• 01. Hava
    02. Schace
    03. Impro–Vision
    04. My Ape & My Monkey
    05. Ron Do
    06. Baz


    Ak Musick

    [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.
  • 01. Duo 1 Lungau
    02. Duo 2 Lungau
    03. Duo 3 Lungau
    04. Blechduo Lungau
    05. Duo 4 Lungau
    06. Limpe Lungau
    07. Paul Lungau
    08. Duo 5 Lungau
    09. Duo 6 Lungau


    Anima-Sound im Lungau

    [engl] In 1968, the Austrian Classical and Jazz pianist Friedrich Gulda organized the First International Music Forum of Ossiachersee with the theme “Improvisation in Music – Yesterday, Today and Tomorrow”. Influenced by current musical movements such as Free Jazz, Freak-out and Free-form Improvisations, the festival rapidly gained recognition. During the third edition of the festival, Gulda got to know the band Anima-Sound and was fascinated by their “absolute free music”, which they played on home-made instruments. Anima-Sound was Limpe and Paul Fuchs, who had already released two albums in 1971, Stu?rmischer Himmel (Stormy Heaven) on Rolf-Ulrich Kaiser’s OHR label (now re-released as play loud-47) and the self-released Musik fu?r Alle (Music for All; play loud-51). Musik fu?r Alle developed during a 4,000 kilometer tour throughout Europe when the band and their two children hitched a handmade mobile home and stage to an old Hanomag tractor, bringing their anarchic, uncompromising improvisations to an impromptu public free of charge. German documentary filmmaker Helga Tiedemann captured part of the tour for the film Mit 20 km/h durch Europa (VOD pl-72). Friedrich Gulda’s excitement about Anima-Sound could be seen throughout the seventies, and they often toured together. The band became regulars at Gulda’s festivals of Free Music. In 1972, they released the simply titled LP Anima (pl-52). In 1973, Tiedemann captured one of the shows, and the film Gruppe Anima in Salzburg has also been released on play loud! (pl-72). The International Music Forum of Ossiachersee ended in 1974. In the same year, Gulda and Limpe and Paul Fuchs went on tour with some of their festival musicians and recorded the double vinyl LP It’s Up To You (see info on reverse*). Also in 1974, they recorded a 7” single at the famous Munich Jazz club Domicile (**). Throughout the seventies, Friedrich Gulda and his partner Ursula Anders cherished Free Music. The festival in Ossiach attracted top-class guests, including among others Pink Floyd, Weather Report, Tangerine Dream and many great Jazz and World Music musicians. The follow-up festival, Tage Freier Musik (Days of Free Music) at Castle Moosham in the Lungau region of Salzburg, Austria in 1976 again offered a high-class bill: Albert Mangelsdorff, Cecil Taylor, Ursula Anders, Barre Phillips, Stu Martin, John Surman and Friedrich Gulda himself. A year later in 1977, the guests were Don Cherry and Moki, Hannibal Marvin Peterson, The Revolutionary Ensemble, Otto Muehl, Gu?nther Rabl, Paul Fickl, Makaya Ntshoko, Andy McCloud, and Anima-Sound with Limpe and Paul Fuchs. The recordings you are holding in your hand were made during the 1977 festival and have been restored and are released for the first time ever.
    EAN 4042564202823
  • 01. The Gate
    02. Misanthrope Gets Lunch
    03. Oblivion Sigal
    04. The War Clock
    05. Psychic Liberation


    Live Zebulon

    [engl] Recorded at Zebulon in Los Angeles as a warm up show for a show I had booked in Holland. What was meant to be a jumping point for the ‘first show’ ended up being a real burning set. A slightly more stripped down version on the 10 piece band (for sake of ease) keeps it nice and concise. Nerves sometimes bring out these little lost jewels of which this recording is full of…gotta love improvisation for fleeting moments. Recorded super hot by none other than our sound person Liza Boldyreva. Selections of songs from Bent Arcana & Moon Drenched Cockpit stoned space jazz here you come. Mixed by John Dwyer and mastered by JJ Golden. This hunky double disk sports a zoetropic screen-print ed animation of the Death’s Head moth circling on its D side that works with a strobe light off yer phone….fucking cool fucking hot dig in and be well.
  • 01. Knutna Nävar
    02. Arvet
    03. Knutna Nävar - Repris
    04. Lär Av Historien
    05. Inmarsch
    06. Leendet Från Helvetet
    07. Utmarsch


    Knutna Nävar

    [engl] Swedish progg is not to be confused with "prog" as in progressive rock music. When we are talking about progg, we are refering to the Swedish music movement influenced by the political climate of the late 60's, to some extent the hippie movement and in many cases also Swedish folk music. Music highly driven by an political agenda. Blod's Knutna Nävar, originally released in an edition of 150 copies on Förlag För Fri Musik in 2018 and later a small cassette run, is pretty much a lost progg classic from the 70's. This is not a case of copying a certain sound though, far from it, neither are ideas really rehashed nor does the album feel nostalgic in that sense. Rather it feels like if someone has read about the progg movement and all the records but never actually heard it, yet decided to do an album and somehow managed to succeed big time. Further developing the sound palette and ambience initiated with parts of the Leendet Från Helvetet recording, the music feels slightly louder and more in your face. It's like it's more of everything. The melodies are immediate and it's quite impossible to resist the brash catchiness of it all. Albeit mentioning progg music and it's importance for this recording, the actual musical side of Knutna Nävar has in reality more in common with soundtrack/library music and Swedish composers like the late Björn Isfält when you attempt to break it down. The crude DIY approach and anything-goes mentality just adds an extra dimension to it all and ultimately places the music somewhere else. There's a rather blunt use of samples throughout the record (sources probably best to leave out, though you don't have to be a Einstein to figure these out), but then again this is made by the same guy that gave the world the ABBA album. Those samples have managed to become an integral part of the music through the few years that has passed and though well familiar with the records those snippets are now to me genuinely Blod and nothing else. It seems like everyone has their own favourite but Knutna Nävar is the Blod album I have returned to the most. It has that extra something that sets it apart and if I would have to pick up a few records that sums up why Gothenburg has been a pretty damn awesome place to be in the last 10 years or so, this would definitely be one of the top picks.
    LP lim
  • 01. Håll Dem Borta
    02. Natten
    03. Leendet Från Helvetet
    04. Leendet Från Helvetet - repris
    05. Lust
    06. Satan
    07. Tro, Hopp & Kärlek
    08. Tro, Hopp & Kärlek/ Lust - repris


    Leendet Från Helvetet

    [engl] It's been a true pleasure but also a rather chaotic experience to follow the progress of Blod from a close distance since the beginning. I have fond memories of receiving the odd cassettes from the early days, like the severely fucked up Unga Röster (later issued as an LP on Förlag För Fri Musik) and the awfully mesmerising Prat Om Depression recording. Returning to Leendet Från Helvetet for the first time for long a while, it's quite evident that the album marked a new phase in the troubled Blod universe. There's few traces left of the found tapes/audial voyeurism and brutish stop/rec editing that made up the first few releases, instead we are served with what is pretty much a proper album in a, sort of, traditional sense. The record opens with a sole beat from a hand drum soon accompanied by a beautiful and very Blod-ish subtle melody from a glockenspiel but it only takes a few minutes before Gustaf's past as a free jazz aficionado is noticeable with the rather rough saxophone burst of 'Natten'. It's not until the title track that things kicks off for real though, most likely the first example of the sound and, maybe more so, very special feeling that I would say most people associate Blod with nowadays. To me, it's the sound of growing up in Sweden in the 80's; having two channels on the TV, eating brown food, rainy summers, taping commercial stuff on the radio, playing D&D in a purple tent in the garden. Memories of that certain bright light that can occur during the Scandinavian summers, those warm days when the skies are foggy. Long windswept grass and a very peculiar feeling of utter boredom. Arguably, Blod has never sounded more Blod than on this track, this is the very essence of the man's work right here. The progamm continues on side B with the solemn piano piece 'Lust', another saxophone rager and then the flipside's centrepiece 'Tro, Hopp & Kärlek' which pretty much mirrors the title track in it's larger-than-life scope and pure beauty. A couple of years has passed since it's initial release back in 2017 and I think it's safe to say that Leendet Från Helvetet is by far the most overlooked album in the Blod discography (well, if you can say that about a record that was only pressed in a mere 100 copies to begin with!). The blueprint to what would later evolve into the bombastic Knuta Nävar, the intimate Tusen Bitar, the highly confusing medieval masterpiece Missväxt, not to mention all the self-released cassettes and CD-rs.
    LP lim
  • 01. Umbra gebrannt
    02. Krapplack
    03. Zinnober
    04. Indigo
    05. Goldocker
    06. Malachit


    Träumen ohne Dinge

    EAN 4042564193251
  • 01. 1
    02. 2
    03. 3
    04. 4
    05. 5
    06. 6
    07. 7



    [engl] The debut album of experimental duo Deep Thoukus. A mellow expression with clear connections to the renowned improv jazz scene in Norway, but also with one foot in the alternative rock world, as Meyer Grønvold's electric guitar embraces the organic touch Laastad has on his drum kit. A playful and totally stripped down soundscape where rythm and melody is fully integrated between the two instruments. While Meyer Grønvold is mostly known for his appearances in alternative rock bands such as Moon Relay and S.L.Y.C., he has also been a solid part of the improv scene for ages. Joined by Laastad, known for his productions on both these genres, and also for his brilliant percussion and drumming in a variety of settings (Hilary Woods, Finity, Jenny Hval, Trondheim Jazzorkester etc.) and highly respected experimental jazz constellations, they create an impressively open and organic expression. A rough record, due to its 100 % transparent details which only enhances the meditative and inviting nature of the seven tracks composed with a unique calmness.
    EAN 7041889508693
    EAN 7041889508709
  • 01. Harmonitalk
    02. Mind Script Vacation Permit #35-17
    03. Good Indian
    04. Together Again
    05. Backporch Blues
    06. ARR
    07. Glacier Suite
    08. Blue Ice



    [engl] Alaska, 1980. The robotic harmonica and his Clones have landed on glacier planes. Meet mutant commander Gary Sloan - this is the dawn of Harmonitalk! Less than 1000 copies of this privately pressed Alaskan electronic harmonica album by the tight-knit synth trio called Clone actually survived the journey out of their Anchorage base camp, leaving an explosive trail of unidentified synth pop, New Age, low-fi blues, techno, vocoded folk funk and prog rock blazing behind them. See what happens when a homespun innocent blues collective become pos- sessed by the souls of Vangelis, Klaus Schulze and Suzanne Ciani on the frost bit- ten film set of John Carpenter’s The Thing. Over 30 years later Cache Cache and Finders Keepers Records resurrect Harmonitalk's original black box and find more lost transmissions in the process. Originally released as a privately funded 1000 copy vinyl run in 1980 this rare LP by Alaskan electric harmonica player Gary Sloan and his interchangeable synth trio known as Clone is a record that pushes the concept of American outsider music to its furthest geographical limits. With few physical copies travelling beyond their tight Alaskan fan base upon release this mutant album of conflicting mediums and truly forward thinking electronic pop music combines an unlikely mix of synth pop, New Age, low-fi blues, techno, folk funk and prog rock - providing the locale’s sparse vinyl industry with a much needed and veritable document of this collective’s truly unique and open-minded psyche. With its origins lying a decade earlier in the 1971 release of Sloan’s first privately pressed prog rock electric blues combo, Proof, the transmuted music of Clone stands as a triumphant example of how independent and experimental American music can flourish and evolve outside the restraints and fashionable whims of the major music industry. Taking the true essence of rhythm and blues and applying it, without inhibition, to the most profound mediums available, Sloan’s integration with local synth enthusiasts Paul Alexander and Kurt Riemannn (known internally as The Trio) coupled with a wide range of unfiltered influences (comprising everything between New Age to new wave) lead to what is perhaps one of the most unexpect- ed, improbable and underexposed pop fusion triumphs to emerge out of 1980s North America. Throughout the 70s and 80s, as a pillar of the Anchorage live music scene, Gary provided local musicians (including himself) with welcome platforms via his organised events and radio shows, such as The Import Hour which opened two way doors for regional and international artists resulting in various members of the Proof family collaborating with names such as Harvey Mandell and Klauss Schultze. The ongoing Proof records, limited cassette releases, and the Boogie Til Dawn production company have also played host to a wider community of North American both blues, punk and New Age artists with the same integral free-think- ing and progressive policy (some of whom can be heard for the first time guesting on this LP).
    EAN 5060099503900
  • 01. House Of The Sun
    02. Khan-Khallili Razaar
    03. The Devil May Care
    04. Slave Traders
    05. Land Of Unclean Spirits
    06. Perhaps Reincarnation
    07. House Of The Joker
    08. Take A Look
    09. Temple Of Exotic Delights
    10. Feed You To The Sharks
    11. Lapis-Lazuli
    12. I’ll Be A Sphinx For You
    13. Doubting Thomas
    14. Paid Your Money



    [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.
  • 01. Love-In (December)
    02. Freaky (January)
    03. Flashes (February)
    04. Kaleidoscope (March)
    05. Hallucinations (April)
    06. Flower Society (May)
    07. Trippin' Out (June)
    08. Tune In-Turn On (July)
    09. Vibrations (August)
    10. Soulful (September)
    11. Inner-Space (October)
    12. Wiggy (November)


    Psychedelic Percussion

    [engl] Psychedelic Percussion definitely sticks to his title. With the help from Paul Beaver of Beaver & Krause (famous keyboard wizard and sound engineer for the likes of Stevie Wonder), vibe master Emil Richards (check is two fantastic album on Impulse! with The Microtonal Blues Band featuring Joe Porcaro, father of the famed Toto brothers) and Gary Coleman (percussionist in the famous Wrecking Crew), Blaine goes wild in the studio with drums, gong, xylophone, organ, bongos, congas and timpani. Unusual textures and tones lead the way to 12 instrumental exotic numbers similar in a way to Raymond Scott most visionary experiments. This is pure madness, a record full of breaks and still unsurpassed in many ways. Blaine was an American drummer and session musician, estimated to be among the most recorded studio drummers in the history of the music industry, claiming over 35.000 sessions and 6.000 singles. His drumming is featured on 150 US top 10 hits, 40 of which went to number one, as well as many film and television soundtracks. He became one of the regular players in Phil Spector’s de facto house band, which Blaine nicknamed "the Wrecking Crew". Some of the records Blaine played on include the Ronettes’ single "Be My Baby" (1963), which contained a drum beat that became widely imitated, as well as works by popular artists such as Frank Sinatra, Elvis Presley, the Beach Boys, Simon & Garfunkel, the Carpenters, Neil Diamond and the Byrds.
  • 01. Overture
    02. Air
    03. Ragtime
    04. Intermezzo
    05. Waltz
    06. Finale



    [engl] Pioneering electroacoustic and tape music by Henk Badings assisted by Dick Raaijmakers (Kid Baltan) from the Hanover Opera Ballet production of Evolutions choreographed by Yvonne Georgi. Premiering in Hannover in 1958 then in Rome and Vienna in the following year the ballet Evolutions (Evolutionen) by Yvonne Georgi was the second of three groundbreaking collaborations with Henk Badings (bookended by Cain and Able aka Elektronisches Ballet in 1957 and Die Frau Von Andros in 1960) in which electronic tape music was combined with avant garde choreography, thus contributing to a vibrant global movement which drew a line between experimental dance artists and concrete/electroacoustic musicians such as Alwin Nikolais, Maurice Béjart (with Pierre Henry) and George Balanchine (with Remy Gassman) amongst others. Assisted by fellow Dutch electronic music pioneer and Philips sound laboratory technician Dick Raaijmakers (aka Kid Baltan), Badings, an Indonesian born musician of Dutch parents, would by the late 50s begin to expand his successful career as a composer of "roman- tic modernism" and develop electronic, polytonal and microtonal music which instantly attracted ballet mistress Georgi to his unique brand of musique con- crète. As a key exponent of forward-thinking and conceptual dance, Georgi devised a narrative based on the evolution of technology and is agonising effects on mankind. Garnering mixed opinions amongst the classical ballet cognoscenti in 1959, the projects of Georgi and Badings were viewed as a part concert/part instal- lation due to the radical sonic shifts and the physical deployment of large elec- tronic speakers to replace the otherwise acoustic orchestral accompaniment. Utilising the entire apparatus of the studio at Philips’ physics laboratory in Eindhoven before committing to master tapes, Evolutions not only stretched the perceptions of modern ballet aficionados but also stretched the technical boundaries of electronic music at one of its most exciting and vibrant junctures in musical history.
    EAN 5060099504907
  • 01. Frayeur
    02. Angoisse
    03. H.I.A


    L’Estrange Mr. Whinster

    [engl] A schizoid sonic sketchbook from the Maledictus Sound-maker Dr. J. P. Massiera. A disturbing mix of dismembered tape samples, para- noid-poety and cosmic chaos resurrected from the crypt of Studio Antibes 1976 Dawn Of The Dead, or The French Connection 2, or For A Few Dollars More, or Evil Dead 2. For an article relating to the bizarre Gallic concept album you are about to subject your ears to, any of the aforementioned 70s cinematic references could conveniently provide a snappy and relevant headline. More signifi- cantly, however, these four names, amongst a slew of surprising others, represent the micro-phenomena of freakish ‘sequels’ that up the ante and out-weird their predecessors pushing the envelope beyond what we thought we were prepared for... Not unlike The Horrific Child LP by Jean Pierre Massiera. Like a self-hypnotism disc or an astrological record ‘... Mr. Whinster’ was marketed in the format of a psychological experience rather than a pop record. A bloodstained patchwork of surrealism and brooding psychedelic rock the LP stitched together Massiera's own shock-tactical spoken word (in the style of his earlier exploitation record 'Erik' which described the ‘Streets Of Desolation’ after the Nazi occupation) and a cacophony of live instrumentation and de-tuned and collaged samples from the vaults of the Antibes Studio. Most of the contributors loosely described as the 'person- nel' were featured in snippet and sample form apart from some short cus- tom written passages that were performed by musicians from the Nice Music Conservatory directed by Antibes regular Gérard Pontieux who would later appear on the credits as an arranger for Human Egg and Turn Radio On (Massiera's rare proto-disco collaboration with his half brother Bernard Torelli). Extra electric basslines were dubbed onto the record courtesy of ex-Pyranas / Hermaphrodites bassist Tony Bonfils (who would later appear in Synthesis and Human Egg). Beneath the deep theatrical growls of JPM himself, backing vocals came from the two singing duos Paul & Virginia and Micky & Joyce including samples lifted straight from precious sessions such as Visitors or Les Chats Renaissance. Massiera also credits vocal appearances to two bizarre figures from the French glit- terati in the form of stage singer Roberto Galbés and the larger than life celebrity impresario Bob Damiano (who would later write lyrics for Massiera’s extra terrestrial Venus Gang project).
    EAN 5060099502071
  • cover


    Rest At Worlds End

    Das dritte Album dieses exzellenten Duos wurde live an den verschiedensten Orten in Europa aufgenommen, obwohl das großartige Können der beiden und die Liebe zum Detail darauf schließen lässt, dass das gute Stück akribisch im Studio entstanden ist. Mit ,Rest At Worlds End" wandert das Duo weiter auf dem abenteuerlichen Weg voller abstrakter Grooves und atmosphärischer Stimmungen, für die es bekannt ist. Thomas Str¢nen ist studierter Musiker und Komponist. Er ist reguläres Mitglieder verschiedener Bands, wie zum Beispiel FOOD, dem MARIA KANNEGAARD TRIO und PARISH. Nachdem er bereits an 30 verschiedenen Alben mitgewirkt hatte, veröffentlichte er 2006 mit ,Pohlitz" sein erstes Soloalbum. Wie es Usus unter den meisten norwegischen Jazzmusikern seiner Generation ist, hat er mit allem und jeden gespielt und war ein gern gesehener Gast auf den norwegischen und euopäischen Festivals. Ståle Storl¢kken seinerseits ist Gründungsmitglied von SUPERSILENT, ELEPHANT9, TERJE RYPDALIS SKYWARDS und BOL, doch stiße zuerst auf öffentliches Interesse mit dem Freedom Trio VESLEFREKK. Storlokken ist der wahrscheinlich vielseitigste und abenteuerlichste Keyboarder in der norwegischen Szene.
    EAN 7033662030811
  • 01. Do It All
    02. Stagflation
    03. The Ocean Moves Primitively
    04. Spanish Tale
    05. Synthetic Variation
    06. Homeland Rhythm Cycles


    Contemporary African-Amerikan Music

    [engl] Conscious avant-garde free jazz featuring Roland P. Young originally released in 1975 on the eclectical 1750 Arch records. “1750 Arch was a beautiful Spanish-style hacienda,”recalls composer and multi-instrumentalist Roland P. Young. “It had a wonderful recording studio in the basement and the salon was converted into an intimate performance setting.” Young played solo gigs at that venue, in Berkeley, California, and also performed there in a duo with cellist Chris Chaffe. He remembers it as a particularly “transcendent” setting for concerts by Infinite Sound, his trio with singer Aisha Kahlil and bassist Glenn Howell. Infinite Sound’s Contemporary African-Amerikan Music appeared in the uniquely diverse 1750 Arch catalogue in 1975. For Roland Young such a context was not incongruous. Contemporary African-Amerikan Music is a title that positioned the record quite specifically in 1975. But Young shares Buckner’s distaste for labels that fix expectations too rigidly and close down creative possibilities. Culturally and politically the early 70s appeared to Young to be a time of change and spiritual renewal. “There was a vibe in the air that we connected with, along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.” In 1968 Young was working as a DJ at KSAN, an underground rock station in San Francisco. “Glenn Howell used to call me when I was on air to comment about the music I was playing. He told me he was a musician and I invited him to come down to the station. We started to talk about music, then decided to get together and play. Young and Howell met Aisha Kahlil at one of their concerts. “A mutual friend introduced her and told us she was a good vocalist, loved our music and wanted to sing with us. We invited her to a rehearsal and soon after we invited her to join the group. Infinite Sound came together very easily and had a natural feel. We definitely had a shared intuition, and we created a lot of music. Each of us would bring ideas to rehearsals and we would work on them. Glenn tended to bring jazz tunes, Aisha tended to bring African-influenced compositions and I brought world, electronic, classical, jazz and avant garde material. Occasionally we would rearrange standards by composers like Duke Ellington and Charles Mingus. We talked a lot about how to present our material and how compositions would flow, one to the other. We were also conscious of how we dressed for performances, how we moved on stage, how we interacted with each other and the audience. We wanted it to be a ‘happening’. On occasion we would invite dancers to perform with us, friends of Aisha.” Contemporary African-Amerikan Music preserves a fascinating glimpse of the trio in action. It testifies to the energy that Infinite Sound channelled into their music, but also to their imaginative breadth and expressive versatility.Their compositions embrace mobile forms, with Howell’s buoyantly springy and resilient bass taking on a strong pivotal role around which Young’s horns and Kahlil’s voice dance and spar and soar and play. Well-defined rhythms dissolve into textures; melodic shapes soften into shadings of timbre or flare into exuberant bursts of tonal colour. The music’s mood swings unpredictably from flamboyance to introspection; pacing shifts spontaneously from languor to urgency. Moments of musical allusiveness, sly quotation or stylistic reference, mutate into passages of wild inventiveness. Tantalisingly this stimulating and varied set of pieces was this trio’s only release. Times have changed, yet increasingly in recent years creative artists have come to accept the need to erase musical boundaries and erode the constraints of aesthetic categorisation. Infinite Sound, and their enlightened host Tom Buckner, were decidedly ahead of the game.
    LP lim
  • 01. Pour Que Les Fruits Mûrissent Cet Eté
    02. Op Acht Paarden Wedden


    Karel Goeyvaerts

    [engl] KAREL GOEYVAERTS was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen and was in addition the pupil of Maurice Martenot at the "Conservatoire National" in Paris. In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51, he wrote the "Sonata for two pianos". Because of its decisive and total stylistic novelty he designated this work as "Composition No 1", thus rejecting all his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized "punctual" serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nrs. 4, 5 and 7. During the period 1951-1956, he influenced directly through personal con- tact and intensive correspondence the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first elec- tronic music in the studio of the NWDR in Cologne. In 1970 the BRT appointed him as producer at the "Institute of Psychoacoustics and Electronic Music" (IPEM) in Ghent. Since 1974 he is in charge of the New Music productions for BRT-3 in Brussels. Karel Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Neder-landse Omroepstichting). His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the "International Society for Contemporary Music" (ISCM) Brussels 1950, Oslo 1953, Graz 1972 and Bonn 1977.
    EAN 5060099504471
  • 01. Reality Testing
    02. Tammy and Her Friends
    03. Where The Moon Waits
    04. Freshest Taste
    05. North Sea Shrimps
    06. Three Babies Make Ten
    07. Vessel Creep
    08. No Disabuse
    09. Sewerland
    10. Terminator Baby
    11. Local Wall
    12. Public Private Dream World


    Custodians Of Human Succession

    [engl] Philadelphia’s Kilynn Lunsford had been conceiving her first solo album since she was a young teen. Growing up through the MTV era of Missy Elliot, Timbaland and the Swing Mob collective, and drawn towards its “sometimes ridiculous, but overloaded” qualities, she found herself returning to that state of emerging adulthood when the moment for a solo record finally arose. The image of Britney Spears being recorded in an empty field somewhere in her native West-Philly - “like Alan Lomax recording Betty Boop near the Delaware water gap” - provided a key 'mental mood image’ for what would eventually become ‘Custodians of Human Succession’. As if Blackout was reimagined by Throbbing Gristle, Lunsford’s debut straddles unclear boundaries between electro-pop, post-punk and the avant-garde; it delves into those liminal spaces between pop culture and experimentalism, between city and country, between verse and chorus. Written over four years, drafted during long car rides from work, hewn out first thing in the morning or last thing at night ‘Custodians'…is Lunsford’s first work since the dissolution of her former project, noise-punk outfit Taiwan Housing Project in 2021. Being now uninhibited by the democratic needs of a band writing and jamming in the practise-room, choosing to ‘go solo’ liberated her song building process. While some arrangements would be hammered out for weeks, sometimes it was a loose, “off-the-cuff” take that could make the final cut: “Wanting to combine irreconcilable elements”, Lunsford explains, “we would set up for hours and then do one take, always allowing for the aleatoric to come through”. Working to her preferred rhythms, she was free to approach the studio (read: her living room),- like a “laboratory”, liberally incorporating her smorgasbord of often disparate inspirations and ideas into something cohesive, and entirely of her own making. Inspired by her longtime love of collage, and a “solo exquisite corpse approach to photography”, Lunsford and chief collaborator Don Bruno developed a DIY recording style the two jokingly referred to as “Fluid Fidelity”: We would record things very flatly”, explains Lunsford, “ with cheap broken gear and off-time rhythms, sounds with no reverb or sense of space - almost like an auditory hallucination - and combine that with high-end preamps and high-end mics, so that my voice is out front almost to the point of being disembodied from the music.”. Opening track - the abrasive “Reality Testing” - is a case of this ‘Fluid Fidelity’ in point. The instrumentation of cyclical sheet-glass guitar and minimalist electronic drum is thin and wiry, recalling the deconstructed post-punk of early Fall. Then Lunsford’s sprechgesang vocal steals in from another plane, clarified and prepossessing, producing an ““exorcism-level of vocal presence” inspired by her life-time appreciation of Diamanda Galas. This constant, artificed state of balanced unsettlement is testament to the harsh juxtapositions that frequent Lunsford’s work. Sometimes hi-fi, sometimes ‘lo’, more often than not ‘Custodians’ is traipsing sideways or zig-zagging off on sharp diagonals. The album itself operates like an aforementioned collage, splintered and warped, each song in imprinting its own shape and colour to fashion a finished whole. Industrial-edged electro-pop a la Chris and Cosey sits shoulder to shoulder with twangling new wave rock ‘n’ roll ironies. That “ridiculous, but overloaded” MTV quality dances (un)comfortably with abrasive and bone-chilling sequences of avant-garde experimentalism. Embellishing this collage, more ornately still, are Lunsford’s caustic lyrics, packed as they are with a potent blood-stream of unflinching surrealism and discomfiting satire. Impacted by her experiences as Healthcare Union Organiser working through a pandemic, and as a sufferer of an autoimmune disorder with no healthcare coverage, a festering anger boils at the album’s core. ‘Custodians’ sits in this malicious context: the growth of right wing politics in the U.S; the emergence of authoritarian neoliberalism as an outgrowth of Third Way liberalism's fundamental inability to solve extreme economic inequality. Little wonder how, from all this, comes a record of commensurate disturbance, and brilliant intrigue.
    LP lim
  • 01. Infekt - Intro
    02. Gebt Mir Schnaps
    03. Astrale Reflexe
    04. Scheiß Dich Nicht An Man
    05. Slow Virus
    06. Kindersuchdienst I
    07. Die Macht Überkommt mich
    08. Uns Ist Der Sieg
    09. Halt Mich Fest
    10. Ich Bin Deine Große Schwester
    11. Kindersuchdienst II
    12. Das Schicksal Der Lymphozyten
    13. Einzelkämpfer
    14. Keine Rettung
    15. Kindersuchdienst III
    16. Der Vergnügungsdampfer Sinkt
    17. Systeme Rasten Ein
    18. Spermium Letalis
    19. Lechzverkehr Der Die Sperrzone
    20. Kindersuchdienst IV


    Tapetopia 003: GDR Underground Tapes (1984 - 1989)

    In ihrem kurzen, aber heftigen Leben spielte die Ostberliner Impro-Punkband Klick & Aus ein Amalgam aus Proto- und Postpunk, sie machte sich ost-westliche Einflüsse wie die Rasenden Leichenbeschauer, Captain Beefheart und Cabaret Voltaire zu eigen. Der Klick & Aus-Sound atmete Unrast und Zickigkeit, er hatte etwas von einer permanent brodelnden Kompanie, die kämpfen wollte, sich aber dem Gleichschritt verweigerte. In den Weihnachtstagen des Orwell-Jahres 1984 entstand das Kassettenalbum „AIDS delikat“, sein Titel verschränkte den Seuchencharakter einer im Westen aufgetauchten Krankheit mit einer Besonderheit des DDR-Konsumismus. „AIDS delikat“ wurde in einer Auflage von 100 Exemplaren von der Band finanziert.
    EAN 4042564202830
  • 01. Some Day Silly Twenty Three
    02. Reflections
    03. Am I
    04. Everythingsnothing
    05. Tunion
    06. The Tourist
    07. Bars
    08. The Letter
    09. Mangel-Wurzel
    10. To Whom It May Concern
    11. Optimism
    12. Touch-Downer


    Lady June’s Linguistic Leprosy

    [engl] From 1974, the legendary debut album by Canterbury Scene pivotal figure, performance poet, painter and experimental musician June Campbell Cramer, better known as LADY JUNE. Produced by KEVIN AYERS, who also plays on the album along with BRIAN ENO, PIP PYLE (Gong, Hatfield and the North) and DAVID VORHAUS (White Noise). Originally released by Virgin’s budget imprint Caroline (home also of artist like Faust & Tony Conrad, Gong, Lol Coxhill, etc),“Lady June’s Linguistic Leprosy” is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well to experimental / sound poetry / art-rock explorers.
    EAN 4040824087449
  • 01. Mit Grille
    02. Gebüsch
    03. Schnurrollen
    04. Wellen
    05. Holztrauer
    06. Blechtanz
    07. Tier im Gestrüpp
    08. Metallwolke



    [engl] Limpe Fuchs is a legend in the experimental music scene. In the late sixties, this percussionist drummed on self-made instruments, together with her then husband Paul Fuchs, in the Ensemble Anima. During that time, Limpe and Paul Fuchs cooperated with the classic pianist star Friedrich Gulda, as well as with jazz luminaries like Albert Mangelsdorff, and continually attracted the interest of their audiences in new constellations. Limpe Fuchs' solo performance with "variable wood and stone rows, ringing bronze in the pendulum strings, and a variety of skin and bronze drums" is a rare occasion to witness one of the early avant-gardists of the scene from the old Federal Republic Of Germany. She attempts, while playing live, to develop her musical ideas from the "resonance of the location where the performance takes place" - "to make music in the flow of time, with simplicity and emotion"! Her main concern is to sensitize the process of hearing: "Every tone is a sensation. Listening instead of shutting one's ears. Establishing silence."
    EAN 4042564165647
  • 01. Difonium
    02. Cellotape
    03. Studie VII B


    Lucien Goethals

    [engl] Lucien Goethals was born in 1931 in Ghent, Belgium. He completed his musical education at the Royal Academy of Music in 1956 where he was awarded the highest accolades for advanced organ, history of music and theoretic notions, after which he eventually pursued his studies of seriated music technique and electronic composition with G.M. Koenig. He was awarded further awards for composition in both his own country as well as abroad, and was a member of the renowned Spectra work group. In 1963 he was appointed to the post of producer of the BRT (Flemish division of the Belgian Broadcasting and Television System) and later a key producer in the division known as IPEM (Institute for psycho-acoustics and electronic music). From 1971 he taught musical analysis at the Music Academy of Ghent. Goethals was an exponent of the stricter direction in the aesthetics of contemporary music. His work is still recognised as a valuable contribution, on a global scale, to the fields of seriated and trans-aleatoric music of the past half century. His recorded achievements within experimental music include a dozen rare compositions for solo “magnetophonic” music and a set of works for combined orthodox instruments with magnétaphone. Outside of the electronic field Goethals was also recognised for his chamber music, symphonic orchestration, cantata and lied compositions. This compendium focuses on Lucien’s magnetophonic work recorded during, and prior.
    EAN 5060099504792
  • 01. Largo Pour Piano Et Océan
    02. Goutte De Sang En Feu
    03. Hard–Rock Ouverture
    04. Ailleurs
    05. 7 Contre 4
    06. Le Voyage Sperper
    07. Nebel/Leben
    08. Mémoire Pulvérisée
    09. The Playwrite’s Drift (bonus track)
    10. Roots Eater Take 1 (bonus track)
    11. My Guitar Is Driving Me Mad Take 2 (bonus track)
    12. I Love You, Sugar Beef Take 1 (bonus track)
    13. Hard–Rock Ouverture Take 1 (bonus track)



    [engl] First ever reissue of this impossible to find artefact from the Swiss underground avant–garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries. A unique, instrumental mix of free–jazz, classical, psych–rock, folk, improv, kraut, funk and musique concrete with tape effects... In the late 60s, musician / guitar player Christian Oestreicher, "a savage in the era of twist and free jazz", met artist and painter Richard Reimann – famous for his optical art –, at the Aurora art gallery in Geneva. Fuelled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork. Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine...He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz / rock scene to join in for the recordings: among them, Jean–François Boillat (of Boillat–Thérace), Blaise Català, Jerry Chardonnens... The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation. Tape effects and a small portable synth were also used. The result was released in 1973 as a hand–numbered, deluxe boxset limited to 150 copies, including a series of Richard Reimann’s lithographies and inserts. For this, the first ever reissue, we’ve created a new, more affordable edition with new artwork, including an insert with liner notes and previously unreleased photos. LP edition comes housed in a silver–mirrored sleeve. CD comes in standard jewelcase. The CD version includes five previously unreleased bonus tracks taken from the album sessions, including the 17 minute long improv monster "My Guitar Is Driving Me Mad". Both CD and LP versions come with a digital download coupon including all the tracks from the LP/CD plus another four bonus tracks taken from the album sessions. Highly recommended if you’re into avant–garde psychedelia, free–jazz, free–rock, psych–funk, kraut... Think Staff Carpenborg, Zappa, Soft Machine, Bo Hansson, The Feed–Back, Mahogany Brain, Semool, Pierre Schaeffer, the BYG and Futura labels...
  • 01. The Tower of Barad–Dûr
    02. Shelob’s Lair
    03. The Dead Marshes
    04. Mount Doom


    The Nazgul

    [engl] Shrouded in mystery Kosmische / Kraut / Avant–Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label. Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini–Moog, tape loops, weird noises, drones...File under dark ambient, proto–industrial, kraut, experimental...
  • 01. Torture
    02. The Death By Heroin Of Sid Vicious
    03. Surety
    04. S Geudet vielen die Zeit
    05. When I Am I Am Not
    06. Jesus
    07. Gammas
    08. Sally

    Ornament & Verbrechen

    Tapetopia 001: GDR Underground Tapes (1984 - 1989)

    1988 streute die legendäre Freakwave-Formation Ornament & Verbrechen ca. 20 bis 30 Exemplare ihres „Rotmaul-Tapes“ unter Freunde. Die Band um die Gebrüder Lippok ging aus der ersten Ostberliner Punkkapelle Rosa Extra und aus dem Avantwaveprojekt Fünf Wochen im Ballon hervor. Von ihrer Gründung an lassen sich O&V als Quelle in viele Haupt- und Seitenarme des Ostberliner Undergrounds verfolgen. Bands wie Aufruhr zur Liebe oder Band-Projekte wie Corp Cruid, The Local Moon und Bleibeil entstanden im Umfeld oder aus der Zusammenarbeit mit einer Band, die wie ein offenes Haus in der geschlossenen Anstalt DDR funktionierte. 1995 formierten sich aus den bewährten Strukturen der 80er Jahre die beiden Bands und Langzeit-Experimente To Rococo Rot und Tarwater, indem sie einem Muster folgten, ohne es zu kopieren. Nach dem DDR-Infarkt 1989 glimmte das Projekt Ornament & Verbrechen weiter, züngelte an neuen Ideen und flammt bis heute immer wieder auf. Die Serie tapetopia veröffentlicht, unter Verwendung des Original-Layouts und der ursprünglichen Tracklists, Kassetten-Editionen aus dem DDR-Underground der 1980er Jahre, speziell aus der Mauerstadt-Szene Ostberlins. Über drei Jahrzehnte nach ihrer ersten „Veröffentlichung“ sind diese Tapes bisher weder auf Vinyl noch auf CD zu hören, sie mischten jedoch im Kanon der DDR-Subkultur vernehmbar mit. Im Widerspruch zu den damaligen Kleinstauflagen galten viele der Bands in gegenkulturellen Zirkeln als Kult, aber in informierten Kreisen als höchst verdächtig. tapetopia wird herausgegeben von Henryk Gericke. Geplante Veröffentlichungen in der tapetopia-Serie: Die Gehirne (Karl-Marx-Stadt), Klick & Aus (Berlin), The Local Moon (Berlin) und Corp Cruid (Berlin).
    EAN 4042564192681
  • 01. Générique (Thème De Myriam)
    02. Catherine Malade
    03. Après La Mort Scène De La Trappe
    04. Le Gois (Scène De La Noyade)
    05. Thème De Catherine
    06. Mariage De La Feuille Et Du Cliché (Extrait)
    07. La Amoreux Musique
    08. Le Voyage Musique
    09. La Mort Musique



    [engl] Often evading the composer’s official discography lists Cacophonic present this outstanding, commonly undetected Pierre Henry film score providing fans of early electronics, femme vocal manipulation and hor- ror soundtracks with an indespensable "dream record" that ticks every box and crosses out every line in the rule book. Widely recognised as one of the original sonic architects of the move- ment known as musique concrete, having joined Pierre Schaeffer's for- ward-thinking initiative as early as 1949, Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and poplular music. Initially using the medi- ums of modern dance and spoken word as a platform to contextualise his tape-music mutations (notably in unison with Maurice Bejart) Henry's foresight to fuse accademic with thematic ideas lead to the birth of electronic sound design for film and theatre, expemplified most prevalently in the macabre. The missing link between his earliest avant garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth and rivaling the likes of Daphne Oram's uncreditted SFX work for The Innocents this rare score to the 1962 Juliette Gréco vehicle Maléfices (aka The Hex or Where The Truth Lies) hears Henry at what is perhaps his most melodic, fragile and enchanting (especially for this unforgiving sheen-free formative era). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial treated piano textures Henry provides a series of conceptual poison peons to magnify this films intoxicated hal- luciogenic narrative. This concise set of complete set themes is presented here fully remas- tered for the first time alongide rare excerpts from two of the compos- er's very earliest and least obtainable forays into theatrical sound design with instrumental parts of Henry's first stereo reconstruction of Bejart's Orphee from 1961 and his seldom heard concrete interludes from Darius Milhaud and Max Gérard's Mariage De La Feuille Et Du Cliché from 1958, both of which command rapidly increasing ransom fees amongst serious electronic music collectors.
    EAN 5060099505072