds more like weather phenomena than 'music'. Then again, there's passages on here very 'classical' in tone. There's a lot of depth and dynamics to these tracks, which succeed at being haunting and even beautiful.Recommended to anyone into the d-word. The dronologists here find this compares favorably with the likes of Organum!

CD dielectric field recording all stars = re:record (dielectric records)

Minimalist music does not necessarily imply a minimum of sounds or volume, it is simply adhering to the formal musical minimalism espoused by Michael Nyman. This record is an attempt to have fun with rules of the genre. Original music performed by Die Elektrischen, Loren Chasse and Jason Levis.Mixed and arranged by Die Elektrischen. Includes remix CD of the original recording sessions by Sote, Carson Day, Gerritt, Aemae and others.

2CD dielectric minimalist all stars (dielectric records)

The second chapter of the ironically named "all-stars" trilogy. The minimalists all-stars discs started with an improv session featuring Loren Chasse, Jason Levis and Die Elektrischen. Disc one was composed by die elektrischen to be both minimalist and psychedelic. Disc Two reinterprets minimalism in a number of ways by a number of different artists. These range from Dielectric veterans like Sote (sonic death monkies), Carson Day, Gerritt and Chris Palmatier to exciting new talent like Arastoo and Aemae. Provides a fresh interpretation of minimalism.

CD-R The domestic front = niflheim vegetation (belsona strategic release)

1st CD-R release limited to only 7 signed/numbered copies. All copies in the first run of 7 were donated to inspiring and helpful friends. New expanded edition (as of June 2007) includes an extra track, and heavily re-considered artwork.2nd edition comes packaged on a glossy backing 7" x 11" backing board with photography by Nigel Staley, and is limited to 93 copies. Some copies will come with additional, one-of-a-kind 'automatic' art designs on the reverse side of the backing board, using photos, paint and other materials.

Niflheim is the Norse underworld overseen by the godess Hel. The title, and elusive / ethereal quality of the sound was an attempt to recapture a fever dream in which I was tending to some plants in the underworld- and to act as yet another attempt at soundtracking the limitless depths of my subconscious.

CD Dvar "Jraah Mraah (Gravitator Records)

The mysterious creatures of Dvar are back with a whole new repertoire of otherworldly songs and playful little ditties. Thankfully not much has changed since the last time, and "Jraah Mraah" has the same hobgoblin-like vocals and impish melodies that make every one of their albums a fairy tale for the ears, keeping with the oral tradition that is essential to the genre. There's one key difference though: the tale is no longer being told from the point of view of an omniscient narrator in your language, but directly by the gnomes, trolls and pixies themselves in theirs. Wonderfully enchanting as always. (CD, clear jewel case, to be restocked soon)

CD Ekkehard Ehlers - "Plays"(Staubgold)

This amazing 76min cd contains Ehlers' complete "Plays" vinyl, originally released on Staubgold and the Dutch Bottrop-Boy label. Staubgold released the mini lps "Plays Albert Ayler", "Plays John Cassavetes" and "Plays Hubert Fichte" while the 7" singles "Plays Robert Johnson" and "Plays Cornelius Cardew" came out on Bottrop-Boy. "The 'Plays' series deals with 'reference'", explains Ehlers. "Everyone is sampling; sampling is the figure of historic devices in digital music. My idea is not to sample, but to refer to historic places and figures. An artist and educator based in Frankfurt, Ehlers recorded his first works for Mille Plateaux and its offshoot Ritornell in 1998, as part of the Autopoieses duo with Sebastien Meissner. Since then he has used the aliases Auch and Betrieb (for Force Inc and Klang Elektronik respectively), and teamed up with Albrecht Kunze in the group März.

CD ELEMENTAURAL RESEARCH PROJECT : elementality (basses frequences) [SE]                                                                                  

this has been a very challenging release for me. Anders Peterson (also known as relapshychO and for his works with rapoon and merzbow - among others) comes from a very different world than "plain" droneland and came to me with very different records from what i'm used to. but i liked the organic sounds made from field recordings of the 4 elements mixes with the guitars, bass and female vocals he recorded. this is actually not "drone" but really worth the listen. opening flower is a good example of how the record sounds like. the CD includes exclusive bonus tracks: the eastern winds EP and the pre-elementality demos. check the companion CDR elementality revisited * CDs will be send unsealed because i have to open each and every one of them to replace the missprinted parts. sorry for the inconvenience * .

CD Exalot "Analogue Flowers" (Faria records)

This music is full of senses of 1980s. It is very analogue in soul and throws listeners into the star-shining past, making him forget about entering the 21t century. The soundscapes are created using real old pre-PC computers, analogue synthesizers and handmade effect-tracts. The album has a very special, pleasant enchanting sound, full of inner light and positive emotions, full of harmonies of stars and romantic feeling from analogue past. Absolutely non commercial music, without any standards and limits. The release includes conceptual art covers and few cards with digital pictures by Exalot.

CD Faryus & Vadim Bondarenko "8 Atmospheres" (Faria records)

This album is the successful combination between two different worlds: bewitched electronics from Faryus and meditative parts of piano and clarinet from Vadim Bondarenko. In addition, this CD contains poetic video clip created by Alexander Sveshnikov.

CD todd fletcher star (arya)

Star is a set of hot desert ambience from Todd Fletcher. He is based in Phoenix, AZ, so it is a natural that he performs in that style of e-music. And Steve Roach produced Fletcher's first album, Byzantiuym, so the influences, however subtle, are there. (There is no producer credit on this CD, so it is safe to assume that Fletcher produced the album himself.) Fletcher has a unique minimalist style that lends itself to desert ambience and arid soundscapes. The atmospheres create subtle rhythms that allow the soundworld to shape itself and to flow naturally. Deep listeners will feel the angst and loneliness of the barren desert landscape. The wide-open atmospheres envelop and abandon listeners evenly. This is a deep journey not to be taken alone or lightly. As with all desert ambience, especially American desert ambience, comparisons to Roach are inevitable and valid. Listeners who get beyond the similarities are in for a treat. This hard-to-get classic is essential.

CD Robin Fox & Clayton Thomas "Substation" (Room 40)

Apart from being recognised as two of Australia's leading improvising musical forces, Clayton Thomas and Robin Fox are also acknowledged for their unrelenting experiments and divergent acoustic approaches in relation to their instrument of choice.

Over the past 3 years, Robin Fox has developed some of the most powerful live processing tools in Australia through his research with MAXMSP. Clayton Thomas on the other hand has expanded his performance styles, moving between blistering free jazz explosions to introverted and delicate expanded preparations on his 100 year old double bass.

The results of this pairing, as you'd expect, are as diverse as they are spectacular. Unrelenting double bass movements are reprocessed into microtonal washes of sound - vibrated objects are transformed into uncharacteristic acoustic phenomena. This record expands on the techniques of electro-acoustic traditions and aligns both acoustic and electronic sounds in an integrated sonic environment where the lines between player and machine, instrument and processing are blurred and redefined.

CD Freiband  "Replicas" (Monochrome Vision)

Highly conceptual project that combines features of remix, recycling and plagiarism – the re-interpretation of classic album by Asmus Tietchens “Daseinsverfehlung”. All what can be heard on this CD, as always in case of Frans de Waard framework, is made from music that already existed: every sound, word in titles and even the cover picture – all is just processing and manipulation techniques.

CD Goem "Robbed" (Smallvoices)

This new Goem release is a solo work by Roel Meelkop (this time without Frans de Waard and Peter Duimelinks). The source material is an anonymous CD, whose samples are used for these eight tracks. The result is a combination of rhythmic patterns with minimalistic passages, strange loops, repetitive elements. Therefore, an interesting episode into Goem’s production, quite different from early releases of the trio, maybe preluding an evolution in its music.

CD Nikita Golyshev  Solaris (Monochrome Vision)

The debut CD album of one of the most promising russian underground musician, presenting his own unique vision of ambient music. Combining the deep layers of machine-like hum and minimal melodic keys, Nikita creates highly emotional and dramatic journey to the netherworld. Two parts of this one hour long suite are the partly presented in the program of Add Noise II festival on May 15th, 2007

CD Erik Griswold "Altona Sketches " (Room40)

Bolts, screws, paper, rubber strips, and bits of cardboard are wedged, laced, and screwed between the piano strings to create layers of interlocking microtonal scales. These form a matrix of possibilities that are explored, sounded and discovered in a series of improvised musical moments. Cross rhythms. Imperfect memories.

Bio Currently based in Brisbane, Australia, American born composer and pianist Erik Griswold has been a leading force in Australian contemporary composition for prepared piano for many years. Splitting his time between solo pursuits and his work with percussionist partner Vanessa Tomlinson, his compositions have been presented across the globe in the US, UK, China and other locations in Asia and Europe.

Altona Sketches was conceived following a lengthy session of prepared piano improvisations delivered in support of a one-man juggling show with Australia's highly regarded contemporary circus troupe Circa. The album splits its sound palette between short and sweet excursions into music boxes and prepared toy piano and lengthier explorations of Griswolds unique prepared piano approaches.

CD-R eta carinae = 3 (etalabel)

The newest CD by eta carinae is the reissue of its album called "::3::". It is a certain return to more experimental and ambient forms. The first part of CD consists of quiet soundscapes, full of dark, but soothing music passages. "That number will rise" opens the second part, filled with shorter tracks, often based on the samples taken from field-recording sessions. This reissue of "::3::" includes three bonus tracks. Two of them are remixes made by Jarek Grzesica and his SEED Project. These remixes are separated by the concert version of "The number will rise" track, recorded during 'Future Sessions' in BIS Polskie Radio on October 23rd, 2005. The guitar part is played by Michał Kolasiński. Some of the tracks are dedicated to the victims of tsunami in the Far East.

CD Idioscapes "v/a" (Idiosybcratics records)

(featuring Janek Schaefer, Keith Fullerton Whitman, Critikal, Rapoon, KK Null, Charlemagne Palestine, Steffen Basho-Junghans, Sébastien roux, Troum, Eve and the Sickness, Jazkamer, Daniel Menche, Idiosyncrasia"Idiosyncratics head honcho Yannick Franck sums up how Idioscapes came together: 'the idea was to ask some of our favorite sound artists to take part in a compilation, and to our surprise they accepted. The only concept was that they had to provide a specific/particular/idiosyncratic piece.' Qualified as a 'drone paradise' by Lasse Marhaug (of Jazkamer), the result is a fine and coherent whole, full of extended textures, contrasted acoustic surfaces, subtle and strong. Idioscapes contains 70 minutes of authentic acoustic researches, with glitches, loops, noises, deep and glittering textures, subliminal frequencies and narrative inserts, punctured with sensible musical moments."

LPJamka - Z okna ucha (Urbsounds Collective)

.. . Lastly, we’ve got this strange experimental electronics LP by Jamka. Z Okna Ucha is available as a 12-inch artefact pressed in carbon fossil fuel, but also in digital form as a download for those who do not care to house such artefacts in their abode. Jamka are a duo of Slovak youngsters named Monika and Daniel who use vintage synthesisers, mics, pedals and drum-boxes to produce a species of avant-techno instrumentals, all heavily-amplified, recorded live, and whacked straight onto the tape with no overdubs. The resultant energy and excitement lifts off palpably from the grooves of this little beastie…Jamka spurn polite and tasteful production values in favour of nasty, loud and unrestrained analogue yawps. While I’m too old to groove out to every milestone on this LP’s project path, I gotta ‘fess up that it works like juju when you sense that the voltage overload becomes a little too much for our plucky pair to handle, and things start to veer slightly out of control. I’ll also welcome any record which name-checks the legendary Golem on side two!

CD Mike Hansen: "At every Point" (etude records)

wonder why the art of writing prefaces to album has all but disappeared from sight. “As with Mike Hansen’s paintings”, Johnson claims, “the compositions of “At every point” avoid making a grand statement (...) It is the lack of a grand statement that allows the listener to focus on the depth of each detail.” Which is another way of saying: There are surprises behind each and every corner. As one might expect, the open invitation to enjoy the pleasures of this album’s details requires a great deal of concentration and the ability to let go of all expectations concerning structure. Not because there is none to be found here, but because its logic is hard to decipher. As humans beings, we all rely on a certain degree of familair organisation, while our thirst for the new leads us to places alien and fearsome to our organism. This dichotomy has lead to techniques such as cut-up writing, but Hansen is not one to simply construct meaning by deconstrcting it on another level. Rather, his method comes close to walking a tightrope: Each step is carefully measured, yet once it has been taken, the situation has changed and requires new considerations. While our imaginary tighrope walker will take hours to cross the canyon, the process of “At every point” is one of many instantaneous decisions: Sceneries change abruptly and without prior notice; what was once pleasant can now appear intimidating and the darkness breathing in your neck may reveal its hidden beauty. Sound-wise, Hansen has a strong inclination for scraping metallic noises - sometimes as soft as brushing cymbals and occasionally as confronting as dropping a heavy trash bin lid from the top of the empire state building - all created from instruments such as cowbells, harmonicas or Vietnamese drums. On more than one occasion, the thought of this being Jazz comes up, not only in the most obvious example of “Tidying up after” with its blaring wind section and drum escapades, but quite generally in the way the different elements interact with each other, interlocking for ensemble play and errupting into weird solos. It is this interaction on the one hand and the notion of rhythm on the other which hold the disparate components together and act as a guide through the abstractions of “At every point”. Even though Hansen comes from turntablism, he has not reverted to the usual and probably easiest option of sampling himself to death, but created a world from scratch. Which is maybe the most remarkable feat about this album, which sounds as though its source material could have been taken from an international field recording sampler. The fact that it appears hugely ambitious is certainly no contradiction to Andrew Johnson’s opening remarks: In the lack of any recognisable theme at all, every detail could be a grand statement. By Tobias Fischer

2CD Kinetix  Gestaltsystem 01 ::  Possible Forms (Monochrome Vision)

This release is a totally reworked version of "Possible Forms" previously produced as CDR in edition of 100 copies by Nova Ars Digitandi, and it's a part of "Gestaltsystem" installation. It has unique conception of everchanging soundsculpture, composed by randomly juxtaposed audio fragments of the specially designed structure. This is the best digital sound art piece we ever heard, and it should appeal to all minimal electronic music admirers.

CD limpe fuchs = pianobody 2002 (seven legged spiders)

hard-to-find disc of sublime sound-art lineage pieces from anima~sound’s limpe fuchs (prior releases / editions from streamline, alga marghen, and robot ... not to mention anima’s contribution to the legendary “an afflicted man’s musica box” lp on united dairies...) - eight pieces rife with murky underwater scraping, inside-piano attacks, and distant / room-tone events ...

3"CD Lee Gamble = 80mm O!I!O (Part 1) (entr'acte)(E36)

This is the first in a planned triptych of 3" CDs by English composer Lee Gamble. Consisting of seven virtual-hybrid models of spontaneous and ordered (non-essential goal) related celomund O!I!O, these computer audio compositions are culled from live and studio recordings made between 1999 and 2006.

Lee is a founding member of the UK-based Cyrk collective, and also the host of the Active Cancellation show on Resonance FM (the follow- up to the excellent Utter_Neevs).

2CD gintas k = lengvai/60.one mn audio clors of...(cronica)

Crónica is dazzled to present a double Gintas K release, Lengvai, a hyper-musculated raster and, 60 x one minute audio colours of 2khz sound, an open brain surgery in 60 steps, eastern style. Lengvai (eng. Easily) is the result of long-lasting sonic adventures through experimental digital post-techno, rich scales of frequencies and dynamics, from subtle to intense overladen structures. Lengvai is shaped by luxurious compositional precision, driven under the sway of musical intuition. Colorful hypnotizing beats, intersections of synthetic textures with sharp and powerful melodic flows are organized into polychromic soundscapes.

CD helena gough = with what remains (entr'acte) 

Helena Gough’s debut album consists of seven soundworks, conceived as spaces to enter. Within these spaces sounds are born, then evolve, disintegrate and sometimes die. Each is created using a minimum of raw material, usually derived from recordings of small sounds and domestic noises. This material is pulled apart until its roots are severed and it becomes free from its original ties. Efforts are made to find a balance between spontaneity and precision. Rarely is there a resolution or a direct linear progression from A to B; often it is something closer to A into A — ideas turn in on themselves. Textures appear to be still but are always in motion. This microscopic approach is a focus of the way in which sounds are treated.

CD pawel Grabowski/the beautiful schizophonic/james eck Rippie + paulo Raposo = product (Cronica) 

This release by the Portuguese label Cronica Electronica is a very interesting collection of experimental productions, esoteric and diluted in their sequences, abstractions with an environmental slant and dream-like in the tracks by Pawel Grabowski, a Polish-born composer now living in Ireland, who works with the netlabel 'Silence Is Not Empty'. The tracks by Jorge Mantas are equally rarefied. Using the moniker 'The Beautiful Schizophonic', he introduces us to suggestions, drones and post-romantic digital landscapes, equally fine elaborations of a sensitivity that mixes novelties with more traditional sounds. Only one track for James Eck Rippie and Paulo Raposo, a track that's jumpy at the beginning and deconstructs the sound materials used, integrating them in a synthetic-organic mixture, full of feedbacks, field recordings and turntablist manipulations. Worthy of mention is also the artwork by Casey B. Read, a designer interested to dynamic systems and communicative iterations in the computer science field. Aurelio Cianciotta

CD Josetxo Grieta  = Euskal Semea (w.m.o)

Josetxo Grieta is the triangle composed by Josetxo Anitua (voice & radio), Inigo Eguillor (drums) and Mattin (voice & guitar).Epeear Semea I ( version for 20 guitars, broken glass, 3 watering cans and voice) Epeear Semea II (with drums and vocals) "Euskal Semea" is the Basque redefinition of "European Son" ( Lou Reed's particular homage to his mentor Delmore Schwartz, poet and professor at Syracuse University). Those two tracks are a punch in the face and a brillant exemple of creative music coming out from Bilbao."Epeear Semea I" starts with a gentle field recording (the audience waiting for chaos?) till a low end aquatic drone enters. Things are getting fucked up from here: abrupt soundscapes growing and making you loose the sense of orientation progressively."Epeear Semea II" features repetitive and nicely broken drums with flashes of insane vocals and guitar building into a very intense freak out before slowly going away. when the music stops it makes you realize that this is a live recording, while people clapping hands politely after such a sonic storm. The artwork is beautifull: a big size glossy paper 12 pages booklet (with a nice bloody banana on the cover) featuring texts (partly in english) including lyrics, creative comments about the recordings and some clues about the perception of a so called national identity by Basque artists. Antoine Chessex

CD GRUNDIK & SLAVA - 'Frogs' (Topheth Prophet / Auris Media)

The second part of the "Fauna" series by this project, the first of which (“…For Electronics and Birds”) was released by Stateart. Thematically and sonically centered around frogs and their environment, this release results from a collaboration with singer Victoria Hanna and also features contributions from Israeli artists Vadim Gusis (Chaos as Shelter) and Igor Krutogolov (Igor18). A mixture of field recordings, electroacoustics, improvisation and endless drones.

CD gianfranco grilli = il tempio di karnak (aurora)  

Archeological sites exert a special charm on me. Visiting places like Pompei and Cerveteri I always felt that something there still lives on, and there’re signals to catch in the air. People that lived in those places left sensations, moods, affections, prayers never faded in spite of time. I never visited Karnak, and I never was in Egypt, but the images of the ancient temple of God Amon impress me with the grandiosity of the building and the presence of the holy lake, whose waters reflect a wood of keeps, columns, obelisks and invisible presences. I wanted to represent these feelings in music with two tracks that try to describe the temple of Karnak in two particular moments of the day: dawn and sunset. Three thousand years ago, among these stones and sands, priests performed their rites, artists decorated columns and architraves, common people prayed. Sacrifices, invocations, celebrations and funerals took place there. All this over, but maybe something invisible survived, permeating the atmosphere of those places with an aura of mystery that we can feel if we want to.

2.10" Hafler Trio, the : Only the hand that erases can write (small voices)

"ONLY THE HAND THAT ERASES CAN WRITE THE TRUE THING" is a set of four "rituals" (plus one locked groove) using four voices for four very different purposes, all on two 10" clear vinyl records with gatefold sleeve, shadows, and titles. It uses some new techniques for voice processing developed by THE HAFLER TRIO within the last two years, based on the properties of resonances of voices to affect acoustic space, and the meaning behind The Utterance. Something to hand down to the grandchildren. Transparent vinyl in gatefold sleeve. Limited edition of 600 copies.

CD Hapsburg Braganza - Hatchling (Idiosyncratics)

"To the exorcism of the ghosts and escaping from cities"

Hatchling is a slow-burning electroacoustic piece, integrating dense atmospheric collage of field recordings and concrete sound source with highly textural drones and warm subtle harmonics. A very personal and breathtaking piece, both in the heritage of Francisco López and Charlemagne Palestine.

CD if bwana = radio slaves (monochrome vision)

Originally issued as a limited edition cassette "Radio Slaves" on the Medicinal Tapes (France) in 1986, then re-issued on CDr by the Generator Sound Art (USA) in 2003, this album finally released on CD with some bonus tracks. Loopy and sampledelic, it will return the spirit of 80s into your ears. Great collage music from the pioneering american experimental sound project.

10" Kammerflimmer Kollektief / Strings Of Consciousness

Limited edition vinyl (500) with our friends from France Strings Of Consciousness featuring two exclusive versions.

CD-R Kauders = de sade messe (nocords)

(objects improvisation, loud guitars, ambient electronics/For a series of commissioned concerts at Sonntags Abstrakt maru asked kauders to conceive and compose a piece on his relationship withJustine. The Marquis de Sade-messe in a-moll (Marquis de Sade mass in a-minor) reflects all these emotions in a very direct, rough, sometimes even coarse way. Kind of a pay-back with guitar, electronics and voice instead of ropes, whips and paddles? I really don't know. But if so, masochism has never felt that good. And sounded that great.

CD Kazuya Ishigami:[trash, rubbish, poor works]

1stCD of KAZUYA ISHIGAMI. from 2004 to 2006 unreleased 10 works. 2009.MAY.release     Electro-acoustic

CD junko&mattin = pink noise (w.m.o/r) 

Pinknois (can’t recall label name or be arsed to dig out disc) is beautiful. Thats right. I read some reviews of this baby which referenced the usual kinda “screaming torture victim” stuff and maybe a bit of the old “gender angle” but it didn’t sound like any of that to me. J is up in the mix and really clear - maybe not even amped up and her vox don’t mesh in with the general onslaught as with Hijokaidan or Dust Breeders. J and M are doing the same thing - they move together (like Sea Ensemble?) j with pure voice, M with some wonderfully scrunched up electronics- BUT- because of their different instruments there is this palpable and quite expressive and tasty s-p-a-c-e between them which is what made this disc sound so beautiful to a sonic aesthete named myself.

CD kientzy plays johnson (pogus)

In Kientzy Loops, the accompanying loop is a mix of six alto saxophones played in continuous blowing, while the principal lines are played on alto saxophone, except for the third section, played on baritone. The piece, premiered at the auditorium of the ADAC in Paris, was awarded a French national prize in the Victoires de la musique as the best piece of contemporary music for the year 2000. We are indebted to our friend Marc Chemillier for La Tortue de mer. As a mathematician Chemillier became interested in the unique geometry of drawings made in the sand by the people of Vanuatu in the South Pacific. This (turtle) drawing, and there are many others, consists of a single line with a total of 103 turns, and one must draw the sequence so that the symmetrical form comes out just right. The drawing is systematic, and it also makes a lovely logical form when translated into music. We decided the sequence would sound best played on the contrabass saxophone, tuned an octave lower than the baritone, a rare instrument with heavy notes that seem to mimic the embarrassing slowness of these giant sea creatures. Narayana's Cows, inspired by an Indian mathematician of the 14th century, and playable on any combination of instruments, is written on three staves: the complete melody, the reduced bass melody, and the drone. The present multi-track saxophone version is probably as rich and energetic as any of the large ensemble versions. The melody is played by threeoverdubbed sopranino saxophones in unison, the bass line is played by three baritones, and the drone is played by three altos. In each of the four Infinite Melodies the music follows a logical sequence requiring each subsequent phrase to become longer and longer, reaching out toward infinity. Since the four melodies are independent pieces, it is not necessary that they be played in the written sequence. In this case the interpreter ordered his four interpretations according to their contrast and durations, so that the CD ends with Infinite Melody No. 1. Here the music contains longer and longer silences, finally ending with a silence so long that it seems to dissolve into infinite silence as the CD player stops turning.

CD Kontakta "s/t" (Odd Size)

Featuring a line-up that some 17 years on reads like a who's who of the Cologne experimental electronic and electronica scene, this early aggregate featured the combined talents of Markus Schmickler (Pluramon, Wabi Sabi etc.), Sonig label avant gardists Hajsch and C-Schulz, Entenpfuhl label experimental electronic meisters Frank Dommert and Monika Westphal (who records as PFN) and A-Musik label/distribution head Georg Odijk. But what about the music? Drop dead stunning, and a clear roadmap for where this mob would be sonically heading in the coming years, perhaps most specifically for Schmickler. Comprising one vast and amorphous slab of approximately 38 minutes, the profoundly transportive and eerie ambience engendered stealthily evolves through veils of occult atmospherics ala Japanese psychedelic improv mystery movers Toho Sara before wandering into a fathoms deep tidal pool of isolationist atmospherics. Essential.

CD igor krutogolov = white (topheth)

Igor Krutogolov is mostly known for his projects 'Kruzenshtern & Parohod' and toy 'Igor Krutogolov's Karate Band' but is also known for his collaborations with Chaos As Shelter, Agnivolok, Bastard Noise, Tidal, Darkwood and others. 'White' is a seven piece composition that can be compared to the works of such as Andrew Liles or Colin Potter. Among the instruments used for this album are bass with bow, strings, objects, flute, keyboards, birds and human voices. The result is a rich, fascinating and ambiguous soundscape as expected from this unique artist. Ltd x 1000 copies in a beautiful digifile. Israeli import.

CD BRIAN LAVELLE - 'Supernaturalist' (EE Tapes)

Exclusive new output from this ambient / electronic artist from Scotland. On "Supernaturalist", Brian Lavelle presents 4 long brilliant compositions (70 minutes), minimal at first hearing, but with full maximum impact: bare to multi-layered drones, gentle to hallucinogenic field recordings with natural elements, ambient noises and real instruments (piano, bass etc). A classic album with style, hauntingly beautiful!Ltd x 300 copies in a 7" sleeve.

3" CD-R Larsgarden/Rowenta - "Larsgarden/Rowenta" (Tuguska Label)

A collaboration between me and German sound artist Frank Rowenta. Rowenta has been active in the experimental music scene since the early eighties and has released various records. Link: Frank Rowenta

CD-R Logoplasm "Testa piena d'orche"(Afe Records)

Logoplasm works with field recordings and electronics and make highly personal music. The shimmering of voices, the careful drone of an organ or the simple plucking of a stringed instrument: this is a great mixture of instruments and field recordings. There are links to the music of Ora and Mirror, certainly towards the end when big time drones and rain covered field recordings emerge, but especially in the first half Logoplasm show a much more personal approach. Their vaults should be opened more!" Vital Weekly

CD Looper's Delight Compilation Volume 3/ V.A. (Electr-ohm)

01 - Zoe Keating (U.S.A.) We Insist 3:45 02 - andy butler (U.K.) ro-sham-bo 4:10 03 - Tony K / OVO (U.S.A.) Manifestations 4:08 04 - Krispen Hartung (U.S.A.) Groovy Space Faring Machine 4:12 05 - ghost7 (U.S.A.) nature fights back 4:45 06 - The Coyote Loops! (U.S.A.) Excerpt From 'The Long Dance' 5:01 07 - UNDO/David Kirkdorffer (U.S.A.) Celexa & Effexor 4:00 08 - XISTH infotainment (U.K.) Infinity (edit) 4:03 09 - Stephen Parsick and Markus Reuter (Germany) Orange Moon Excerpt (for Ina) 3:57 10 - Phasmatodea (U.S.A.) Nesting Shelters 3:53 11 - Sunao Inami (Japan) Sink 4:11 12 - Electric Bird Noise (U.S.A.) We Share More Than My Fathers Last Name 2:33 13 - Mark Francombe (Norway) Mogadishu 3:52 14 - Fabio Anile (Italy) In a land of stars 3:48 15 - Boysen-Wagner Duo (Sweden/Switzerland) I'll Be On That Hill 3:29 16 - Scott kungha Drengsen (U.S.A.) Learning to walk means falling 4:02 17 - Michael Plishka (U.S.A.) Overwhelmed By You (A Haiku For Kathy) 3:49

A Compilation album of International Mailing List Community,it called Looper's Delight. Volume 3 is release 7 years after Volume 2 was released... 17 international looping artists joined, Ambient,Experimental,Minimal,Drone,Improvised,Electro-Acoustic etc. More details(artists bio,photo etc.)available,Click Here. Looper's Delight is a cultural and informational resource for musicians creating with audio loops of every sort. Loop based music essentially involves the repetition of audio samples, or loops. From that basic premise looping moves off in numerous directions, encompassing a wide range of techniques for building, manipulating, and using loops. The technique crosses many musical boundaries and appears in a wide range of musical styles and genres.

CD magicicada = everyone is evryone (public guilt)

Magicicada is the musical life of Atlanta musician/sound designer/photographer, Christopher White. “Everyone is Everyone” is an organic, experimental work that blends traditional, as well as folk and eastern, instruments with found objects, samplers and field recordings to create a work that varies from delicate, cinematic soundscapes to harsh electronic environments. The instrumentation includes (but is not limited to): pump organ, voice, contact mics on faulty electrical lines, melodica, toys, iron balls rolling on wooden floors, accordion, cellophane, air cans, tape decks for the blind, guitar, shruti box, MARTA (Atlanta's public transit), synths, oven door (percussion,) cellos, zurna, paper, frogs in the backyard, and the remains of Hurricane Denis shaking the roof. The Arigato-Pak style covers are beautifully printed by Stumptown Printers on (peacepunk approved!) 100% recycled , Environment 120# cover

CD-R Maru = the beauty and the dolls (chmafu)

The Beauty And The Dolls is that little girl sitting in a dark corner, sewing someone's (her own?) mouth shut. On this album maru invites you to follow him to his ride through hell and heaven. He swishes through heavily distorted areas punctuated by irregular beats (the heart oh so shocked), slumps into clusters of  mold, hears voices (the sacred name of love), bounces through screams and screeches and rots into a pile of anxiety and fear, just to be pushed away and smashed on the floor by the ghosts of his past. So don't fear - maru is alive.

CD Mac Mavis "Report from the lake" (Faria records)

Synthesized audio report from far away lake and itґs surroundings of natural beauty and original almost untouched wilderness. Drifting in a boat with only a small synthesizer and portable recorder to create ideas for later production. Capturing moments of peace impossible to tell in words. Life by this lake, where only handful of people live. Meetings with the friendly natives living near by. From waking up to early morning sunrise to late night boat journeys,losing all sense of time and date. World as we know it has no meaning in here. This is no 2 week holiday watching TV. This is wildlife, survival for the inexperienced. When the evening falls and winds calm down you can hear whispers of the wilderness. When thunder storm arrives you have wooden cottage for shelter. No need to worry about electricity blackout because here you never had any. Old radio at the cabin porch playing ambient music, battery operated synthesizer, guitar and food. Silence is everywhere. This album is based on real life experience. Melodic and warm ambient music, created totally with hardware synthesizers and sequencer. With some actual on location field recordings as reference.

Limited edition

CD YOSHIO MACHIDA - HYPERNATURAL #3 (Baskaru)

Six years after the release of "Hypernatural #2", Yoshio Machida is rounding up his magnificent trilogy of electroacoustic collages with "Hypernatural #3". A unique and highly personal work, the Hypernatural series has made of Machida a world-class sound artist. Assemblages of field recordings and treated instrumental sounds, the music on "Hypernatural #3" evokes simultaneously the universal and the intimate, Mankind and Nature.

CD-R Massaccesi: Pop style has stopped happening now (Zang:records)

American noise artist with a unique style. No long and boring drones, but varied, chaotic and humerous noise. An uncompromising album. Not to be missed!!!

CD  Gen Ken Montgomery  Drilling Holes  In The Wall (Monochrome Vision)

Archive materials from one of the most mysterious musicians in electronic underground, dating from 1988 to 1991. Each piece composed by Gen Ken Montgomery is the result of domestic alchemy, transforming some ugliest environmental sounds into artistic images of impressive beauty. His instruments are just prepared toy synth, but also from time to time laminator, icebreaker, radiator, film projector and so on. These recordings were made in Conrad Schnizler studio in West Berlin, and also live on stage there, in time of Germany reunion.

CD Mecha/Orga = from a piner (labforelectroacousticmedia.gr)

From A Piner can be considered an anthology because the three tracks that are included reveal a wide range of influences: digital drones, noise and “classic” ambient approach. All tracks are performed with the exclusive use of the Audiomulch software.

CD Mecha/Orga "56.24" (Absurd)

“as if a garden being planted and you are watching all the process from the bare earth to the colorful result, comes 56:24... generating a drone layer which slowly starts the cultivation process where layers upon layers slowly build a delicate atmosphere and the way they expand and grow draws an even more colorful result, as if a swarm of insects spreads the pollen in our garden, helping it grow even more beautiful and even more colorful, lasting in a flabbergasting droning result...”

CD montreal sound matter = v/a (pogus)

Works by Francisco López / Louis Dufort / Steve Heimbecker / Hélène Prévost / Mathieu Lévesque / a_dontigny / Chantal Dumas / Tomas Phillips

Montreal Sound Matter / Montréal matières sonore brings together eight Canadian and international sound artists. The project began with a workshop on environmental sound collecting by Francisco López and led to the development of a collective sound project including an album, a soundinstallation, and a concert. This is the recording.

LP Morsanek / Vinkepeezer (Kazemat)

Kazemat presents cut and paste composers who make enchanting, alchemistic and cinematic music that is constructed out of samples and sounds that are put in another context. In the past many composers have used existing material in their work, like folk melodies, quotations or stylistic elements from other composers. In the twentieth century composers started to use recorded sounds and in hiphop sometimes even entire songs are made out of samples of existing music. This tradition is continuing with the ever growing possibilities technology has to offer. There are new ways to create music in a very personal, organic and intuitive way. Serious and real new instruments can be made and used to explore and express interesting and daring musical ideas. Many new artists are finding their own voice and are making beautiful, cinematic and colorful music that is often obscured from the music loving audience. Kazemat uncovers this music on 180 grams vinyl. Kazemat Records is founded by Ivo Bol and Rob Vugs.

CD-R Stine Motland “live at zang:sang” (zang)

We’ve just released a cd-r with Stine Motlands great performance at zang:sang earlier this year. We thought this performance deserved special attention. Stine Motland made a strong impression on the audience both with her performance and her voice.

CD Sarah Murphy = when bill danced the war (the word hoard)

Sound Poetry

CD-R Nachtstrom&v93r = organicum (chmafu) 

Since the 1990ies both v93r and nachtstrom explore new musical territorities, both on mego, the the now-defunct Vienna-based label; v93r as a longtime member of the legendary glitch- punk collective farmer's manual, nachtstrom as a solo artist. And since they are brothers in real life, both felt the urge to do something musically together after all these years. Sessions for the release called „organicum“ took place in Neuköln/Berlin in the late summer of 2005; editing was finished in the middle of 2006. The concept behind „organicum“ is the freedom of „concepts“: its about two artists creating music together without dominating each other, and also its about a creative, organic flow without the need to put every sound and sample in an external form ( like synchronising beats in sequencers). The organisation of „organicum“ is following internal principles, so the result is a sub- concious stream of musical events taking only place when the participating artists „felt it“. „Organicum“ was presented by v93r and nachtstrom at the „interpenetration festival“ in Graz.

CD Narcotic Dreams "Shattered"(804Noise )

CD NATURAL FOOD (Porter records)

NATURAL FOOD WAS FORMED BY MAIT EDEY IN 1972 WITH AN ASSORTMENT OF BOSTON BASED MUSICANS.  MAIT IS ALSO RESPONSIBLE FOR STARTING THE SEEDS LABEL (WHICH NATURAL FOOD CAME OUT ON) AS A SORT OF MUSICIANS COLLECTIVE IN THE BOSTON AREA.  THANKS TO MAIT WE ALSO HAVE THE AMAZING RECORDING BY BIRIGWA AND JEANNE LEE'S "CONSPIRACY"

CD Njd: Plate Tectonics (auf abwegen)

Crawling back into the wound: NID 1995 – 2007. NID is an experimental group whose aim it is to challenge conventional concepts and structures of electronic music by experimenting with the source of sounds. The music is created on the spot, making each performance a genuine and unrepeatable event. It has been described as moving sound-objects, improvised electronic noise, or brooding ambient music. It has been compared to an underwater-journey, a pathway to the inner self. Given enough volume, it certainly affects the body as well as the mind. In which way remains open to the listener’s psyche.

3" CD-R Ondo - "Shields" (Tuguska Label)

Ondo sucks the light out of even the brightest day" (itsatrap.com) British label Paradigms Recordings released the first Ondo album “Mahavishnu” in February 2008. It´s a 56 minutes dark journey combining noisy doom, gloomy ambience, drones and experimental avant-gardism.  Other Ondo releases out there: split-3" with french act Austrasian Goat on the BurningEmptiness label, “Alliansen” (CDr) released by American 200mg records, "Low" CDr released by Canadian label Premature Burial and “Shields” + "Slow" (3” CDrs) on my own micro label Tuguska.

CD YUI ONODERA & THE BEAUTIFUL SCHIZOPHONIC : radiance (basses frequences) [JP/PORT]

here are some words from Will Long of Celer about radiance: "Few composers of modern music produce works that are continually awe-inspiring, captivating, and original as Yui Onodera and The Beautiful Schizophonic. Their collaborative work 'Radiance', offers an absolute experience of tenderly-crafted, hidden elegance, audible and pure instrumentation, and field recording realism. 'Radiance' breathes with lightness, and most importantly, majesty."

CD Yui Onodera | Entropy (Trumn)

Originally released in scant quantities in 2005, this stunning work from the wonderful Yui Onodera gets a timely re-issue here on the newly formed Trumn imprint out of Tokyo. What this proves (as if it needed proving) is that Onodera has been ploughing his own furrow in a low-key way and, in a lot of respects, is only receiving the plaudits he deserves. I know that I feel like I came to the party a little late. But, I'm here now and 'Entropy' is exactly the kind of album that I love to sit back and collapse to, or work to, or just sit and daydream to.

It has an ethereal, drifting quality and the variety of the pieces is lovely. Once again, it's the sort of album that you could call drone, and indeed there are plenty of subaquatic textures and muted chords here, but there's more in the shape of more experimental sounds and recordings that punctuate those more ambient moments. That's the beauty of this – one moment you're submerged in a filtered down, bubbling sound and the next there's an uplifting, sublime chord awaiting you before adding in a gentle guitar and then something a little more abstract. Predominantly, though, Onodera is all about the feeling and mood and the one thing that's common throughout every track on this album is the fact that there's always a delicate and fragile beauty residing within each piece.

The combination of music and absolutely wonderful oversized packaging with beautiful printing mean this is an item you'll be enjoying for years to come. A big warm welcome to Trumn here at Smallfish – and what a way to kick things off. Highly recommended for fans of the deep side.

LP DJ Ordeal Sea/Seagull (E39) (Entr'acte)

DJ Ordeal has been creating his progressively strange tape collages for the best part of a decade. Following more than a dozen releases, mostly on his own Sparticus Stargazer label, Sea/Seagull may well be his oddest recording yet. Based on a multi-tracked and speeded-up vocal riff, played alongside recordings of sea breakers, voices, orchestral and seagull sounds, this is a painstakingly constructed audio tapestry, the result of intense, hour-upon- hour, tape-to-tape work. Get acquainted with DJ Ordeal via a fun Q&A with Dave Heaton of Erasing Clouds and an interview by Jimmy Possession of Robots and Electronic Brains fanzine (who also hosts a show on 209radio in Cambridge [UK])

First edition of 200 copies

CD Orfeo 5 = A year on the ice (wordhoard)

Though the group first performed in 2002, after a long series of line-up changes orfeo 5 have finally released their first CD in 2009. a year on the ice combines influences from, among many, Jon Hassell, Evan Parker’s Electro-Acoustic Ensemble and Nils Pieter Molvaer in music that is romantic and narrative and mysterious all at once. Without setting out to do so, Shaun and Keith have created something that stays close to jazz while drawing on all sorts of other musics. All the tracks are improvisations recorded live at The Word Hoard in Dean Clough, Halifax, and the CD as a whole is a powerful and absorbing journey, somehow ambient and passionate at the same time.

CD-R TAIKO OROSHI - "Bleeder Locked Attack" (Ronf)

pure experimentation and investigation of textures and sound. 55 minutes Length!! 79 copies pressed!!

3"CD-R PACTA - "FRAGMENTS" (Tuguska Label)

Solo project started 2004. Guitars, electronics and laptop manipulations Some releases out. Check discography.

CD Phroq "Half-Asleep Music" (Entr'acte)

“This music was recorded late at night while I was half-asleep. The idea for this unusual method came from an article on unihemispheric slow-wave sleep, in which one half of the brain rests while the other remains alert. By working only when it was a considerable effort to stay awake, I hoped to capture that moment when music is guided by the subconscious – when, stripped of all the usual critical faculties, I had to rely instead on raw intuition.”

Francisco Meirino began recording as Phroq in 1994. His music, a complex and constantly evolving electronic soundscape, explores the tension between programmed and accidental results. His work has been released, performed and exhibited worldwide. He lives and works in Lausanne, Switzerland.

First edition of 300 copies

CD Phroq "Connections, opportunities for mistakes"(Shiver Sounds Records)

"Connections, opportunities for mistakes" is based on the idea of recording what is not supposed to be: minidisc recording failures, the death of a PA system, electro-static background noises, broken cassette recorder and so forth."

CD-R Phroq "Recordings Of Various Vibrations And Stress Situations"(uzusounds)

01: Abrupt ending of a live performance / 02: Stereo piezo transducer sandwich / 03: The basement /     04: Vibration kills (For M. Gendreau) / 05: Live at Espace St Julien / 06: Recording of saliva and a fridge /     07: Live at T.IF.M.H. / 08: Headphone failure 09: Live at Paradox / 10: Field recording of an unknown vibration     01 After shaking for several minutes, my computer turned off (it was running only on power supply) the vibrations just unplugged     it.     02 well, it's a stereo piezo transducers sandwich !     03 ln the basement of my office burldind, some pipes are vibrating because ot the heavy traffic surrounding the building. There is also a heater running in the background.     04 Several contact mics were placed on various spots of the mechanism of a tumtable to catch all sorts of vibrations. the high-pitched sounds are the noise made by the unplugged ground cable.     05 This an extract of a max/msp live performance at Espace Julien, Marseille. 2004 (Iive stage recording). The subwoofer just    died.     06 Saliva sounds recorded in front of my fridge. (the sounds from the fridge are recorded separately)     07 Live at Totally Intense Fractal Mindgaze Hut, Oakland. 2008. There were no subwoofers, so I tried to emulate some floor    vibrations (it was a wooden floor) by putting the bass loudspeaker directly on the floor.     08 Recording done using broken headphones at max volume as loudspeakers.     09 This live set (Paradox, Tilburg. 2006) was done uslng acoustic sounds of an extemal hard drive. The sound done by this harddrive was sa annoying at home thai it was kind of fun to use it for an artistic purpose.     10 I can't remember where and when I recorded this, I just know it was on one of my "field recordings" minidiscs.     Assembled and mastered by Francisco Meirino at Shiver Mobile in 2008."

CD pink twins = intercontinental catapult (pink twins media)

Recorded live at Sala Rossi, Gran Teatro La Fenice, Venice, 6 October 2005 (La Biennale di Venezia, 49th International Festival of Contemporary Music; in collaboration with Vortice - Teatro Fondamente Nuove)

CD pink twins =let it beep (pink twins media)

The debut CD release by Pink Twins includes 10 tracks recorded live and in studio in Helsinki, 2001-2002.

CD pink twins = lizard kling (pink twins media)

Lizard Kling is the first of the twin discs released in early 2003. Introducing the guitarist Kimmo Kumela, Lizard Kling is made in a guitar/computers trio format. Recorded during one busy day, the album presents a complex, rocking mix of three lengthy tracks.

CD pink twins = monolith (pink twins media)

Monolith is the second part of the twin disc set released in early 2003. Pink Twins returns in the trio format with guitarist Kimmo Kumela. As with Lizard Kling, there are three long tracks, this time ranging from quiet, static tones to a full-on guitar assault.   

CD pink twins = paint it pink (pink twins media)

Paint It Pink is a live album, with two complete live recordings from 2005. Two tracks, 75 minutes. Played and recorded in front of an unexpecting film festival audience in Tampere and a stunned festival crowd in Belgrade in 2005, the style of these recordings vary from the playful, hyperactive sonics of the first set to the full-on noise assault of the second. The performance in Belgrade is probably one of the most brutal and straightforward shows from Pink Twins. Lovingly mastered by Tommi Keränen with supreme analogue studio gear, the CD maintains the full-bodied sound of the performances for an excessive dose of ear-caressing aural bliss.

CD PIUME E SANGUE presenta il DUO PORTUGAL - Nel ventre della balena (Lunhare)

PIUME E SANGUE disguised as DUO PORTUGAL in two long tracks of bizzare interpretation of contemporary music.

LP Picture Disc PRAXINOSCOPE 's/t' (a silent place)

Praxinoscope is a new project which sees the duo Roberto Opalio (one-half of My Cat Is An Alien) and Ramona Ponzini (close collaborator of the Italian space-brothers). While in the debut album as Painting Petals On Planet Ghost (out in early September 2005 on Time-Lag Records) Ramona will focus on her Japanese vocals alongside both brothers' acoustic tunes, here she plays little Japanese percussions and wind chimes, creating a resonant texture over Roberto's alien wordless vocals and space electronics. The material comes from a whole session recorded in a mysterious location of the Western Alps, directly transferred to cd using neither overdubs nor outtakes, practice which the Opalio bros have made us addicted to. For the entire lenght of its 40 minutes, the piece will stifle you the breath because of its so pure essence and intimate mood; a mystic, suffocated chant reminding the silence of ancient rituals, the ultimate exorcism to avert the Infinite Pain. Limited edition of 500 copies only as vinyl picture disc 12" LP with psychedelic artwork!

CD Pol "Baby, i'll make you sweat" (Odd Size)

Conçu comme une sorte de bande originale au film de voyage expérimental du même nom réalisé par Birgit Hein, cet album peut sembler une suite donnée par le sympathique touche-à-tout Marcus Schmickler à l'expérience Kontakta déj) évoquée plus bas : la construction, l'enchaînement des mouvements jusqu'à un dénouement rythmique y sont assez strictement similaires, le son et la production sont juste un peu moins organiques, même si ça sent toujours l'instrument bien réel (Schmickler tâtera plus tard du drone informatique moins évident à l'écoute) et que la tonalité, moins sombre, est aussi lus contrastée. Le paysage sonore qui en résulte est parfaitement envoutant et fascinant, met en danger puis soulage, jusqu'à cet embryon d'"electronica" qui apparaît en court de voyage et à sa fin. Toujours très doux, ce drone conviendra j'espère à toutes les oreilles et aurait dû faire référence. Mais la disparition du label Odd Size qui l'accueillait n'a pas aidé. J'espère que les clients seront nombreux, mais ça n'est pas tout à fait certain...

CD Process and Passion- Roger Reynolds (pogus)

First you are presented with two solo compositions-Kokoro and Focus a beam, emptied of thinking, outward…-and the duo Process and Passion, in an acoustic recording, albeit with each instrument deliberately confined to one side of the stereo field. Then all three pieces are presented with extravagant sound processing, using spatialization concepts and binaural encoding, revealing unsuspected depths and energies within the sound of each of the pieces' ideas and unfolding.

"Architectures of sound"-meaning how things sound-form the shape of the compositions' emotional traversal. For the two solo pieces, this is a relatively simple idea: Kokoro (the violin solo) has twelve sections that are in every way timbrally/sonically/articulatively unique from one another. Focus a beam, emptied of thinking, outward… (the cello solo) provides an organic unfolding, nevertheless revealing the dynamic potential of its basic material development-contrast grows out of the unfolding. But the duo Process and Passion draws further complexity to this world, partly by being a stated collage of the two solo pieces' worlds, but also by having an outside, visceral-even scary-narrative gravitational pull. Poetic text excerpts are drawn from Reynolds' explorations of the Oresteia, but they are left out of the final score.

CD PURE: HOME IS WHERE MY HARDDISK IS VOL.2 (feld records)

Pure, as half of Ilsa Gold, made a conspicuous debut in the early 90s rave scene and then managed to trash the culture in a most ungracious way before making a quick exit.  For this reason, it's always interesting to wonder what he might have taken along with him from that “tradition” as he left – and then to speculate as to what his work might sound like if he hadn't taken such a willful turn away from techno.  A helpful clue when listening to his current work, however, is to think of the space exploration aspect of, for instance, Underground Resistance, rather than the dance aspect; and then, it also helps to factor in a certain mitteleuropäische gravitas present in Pure's music.

Within Pure's work, "home is where my harddisc is Vol.II" will prove to be crucial:  made up of two live performances only 9 days apart and in very different locations (Brussels, Winnipeg), it presents an exciting new chapter in his artistic development.

While the Winnipeg track continues along the lines of his more recent recordings (e.g. “Noonbugs” on Mego), it stands as a fine culmination of this particular phase of creativity.  In its single-minded resolve – for instance, the long, penetrating tones that slowly interact and mutate – the performance also compares quite favorably to pieces by his various Japanese counterparts.  In this respect, Pure's ear has never been better at exploring, and elaborating on, just the right transcendent frequency.

The Brussels track not only ranks among Pure's best, but among the most fascinating of the genre.  We hear processes decay, transform, take new turns, and gain new momentum.  Snatches of the past momentarily emerge, either as memories or as though whatever late-Romantic choral work being sampled and mangled is simply there floating in the ether (as Marconi himself believed), in the fading but still-present radio waves of past broadcasts.  In this piece, the artist seems less concerned with in-your-face aural tension (though there's plenty of that too).  Rather, while still using the individual sound-vocabulary that he has painstakingly developed for himself over the past decade, here he's less concerned with control; he's more content to set things in motion, watch them evolve, and gently send them in unexpected but viscerally pleasurable and highly varied directions.

3LP Box Rabbit at the Airport I/II/III (usagi records) 

A collaboration between sound artists Martin Stig Andersen and Robin Rimbaud (aka Scanner) and clarinetist Gareth Davis, involving heavy vinyl, heavy sleeves and, so we´ve heard, a 1930s gramophone. Hushed ambient soundscapes, muffled beats and cathartic bombast in sprawling, noir tracks, each paired with spacious remixes from Scanner. Artwork by Ballinger.Special edition origami box containing the above releases plus limited artwork ltd. 65)

CD Robert Rich & Faryus "Zerkalo" (Faria records)

Tangential glimpses remotely echoed, untethered from touch. No time nor place, no past nor future, internal, external. Sculpting from energy, clouded motion vaguely slipping. Evanescent vibration, without meaning apart from its own open secret.

3"CD-R ROBE. - "FRAGILE CONSTRUCT" (Tuguska label)

Experimentalism from America. Robe. is a ghost sludge act comprised of musicians Kyle Willey (also of Black Cinema) and Adam Cooley (also of Scissor Shock), who usually employ the help of a large and rotating cast of collaborators. They were born and raised in the midwest in the state of Indiana.

CDep Steve Roden/In between noise = the radio (sonoris)

Reissue of this late 1999 release and out of print since a long time. Some reviews at the time of release : « Roden indicated to me that he ‘totally loves this piece’ and I can understand why. This is a beautiful sound work/piece of music (in that broader meaning of music that people like Roden explore). Its density, intricacy and beauty remind me of artists who work only in miniatures: as explored in the Roden ‘special issue’ (&etc v1.7), he works in bounded musical forms, yet creates pieces in there which are expansive and could stretch infinitely despite their limits.‘The radio’ is a prime example of this - each section could be left to continue further and further, delving into its focused world, and the whole disk could be left to repeat, the narrow passage of its composition gradually expanding to encompass the world. Perhaps I exaggerate, but this is a magical, beautiful piece that should not be missed. » Ampersand Etcetera web site « a particularly modest form of genius » The Wire, included in best of 2000 experimental cd’s.

CD frank rothkamm = moers works 1982-1984 (monochrome vision)

Old-school industrial experimentations recorded between 1982 and 1984 by Frank Rothkamm, a professionally trained musician who used to release his material on his own Flux Records label. Somewhere between tape collage, free-form ambient noise and chamber music, at times reminiscent of some instrumental Maria Zerfall tracks.

CD roulette russe pour un peu de caviar v/a (monochrome vision)

Bardoseneticcube, Kolpakopf, Noises of Russia, Exit in Grey, Cisfinitum, Hum, etc.

The compilation of exclusive tracks by russian artists, intended for the presentation on "Bruit de la neige" 2007 festival by Studio Forum (Annecy, France). Some of them are good known in Russia and worldwide, some are just the newcomers, but all are showing the great potential of russian experimental music scene in the fields of electroacoustic, abstract electronic music, drone ambient and noise collages.

CD Sailor Winters "red at morn" (Stickfigure)

Sailor winters is Ryan Cox who previously served time as one of the vocalists for athens, Georgia powerviolence powerhouse Divorce. After numerous cd-r releases which have all sold hundreds of copies, “red at morn” finds Ryan utilizing power electronics and drone to create a very thick and heavy but tranquil sound. Sailor Winters will appeal to fans of John Wiese, Daniel Menche and others.

CD Jin Sangtae "Extensity of Hard Disk Dirve" (Balloon & Needle)

review by Brian Olewnick> Jin continues a recent interest of his in overt rhythmic elements, mechanical but gritty at the same time, playing amplified hard drives. Though the rhythms are static, the sound envelope around them is by turns billowy, rough, grainy, feedback-laden, making for an intriguing dichotomy for the listener to deal with. Sometimes things become almost primitively tribal, albeit a faux kind of primitivism I associate with bands like Birdsongs of the Mesozoic. It's rocky and disjointed listening, not easy, and though I'm frankly not sure if this particular avenue is going to be one I'm prone to enjoy negotiating in the years to come, I'm glad there's someone out there testing the environs.

CD still = remains (public guilt)

Former Dœlek Turntablist, Still (Hsi-Chang Lin) goes solo and unleashes a dark ambient masterpiece that borders on sonic terrorism. Created using only Technics 1200's and an array of effects pedals, Still's REMAINS is not a "turntablist" record in the traditional sense. Drawing from (and adding to) the history of alternative turntable use, REMAINS is an ambient record whose textures at times run side by side with the work of PHILLIP JECK or APHEX TWIN. Two laborious years were put into the 35 minutes that comprise the album. Each track was painstakingly mapped out and played live in the studio. Opening with aggressive noise and evolving into delicate ambience, REMAINS supersedes the preconceived range of the turntable, infusing emotion into an otherwise inhuman instrument.

CD robert scott thompson = poesis athesis (lens records)                           
(ambient/Poesis Athesis marks the debut release on Lens Records from internationally acclaimed composer Robert Scott Thompson. Having originally worked together in the mid-80’s, Chi Kung Master Terrence Dunn (an admirer of Robert’s music) once again contacted Thompson to compose music for his current series of video releases. Thompson composed the music to work specifically with the pace, mood and dynamics of the Flying Phoenix form of Chi Kung. The collaboration eventually spanned ten films and Thompson composed more than ten hours worth of music over a two year period. The thirteen tracks on Poesis Athesis are rooted in Robert Scott Thompson’s ambient style but also blend it with elements of electronica, ethnic influences and a personal homage to French composer Erik Satie. Thompson creates an atmosphere of calm and relaxation suitable for both introspective and meditative moments as well as chill out regeneration. With Poesis Athesis, Robert Scott Thompson has created a work that spawns from his past while moving into newer creative explorations of sound and mind.

CD-R Robert Scott Thompson - Pendere (Aucourant Records)

Pendere covers a large range of creative output from the composer Robert Scott Thompson. Not intended to be a “greatest hits” package - the tracks appearing on Pendere represent both new material and old. For anyone new to Thompson’s work this would be a good start - but there is much that would be missed if the listener stopped here. Robert Scott Thompson has been heralded as ‘one of the most overlooked composers in the Ambient genre today.’

CD-R Robert Scott Thompson - Sanctum (EMF Media)

Sanctum marks the 2nd release on EMF Media from composer Robert Scott Thompson. Again working in the field of electroacoustic music - much like his previous EMF CD ‘Acousma’ - Sanctum incorporates a diverse collection of raw sound sources edited, processed, re-synthesized and morphed into nine distinct tracks. Sound sources include crotales, metallics, vocal sounds and violincello. With Sanctum, Robert Scott Thompson once again displays why he is one of the most highly regarded modern composers today.

CD-R Robert Scott Thompson - Tre Passagio (Aucourant Records)

Tre Passagio - Homage to Ingmar Bergman is a musical tribute to filmmaking giant Ingmar Bergman. These three, closely related works of electroacoustic music are similar in style to the sounds found on the groundbreaking recordings Sanctum and Acousma. Utilizing state-of-the-art synthesis and signal processing techniques, Robert Scott Thompson fashions vivid soundscapes of rare beauty and intelligence.

CD SOTE = Dastgaah

Voices from ancient Persia brought back to life. Traditional instruments become post-fucking-modern! It is evolution accelerated.

7" Strotter Inst. "Anna/Anna (public guilt)

Using five, old manipulated Lenco turntables and various cut or taped records and found objects, Switzerland's Strotter Inst. (aka Christoph Hess) creates polymorph sound and rhythm structures. The tracks on "Anna/Anna" are more atmospheric than past works and at times resemble field recordings of "lurching" frogs. The listener is met with a single black 7" record(with no labels) in a clear sleeve. Once the record has been removed, the artwork and liner notes(which double as a map to instruct the listener on how to play the record) are revealed and can only be read though the clear sleeve. The tracks (two per side) play inside out and outside in ending in the center of the record in the same locked groove.

CD NICHOLAS SZCZEPANIK : the chiasmus (basses frequences)

[USA] Nicholas' debut CD is much more than an impeccably constructed piece of abstract drone music: The Chiasmus undulates between waves of quiet melancholy and overwhelming beauty, with small slices of pointillistic noise. an album where the emotional response is always the central focus rather then pure aesthetic concerns, the nuances of The Chiasmus are only revealed upon multiple listens; by then, the listener is completely tuned into the world it presents. packaged in a jewel with a 16 pages booklet of art by Avery McArthy

CD table for six:all quiet? (ee tapes)
(tarkatak, Kendo Nagasaki, cisfinitum, mhz, civyiu kkliu,
the law-rah collective)

Finished with the famous compilation trilogy "The Walls Are Whispering", the small but very sympathetic belgian label EE Tapes started new one, presenting the first volume in this year. From the six featured bands, I know only three: long time fellow and collaborator, the master of mysterious drone Lutz Pruditsch (Tarkatak), the quite hermetic community The [Law-Rah] Collective known for their humble darkambient.net appearance and, of course, our leading russian project Cisfinitum, who recently claimed the great resonance with some remarkable releases elsewhere and intense touring activity. The rest participants are not so much known to me: I never managed to got a maxi-CD by Civyiu-Kkliu just released on Bremsstrahlung, the 33MHz is another project of Patrick Stevens (Hypnoskull), Kendo Nagasaki is just a newcomer from Japan. EE Tapes' chief Eriek van Havere always was on the top of my aesthetical taste, so all what we have here is the perfectly combined series of quite long tracks, all of them are enough to drown with sound, or maybe just drifting around. The most engaging track is one from Tarkatak, it consists of empty loops, from the clicks inducing some ghostly sounds, like someone walking in the basement of machine room. 33 MHz, indeed, is a little disappointing, because of some rhythmic sequences out of context, and some disturbing voices thrown in.

CD table for six:all quiet#2? (ee tapes)
(objekt 4, brian lavelle, andrea marutti, lutnahimat, june 11,
laurent perrier.)

Another fine release by EE Tapes is the second volume of the “Table For Six: All Quiet” compilation, in which, like the Belgian label explains, «six projects from six different countries [i.e. Objekt4, Andrea Marutti, Laurent Perrier, Lutnahimat, June 11 and Brian Lavelle] gather around the table and showcase their individual art». Similarly to the debut volume of this collection, the featuring works move itself on the ambient spectrum, ranging from the well-learned Eno lessons to darker atmospheres, in a varied, although consequent, final result. Recommended.

CD table for six:all quiet#3? (ee tapes)

Neuestrasse, Stormhat, Anemone Tube, Bruno De Angelis, Frans de Waard, (ad)vance(d)-Limited edition: 300 copies, 7” package

CD joe talia = in/exterior (holding pattern)

a dark, haunting and disturbing mix of gongs, bowed cymbals, washing machines, feedback, springs, noise and theramins. like a film shot with sound, talia's musique concrete crystallises into alien landscapes, filtered through the hiss of static. not recommended for those on the verge of psychotic breakdown, or anyone trapped in a spaceship.

CD Tamaru | Figure (Trumn)

The inaugural release from this new label from Tokyo comes from experimental bass guitar player Tamaru. Having self released a number of CDs over the years whilst appearing on plenty of compilations, this latest full album is a thematically engaging and fascinating look into his sound. Simply using bass guitar and effects, Tamaru explores the range of tonal variations from his instrument of choice by creating drone textures and wonderfully stripped back note structures. The opening tracks alone are something of a transcendental treat that have an almost spiritual quality to them – the bass guitar version of the 'Om' in some ways. Long, drawn out and all encompassing, there's a raw resonance to the notes and sounds that seems to almost magnetically draw you towards them. To temper that there are several shorter pieces that use a more overtly melodic feel to convey a less obviously hypnotic feel and sound somehow warmer... it's an intangible sense thatﾕs hard to describe and, in fact, there's something almost playful about these pieces. But the main draw here is the bottom-heavy, mind filling goodness of the longer works and it's there that you'll find something pretty much unique – I certainly haven't come across a lot of music like this. It sounds fresh and slightly strange but ultimately it has a singular beauty that becomes more and more apparent with each listen. A wonderful beginning for this excellent new label. Gorgeous packaging as well I have to mention with oversized fold out panel cardboard sleeves with immaculate design and printing. Something a little special, then.

CD Scott Taylor/srmeixner Please keep clear at all times CD (entr'acte)(E34)

A collaborative album between Scott Taylor, whose previous releases can be found on the Sijis, Touch, and Con-V labels, and srmeixner, once a member of the influential UK group Contrastate. ‘Please keep clear at all times’ consists of three tracks, combining musique concrète, field recordings, and other source material (the piano of Kenneth Kirschner and recordings by M.A. Tolosa on Kirschner Wind, and vocals by Jonathan Grieve on The Sound of X) into dramatic soundscapes. The latter track, composed by an additive process of file exchange, is a radical re-working of a live srmeixner concert recording made by Scott Taylor. Aside from recording work, Scott Taylor and srmeixner also run, respectively, the Lapilli and Black Rose Recordings labels.

CD-R ubik - Loop finding...(Recycling records)

On his third album ubik continues joining plunderphonic approach with ambient and lazy experimental electronics music. The idea was to find and sample short loops from the tracks that have not much to do with the mentioned stylistics and to try built completely new composition based on every of them. The way of treating sound is in straight line a development of the ideas used on "Cut with the blade", where Mikolaj Trzaska's recordings of clarinet and saxophone were the starting point. As an effect there are six tracks, every made from only one sound loop. Its sources don't really matter (and the familiar sounding titles really aren't any help here) - what does is the music./Highly recommended

CD-R ubik - One Second of Infinite Rest (Recycling records)

According to the idea of Recycling Records tracks were made of sounds borrowed, found in rubbish, left in ether or quietly stolen. Thoroughly processed and put in new contexts form eight calm compositions inspired by philosophic deliberations, faith, fear and narcotic impressions. Aesthetic of controlled dirt and experimental electronics of click'n'cuts - inspired by works of Ekkehard Ehlers, Jan Jelinek or Christian Fennesz - is mixed with trip-hop, micro-house, illbient and electro with a bit of jazz in one, and industrial in the other hand.

CD U.S.O. PROJECT - INHARMONICITY (synesthesia recordings)

Unidentified Sound Object is the meaning of the acronym behind which hide the two sound-handlers Matteo Milani and Federico Placidi. They start from semi-concrete elements, patterns of stochastic self-generated drawings, transformation and organization of synthesis processes in order to achieve sculpted sound masses which evolve slowly in time. On one hand, USO relate to a particular tradition of the classical electronic music (especially italian), which did not obtain each and every sound from pure synthesis, creatively using instead their sound sources; on the other hand they hark back to video-arts languages dominated by processes of accumulation and/or slow transformation. If one appreciates the experimental tone - especially that which USO state to match performative aspect and other expressive realities - one ends up perceiving the limits of the audio cd, which is a pale image of what we can expect from the live version. Michele Coralli

CD Matteo Milani/Placidi = USO (Synesthesia Recordings)

Milan/Rome based Matteo Milani and Federico Placidi are sound artists whose work spans from digital music to electro acoustic improvisation. Unidentified Sound Object is born from the desire to discover new paths and non-linear narrative strategies in both aural and visual domains. U.S.O. Project is a continuing evolving organism.

Matteo Milani is a sound designer and composer living in Milan. He started his career at the end of the 80’s in radio stations, cutting inches of music on analogue tape. In the mid 90’s he pioneered the rising of digital audio workstations. Now, he’s reflecting most of his creativity blending “synthetic” and “organic” sound materials and performing live electronics. Federico Placidi is a composer and sound designer living in Rome, Italy. Since the year 1993, he’s been working with several composers and performers as sound designer and live-electronics technician, thus developing his personal sound library and tools. He also worked as a sound editor / designer for numerous full-feature movies. His music ranges from “concrete” acoustic to experimental.

CD-R U.S.O project = GRAPHICALSOUND - SHAPES (synesthesia recordings)

Behind graphicalSound is Matteo Milani, whom we recently heard for the first time in Vital Weekly 644 as one half of the U.S.O. Project. Milani started at the end of the 80s, splicing tape at radio stations. These days its all about the computer, ‘blending synthetic and organic sound material, sharing the Pierre Schaeffer ‘audio vision’ of musique concrete’. The four pieces on this release are nice, but hardly musique concrete, unless of course the sounds have been altered to such an extent that we don’t recognize the original input - that might very well be possible. Only in ‘Water Emotions’ we do recognize the water sounds and it seems that Milani here tries to play a cover of ‘Blanket Level Approach’ by The Hafler Trio. Its more ambient music of a highly digital kind, time stretched sounds, filtered with tons of granulating sound effects. Flowing like the best Hypnos release, but less based on analogue synthesizers and more computers. A minor difference, and probably not a very important one. Milani plays his music with great skill and this is a very nice ambient work. Frans de Waard

CD-R Ellende = Mathematica (Tosom)

After several limited CDRs (most very limited and self released), TOSOM is proudly to present his great new work. Ellende is a Japan based project by a dutch guy and his music/sound sis not easy to describe, but definitely worth to check it.It’s a kind of drone-music… Where drone based compositions are mixing withstrange noises and many effects and sounds. Concentrate…open your mind… hear and enjoy the surreal soundscapes and the own world of Ellende.

CD Hans Tammen: THIRD EYE ORCHESTRA (Innova)

Recorded 2006 at Roulette, New York, released 2008 on Innova, the label of the American Composers Forum. Total Time: 79:34 Minutes. With Mari Kimura (vio), Mark Feldman (vio), Stephanie Griffin (vla), Tomas Ulrich (cel), Briggan Kraus (as, bari), Marty Ehrlich (bcl, fl), Robert Dick (fl, cbfl), Detlef Landeck (tb), Dafna Naphtali (voice, live sound processing), Ursel Schlicht (p/kb), Deman Maroney (p/kb), Stomu Takeishi (b), Satoshi Takeishi (perc), Hans Tammen - concept, realtime arrangement.

CD Hans Tammen/Die schrauber = live in Mexico (aha)

Joker Nies (Cologne) modifies or builds his instruments to his needs. Apart from other techniques, he acts as a connector of circuits not intentionally related. He touches and combines the circuitry of the instruments through skin-resistence, creating spontaneous and delicate music with subtle control. Mario de Vega (Mexico City) works with several sound-objects in different combinations and his own custom software SPK®. His work moves towards glitch sampling, microtonal scratches, pips, squeaks, and needlesharp noise clusters developed by a wide range of self-design and hacked gadgets.. Hans Tammen (New York) works with a wide collection of mechanical devices on his "endangered" guitars, and uses an interactive software of his own design to rework his sounds in realtime. His music has been described as a journey through the land of unending sonic operations, his playing as reverse engineering of the guitar.

CD Hans Tammen, Dafna Naphtali, Martin Speicher = mechanique(s) live at Logos, Ghent (aha)

mechanique(s) is an ongoing collaboration between Dafna Naphtali, Hans Tammen and Martin Speicher involving live electronics, endangered guitar, reeds and voice. The trio was formed to investigate the overlap of various elements of their technical and aesthetic practices -- in compositions and improvisational settings for Naphtali's interactive processed sound/noise system, Speicher's extensive sound palette of extended techniques on saxophone, clarinet and bass clarinet, and Tammen's mechanical and electronic manipulations for guitar.

Dafna Naphtali (www.dafna.info) singer, sound artist/improviser and composer, comes from a genuinely eclectic background of music-making. In the early 90's she began studying classical voice and turned her attention to contemporary classical and experimental music. She performs and composes using her own custom Max/MSP programming for sound processing of voice and other instruments, appearing in venues and festivals in NY, Germany, Canada, Belgium, Holland, Israel and Russia.

Hans Tammen (www.tammen.org) calls his style of performance "Endangered Guitar," because of the extreme alterations he enacts upon his instrument's sound and construction. Signal To Noise called his playing "...a killer tour de force of post-everything guitar damage".

Multi-reed player Martin Speicher has his roots in contemporary classical music as well as in Free Jazz. Since his early concerts in the 80s he performed with Paul Lytton, Evan Parker, Barry Guy, Cecil Taylor, the London Jazz Composer´s Orchestra among others. "Signal to Noise" wrote about him: "Speicher's (excellent) clarinet playing recalls Boulez's "Domaines" one minute, Peter Brötzmann the next."

ASMUS TIETCHENS - 'Monographie' Book + CD (Auf Abwegen)

Second edition of the Monographie Asmus Tietchens - the book about the prolific work of Asmus Tietchens. This edition has 300 pages and includes an updated commentated discography, plus new texts by Jon Mueller, Vidna Obmana, Marcel Beyer, Ditterich von Euler-Donnersperg and Till Kniola. It also collects Tietchens' essays that appeared in magazines in the last few years. The book is mostly in GERMAN LANGUAGE ONLY, the commentated discography is in English. Included is a 74 minute audio CD - exclusive to this set - entitled "Verstreutes 2", which collects tracks included on tape and CD compilations from 1984-1995, plus one unreleased track. An amazing piece for any collector! Limited edition of 600 copies.

CD emmanuel tuts-schiemsky =rust voor de stilte (arya)

"Emmanuel TUTS-SCHIEMSKY entered the music academy several times and studied the piano, flute, guitar, cello, double-bass and harmony. After all these trials, he realised that playing music was more important than learning how to play it. In the next couple of years, his music followed a path up and down. A few years ago, however, he started using electronics in his musical expression, which was at that time greatly influenced by authentic field recordings of ethnic music. In a self-designed small studio, situated in Ronse (Belgium), he recorded six pieces which were bundled under the name 'Rust Voor De Stilte' ('Rest For Silence') and released in January 1994. Two years later, the Belgian musician and composer Vidna OBMANA, introduced our man to Stefano GENTILE, who was immediately willing to diffuse this music over the world on the ARYA-label, a division of Amplexus. The album contains over 50 minutes of calm and atmospheric music with floating sequences, spread over six tracks."

10" Urbsounds - Back Mirror (Urbsounds Collective)

In spite of Monika and Daniel residing in London and Michal and Tobias in Bratislava we were certain about one thing: Urbsounds Collective as a whole. Our website became a temporary storage space for our emerging sound files and a platform for an exercise in interdependent collaboration. All four of us uploaded the first track of a song to the FTP client, along with its name and the concept behind it. In the next round, each member downloaded somebody else’s track and, bearing in mind its specific concept, contributed a new track to the song. The same happened in the third and fourth rounds, until everyone had contributed to each song. The outcome is 4 songs consisting of four different tracks made by four people. Each of us participated equally in their creation. Everybody started a song, everybody added one track to each song and everybody did the final mixing of one song. None of the songs should be viewed as a work on its own; all of them make up a single whole whose individual parts remain incomplete unless approached in the context of the others. Back Mirror is our collective work that retained its openness through all stages of production and is completely free of any hierarchy in terms of authorship. Should you discover any hidden signs in it feel free to interpret them in your own way.

CD Vishudha Kali : unfinished devastation narrative  (Faria records)

Cosmic-music, played on a physharmonica (portative organ), singing bowls, accordion, various handmade and analogue instruments, nature sounds, recorded in sacred places on uninhabited islands of Ladoga lake, where author has been meditating for a long time, have also been used in the album. Comes in a luxurious conceptual packaging.

CD-R Virtual Memory - The Book of Names (Aucourant Records)

Virtual Memory was an intermedia group formed at the University of California San Diego's Center for Music Experiment during the latter half of the 1980's. The nucleus of the group consisted of graduate students Robert Scott Thompson, Robert Willey and Rick Bidlack, who were joined by Tom North, Victoria Bearden, Russ Kozerski, Carol Vernalis, Roy Tamanaha, and others in concerts integrating computer music (software synthesis and interactive systems), multi-channel video synthesis, and live performance. It was during this time that personal computers and MIDI systems appeared, making it possible for musicians to develop computer music performance systems, and a library of programming functions was developed at CME by Xavier Chabot, Rick Bidlack, and Andy Voelkel. The Book of Names resulted from two improvisatory sessions recorded on December 14 and 15, 1987 at Rebel Road Studio. The three players were linked by a MIDI network running their own custom software, creating cyclic structures and note events based on data gleaned from the trio's keyboard gestures. The textures that resulted arose without editing or overdubs. The name of the group is a reference to the software technique of addressing additional memory when running a program, allowing it to use more RAM than what actually exists in the computer. This allowed the Center's VAX-11/780 to run the software synthesis programs developed there. It was not unusual to have to wait hours or days to hear the results of a musical request.

CD dmitri voudouris = npfai.1/palmos (pogus)

South African composer Dimitri Voudouris b.1961 Athens, Greece) began composing in the 90¹s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical and theoretical compositional approach in research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes. His socio-cultural interests have led him to research the survival of music in the 21st century and the impact that media and technology have on the composer. NPFAI. 1 (New Possibilities for African Instrument) is an electro-acoustic composition for kundi and m'bira with computer assisted processing. Kalimba or m'bira is a finger piano made of wood and metal strips used in ceremonial music. In Western Africa this instrument is known as m'bira and in Eastern Africa it is called a kalimba. The kundi a bowed harp is a ceremonial instrument originating from the Mangbetu tribe of the Congo. In NPFAI.1, working with each individual layer gave Voudouris better control in the change of sound characteristics as some soundphenomena changed, disappeared and new sound phenomena surfaced creating new possibilities.

In Palmos, Voudoris chose three Western instruments - the Hammond organ, oboe, and the bandoneon - whose overtone and harmonic capabilities allowed for interlocking moments to take place, a phenomenon that is ever present in African traditional music. Spectrographic analysis of sounds produced by each individual instrument was carefully monitored which allowed for a deeper understanding of timbre [harmonic content], attack, decay and vibrato. Subtractive synthesis further allowed for the isolation of certain inaudible frequencies to be enhanced to an audible level and the elimination of others. These compositional elements allow the listener to perceive the sound as stable individual tone and noise spectra, frequently of surprising purity.

NPFAI. 3, third in a series of electro-acoustic studies, is for African marimba and computer assisted processing. The African marimba used in this work is a tenor marimba, used traditionally as a rhythm instrument. The marimba is tuned in Xhosa tuning with just intonation in Eb (with added A's). The instrument was played with traditional mallets; the recording was processed and constructed on computer. Granular, algorithmic and subtractive sound syntheses were used in the construction of NPFAI.3. These procedures were not to defamiliarize the sound of the instrument but rather to explore the deeper analogies of organic identity in the construction of micro sound environments, focusing on capturing the physical properties of the instrument and its organic sound textures.

PRAXIS is a four-channel tape piece using a recording of Christian Orthodox Greek male choir and computer assisted processing. 566 sound compartments were created that ranged from 10 to 40 seconds in time duration. Each sound compartment was constructed and manipulated individually, allowing for better control in maintaining individuality in the sound structures. The computer further allowed for the individual micro-rearrangement of pitches in each sound compartment, leading to the notion of continuous macro-timbre. The methods used allowed for greater control in spacial differentiation of each sound. The distorted nature of the sound source was not eliminated but was build into the composition.

CD C.W. Vrtacek- “Fifteen Mnemonic Devices”(Odd Size Record)

Better known as the leader for the wonderfully tuneful instrumental trio Forever Einstein, C.W. “Chuck” Vrtacek also has a darker side. His solo album fifteen mnemonic devices is about as far from the upbeat Einstein tunes as can be. The music consists of strange, atmospheric soundscapes with heavily processed instruments. Although one can hear acoustic and electric guitar, piano, bass, and some violin it often isn’t easy to identify the instruments at times. All of this doesn’t matter; however, as Vrtacek (with occasional assistance from Dr. Nerve’s Nick Didkovsky) weaves an otherworldly tapestry of sounds on the album’s fifteen short pieces. Recorded at home over an eight year period, the album has an eerie vibe to it that is the expression of Vrtacek’s more experimental side. Only two of the pieces have anything resembling a conventional sound, but there is some percussion or rhythmic content to a few other tracks. There are also some ambient “found sounds” blended into four of the pieces that incorporate everything from the birds and windchimes in Chuck’s garden to the choir at Notre Dame cathedral. While this release is clearly not for everyone, it does contain some fascinating sounds for those adventurous enough to seek it out. – David Ashcraft

CD-R Wereju = a strange dark (deserted village)

CD Simon Whetham Ascension_Suspension (entr'acte)(E41)

These minimally-processed recordings of cable cars were made during a trip to the Portes du Soleil region of France, in Les Gets, Morzine and Les Lindarets. The sounds have been layered to enhance the feelings of suspense and tension experienced during the journey.

Bristol-based Simon has been a musician for almost 20 years. In 2000 he composed and recorded the soundtrack to artist Kathryn Thomas’ first solo London exhibition, and has continued to record music for her shows, as well as working on his own experimental pieces.

CD x-O-x = kras (unip)                

100% made out of vinyl scratches/Experimental turntables/DJ x-0-x (Arjan van Sorge) plays the right stuff for the right moments. Specialized in the most remarkable, unique and weird music, and in forgotten, ignored, or leftover sounds. Not easy to pigeon-hole, and full of discoveries and surprises. Instant sounds for instant moments. Mixed live from old, new, DIY material and found footage. The adventure is in between your ears.x-0-x plays at venues like Melkweg, Paradiso, OT301 and at festivals like Museumnacht Amsterdam, Polderlicht, Het Boekenbal, Noorderzon Festival, Ruigoord and Amsterdam Dance Event. Lately he’s also known for DJ’ing at special events at Groninger Museum, Van Gogh Museum, Filmmuseum, De Zwijger, Westergasfabriek, Nieuwe Kerk Amsterdam, Stadsschouwburg De Harmonie and Volkskrantgebouw.

CD y create = madadayo (ee tapes)

Musician and home-tape veteran Hessel Veldman, known from the legendary Gorgonzola Legs, F.N.T.C. and the Exart label ( IJmuiden, Holland 1982 – 1995), finally returns back to earth with the resurrection of his solo-project Y CREATE: a full-length CD (76:54) with new dark earplays, now for the first time available!  All material on ‘ Madadayo’ was processed with original sounds from the rich Exart-archives.

CD y-ton-g/asmus tietchens/kouhei matsunaga = yak (monochrome vision)

Concrete sounds and abstract constructions, endlessly recycled and digitally treated. The new album by Asmus Tietchens, Kouhei Matsunaga and Y-Ton-G bears the idea of total remix work. Following the great tradition of mail-collaborations, this German-Japanese trio recorded this new series of experimental music studies. Ltd x 500 copies. Russian import.

CD Enore Zaffiri = "La voce ed il sintetizzatore”

After almost forty years of creative activity, the name Enore Zaffiri still sounds "new", as his extraordinary artistic output has remained to a great extent unreleased. Pioneer of multimedia, electronic and ambient music (he founded the Turin Studio of Electronic Music in 1964) Zaffiri used the electronic instrument to find a new musical perspective based on a structuralist principle derived from Euclidean geometrics. In this works, dated between 1973 and 1988 he approche the combination of the electronic music with the voice… the meeting of the newest instrument, at that time the arp synth, and the oldest one, the human voice.