Experimental / All styles

Re-release of the LP version of "Still Valley", including one extra track. One of Mirror's finest works recorded by Andrew Chalk (Ora, Ferial Confine), Christoph Heemann (HNAS) and Jim O'Rourke (Sonic Youth, Gastr Del Sol, Illusion Of Safety) between May 2002 - January 2005. This album is a beautiful study of slowly changing drones, like a film shot in slow motion. One noticeable difference between this and other quiet Mirror affairs is the presence of oscillating pulses. These analog tones occa…

Michel Doneda, soprano saxophone; Jean Pallandre, sound manipulation; Vladimire Skoda, Sculpture and drawings; The Tarn river, natural sounds. Recorded 1992 at the Moulins Albigeois, France, co-existent with an exhibition of metal sculptures by Vladimire Skoda and adjacent to the swollen River Tarn; recorded by Jean Pallandre and then re-mixed in the studio by Jean Pallandre and Michel Doneda to create 'an electroacoustic image of this moment'. 120 special editions of the compact disc were produ…

For Les 120 Jours, Michel Chion, Lionel Marchetti and Jérôme Noetinger assembled a common bank of many original sounds which each of them had worked on, transformed and re-composed in his own style. This gives the listener the ability to hear a musical language in the form of collage-citations, which, for this occassion, they also named a 'concrete diversion'. Musique concrète composed in 1997/98 for the Festival Musique Action, 16 May 1998, at Vandoeuvre-lès-Nancy, France.Limited edition of 100…

LAST COPIES, already out of print - Beatiful early compositions for the well known INA composer: 'Sambas pour un jour de pluie' (1985), 'La machine à passer le temps' (1972), 'On n'arrête pas le regret' (1975)

'Deutsche Landschaften' (1970). 'Cellokonzert' (1971). Michael von Biel (violoncello).Booklet languages: English, German (16 pages in total with digipak).

Recorded in Berlin, October 2002. Edition of 150 copies. Packaged in a slotted card folder.

Whether he is working in the so-called documentary or so-called fictional mode, with 16mm, 35mm or high-8-video: for Pilz the central issue is our perception and the film or video is a disposition, a condition for the temporal and spatial organization of a reflection. This refers in the first instance to the mere listening and observing, but also to an intuitive sense for encounters with people, for their ways of dealing with the space within which they move and the things that surround them. Th…

Long-time San Francisco based sound artist, internationally known from his extensive discography as Crawling With Tarts, releases his first full length solo work. 55 pas de la ligne au no 3 is a microscopic study of dense sonic landscapes buried within antiquated turntable motors. Gendreau, an acoustician by profession, utilizes high sensitivity accelerometers to map detailed frequencies from a variety of old turntable motors and mechanics. This is a rare exhibition of the creative potential wit…

As can be gleaned from the title, this is a recording of Merzbow live in Switzerland. Abrasive noise, big rhythms and (to be expected) and onslaught of noise.  Recorded at Cave 12 on 10th March 2005, there is apparently no editing involved on this release.

Michael Bullock (contrabass & feedback), Mazen Kerbaj (trumpet) and Vic Rawlings (cello & surface electronics). "One strike isn't enough. This album struck me like a big wave, a wave that makes you lose your consciousness and equilibrium for several minutes, leaving you wondering what just happened to you during this elusive lapse of time. Probably this is exactly the purpose of this trio, where as their music draws rust from your very skin, suburban rust, from those big suburbs where the indivi…

Gustafsson, for all his brash screeching, is a particularly accomplished player with an amazing ability to create snaps, crackles and pops on his baritone. He has lung power to spare but also can tone down the wildness and use understatement to great effect. On Catapult, Gustafsson confounds those listeners who know him as this generation’s Brötzmann. His solo playing (this may be one of only two solo baritone records ever recorded?) is actually gentle and intellectual. Nine themes make up the r…

"La Grima (Tears) was performed on August 14, 1971, at the Genyasai festival in Sanrizuka, Japan. The first six minutes or so of this performance can be heard on the omnibus LP Genya (released on CD in 2004). This CD presents the complete, unedited version of the performance.As if to slash through the audience's scornful, jeering reaction to Takayanagi's opening remarks, the group launched into a fiercely convulsive performance. Despite having a variety of objects thrown at them, Takayanagi and …

Kosokuya are one of Japan's more mysterious psychedelic inner-space rock groups with an obscure history dating back to the late seventies. Great sensitive + heavy playing, lovely vocal action from Kaneko, and Urabe's unique atmospherics.

"Kilter is significant as a title because it displays Mary Ellen's habit of insisting we remember what, if left to ourselves, we'd be quite happy to forget. She's moved on, compelled like the rest of us to negotiate a strange, often lovely land, in an oddly menacing time. What she writes are signposts in that land, or lanterns which led the way home one night." - Bill Morelock, NPR "In Parterre transformation works as an almost psychedelic fantasy. Childs juggles a kaleidoscopic assortment of …

Martin Siewert and Martin Brandlmayr are two of the most active musicians in the ever-evolving Viennese music scene, in both improvised and composed settings. They have been performing together in various groupings since the summer of 2000, but Too Beautiful to Burn marks their initial meetings as a duo. Siewert has been quite prolific recently, in projects such as Efzeg (Grob, Durian), SSSD (Grob), and the seminal all-star collaborative orange CD on Charhizma, along with Werner Dafeldecke…

Performed live at the Whitney Museum of American Art at Philip Morris, New York City, 26 April, 2001.

"the piano's harmonic figures meet with computer sounds unexpectedly within a slowly changing acoustic environment. piano pixies sing and dance serenely in a virtual space while the noises from the instrument insitage dialogues with the computer. the music is tranquil, never aggressive and is at almost every moment polyphonic in the good old sense of the word. pretty often, the two musicians play on two different planes so that in spite of the slowness of the whole thing, the resulting complex r…

the principle of musical erratum is simple: you choose a keyboard - any keyboard - you draw each note at random - no note can be struck twice, but all are struck - the resulting whole is played without any particular modulation, "a uniformity de rhythm, anaccentuation" says Duchamp.tThe premises of minimal and aleatory art are thus expressed in "the green box", published in 1934 (although the writings date back to 1912-15). to do this, we chose to use a piano (a bösendorfer)7 VARIATIONS ON A DRA…

The Fall's 2008 album, first by the last line-up (Poulou, Spurr, Greenway, Melling), with the unused Britannia Row recordings and a live set at the De La Warr Pavilion. Cherry Red 3CD.

The Fall's 1993 album, no. 9 in the UK albums chart, expanded to six CDs with singles, demos, Peel and Goodier sessions and concerts in Sheffield, Frankfurt and Austin. Cherry Red, 2024.

The Fall's 2007 album, recorded with American musicians after a mid-tour walk-out, with single and LP versions, 2006 rough mixes and the Hammersmith Palais concert of 1 April 2007. Cherry Red 4CD, 2020.

Luc Ferrari is among the best known of the early electronic music pioneers. He was director of the Groupe de Recherches Musicales from 1959 to 1960, working closely with Pierre Schaeffer, and his music played a decisive role in defining the range of musique concrète. But he went further to become one of the most radical composers of his time, and this CD, with its incisive character and exceptional sounds, marks the starting point for his artistic evolution. The compositions include 'Etudes aux …

Haino's first group, live recorded in '71! Bizarre voice + piano + drums. Incredible & historical recordings.

Reissue. Essential 3xCD collection of Singles by New York City guitarist Loren (nee MazzaCane) Connors, one of America's most unique and challenging voices. Night through.spans four decades of Connors' recordings from the earliest acoustic session and first solo 7 - Ribbon o' Blues on St. Joan - to rare Singles issued by Table of the Elements, Road Cone, Father Yod, Menlo Park, Gyttja, Union Pole, and others, to his late 90s band Haunted House and recent acoustic recordings. Overall, three and h…

Loren Chasse is a member of the Jewelled Antler Collective, and his solo work on The Air in The Sand is nothing short of extraordinary. Via a series of sweeping atmospheres, and brooding at times almost melodic deep tones, Chasse edits together densely layered field recordings to conjure up nostalgic feelings of a windswept oceans and cold barren beaches without ever explicitly referencing either. With shifting, gradually building drones and white noise arranged carefully in swells between cicad…

Extended concert recordings from Rotterdam and Brussels provide a contrast to their equally fine previous soprano saxophone & piano duo CD Boundless (Emanem 2021). There is also a short track on which Weston switches to chamber organ. 79 minutes -- previously unissued.

A fine sequence of shortish soprano saxophone and piano duos reflecting the moods of two exceptional improvisers on a winter's day. The first time they have appeared as a duo on record since 1978, revealing their playing to be more adventurous than ever. 70 minutes.

Lisl Ponger's photographic and cinematic work investigates the circumstances of places and their territorial occupation by the camera, the acquisation of images, the function of photographic and cinematic representation, and the presentation of cultural values. Her works are characterized by that which is no longer present, which refers to that which is already absent. This is a latent component of each of her images and at the same time the particular political stance of her works.

L'incanDescence De l'étoile is a Musique Concrète piece based on the everlasting universal (re)cycle. It is it's own modulator, oscillating at immense speed, almost standing still. The composer has interpreted and given an auditive representation of these cosmic forces, melted together in a solid musical gesture , perpetuated on a little disc. Captured time, but where to next? L'incanDescence De l'étoile is a great example of the fine craftmanship of Marchetti, it's been composed up to it's most…

The subversive, ironic analysis of systems of social control; pseudo-scientific technical experiments, for example with objects of daily use; and the “manipulation” of our visual habits with the help of technical apparatus – these are central aspects of artistic work of Leo Schatzl.

Limited edition of 500 copies, CD in full colour paper sleeve.Disambiguation [46:25]'Disambiguation' is the third CD from the duo of Zbigniew Karkowski and Kaspar T. Toeplitz. It features one ongoing stream of grey, heavy and disturbing noises. It contains blocks of solid and almost material sounds, causing a physicality and urgency to the music which is rare to find these days. ZBIGNIEW KARKOWSKI Composer and performer of contemporary music. Was bom in Cracow - Poland but emigrated; as a,, teen…

Long out of print huge box, The Los Angeles Free Music Society was a complete screwball fringe music collective that peaked in the true heart of darkness -- America in the mid 70s. They self-released LPs, 7"s and cassettes in the dawn before real independent distribution and the myth that surrounds those sacred pressings has in recent years become feverish. Mixing pure sonic weirdness, musique concrete, free improv blare, fringe-noise-nonsense and much more, the musicians involved with LAFMS cre…

Though undoubtedly a collection of avant-garde works, it’s tempting to view Kurt Kren’s “action films” as documentaries. A series of collaborations made between 1964 and 1967, these ten assembled shorts find the Austrian director working primarily with the performance artists Günter Brus and Otto Mühl. Each piece serves as a recording of their actions – funny, confrontational, shocking examples of body art that should be vaguely familiar to most – yet addresses them in Kren’s own distinct manner…

3 years of live electronic improvisation from the Kraakgeluiden series of improvised music performances in Amsterdam. Appearing on the CD are over 30 musicians including Jaap Blonk, Cor Fuhler, Gert-Jan Prins, Anne La Berge + Marko Ciciliani.

American performance/noise/percussion artist Z'ev, Japanese composer/performer K.K. Null, and field-recording artist Chris Watson (formerly of Cabaret Voltaire and the Hafler Trio) conjoin in a first collaboration for Touch. The idea for this recording, generated by Z'ev, has three elements: 1) to use the structure of the Noh Theatre cycle as the basis for the composition; 2) to consider the initial sound development in terms of developing "characters" which would then interact with one another …

Fertile is KK NULL's first album for touch, following his collaboration with Chris Watson and Z'ev [Number One - Tone 24, 2005], which boomkat called 'moving and atmospheric', and The Wire wrote 'a complex dramatic work from a strict economy of means'. KK NULL (real name Kazuyuki Kishino) was born in Tokyo, Japan. Composer, guitarist, singer, mastermind of Zeni Geva and electronic wizard. One of the top names in Japanese noise music and in a wider context, one of the great cult artists in experi…

A former member of Merzbow, Mizutani has been creating his solo work since 1989, delving into areas of electronic noise, structural sound systems of feedback and instrumentation as well as natural compositional arrangements of field recordings. Yokosawa-iri falls into the latter category. All field recordings were made at this Satoyama<pi>, a traditional form of agricultural environment consisting of a mountain, a rice field and a small village where people and nature coexist in harmony. With be…

Kevin drumm (guitar and noise) and Daniel Menche (organ and noise) recorded Fall of 2006 in Chicago at Uggae's Porta-toilet studio. Mixed and mastered at Stereophonic Mastering in Portland, Oregon. One organ, one guitar, several fuzz boxes and two highly regarded purveyors of american extreme sonics are the savuory ingredients that created Gauntlet. Building on Menche's aural low end physicality and drumm's exacting attention to high frequency detail - the aptly titled 'Gauntlet' is sizzling, sc…

Grainy flickering, strangulated buzzing, blurred sonic shadows and harsh stridulations. Chicagoan Drumm continues to rethink the electric guitar in terms that suggest the microscopic life of ponds, and he deploys electronics along similar lines. Canadian turntablist Tètreault scatters clicks and blips as he skates the meniscus. Tiny events, inconsequential in themselves, taken together form a viable acoustic ecosystem. (The Wire, Julian Cowley)3

Original 1st editon, Comedy is Drumm’s third album, recorded over two years ago. It floated around in a provisional version, entitled Organ, for quite a while and caused a genuine bidding war between labels, at least five of them, which caused our Kevin to retreat in his special endearing way, and ultimately decide not to do anything at all with it. During this hibernation, Organ underwent some changes, being dissected and bisected and now including three electronically generated magnifications,…