[engl] Outstanding musician, Thomas Bonvalet has evolved his solitary project since 2005, searching relentlessly through sound, in between great constraints and beautiful escapes. Guitarist in the duo Cheval de Frise, until 2004, he began his solo project by dissecting this instrument, then moved away from it, widening his horizons, gradually developing an instrumentarium meeting the demanding requirements of his sound research.

[engl] Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops and field recordings. Originally recorded in Germany in 1978 by Spanish painter / sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Now, for the first time ever, “Erosión” is reissued on 2LP featuring the complete recordings, as Ildefonso conceived it at the time. “Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organiser of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. “Erosión”, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original. Okay, I know in the past that I compared Ildefonso's use of melody to more atmospheric Neuronium, and the mood of the music to early Klaus Schulze, Conrad Schnitzler, and Edgar Froese circa AQUA, but in retrospect it's really a forerunner to the acclaimed spacious works of Michael Stearns and Steve Roach (I could also quote Kevin O'Neill here, as to the use of ambiguous melody and texture), but besides all that “Erosión” has a style all of its own. As if the sonic description of mist swept rocky plains, rumblings from beneath the earth, the eerie power of nature looming. Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, “Erosión” reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through.” - Alan Freeman (Audion Magazine)

[engl] "AK Musick" was originally released in 1972 as a private edition of 150 copies on Hans Kumpf’s legendary AKM Records label. Radical, freaked–out sound with hints of free–jazz, improv and avant–garde. File next to Anima, Annexus Quam, Albrecht D, Gulda, Nihilist Spasm Band, Nurse With Wound... AK Musick was an improv collective assembled by Hans Kumpf to "make music in a very democratic way". The five players had a classical education but they were also influenced by avant–garde composers like Helmut Lachenmann and Johannes Fritsch. Their only album, "AK Musick", was recorded in 1972 at the famous Bauer Studios in just three hours and engineered by Martin Wieland, who had previously worked with Keith Jarrett for the ECM label. Some of the instruments used were: clarinet, cello, oboe, organ, piano, darbuka, tam–tam, ektare, flute, zither...Includes the amazing "Impro–vision" which sounds like electronic music but using only natural instruments. "AK Musick" was originally released as a private homemade edition of 150 copies with spray printed covers. During the 70s, AKM Records was also home to other free–jazz rarities like "Free Blacks" by Perry Robinson / Hans Kumpf (where Hans also collaborated with his friend Wolfgang Dauner) and "In Time" by Theo Jörgensmann. Very hard to find now, we present the first ever LP/CD reissue of this rare Kraut artifact done under license from Hans Kumpf.

[engl] Choreosonics was the name of the music for the choreography of Alwin Nikolais - a unique theatre exposition that was described in the late 50s as “the new theatre of shape, motion, light and sound.” In 1953 Nikolais attracted people interested in new art to his dance concerts at the Henry Street Playhouse in New York City. In these con- certs dancers became colourful motivating sources for sculptural shapes; moving in changing atmospheres of light and sound their relationship carefully integrated into a new kind of audiovisual abstract theatre art. The sounds created for this were not con- ceived from traditional music points of view but were designed to share and support the total visual dynamics. Such a creation was possible because of Nikolais’ background as a musician as well as choreographer. At sixteen he was playing piano and organ for the then disappear- ing silent films, improvising and coordinating music four to six hours daily to the dra- matic content of the movie. With this profession obsolete, he turned his skill into accom- paniment for dance. Through this his interests led to his study of percussion accompa- niment and exploration of new sounds. These ideas were stimulated by the kind of dance accompaniment introduced by the famous German dancer, Mary Wigman. This, in turn, induced Nikolais to study dance and ultimately to switch his career from musi- cian to dancer and choreographer. Nikolais was soon heralded as one of the leading figures in modern concert dance, he is credited with bringing about revolutionary ideas opening up new vistas for dance and theatre. Nikolais' activities were centered at the Henry Street Playhouse in New York. His work was created there with his assistant Murray Louis; sound engineer David S. Berlin; artist George Constant and members of his Playhouse Dance Company. All of whom had a hand in the final productions. Performances with names like Prism, Cantos and Totem were met with positive critical view for their multidisciplinary achieve- ments. While his collaboration with Harry Partch on The Bewitched established his name alongside another true maverick of American sound design and forward-thinking composition. Some of Nikolais' dancers were also trained as percussionists who improvised on a curious assortment of sound producing instruments and objects while other dancers worked through the choreography. David Berlin, who assembled and constructed the sound recording equipment, would operate from the sound booth from a window over- looking the stage. Nikolais would direct the experiments and improvising. Within any performance there would be numerous tests of the original sound and their possible electronic conditioning, including many playbacks of short phrases tested to the dancers’ motion. When the sound phrase proved satisfactory the next cut was start- ed. Sounds were cut down, enlarged, replaced and then the whole piece would be linked together and given final editing much the same as a filming process. Nikolais generally tried to avoid any identification of the sound sources, thus inviting the ear to perceive the sound itself divorced from its initial derivation. This, however, was by no means a final criterion, the ultimate one being the value of the sound to the theatre idea at hand whatever its source or manner of conditioning was. The objects used to pro- duce these sounds were without limit except for practical material size. Within the col- lection many percussion instruments were used: drums of all kinds, rattles, bells, gongs, cymbals, wooden blocks, etc. Also whistles, tubes, pipes, pieces of wood, alu- minum, steel and tin containers were utilised alongs-ide glasses, elastic bands, coils of wire, etc. The back of an upright piano in addition to a grand piano were also often at hand. The human voice would be used freely, hand clapping, foot stomping and any sound producing device whatsoever that might served a purpose.

[engl] Originally released in 1975, “Música Eletrônica” is considered the first electro-acoustic / electronic album made in Brazil. It features tracks recorded between 1962 and 1970 by avant-garde / electronic music pioneer Jorge Antunes. Early electronic oscillations, white noise, feedback, loops, tape manipulation, treated vocals and proto-minimalism / sampling / glitches Mandatory to anyone into Pierre Henry, Iannis Xenakis, Pierre Schaeffer, Ralph Lundsten, Louis & Bebe Baron, Ihlan Mimaroglu, Morton Subotnick, Stockhausen… Born in 1942 in Rio de Janeiro, Jorge Antunes is one of the earliest composers of electro-acoustic music in Brazil. During the early 60s, he built his own components for making electronic music: theremin, sawtooth oscillator, a spring-reverb device, a frequency filter… The works included on “Música Eletrônica” were recorded at Antunes’ home studio and at the Electronic Music Laboratory of the Institute Torcuato Di Tella, in Buenos Aires, Argentine. We can find early pieces like “Valsa Sideral” (1962), on which Antunes uses artificial echo and reverberation by feedback between the recording heads to create the first Brazilian work consisting only of electronic tones. “Auto-retrato sobre paisaje porteño” (1969 / 1970) is an amazing piece of early turntablism on which Antunes “samples” an old tango vinyl record found at a flea market, using it as a loop and for sound effects / manipulation, adding a different, “electronic dance” version to it, mixed with electronic sound effects and cut voice manipulation / sound poetry. It sounds years ahead of its time and it’s a precursor to the dance / downtempo music from the following decades. The version included here, features the audio collage which Antunes created to criticize the military regimes from Brazil and Argentine and which wasn’t used on the original LP to avoid any problems with censorship. “Cinta Cita” (1969) was the first piece recorded by Antunes at a professional studio. Pure electronic sounds and pulsating rhythms using filtered noise and synthetic sounds created by additive synthesis. “Contrapunctus versus contrapunctus” (1962) was created using tape splicing, micro-assemblies and tape manipulation. "Historia de un Pueblo por Nacer or Carta Abierta a Vassili Vassilikos y a todos los Pesimistas” (1970) with its sinoidal sounds and low frequencies was inspired by the plot of the novel and film ‘Z’ by Vassili Vassilikos. In the original audio of this work, Antunes used a quotation from the International Communist anthem. To avoid problems, he cut that passage for inclusion on the original LP. But you’ll find here the uncensored, original version. In 1970 Antunes had done research at the Institute of Sonology at the University of Utrecht with a specialization in Computer Music (working with the Electrologia X-8 computer). During the 70s at different occasions he had worked under guidance of Pierre Schaeffer and Iannis Xenakis amongst others. Mr. Antunes is presently Director of the Electroacoustic Music Studio of the University of Brasilia and President of the Brazilian Society for Electroacoustic Music.

[engl] Compilation of our favorite Arvo Part pieces. All sparse and beautiful arrangements. Some solo piano pieces, some duets with piano, violin cello and viola and one string quartet. The pieces on this record are all unique to the style of Arvo Part - deceptively simple compositions that force you to live in the moment you are listening to them. A Part quote from the back of the record - “You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free--you can choose. In art everything is possible, but everything is not necessary.” Record comes in a beautiful "tip on" old school cover with shiny gold ink and features an incredible painting from the 16th century manuscript Kometenbuch.

[engl] Originally released only on cassette in 1983, "Dogs’ Ears Are Stupid" by Chicago trio Care of the Cow is a fascinating blend of psychedelic folk, minimal electronics and post–punk weirdness. Acid fuzz guitar, incredible vocal harmonies, drum machines, analogue synths... One of Chicago’s best kept secrets, Care of the Cow’s history goes back to 1974. A trio formed by Victor Sanders, X Baczewska and Sher Doruff, they had a very unique and eclectic sound, experimental yet very melodic, mixing psychedelic folk–rock with art–rock and DIY / post–punk. Their influences were very diverse: Beatles, Fripp, Eno, Joni Mitchell, Carla Bley, Pauline Oliveros, Eric Dolphy... Care of the Cow debuted in 1975 with a 10" followed by their first LP album in 1981. By 1983, the band was adding drum machines and synths to their sound, highlighted by Victor’s amazing guitar playing and X & Sher’s perfectly blended vocal harmonies, resulting in "Dogs’ Ears Are Stupid", the second Care of the Cow album, released only as a tiny cassette edition in 1983.

[engl] In the late 1970s and through the 1980s there was a lot happening on the German "post Krautrock underground" that few people knew about, lots of independent artists doing their own thing, either via small labels or doing it themselves. Circles were one of these bands. Based on the Frankfurt suburbs, they consisted of the multi- instrumental duo of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer) plus a few collaborators. Carrying the torch of 70s bands like Cluster, Harmonia or Liliental into the 80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch and Nurse With Wound so you can also expect some similarities in their music. Circles? was their first album, released in 1983 as a private pressing on their tiny Einhorn label, housed in a cool and mysterious looking cover. This little known but excellent kraut/psych/experimental album is highly recommended to anyone into Harmonia, Cluster, Fripp / Eno, Heldon, Conrad Schnitzler, Neu!, Throbbing Gristle, Ilitch, Irmin Schmidt, Amon Düül II?

[engl] In the late 1970s and through the 1980s there was a lot happening on the German "post Krautrock underground" that few people knew about, lots of independent artists doing their own thing, either via small labels or doing it themselves. Circles were one of these bands. Based on the Frankfurt suburbs, they consisted of the multi-instrumental duo of Dierk Leitert (synthesizer, sequencer, drums, bass, guitar, voice, saxophone, flute) and Mike Bohrmann (guitars, bass, synthesizer) plus a few collaborators. Carrying the torch of 70s bands like Cluster, Harmonia or Liliental into the 80s, Circles were also contemporaries of groups like Throbbing Gristle, Ilitch and Nurse With Wound so you can also expect some similarities in their music. “More Circles” was their second album, released in 1984 as a private pressing on their tiny Einhorn label. Experimental krautrock with lots of psychedelic guitar, keyboards, motorik drums, drones, proto-ambient sounds and avant-garde / dadaist touches.

[engl] CLARA MONDSHINE is a musical project of the late radio director, journalist and composer Walter Bachauer who for example used to work for RIAS Berlin in the 70s and 80s. Mr. Bachauer has also been involved as musician in Projects with electronic artist Peter Michael Hamel and kraut rock act BETWEEN back in the 70s. With CLARA MONDSHINE he was able to score three albums before his untimely passing in 1989 of which “Luna Africana” is the first from 1981 and it fits exactly into that era when the sluggish grinding of the early epic “cosmic music” had finally completely vanished and a new peppy drive could be felt with the spacious soundscapes of electronic music. Still rather low-fi with primitive machine grooves and swirling waves of analogue synthesizers to which some hypnotic drones were tastefully added, this music has learned a lot from the grand masters of the 70s and especially the so called “motorik” style of krautish electronics with rather simple melodic patterns and a very rhythmical approach with all those layers of pulses and drones piled upon repetitive structures to gain an effect on you as the listener which sets you into a state of trance. This music is quite imaginative and picturesque and the trip it will take you on leads you through a dark galaxy where only the starlight guides your vessel. Quite a typical example for the later krautish electronics and certainly a must have for fans of ENO / HARMONIA collaborations, CLUSTER “Zuckerzeit” and other similar “motorik” electronic albums. It also has a KRAFTWERK feel just without the vocals of course. Now this long hidden secret gem is unveiled for your stellar listening pleasure. But beware for some of you might get lost in the depth of outer space.

[engl] Connect_icut is an electronic music producer based in Vancouver, Canada. His releases include Moss (Dehausset CD, 2005), They Showed Me the Secret Beaches (CSAF LP, 2008) and Fourier's Algorithm (CSAF download, 2010). These albums have received a good deal of critical acclaim. Most notably, Secret Beaches was praised in Thurston Moore and Byron Coley's Arthur magazine column, as well as in The Wire, which commented that it was "(a)lways involving - and easily rewarding enough to make getting up and turning the record over an anticipatory pleasure." The music itself combines the disruptive "glitch" techniques of Oval with the melodic noise rock of My Bloody Valentine. It anchors all manner of chaotic abstraction in a solid foundation of three-chord pop. It is also fundamentally grounded in hands-on performance and spontaneous composition. Live connect_icut appearances have included support slots for a number of notable electronic artists including Oneohtrix Point Never and Loscil. The vinyl comes with a book designed by Bas Mantel. It presents a graphic interpretation of the intense atmosphere on Crows & Kittiwakes Wheel & Come Again. Cut and pasted images explore the glitched and sequenced sound universe with its detailed constructions of hunted and alienating sound layers.

[engl] Filed neatly and undisturbed within the micro-genre of 1970?s Italian artsploitation, amongst films soundtracks such as Girl With The Crystal Plumage, A Quiet Place In The Country and House With The Laughing Windows, this obscure library LP is one of the few fully formed concept albums from the recently reappraised discography of Rome’s most versatile and adventurous female production-music composer Daniela Casa. Once destined for a shelf life within the storage rooms of defunct TV studios and educational facilities Daniela’s previously strictly commercially unavailable music has in recent years been given new focus at the hands of open-minded disc detectives and sonic salvage hunters earning Casa’s distinctive feminine take on experimental instrumental mood and movie compositions a place next to her widely respected masculine counterparts such as Alessandro Alessandroni, AR Luciani, Pierro Umiliani, Morricone and Nicolai. Sharing tight studio space and strict syndication schedules with all of the aforementioned artists (under commission from Romano Di Bari’s fervently independent Flipper music factory) Daniela Casa embraced a liberating wind change in affordable music technology which opened doors for uninhabited solo compositions in home studios taking advantage of communal recording consoles and domestic synthesisers which nurtured a lesser-documented creative family tree (or rather secret society) and paved the way for individualistic projects from the likes of Magnetic System’s Fabio Frizzi and Goblin’s Claudio Simonetti.Here, on this repress of the impossibly rare, one-time subscription-only album, Arte Moderna, we find Daniela at her versatile best creating a wide thematic suite (based on paintings and sculptures in an abstract art gallery) for which she would deploy mostly organic and acoustic instruments to construct a set of unorthodox compositions straddling avant garde, free jazz and Giallo tension (with some brief moments of brooding electronics and italian pop). Veering from her stylistic pop interests (which clearly included a fondness for the music of Black Sabbath and Led Zeppelin) Daniela Casa’s Arte Moderna saw her adopt a less era specific approach combining neo-classical elements and piano improvisations akin to the likes of France’s Francois Tusques or Burton Greene, or America’s Mal Waldron without compromising her strong narrative personality for this unique abstracted picture music. Unintentionally but profoundly political in her prolific existence Daniela Casa’s contribution to a predominantly male industry earned her a small clutch of inspired idiosyncratic Italian female bedfellows such as Nora Orlandi, Giullia De Muittis (aka Kema), Fiorella Fratini, Emma De Angelis and Maria Teresa Luciani, who, with faceless anti-celebrity as its essence, never benefitted the wider critical focus that much of this music now duly commands on the collectors circuit. Finders Keepers Records in continued collaboration with the Di Barri company, with the Casa/Ducros family blessing, are now proud to shine new light on this sonic sculptures and provide a fresh context where educated music listeners are ready to fill the gaps between Delia Derbyshire, Ennio Morricone, Suzanne Ciani and Harry Partch and patronise a very welcome considered alternative to the recent rise in popularity of Italian Giallo soundtracks from a seldom savoured feminine creative vantage point. Daniela’s musical paintings can now be unveiled to the public for the first time, with Modern Art sounding as contemporary as it did when it was recorded forty years ago. The gallery is now open for limited sittings, discerning ears and open minds.

[engl] Trasformazioni is the first work of Daniela Savoldi, cello solo. Synthesis of classical influences, pop, jazz, contemporary and oriental, writing music embraces the idea of improvisation overlapping emotions and different moods among them. The real thrust that drives this work is to tell and collect the steps of experiences, finally saying a clear point of crossing. A mixed in crescendo of colors and signs; an entire reworked from her only and one loop station who could follows and drives dancers, suggests, hides or reveals walks in the desert, eastern crossroads, walking animals, dissonances, surprises, people, dreams. It was urgent a say where she is and who she is just for now. The album is produced by Lorenzo Caperchi sound engineer and producer at the Red Carpet studio, Brescia (Italy).

[engl] North-east Italy, late summer 2013: Cristiano Deison and Andrea Gastaldello (aka Mingle) meet online and begin to lay the foundations for what will be their first project together. Out of this comes Everything Collapse[d], an album centred around melancholy and desolation; a concept that does not leave much hope, forcing you to look within yourself. A foreign body coming from far away: sidereal matter which is about to implode; an object that has reached its limit. And everything collapses, swallowed up by itself. Recorded and produced between Mingle's Tower Home Studio and Deison's 1st Floor Studio, Everything Collapse[d] is a perfect union of our two sounds: drones, field recordings and processed loops intermingled with disturbed rhythms, melancholy harmonies and piano chimes. A gloomy and dirty electronic sound that turns into an extremely evocative score which is full of pathos. A precise, precious and cosmic album... One Million Parsec From Your Sun.

[engl] Spring 2014: Cristiano Deison and Andrea Gastaldello (aka Mingle)motion. The idea is that of moving forwards skeptically, maybe meeting someone or something, maybe not. You do not know. The important thing is to stumble through the rubble, the tangles and fragments of broken ideas...listening carefully to the pulse of weak life. Assembled, recorded and mixed by Andrea Gastaldello and Deison at Towerbeats and electronic treatments are inserted. As always these are dirty electronics which are extremely evocative, to which we have become accustomed. Cristiano Deison: Electronics, Processing. Andrea Gastaldello (Mingle): Electronics, Treatments.

[engl] Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age) this English born Jamaican raised sound designer, artist and existentialist furrowed his own ublinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods. Creating two impossibly rare self pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future-folk to his magnetic mesh! Presented here as the first ever dedicated ize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small-group projects featuring members of the Emerald Web band. Imagine a comic book where a Funkenstein monster called “Laraaji-Scratch Perry” invaded your record shelf while Komendarek and Holger Czukay kept lookout… Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

[engl] If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement, Jean Dubuffet would be a prime candidate. Originally released as an impossibly rare six record box set containing Dubuffet’s first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960’s recordings show a lesser-known side of this important artist’s personality and stand up as a vital document in both fields of contemporary art and experimental music. Finally released to a wider audience and presented complete with Dubuffet’s signature style artwork this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu, and showcase what the two leading lights of modern art consider to be the best moments of this historic session. On this limited vinyl pressing Dubuffet succeeds in translating his unique spontaneous creativity and active support of Low Art into musical forms, a process with which he would also collaborate in his dual compositions with Danish avant-gardener Asger Jorn (for a separate series called Musique Phénoménale). Utilising a wide range of orthodox acoustic instruments ranging from violin and open piano to duck whistles and not musical apparatus this set of eight pieces (culled from a potential twenty tracks made under the Expériences Musicales banner) sees the work of the artist approaching music from the perspective of “a man of 50000 years ago”. Recorded at Galleria del Cavallino in Venice Italy during the first months of 1961, these primary experiments with music followed over twenty years of Dubuffet developing his own unconventional artistic persona as an instantly recognisable pioneer of post-war artistic abstraction. His visual art alone, which would go on to inspire and genuinely motivate artists to feed on there rawest spontaneous instincts (hence the translation of Art Brut, meaning Raw Art), would also have huge influences on writers, performers and musicians (from punk to jazz) to this very day. It is surprising, however, how the fruits of Dubuffet’s short-lived anti-career as a non-musician have never fully filtered down to some of his greatest champions. From an original gallery promoted artifact (which can now command fees of up to 5000 euros complete with its original art-prints intact) this highlighted version of Expériences Musicales is now available again on authentic vinyl to the wider public. The recordings you will find within the grooves of this LP were created without any reference and in the artist own words “without any discipline, without anything that would present the artist from expressing himself freely and for his own good pleasure.” Almost sixty years have passed since this sonic objet d’art was first realised, and with all the technology and the advanced science-of-sound, decades of so-called experimental musicians are still struggling to find that Brut energy within their creative endeavours making this early example one of vital existence.

[engl] Limited edition of 1000 copies! 3xLP set includes the bonus album, Pianoworks Vol. 2, featuring new recordings of every Eluvium solo piano work ever released. All 3 records are pressed onto a unique, custom-mixed Iridescent Mother of Pearl colored vinyl. Pianoworks is Eluvium's first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wonder of simple joy - Pianoworks begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time - a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

[engl] Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses and Arthur Brownthen combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. BEHOLD Geoff Krozier & The Generator. This faithful reproduction of one of Australias rarest synthy post-prog vinyl artefacts bequeths the only recorded fruits of the precious magick months before Geoff Krozier’s untimely death in 1981. Combining shamanic spoken word with nodding kosmische instrumentation this album is fuelled by ARP/Roland/ETI (Aussie synth) technology and leaves fans of synthetic soundtracks, electronic experimentalism and stubborn synth pop salivating for more (and more there is). Meet this Ex Kongress (NY punk band) collaborator, Sydney’s official 1980 Magician Of The Year and “the high priest of exorcism-rock” and watch him, and his trusty studio wizards, provide fans of Bruce Haack and Doris White with one of the most absurd electronic private press LPs to come from either end of the pointed planet.

[engl] CHECK OUT is designed as a collection of readymade exhibition sounds and images, published as a hardcover fine-art photobook and marketed (also) as a LP record. It includes one hand numbered 10” vinyl from a limited edition pressing of 500 copies, whose tracks have been composed for / executed with a single guitar and recorded in one take during night, in the corridors of a school in Nowa Huta (Krakow, PL). CHECK OUT is divided into sections (chapters / tracks) and has three main granularities, i.e. excess, exposure, and death. Excess as an event of exceedance that stretches time and sight. Exposure like in Latin’s ex·ponere, “to pose oneself out”, implicitly meaning interruption, abandon. Death: “Amen, CHECK OUT”. It is possible to die of exposure, i.e. dying of not being in the own Place of Nature…