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Looks like this is the first catalogue update featuring more new cassette releases than those on CDs!

Russian scene is presented by the new releases and some reissues from the Rostov-based label Observatoire; we also got a pack of cassettes and vinyls from the Moscow-based Bookwar Records; plus new albums from the projects YAO 91404 D and Voluntary Torture. A couple of new CDs we got from the Ufa Muzak label.

We also got almost the complete catalogue by the French label Les Nouvelles Propagandes (La Nomenklatur, Minamata and more), fresh stuff from the Lithuanian Terror and American Helen Scarsdale Agency.

In September we're going for a long vacation, almost completely offline from September 4th till 28th, so the next update will most probably happen in October. As always, you can surely mail us your orders and make reservations during this time, all mails will be answered upon return!

Best vibes,

I. Forthcoming events

SEKTA FENIKSA, V. Luchanskiy + V. Dikke
St. Petersburg, Fish Fabrique Nouvelle. More info...

22.08.2015 - Interesting Punk Aesthetics
Moscow, EMA. More info...

St. Petersburg, Ionotheka. More info...

29-30.08.2015 - Shron: Festival of Lunar Art
Moscow, Tochka Sborki. More info...

St. Petersburg, Ionotheka. More info...

Fabio Orsi + Giuseppe Boccassin, P27, VEHJORA
Volzhskiy, Marks. More info...

04.09.2015 - Atmospheric Session 5
Fabio Orsi + Giuseppe Boccassin, ELEMENTY NAHERA
Saratov, Machine Head. More info...

Moscow, Dich. More info...

St. Petersburg, The Place. More info...

Moscow, CDH. More info...

Fabio Orsi + Giuseppe Boccassin
Moscow, Dich. More info...

XIU XIU plays the music of TWIN PEAKS
Moscow, CDH. More info...

XIU XIU plays the music of TWIN PEAKS
St. Petersburg, The Place. More info...

II. New items in mailorder catalogue

CDs & CD-Rs

Becuzzi, Gianluca & Fabio Orsi -- "Soundpostcards" -- CD -- €12
2008 Cold Current Productions, C.C.CD/007
Sound Postcards is a sound representation of determinated time-space, of its moods and atmospheres, it's a sort of soundpostcard in which the artists portray a familiar and hypothetical landscape. The listener is induced to ''identify'' the represented subjects through interpretative processes which directly compare sound suggestions with subjective/collective imagination. A semanthic game of mirrors reflecting forms in perpetual transition between auditive dimension and symbolic/mnemonic one. "Soundpostcards" is the first collaboration of this two artist, originally releasesd (2004) in two different mp3 work, now reissue for the first time in CD after a been REWORKED and added with an unreleased track. The Sounds is really inmost and peacefully melancholy. Lost and naked melodies (some times near to the feeling of the most dilatated post rock other time much more near to the aesthetics sounds of the avant folk music) on a soft background of field recordings and drones. [Soundohm]

Bianchi, Maurizio / Nobu Kasahara / Hitoshi Kojo -- "The Epidemic Symphony No. 9" -- CD -- €11
2006 Octpia, Octpia 08, (ltd. 500)
Mail exchange collaboration, 2003 Winter - 2005 Winter. Milano, Tokyo, Kagoshima, Lavaux. [label info]

Breaking The Will -- "Choosing Death" -- CD -- €10
2015 Terror, TR-12 / Narcolepsia, narco062
First full length album in discography of this harsh noise artist from USA. The sounds that were recorded to tapes, released during 5 years of activity, were not only visible and audible in excessive sea of information and sounds, but always attracted attention with truly high quality and well done cut-up harsh noise. This conceptual release was in plans for several years already and is finally out. Almost 40 minutes of preparation, execution, playing, destroying and annihilation is documented in this digipak CD, released in 300 copies. Choosing Death mood varies from darker droney parts and field recordings to openly aggressive and fast cut-up harsh noise. Without a doubt the strongest work of Breaking the Will to date. [label info]

Coelacanth & Keith Evans -- "Wrack Light In Copper Ruin" -- CD + DVD -- €12
2006 Seal Pool, Spool 03
Jim Haynes and Loren Chasse have collaborated with Keith Evans to create Coelacanth's fourth and most complex record. Culled from two performances -- a 5-hour recording session during Matmos's 96 hours of performances at the Yerba Buena Center for the Arts, and an audio/visual performance with Keith Evans -- Wrack Light in Copper Ruin explores the the symbiosis of materiality and sound, and its infinite network of metaphors and allegories. Like an abandoned aquarium in which an accidental and incongruous microcosm takes shape, Coelacanth's sound illustrates a constant evolution of decay, encroachment, and repossession of the border space between the natural and the man-made. With Wrack Light in Copper Ruin, Coelacanth also meditates on the space of performance, the tactile nature of the creation of sound, and its ephemeral, elusive and entirely subjective character. The visuals of Keith Evans further the exploration with their organic, nocturnal, energy. Comparatively, Wrack Light is more delicate than Coelacanth's previous recordings, inhabiting a space where artists such as Jonathan Coleclough, Andrew Chalk, Mirror, and MNortham can be found, yet it maintains the mysterious, oceanic nature its name implies. [label info]

Costa, Rui & friends -- "Sightseeing For The Blind" -- CD -- €9
2009 1000füssler, 012, (ltd. 300)
The idea for the piece first came to me in 2005, when I was invited to develop a sound project with the city of Lisbon as its theme. I decided to wander through the city, making a series of sound recordings using a pair of binaural microphones. What I concluded from these recordings was that, more than capturing the sound of the place or its “atmosphere”, they reflected a lot about me: my decisions of where to go, what places to avoid, how fast to walk, how long to linger in one place… preconceived ideas of what I wanted to be captured on tape. Later I followed up on this idea by introducing an element of “sonic sightseeing”. I grabbed a tourist guide of Lisbon, walked along the recommended hiking routes and made recordings with binaural and shotgun microphones. I wrote down my impressions, states of mind, mental associations and decisions and then mapped the recorded sounds against these notes, considering them as “instructions” or “cues” for a sound composition. I suppose that the experience that tourists get from a city is in great measure determined by the randomness of these almost unconscious impressions, of a permanent mapping out of what they see against their desires, preconceived ideas, memories, etc. All in all, my intention was to convert this process into a method for sound composition using field recordings. [Rui Costa] Additional pieces recorded by Gregory Büttner, Pali Meursault, Bill Jarboe, Maile Colbert and Mark Behrens.

Gum -- "Vinyl Anthology" -- 2 CD -- €12
2004 23five, 23five 005
In 1986, an Australian fellow by the name of Andrew Curtis posted an advertisement in a couple of record shops around Melbourne expressing a desire to start a band with somebody who shared his interests in Industrial music. The only person who answered the ad was Philip Samartzis, who has since gone on to international acclaim for his pristine electro-acoustic compositions published through Staalplaat, Synaesthesia, and Dorobo. Back in the late ‘80s, the Curtis and Samartzis collaboration resulted in the sonically volatile project simply called Gum. With little expertise or training, the two gathered up what objects they were familiar with, in particular thrift store turntables and soiled records. Eschewing their original attraction to the giants of Industrial Culture, Gum quickly developed an aesthetic privileging the caustic rupture of skipping records and smoldering surface noise, predating the current avant-turntablist aficionados like Philip Jeck, Janek Schaefer, and Otomo Yoshihide... Within a handful of recordings made during the brief span between 1986 and 1990, Gum piled thick layers of electrically charged static channeled from their locked grooves. These spiraling repititions and arrhythmic palpitations were suspended in the instant moment of ecstatic release as an infinite crash of overstimulation. Thanks to RRR and Korm Plastics who had published Gum tracks on a couple of 7" compilations, Gum received a considerable amount of notoriety during the last gasps of pre-digital cassette culture. Since then, the two parted ways with Curtis turning his passions to photography and Samartzis infecting his students at RMIT with his cravings for immersive and tactile experiences through sound. Yet, Gum’s Frankensteinian grooves had remained a secret history within the prolific oeuvre of Australian sound art. With the publication of Gum’s Vinyl Anthology, 23five Incorporated uncovers the bulk of Gum's work, including all of the material from their self-published albums Vinyl and 20 Years in Blue Movies and Yet to Fake an Orgasm as well as those aforementioned compilation tracks and plenty of unreleased material. [press-release]

Iamnothing -- "Teploelektrotsentral'" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Urban industrial field recordings. Pro-CD-R, slim box. [YAOP]

Iamnothing -- "Sublimation Of Noise To IC XC" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Art bruit field recordings. Pro-CD-R, slim box. [YAOP]

Iamnothing -- "Take It As It Is" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Experimental art bruit Drone Ambient with political samples. Pro-CD-R, slim box. [YAOP]

Iamnothing -- "Untitled Noise Session On Kazanskaya Night" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Experimental art bruit canvas with radionoise and multiple samples. Pro-CD-R, slim box. [YAOP]

Iamnothing & DN23rd -- "Pravoslavnaya Psikhiatriya" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Experimental art bruit collaboration from two masters of radionoise, full of samples and field recordings. Pro-CD-R, slim box. [YAOP]

J Orphic / Epoch / TSIDMZ -- "Unsere Weltanschauung" -- CD -- €9
2015 UFA Muzak, UFA68 / Sulphur Flowers, SF5, (ltd. 300)
Combative martial industrial / Neoclassic. Ladies and Gentlemen, UFA Muzak presents you the fresh almanac album from the new names of the European industrial underground. This recording features a dozen of chapters comprising musically and artistically all the important events in history, politics and economy from the traditional point of view of these artists who give special meaning to their work. You will have the complete image of aesthetical and cultural movement, inalterably keeping the idea of resistance against the modern decay, which, we have to say, increases its power and scale with every year. Back in 1938 Julius Evola wrote in German press, that a European started with eliminating the hierarchy inside of him and used his freedom for spiritual destruction, and only then called these phenomena of decline and decay with such innocent words as "progress" and "democracy". The music of these projects loudly claims one should not forget about the spiritual factors of the real European Unity which is now subsituted by such an absolutely degenerating market phenomenon as European Union. The album is split in three parts and each of them brings its own colour to the whole picture. J ORPHIC: Epic symphonic aquarelles of the various chapters of history in periods of especially solemn, triumphant and critical moments. As if you're in the Vienna Opera caught by fire, but the concert doesn't stop until the last line is crossed. EPOCH: Plunges you in a constrained world of hypnotic techno rhythms combining melodic anxiety with looped orders / incantations. No concession to the New World Order! The head is swirling of stupefying adrenalin raising its amount in blood. TSIDMZ: Here oriental tunes melt incredibly with waltzes of the previous century and clash of the cavalry timpani. Restless whisper spells the possibility of the Fourth World War amidst the unstopping mechanichal rattle. Despite of using the whole pleiad of sonic colours, "Unsere Weltanschauung" sounds as a united whole, and it offers some surprises even for the very experienced genre addicts. Carthago delenda est! 12 tracks, 63 minutes, 8-page booklet. [press-release]

J Orphic / Epoch / TSIDMZ -- "Unsere Weltanschauung" -- CD BOX -- €14
2015 UFA Muzak, UFA68 / Sulphur Flowers, SF5, (ltd. 30)
First 30 copies come with additional set of postcards, packed in outer cardboard slipcase all wrapped in camouflage cloth.

Minamata -- "Tomoko Uemura" -- CD -- €10
1991 Les Nouvelles Propagandes, NP.013
First Minamata's CD-album released in 1991, containing 3 tracks from 1985.

MNL9 -- "Godless Flesh" -- CD-R -- €4
2014 Smell The Stench, (ltd. 24)
New album of Russian underground project MNL9 run by Boris Kurtanov (also IAMNOTHING, Monologue, Morbus Mundi, etc.). Schizophrenic collage of street and field recordings, TV programs and harsh digital noise. Uterine hum with scratchy noises and rare electronic signals. Flute, factory rattle and mad distorted voices. Quiet insanity along with a remote sound generator, radiowaves and fractal echoes. The album contains two bonus tracks. First - a cut-up from very lo-fi home-made grindcore tracks, second - dense oppressing machine-like noise.

MNL9 -- "Godless Flesh" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
New album of Russian underground project MNL9 run by Boris Kurtanov (also IAMNOTHING, Monologue, Morbus Mundi, etc.). Schizophrenic collage of street and field recordings, TV programs and harsh digital noise. Uterine hum with scratchy noises and rare electronic signals. Flute, factory rattle and mad distorted voices. Quiet insanity along with a remote sound generator, radiowaves and fractal echoes. The album contains two bonus tracks. First - a cut-up from very lo-fi home-made grindcore tracks, second - dense oppressing machine-like noise. Pro-CD-R, slim box.

MNL9 -- "Ni Very, Ni Tzarya, Ni Otechestva" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Art bruit Drone Ambient / Musique Concrete with field recordings from Russian churches and psychiatric clinics. Pro-CD-R, slim box. [YAOP]

MNL9 -- "Yako S Nami Bog" -- CD-R -- €5
2015 CVLMINIS, (ltd. 20)
Art bruit, Musique Concrete, field recordings, historical soundscapes, radionoise. Pro-CD-R, slim box. [YAOP]

Oliveros, Pauline / Miya Masaoka -- "Accordion Koto" -- CD -- €10
2007 Deep Listening, DL 36-2007
Four improvised pieces on accordion and koto.

Ryr -- "In Spring 117" -- CD-R BOX -- €15
2006/2015 UFA Muzak, UFA05, (ltd. 50)
Apocalyptic Martial Avanguarde. War... Emptiness... Deapair... Hope... Mist... Blood... View... History... Fall... 117 steps... Down... 46 minutes of new experience of the martial atmosphere for the people who have to know more and maybe more dreadful. Vagueness of position turns into doom and rage, urge to kill turns into the only way to live. Retreat as a look into eternal existence. Monuments remember about this... The album is very musically diverse and saturated. Distorted noise, military samples, ritual pulsations, ambient soundscapes. Aside for typical Ryr samples you'll hear apocaliptyc poetry in French, Russian, German, Swedish... The album starts with sprightly hymn of "German girls union" gradually sinking in shots, shouts and weeping, and ends with magnificent "Last Spring" of Grieg. Remastered by I. Potsukailo (Bardoseneticcube). 8 tracks, 46 minutes, pro-CDR, A5 digipak, art-book of 16 pages, certificate, insert, cardboard box. [press-release]

Sewer Goddess -- "Hymns Of Infliction" -- CD -- €10
2015 Terror, TR-39 / Filth And Violence, 113
Sewer Goddess - Kristen Rose's death industrial project from USA that does not need huge introductory texts because sounds and international recognition talk for themselves. For a decade already it explores not only death industrial, but also sludge, power electronics, noise styles and transformed from solo project to full band, going beyond the boundaries of contemporary industrial styles. We are turning back to the roots of this project in this compilation - sounds that started Sewer Goddess and attracted everyone's attention to it - pure, raw, primitive and filthy industrial soundscapes when Sewer Goddess was still Kristen's solo project. Material in a CD from 2008-2009. Co-released between Filth & Violence and Terror. [label info]

Vidna Obmana -– "Legacy" -- CD -- €12
2004 Release Entertainment, RR6624-2
'Legacy' by Belgian sound artist Vidna Obmana marks the third and final part of his sonic investigation and interpretation of Dante Alighieri's Inferno. Having little of his recorded works personally, I can safely say this release has come as a bit of a surprise. The album is certainly the furthest departure from his more otherworldly 'Monument of Empty Colours' release all those years ago. Expecting more of the minimalistic Steve Roach orientated, rhythm-less dark sound worlds, what we actually have here is surely one his most varied albums to date, capturing aspects of electronic music and abstract experimental rock orientated music. [synthmusicdirect.com]

VipCancro -- "Tropico" -- CD -- €10
2010 Lisca Records, Lisca007
Second album after well acclaimed Xax, Tropico is the proof of Vipcancro’s ability to let you trip over the edges of industrial-drone-noise exploring several aspects of contemporary music too. Maybe avant, maybe impro, amazing music of course. Typographic print on special textured paper in jewelcase. [label info]

V/A -- "33 RPM: 10 Hours Of Sound From France" -- CD -- €10
2003 23five / San Francisco Museum Of Modern Art, 23F/SFM 903
An exhibition companion compilation to SFMOMA's 2003 listening room program 33 RPM: 10 Hours of Sound from France, curated by Laurent Dailleau. 33 RPM's Compact Disc companion features compositions from Kasper Toeplitz, Kristoff K. Roll, Jean-Claude Risset, Lionel Marchetti, Christophe Havel, Laurent Dailleau, Mathieu Chamagne, pizMO, Jean-Philippe Gross, and Mimetic. Comes with a 24 page booklet and original program details. [label info]

V/A -- "Ju-Jikan: 10 Hours Of Sound From Japan" -- 2 CD -- €12
2002 23five / San Francisco Museum Of Modern Art, 23F/SFM 901
An exhibition companion compilation to SFMOMA's 2001 listening room program JU-JIKAN: 10 Hours of Sound From Japan, co-curated by Atau Tanaka, Ryoji Ikeda, and Shunichiro Okeda. JU-JIKAN's Double Compact Disc companion features compositions from Tamami Toro, Pain Jerk, Yasunao Tone, Nerve Net Noise, Otomo Yoshihide, Atau Tanaka, i.d., Masonna, Kozo Inada, Ichiro Nodaira, Hanatarash, Yuji Takahashi, Ryoji Ikeda, Merzbow, Kazuo Uehara, Astro, and Testuo Furudate. Comes with a 20 page booklet and original program details. [label info]

V/A -- "Variable Resistance: 10 Hours Of Sound From Australia" -- CD -- €10
2002 23five / San Francisco Museum Of Modern Art, 23F/SFM 902
Variable Resistance— a co-presentation between 23five Incorporated and the San Francisco Museum of Modern Art—originally celebrated this Australian renaissance with a 10 hour ‘listening event’ in September of 2002. From those ten hours, curator Philip Samartzis distilled the best tracks to be featured on this CD compendium. Variable Resistance is a title that encapsulates the tone and extent of the work on hand, referencing not only the electronic gizmo (the variable resistor) as key to many of the featured homespun constructions filtered through state of the art DSP filters, but also as an applicable non-definition of those artists who "offer variable resistance in how they are defined and the positions they occupy in a broader cultural context, fragmented, and dispersed among remote cities and divided by enormous physical and psychological space..." Within this disc, the Australian aesthetic finds itself reflecting a number of ideas previously mined throughout the history of electronic music from Mego’s fascination with the streaming micro-textures of digital fragmentation to Metamkine’s conceptual riddles within their Cinema Pour L’oreille series to the brazen noise-junk collages from Merzbow and Otomo Yoshihide. Yet, Variable Resistance resolves its uniqueness by smashing these references with brutish noise and demonstrative force applied to the stereotypically delicate sensibilities of electro-acoustic composition. For instance, Samartzis’ collages of environmental, plundered, and digitized sound meld into psychologically abrasive narrative scalded by toxic agents; Pimmon transforms agitated chunks of granular synthesis into cybersonic lullabies; and David Brown’s jarringly angular duet between a prepared guitar and a squeaking door stands as a steroid injected homage to Pierre Henry’s musique concrete classic Variations Pour Une Porte Et Un Soupir. Along with Samartzis, Brown, and Pimmon, Variable Resistance also features exclusive compositions from Oren Ambarchi, Robbie Avenaim, Philip Samartzis, Xonk, Thembi Soddell, Darrin Verhagen, and Delire. [press-release]


Bookwar -- "Five Bayonets of Happiness" -- LP -- €12
2015 Bookwar Records, book07, (ltd. 300)
Second full-length album of the Moscow based experimental hip-hop band Bookwar. "Russian vocalist and composer Bookwar shows a different side of his musical personality here. This is dark, melodic post-punk pop that sounds much more like Tuxedomoon than like the hip hop of Bookwar’s first release on Attenuation Circuit, “Deconstruction”. Yet still Bookwar’s characteristic spoken-word vocals bind the whole thing together. With tracks named after intellectual icons such as “Burroughs” and “Nietzsche”, Bookwar picks up where he left off when paying tribute to philosopher Jacques Derrida on “Deconstuction”. Musically, the album is a blend of dark, bass synthesizer heavy 80s-style synth pop and punk-flavoured guitar distortion, with a series of guest musicians adding contributions to individual tracks." [Attenuation Circuit]

Bookwar -- "s/t" -- LP -- €12
2014 Bookwar Records, book03, (ltd. 300)
Vinyl reissue of the debut album "Insects Liberation Front" of the Moscow based experimental hip-hop band Bookwar + "Deconstruction" EP. "Being a good poet with strong will to share his words with people Ivan Bookwar started to search musicians to form a band and tried few options, but did not have success. So he decided to play solo. But how - still even after a year of releasing music he doesn't know musical notes! So he chose his own way of making sounds by buying old soviet dusty analog synths and drum machines that are very cheap in Russia as everyone uses Korgs and Yamahas, but not local gems - Polivoxes, Lels and Altairs. This stuff considered to be difficult to operate and create music. So Bookwar started his 1-man-band called "Read ABC-book" in Russian (Bookwar is a phonetic version of word "Bukvar" or ABC-book). Why ABC-book? Because it`s a reminder of soviet childhood and soviet sounds from soviet synths. As Bookwar is not a musician you can here that on I.L.F. - everything is very basic, but honest and straight. Sound is industrial and noisy. Tracks were recorded live with very little rehearsals." [Placenta Recordings]

Bookwar / James Alexander Darkforce -- split -- LP -- €12
2014 Bookwar Records, book05, (ltd. 300)
After several solo releases on attenuation circuit, Russian artist Bookwar teams up with countryman James Alexander Darkforce, whose moniker gives a clue as to the sound of his tracks: 80s electro meets 90s trip hop in a gloomy melange that manages to give familiar elements of these genres an unheard new twist while Bookwar’s electropop with rap vocals adds an occasional, if ironic, touch of pop bliss. Darkforce offers five tracks that alternate between instrumental and vocal, while Bookwar brings four vocal-dominated tracks to the album. For a split whose individual tracks were not co-composed in the first place, this is a remarkably consistent release which, clocking in at about 33 minutes, has something like the perfect duration for a pop album. Also, it contains one of only three or so guitar solos in the whole attenuation circuit catalogue, a hilarious take on the cliches of the guitar solo in pop by Dmitry Chernikov on Bookwar’s track “Kolobok.” [Attenuation Circuit]


Adr_va -- "Ognezmei" -- C-45 -- €5
2007/2015 Observatoire, obs * myth | 053 cassette, (ltd. 50)
Cassette reissue of a very limited (7 copies) album from 2007. Dungeon ritual music with natural lo-fi touch: rough tape loops, monotonous meloties of the wind oozing out of darkness, bells and torn rustles right over the ear. Frightening lullaby tale.

Adr_va -- "Ognezmei / Trance Tape" -- C-60 -- €5
2007/2015 Observatoire, obs * myth | 053 bonus tape edition, (ltd. 25)
Cassette reissue of a very limited (7 copies) album from 2007 + bonus material from 2003. Dungeon ritual music with natural lo-fi touch: rough tape loops, monotonous meloties of the wind oozing out of darkness, bells and torn rustles right over the ear. Frightening lullaby tale.

Ait-Ali, Benjamin -- "Ballet and Other Works" -- C-64 -- €5
2015 Observatoire, obs * acusma | 054 cassette, (ltd. 100)
An album from a young French composer working with found sounds.
[mp3]   [mp3]   [mp3]

ASTMA / Bookwar -- "Live Split" -- C-60 -- €5
2015 Bookwar Records, book15, (ltd. 30)
Live Split of two Russian projects. ASTMA = Alexei Borisov + Olga Nosova, recorded live at Art Academy of Vienna, May 2013. Bookwar - experimental hip-hop with totally analogue sound, recorded live in Moscow in January 2015.

Babil -- "Coucou, Bazar Ou Les Malheurs Du Buffet A 3 Pattes" -- C-45 -- €5
1994 Les Nouvelles Propagandes, NP.019
BABIL = BRUME + SYLLYK. Very good minimalist experimental electroacoustic music with female voices, between BRUME and D.D.A.A. Chrome tape. [Nuit Et Brouillard]

Bookwar -- "Five Bayonets of Happiness" -- C-72 -- €5
2015 Bookwar Records, book08, (ltd. 60)
Second full-length album of the Moscow based experimental hip-hop band Bookwar. Alternative mixing comparing to LP version + instrumental tracks + rarities from 2012. Recorded live in june-august 2014 using solely analog Soviet synths Ritm-2, Altair-231, Polivoks and drum synths Lel` UDS, Rokton, box with iron nails.

Bookwar -- "Insects Liberation Front" -- C-60 -- €5
2014/2015 Bookwar Records, book02RE, (ltd. 48)
Second cassette edition of the debut album of the Moscow based experimental hip-hop band Bookwar. Recorded live in may-june 2014, using solely analog Soviet synthesizers Ritm-2, Altair-231, Polivoks and drum synths Rokton, Lel` UDS, reverberator Lel` RC + box with iron nails.

Broitmann, Eric -- "Carnets Africains" -- С-50 -- €7
2013/2015 Observatoire, obs * akusma | 048 cassette
Cassette reissue of the CD edition. Eric Broitmann is a composer and a performer of acousmatic music. He is mainly interested in the sound material and develops levels of perception that highlight it. He guides the listener at edge of reality, and plays with that ambiguity to open to listening. His works have been played in several international Festivals: Forum de la jeune creation musicale, Foliesphonies, Elektrophonie festival, Espace du Son de Musique et Recherche, Synthese festival, Palais de Tokyo, France Musique, Futura festival and at the GRM. In addition to his activities as a composer and a performer, he organizes events: concerts, discovery-concerts, creative residencies for non initiated persons. He mainly works with Motus. He also leads mutual creation residencies with the collectif Adelaide & Co (photographers, video makers, visual artists, directors, composers). During the past two years (2012,2013), he’s been working for the GRM (Group of Musical Research) on the European project "Compose With Sound", which aims at developing the access to electroacoustic creation for young audiences. He also works on performing arts and live music... This triptych, whose main material has been collected throughout sound journeys Eric Broitmann made on the African continent, interrogates both memory and perception. It’s a founding project of his composition practise, a project that echoes large parts of his past and illustrates a trip that is both personal and compositional. It represents the fine, fragile path one follows while travelling… It holds the memory of sounds the composer brought back from there, sounds that little by little have dissociated themselves from the present. And then, it also holds everything one brings with oneself, in the luggage of one’s life: Music; Literature; Painting; the living ones, the dead ones. All those things intertwine in a composition and builds a new and modified perception. The journey gets crowded, deviates, polyphonic, a multiple dialogue... [press-release]
[mp3]   [mp3]   [mp3]

Garet, Richard -- "60' Cassette" -- C-60 -- €5
2015 Helen Scarsdale Agency, HMS031
Crude electro-acoustic strategies are at work in the tape-on-tape monolith that is Richard Garet's 60' Cassette, with the Uruguayan born resident of New York declaring his intentions as such: "100% treated audio cassette material. some blank. some erased. some demagnetized. etc." The conceptualization of this work as a reframing of one particular medium through its applied / accelerated disintegration is only the album's beginning. There is an implied history in this form destruction, as Garet pricks the murky surfaces of his tapes that show the bruises of multiple generations of recordings without much in the way of general maintenance (e.g. rasping hiss, mud-gray compression, spluttering motors, etc.), and he scrapes together rancorous textures of iron filing shards, flecked dried scabs, and garbled noise. Irradiated drones and thrumming bellows from the machine, the underlying source, the tape itself, etc. spew throughout the haptic chorales, drowning them in heavy, elemental waveform crush. Garet's immersive work has long paralleled the grand architectural scores of minimalism, and those forces are still at work in 60' Cassette, though obfuscated in the flurries of fetid noise and unspooled tape. Look to the crumbling roar of Kevin Drumm, Chop Shop, or more aptly the Japanese obscurantist Toukaseibunshi for a likeminded approach. [press-release]

Kollaboratsiya Zaher -- "Anthology" -- 2 x C-90 -- €8
2015 Bookwar Records, book24, (ltd. 25)
First ever anthology of this dark electronic industrial project from Moscow. The sound is viscous like tar and caustic like smoke of civil wars, depressive research of subconsciousness, horror and depth. Two C-90 cassette sets. Probably the most important release of Bookwar Records for today. [label info]

Kollaboratsiya Zaher / Bookwar -- "PostMaterializationParty13.05.15" -- C-60 -- €5
2015 Bookwar Records, book19 / GALP, galp13, (ltd. 30)
Mixing desk recordings of complete live sets by Kollaboratsiya Zaher and Bookwar performed in Moscow on May 13, 2005. Best live recording of Bookwar to date featuring 2 new songs from the forthcoming EP "Obryv". Kollaboratsiya Zaher - triumphal improvisations about man's yearning and WWII. [label info]

La Nomenklatur -- "Etre et Durer" -- C-60 -- €5
1987 Les Nouvelles Propagandes, NP.003
Second cassette by La Nomenklatur that was never released in any other form...

La Nomenklatur -- "La Legende Des Voix" -- C-60 -- €5
1986 Les Nouvelles Propagandes, NP.001
First tape of the French project La Nomenklatur, recorded in 1986. Powerful pulses and cold noises layering in very electronic sounding sheets of bruitalist percussions and distorted vocals. This aggressive aggregate is a raw document from the early days of rhythmic industrial noise. [Ant-Zen]

La Nomenklatur / DMDN -- "L'Apparition / Hitsig" -- C-60 -- €5
1990 E'ostrate, OST 001, (ltd. 100)
A-side: excellent unreleased contributions by LA NOMENKLATUR - rhythmic/cold electronics with metal percussions and powerful vocals. B-side: the Dutch project DVA MET DVA NICHTS - good experimental ambient noise... Chrome tape. [Nuit Et Brouillard]

La Nomenklatur / Stigma Pronuclei -- "1986-1988 / Dervishes Of The Disgust" -- C-60 -- €5
1992 Les Nouvelles Propagandes, NP.011
La Nomenklatur "1986-1988" is a follow-up to the "Un Recueil De La Nomenklatur" CD. It collects unedited & compilation tracks. The second side brings you some exclusive material of the french band Stigma Pronuclei: rhythmic power electronics, between SLAVE STATE and MK U.L.T.R.A. Chrome tape. [Nuit Et Brouillard]

Le Syndicat -- "Relapse" -- C-45 -- €5
1987 Le Syndicat, 21
"Vorgine" and "Relapse" are the last cassette releases from the band, more melodic and less noisy than the first ones... Chrome tape. [Nuit Et Brouillard]

Le Syndicat -- "Vorgine" -- C-45 -- €5
1986 Le Syndicat, 20
"Vorgine" and "Relapse" are the last cassette releases from the band, more melodic and less noisy than the first ones... Chrome tape. [Nuit Et Brouillard]

Machismo -- "Bodies in Perfection" -- C-20 -- €5
2015 Terror, TR-13
The first thought that comes to my mind after seeing Machismo, Striations, Abuse Patterns titles or Depravity, Anabolic Dimensions labels, is filth, inconvenient themes and oppressive darkness full of aggression. This is the perfect example of USA power electronics scene - no clear structure, no compromises, no lyrical deviations from the core of noise. 20 minute tape full of raw hate, dedicated to victimizers and oppressors in best vein of USA power electronics. [label info]

Maelstrom -- "Ecmnesia" -- C-40 -- €5
1991 Les Nouvelles Propagandes, NP.012
Side project of Angustere and Julien Ash from LES NOUVELLES LECTURES COSMOPOLITES - dark cold experimental electronics, sometimes quiet and melodic, sometimes extreme and powerful. Chrome tape. [Nuit Et Brouillard]

Mieville, Emmanuel -- "Buddha - Anima - Asia" -- MC -- €5
2012/2015 Observatoire, obs * e|tradition 037
Cassette reissue of the CD edition. Introducing the new solo work of Emmanuel Mieville. The album Buddha - Anima - Asia plunges us into the impact of Asian Buddhist Traditions. Four field recordings made in Malaysia, Taiwan and Nepal. The first track is Buddhist chanting by nuns recorded in Copan, Nepal. The second track is sounds from Hindu Ceremony recorded in Kuala Lampur, Malaysia. The third and fourth tracks are composed with sounds from Taiwan, track 3 is from Taoist ceremony dedicated to the japanese godess Matsu. Track 4 is funeral song for a young man deceased. Four long songs perfectly combine this mastery of style and electro field recordings with varying degrees of processing. Very bright and surprising effect of full presence in the development of sacred actions, sometimes electro-wave helping to complete detachment from the thought process and analysis of the soundtrack ... Absolutely excellent 'immersing' work! [label info]

Minamata -- "Mit Lautem Geschrei" -- C-46 -- €5
1984/1986 Les Nouvelles Propagandes, MI.001
Re-issue of the first Minamata cassette originally released by New Wave Records. Comes in a case with a cover sheet and two folded different sized one-sided inserts. Chrome tape.

Minamata -- "Residuels" -- C-40 -- €5
1987 Les Nouvelles Propagandes, NP.007
The testament of MINAMATA, published a few months after the split of the band. This tape contains 8 tracks of extreme power electronics extracted from several compilations and unreleased material comes with inserts about the MINAMATA disease. Chrome tape. [Nuit Et Brouillard]

Pochemu Kommutator Molchit -- "Eto Nuzhno Videt'" -- C-50 -- €5
2015 Bookwar Records, book14, (ltd. 30)
Coolest mini-album from the master of experimental pop electronics with strange vocals and dark guitar tunes! From Borisoglebsk, Southern Russia. Half of the material - only for cassette release. 30 copies. [label info]

Pogrom -- "Father:Land" -- C-40 -- €5
2015 Terror, TR-36
New Pogrom album goes further from political themes in order to explore eternal theme in music - death. Love and death are two eternal laws, going hand in hand since forever. Varied and perhaps weirdest album of Pogrom - from drums and guitars to poetry of A. Crowley; from noise walls to cover of Lithuanian black metal gem "Dausos. Gyvenimo pilnatve". Most of the material in this album was prepared for the gig in Belgrade that Pogrom didn't participate. [label info]

Radioson -- "s/t" -- MC -- €5
2015 Helen Scarsdale Agency, HMS032
The mysteries and conspiratorial thought that propagate around locations like Area 51, the incidents which have taken place in Roswell, and the reports of psychic weapons developed through the military-industrial complex are not unique to the United States. There are equally rich parallels that emerge from the Soviet regime as wild tales of parapsychological experiments with cruel expediency and reckless testing on human subjects. Secreted away within the utopian designs for Science City in Novosibirsk lies the enigmatic and ominous Special Department No. 8, presumed to be the research and development laboratory for Soviet tools of psychic warfare. One line of research stems from the potential for thought transference to occur via radio waves, originally postulated by Bernard Kajinsky under the general hypothesis of biological radio communication. The continuation of Kajinski's research lead to a the "radio sleep" [rus. radioson / радиосон] project of the zombification of a subject by means of radio in the late 1950s, with the test subjects in Russia dying off one by one... It is this lens of the paranoiac aesthetic where Radioson emerges. This eponymous release is the first full document for Radioson, though its Russian engineer is hardly a novice, as this is the work of [S] who has operated alternately as Five Elements Music and Exit in Grey over the past decade. Radioson maintains the representative compositional fluidity as [S]'s other projects, all the while presenting a darker, noisier, more malevolent disposition. Disruptive interference, numbers station mechanization, various Russian military transmissions, and electrically charged currents of caustic drone are constructed from a position of clinical detachment over the psychic and physical detritus that spills forth in his homeland. The occasionally kosmiche turns for electronic sequencing are a unique take on the Schnitzler / Schulze strategies from the '70s, though mapped out on antiquated Russian synthesizers, tape machines, and of course radios. But the exhumation of things past and the parapsychological aesthetics parallel the best work of Andrew Lagowski's S.E.T.I. moniker when he recorded for Ash International and the psychological dread of industrial ambient practitioners Schloss Tegal. [press-release]

Vassbotn -- "Besok Fra Italia" -- C-45 -- €5
2015 Terror, TR-30, (ltd. 100)
"Besok fra Italia" is the second full tape release from Norwegian/Italian Vassbotn. 45 minutes of rich, dynamic and enjoyable old school harsh noise recorded straight to tape and dubbed from tape. Vassbotn is a continuosly changing and evolving noise animal so you never know who or what is standing behind the name, what these noises mean and what is the purpose of it (tension shoots through the roof). A tape for purists who does not care about the names, titles and medals, but cares about noise and it's quality. [label info]

Vidine Ramybe -- "Aukstas Aukstesnis Auksciausias" -- MC -- €5
2015 Terror, TR-35
Vidine Ramybe continues to explore his obsession with skyscrapers in power electronics sounds. 9 tracks and new Vidine Ramybe full length. Some of the tracks has already been played live and got quite a popularity here in Lithuania without even being released. From hard to emotional sound, from cold as glass to melancholic as evenings spent in Dubai. Experiences and reminiscences from United Arab Emirates. After half a year of delays, the tape is finally out. Urban romance in between giants of glass and steel. [label info]

Voluntary Torture -- "Decay of Society" -- MC -- €5
2015 Collapsar Publishing, clpsr-t-01-2015, (ltd. 50)
Power Electronics / Death Industrial. We're proudly present the album by Voluntary Torture (Obninsk, Russia) recorded in 2009-2013. The main themes are violence and cruelty in the society. [label info]

Whitehead, Chris -- "Gryphaea" -- MC -- €5
2012/2015 Observatoire, obs * 032 cassette
Cassette reissue of the CD album. An amazing new work from Chris Whitehead, Gryphaea is based on the geological features of England's North Yorkshire coastline. The cliffs around Whitby are rich in marine fossils, and during Jurassic times this area was on the fringes of the shallow, warm Tethys Ocean, which covered most of Europe. Field recordings, phonography and electroacoustic elements combine to form an impression of these relics from a distant age and their subtle meanings. Through quiet hints and fragments, consuming ripples and crashing pulses, through hydrophonic ocean sounds and the voices of people and machines, a deep prehistory is evoked. These five tracks display an atmospheric sense of composition coupled with respect for the scientific truth. [press-release]

YAO 91404 D -- "Hydrostahl" -- MC -- €5
2015 YAOP, YAOP 077, (ltd. 124)
Raw and powerful Old-School Industrial from Ingria! Full-length album recorded in 2015. Machine rhythms, depressive drones, cold watery atmosphere and tons of metal clanks and rasps! Packed in two unique analogue industrial photographs from the archives of "Lengidrostal" construction bureau. Sleeve. [label info]

Zero Centigrade -- "Umber" -- MC -- €5
2012/2015 Observatoire, obs * i | music 035
Cassette reissue of the CD-R album. This record was made during 2011 in Italy. The album, product of the “impro duet” Tonino Taiuti and Vincenzo De Luce, can be called avant-blues. This mysterious work contains emotional parts. We can hear instrumental lines of acoustic and electric guitars, trumpet and electronic background sounds and effects. UMBER’s main features is its inclination to primitivism and its wigged out air. If this is the music, this is music at its most bare and essential form. [label info]

V/A -- "Le Pacte" -- C-60 -- €5
1985 Europa, EURO 003
Controlled Bleeding, Tools You Can Trust, Non Toxique Lost, Gerechtigkeits Liga, Tox Movement, Vox Populi!, Ankh, Club Moral, Le Rituel, Elcarna, La Nomenklatur, Le Syndicat, A.I.Z. Packaged in a plastic VHS case with wrap-around cover and an eight-page booklet. Chrome tape.


Minamata -- "KombaTour" -- DVD-R -- €10
2010 Les Nouvelles Propagandes, NP.024
DVD from the Kombat Tour Autumn 2010: one track from each performances in Lille (La Rumeur & CCL), Paris, Gent, Bruxelles, Dresden, Darmstadt & Tours.

Frea market

LaBelle, Brandon - Concert - CD - NM/VG+ - €7.30
Menche, Daniel - Screaming Caress - CD - NM - €8.30

Don't forget to check the full list of rare & used items with all details, it's here.

III. Back in stock

1000schoen -- "Paintings At The Nightsky" -- 2 CD -- €14
2014 Nitkie, patch 11, (ltd. 500)
New milestone work on double CD from the german experimental music old stager Helge Siehl (ex-Maeror Tri) is devoted to destroying power of mankind, spreading its essence in war. The music is originated from the old photo made in times of WWII you can see at the albums cover - the air raid of allies over Kiel, which totally destroyed this city. Based on the vibrating sound of metal sheets and rhythmic patterns of bomb explosions, the music transposes this image to another dimension, embracing the tragical eminence of this eternal ritual of war. Limited edition of 500 copies in a six-panel digipak. [press-release]

Bischoff, John -- "Aperture" -- CD -- €10
2003 23five, 23five 006
John Bischoff has been composing music with computers and electronics since the mid 70s, and has always focused his compositions towards malleable forms that best suit live performances. Within this context, Bischoff seeks to position the construction of sound far beyond the common perception of synthetic music as a mere simulation of the intrinsic sounds of traditional instruments. Instead, Bischoff qualifies his work as the realization of a "reflective intention," where he determines sonic structure not only through the predetermined elements which go into a piece, but also through the active process of listening to the music as it happens and responding accordingly. In describing his initial attraction towards computer technologies, Bischoff states, "Here was a single device that could contain a seemingly infinite range of pieces or configurations of elements and that could be interacted with in real-time." During the '70s when programming involved crude systems of binary code, Bischoff’s vision of the possibilities for computer-based composition fused to performative agency seemed implausible; yet in hindsight, his artistic imperatives were incredibly prescient of contemporary tools such as the nearly omnipotent audio synthesis language Max/MSP, which has been at the core of Bischoff's recent work... An aptly named set of compositions, Aperture opens the possibility for multiple readings through a series of diverse techniques ranging from additive synthesis to FM synthesis to sampled-based processes. Each of the pieces within the album was recorded in real-time with no overdubs. Aperture introduces itself with clusters of samples that sprawl with the deliberate pacing of Morton Feldman’s later periods, yet Bischoff renders what might be recognizable citations of a piano or percussion as pointillist condensations of digitized pixels and precise plastic details. During the ensuing pieces, Bischoff unleashes coarse streams of electrons which flange and pulse within the caustic firestorm of divergent timestretching, giving the impression that Bischoff is quite literally tearing the fabric of sound. Bischoff also presents a collaboration with Kenneth Atchley in complementing the oversaturated physical noise of Atchley's water fountain sculptures with short digital articulations that ride on the top of Atchley's dense texture. [label info]

Borghi, Andrea -- "Vetrale" -- CD-R -- €7
2013 Observatoire, obs * instrument|(л65) 044, (ltd. 65)
Andrea Borghi: modified turntable, elaborated glass discs, computer, effects. "VETRALE investigates the connection between space and matter through generated sound as an item for their integration/interaction. Technology and electronic is used to focus on frequency fields and sound details otherwise inaudible. The sound becomes tactil, the matter audible. Ideal follow up as a personal research on material sounds begins with Omaggio a Lucio Fontana (2010) and continues with Vetrale (2011) as a performing act that expresses an idea of Sonorous Spatialism." [label info]

Coelacanth -- "The Glass Sponge" -- CD -- €10
2003 23five, 23five 004
Authored by the Coelacanth duo of Loren Chasse and Jim Haynes, The Glass Sponge takes an abstracted yet empathetic view of its allegorical subject. Throughout The Glass Sponge, Coelacanth sets textural flutters, squeaks, and scrabblings in motion. These brittle events punctuate the boundless excursions of minimalism brought to life through elegaic bell tones, ghostly feedback, and tuning fork resonance, all spiralling together into translucent drones. Despite the obvious submariner references for this album, it may be a surprise that very little water spilled into the recording of The Glass Sponge. Loren Chasse is also heavily involved in the much acclaimed collective Jewelled Antler, where the multiple personalities of Thuja, The Blithe Sons, The Franciscan Hobbies, The Famous Boating Party, Child Readers, and Of speak in the tongues of pastorally psychedelic improvisations. Jim Haynes is an artist describing his craft in the former with the pithy statement, “I rust things.” He might also be known for his writings from The Wire. [label info]

Cordier, Eric -- "Breizhiselad" -- CD -- €9
2006 Erewhon, CDWhON011
In making Breizhiselad I have tried to rewrite some masterpieces of the traditional music of French Brittany. Apart a few field recordings all the material on this record originates in extracts from two songs of the A side of a 10" 1960s reissue of a 78rpm. The story begins when a Breton cousin discovered the record at his grandmother's house. On first listening, I found it to be horrible - but a work of genius. Horrible because of the catechism-like vocal arrangements but a work of genius in terms of the beauty of the melody and the conviction of the singers. Another particularity is the importance of the disc itself, whose vinyl surface is nearly erased, polished under a sea of cracks. My project has been to transpose this traditional music into the tape music medium with a view to preserving what is strong in the source material and erasing the sugary, churchy treatment of these originally popular songs... Composed between May and October 2003 with a sophisticated delay pedal, a sound processor and handmade devices. [from the author]

Cordier, Eric / Seijiro Murayama -- "Nuit" -- CD -- €11
2010 Herbal International, 1004
"Nuit" was composed in 2007-2008 as requested by Seijiro Murayama. He invited me to compose for him a "piece mixte", where his percussion was back to back to a tape. As he is Japanese, I was inspired to compose around a series of recordings done in Japan the year before. However, the piece evolved from a simple composition to a performance where I asked Seijiro, beyond playing only percussion, to add to it various live actions such as the use of voice, breath, bubbling sounds, movement in space and working with lights and shadow theater. During the show, I was also involved in the actions such as painting with fire and moving the microphone to create a close and distant effect on the sound. The field recording for the composition was done between july-august 2006, mainly in Honshu, Aomori Prefecture with the help of Satoko Fujimoto and her family. In order of appearance: Rice field with buffalo frogs in Kanedate Kizukuri, bird in a forest on Hokkaido island, firework at Goshogawara City, cicadas at Iwaki Mountain, announcement to "be careful with fire" in Kanedate, ritual in the Bodaiji Temple in Osorezan, and a toy-windmill nearby, bell of the Kanedata Temple, drumming on iron protections against the snow along the road. The tape uses some French recordings too, on part 4: Olivier Maurel and Georges at Observatoire Astronomique de Haute Provence 2006 (F 04, Saint-Michel-l'Observatoire), Brotone Forest (F 76) Sep. 1993, and (p. 5) Chinese New Year festival in Paris Feb. 2008... [from the author]

Dauby, Yannick / Frederic Nogray -- "Panotii Auricularis" -- CD -- €10
2015 Universinternational, uiCD020
Singing birds recorded in Taiwan, France and Honduras in conversation with an analog filter in feedback and a modular synthesizer. With this work, Frйdйric Nogray and Yannick Dauby confront nature recording to the edge of its musical possibilities. Three electroacoustic compositions, three strange and hypnotic landscapes gather in a long-awaited edition finally released with all the care it deserved. The records comes with an illustration by Elizabeth Saint-Jalmes, in a sleeve letterpress printed at atelier m.u.r.r. [label info]

DDAA -- "Hazy World" -- CD -- €10
2014 Nefryt, N 026, (ltd. 444)
New studio album of this French avantgarde legend. Recorded especially for Nefryt! Gatefold A5 cover. [label info]

First Human Ferro -- "Stardust" -- CD -- €10
2011 Nitkie, patch nine, (ltd. 500)
Dedicated to the 50th anniversary of the manned flight into space a Russian label Nitkie presents a new recording by a Ukrainian project First Human Ferro. “Stardust” is an ambient anthem tribute to the scientists, engineers and space pilots who contributed to the remarkable date. Their earthly dust is drifting like particles of god in the infinite space now, endlessly multiplying through the mind’s eye of the enthusiasts to come and carry the banner of scientific and technological revolution further. The album was recorded in 2004-2010 and featured by collaborations with Claustrum, Oda Relicta, and Louisa John-Krol. Designed by Marcin Lojek the release is limited to 500 copies in a digisleeve. [press-release]

Furudate, Tetsuo + Zbigniew Karkowski -- "World As Will II" -- CD -- €10
2002 23five, 23five 003, (ltd. 500)
The World As Will collaborations between composers Tetsuo Furudate and Zbigniew Karkowski reflect their mutual adherence to the principles of the 19th Century thinker Arthur Schopenhauer, who had demonstrated a necessarily pessimistic philosophy within the comprehensive four volume set entitled Die Welt als Wille und Vorstellung (World As Will). Almost 200 years later, Furudate and Karkowski have forged a collaborative sound that builds upon these principles, highlighting that their synchronized wills can unleash an infernal majesty through the cruel manifestation of electronic sound. Drawing also from the acknowledgement of Schopenhauser’s influence upon Richard Wagner’s vigorous operas, Furudate and Karkowski have centered World As Will 2 almost exclusively upon samples of Karkowski’s little heard orchestral work and Wagner’s masterful Gцtterdammerung. Augmented through the crucible of digital processing, these electronic samples of vivid polyphony found in the masculine crescendos of orchestral sound take a violent turn towards the realms of militant noise. World As Will 2 results in an unrelenting soundtrack of expressive power and will, shaped within arenas of sound. [label info]

G*Park -- "Sub" -- 2 CD -- €12
2013 23five, 23five 018, (ltd. 500)
The most enigmatic of the Schimpfluch-Gruppe, Marc Zeier is the man behind G*Park; and here, he presents his first major album since the acclaimed 2008 album of cryptic electro-acoustics entitled Reuters. Many years in the making, Sub is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers' use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes this album as the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. His examples of the shifting patterns from clouds of blackbirds or the clinging masses from algae blooms are rudimentary entry points for his rhizomatic, chimerical work... For every malignant drone and turgid thrumming, Zeier will puncture his fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*Park aesthetic, used highly effectively in mapping his clinical situations turned septic. The titles to the tracks on Sub address the physical attributes of the source material that went into each track, with some decidedly specific ("Swine", "Wasp", "Stone") and others nebulously abstract ("Purge", "Glow", "Pulse"). For Zeier, the exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster... Sub locates itself near the psychological minefields of Luc Ferrari, Steven Stapleton's prediliction for windows, and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant & Dave Phillips. [press-release]

Garet, Richard -- "Silver" -- CD -- €10
2012 Observatoire, obs * 033, (ltd. 300)
Richard Garet's new work ‘Silver’ unfolds throughout four tracks over the hour period with an intriguing ripple of textures and electronic sounds carefully crafted, weighed, and measured. The explicit essence of Richard's records is confirmed by a skillfully interwoven palette of sounds such as field recordings, and material that emerges from studio processes, as well as, Garet's affinity for timber, pitch, and consequential tones. The foundation remains within the investigation of brittle material, malleability, and in drawing attention to focused listening, fluctuating connections, and sonic relationships. One may say that 'Silver' finds balance between spontaneous bursts from coil signals and accurate processing, between materiality and phenomena, arriving to a carefully composed and harmonious state... [label info]

Gendreau, Michael -- "55 Pas De La Ligne Au No3" -- CD -- €10
2002 23five, 23five 002
Composer and sound researcher Michael Gendreau posits that his lengthy, if understated career in the amorphous arena of the underground noise culture purposefully avoids the attachments to any stylistic concerns in music: "I don't think it is possible to identify an illogical aesthetic goal, and reach it by logical deterministic means." Such has been the case for his solo work as well as his collaboration with Suzanne Dycus in Crawling With Tarts. In both instances, Gendreau's compositional techniques center on the actualization of conceptual agendas through the repression of the recognizability of any particular tool, medium, or instrument. It is an important distinction to make between repression and disguising, as Gendreau and Crawling With Tarts have been quite forthcoming in what instrumentations and mediums they have decided upon, sometimes emerging as surreal anti-pop, ‘operas’ culled from antique 78s, or microsymphanies constructed from 9-volt motors... Gendreau has constructed his most recent work, 55 Pas De La Ligne Au Nє3, entirely on several turntables, a very common tool within Gendreau’s catalogue. Immediately upon listening to this album, it will become apparent that any associations to fellow Bay Area wax wizards as Mixmaster Mike or Q-Bert should be tossed out the window. This album doesn’t even have many similarities to such avant-turntablists as Janek Schaefer or Philip Jeck. Rather, Gendreau actively seeks out the rarely considered sonic spaces within the confines of the record player itself. This micro-space is alive with the muffled whirrings of motors quietly spiraling in place and the delicate precision of belts and gears designed to make as little noise as possible. Gendreau amplifies such spaces through the use of accelerometers—technical devices used detect very minute vibrations with a far greater sensitivity than the more commonly used piezo-electric contact microphones. When Gendreau inevitably drops the needle on the record, the whole cavity of the turntable resonates with those vibrations inscribed within the vinyl. For this album, Gendreau relies upon run-out grooves and the hissing crackle of antique vinyl with only the tiniest of references to any appropriated sounds or cultural ready-mades, which appear as merely as quiet upsurge of incomprehensible voices. Compositionally speaking, Gendreau is at his best on 55 Pas De La Ligne Au Nє3, as the album constantly shifts through subtle passages that incrementally increase up to a crescendo of nervous squeals and squalid whistles from his overworked turntable. [press-release]

Grassow, Mathias -- "Namakar" -- CD -- €10
1997 Lunar, L 199702, (ltd. 1000)
In the words of the artist "Namakar is a description of four different initiation rites: Aboriginal Australian, Egyptian, Native American and Tibetan. Like the four dimensions, these are four possible cardinal points to consider the own psyche, the most fascinating and complex building of the creative genius. The divine in me is greeting the divine in you... in remembrance to the great sacred spirit testimony of our ancestors." All 5 tracks were composed and written by Mathias Grassow in 1995 utilizing keyboards, synthesizers, singing bowls, programmed rhythms, sequencers and natural sound effects and samples. "My life and music have only one aim: To learn more about denominationless spirit in life and music, and to give back my experiences to the people." Born in 1963, Mathias Grassow has spent nearly his entire life living in Wiesbaden, Germany making music and sound. Those artists who had the greatest influence on young Grassow included Steve Reich, Terry Riley, Pink Floyd, Yes, Stephan Micus, David Hykes and especially Klaus Wiese, whose singing-bowl music can be heard as an influence on this CD. By the early 80as Grassow had been introduced to spirituality and the works of Alan Watts. It was at this time that he devoted his life to a study of the spiritual energy flow and charge of music and of life. He has intensively studied Buddhism, the Sufis, mystic Christianity and many Celtic and Viking cultures. "More and more I felt in love with real spiritual power in music, found especially in overtone chanting and in North India Raga music." Grassow's recent work has reflected these attitudes as he exclusively works with synthesizer drones and all kinds of overtone music and its effects on the human psyche. [label info]

La Nomenklatur -- "La Legende Des Voix" -- CD -- €10
1986/1995 Ant-Zen, Act 34, (ltd. 1000)
"La Legende Des Voix" is a re-release of La Nomenklatur's first tape, recorded in 1986. Powerful pulses and cold noises layering in very electronic sounding sheets of bruitalist percussions and distorted vocals. This aggressive aggregate is a raw document from the early days of rhythmic industrial noise. [label info]

La Nomenklatur -- "Le Triomphe De La Volonte" -- CD -- €10
1992 Les Nouvelles Propagandes, NP 014
"Le Triomphe de la Volonte" was the last album by La Nomenklatur [before releasing "World At War" in 2011], a solo project of Philippe Escartin, the leader of industrial group Minamata. It was released in 1992 and most of material was recorded approximately at the same time. Unlike the works of Minamata dedicated to only one theme, albums of La Nomenklatur are more varied both conceptually and musically. Deformed orchestral samples and electronic sounds mixed in deliberately atonal and arrhythmical manner, sometimes with abrupt ending, work as an accompaniment to the excited Philippe's voice pronouncing his epistle texts in agitational manner. All this resembles a kind of avantgarde opera or monodrama, noone has ever done anything like this neither before nor after La Nomenklatur! Unfortunately because of complete absence of any promotion and weak distribution this release was almost sentenced to noteless existence in the dark area of musical market - and even now, after 18 years, just a few people know about it. [Monochrome Vision]

La Nomenklatur -- "Un Recueil De La Nomenklatur" -- CD -- €10
1996 Les Nouvelles Propagandes, NP.015
A retrospective collection of rare material recorded and released in 1988-1992, including tracks from the split-album with Brume "End Of Symptom Dump / Meosta" (1989, La Legende De Voix), and cassette compilations "Avanti!" (1990, T.M.F.H.), "Autoplasie II" (1992, Nuit et Brouillard), "Music From The White House Volume 4: France" (Exart Cassettes), "Tri-Bu 2" (1991, Dedali Opera) and "Cobwebs" (1992, Epitapes). Not only this is an interesting historical document for the perfectionist collectors, but also a good opportunity to get an impression of the evolution of this unique and unappreciated musical project. [Monochrome Vision]

La Nomenklatur -- "World At War" -- CD -- €10
2011 Les Nouvelles Propagandes, NP25
The project LA NOMENKLATUR was founded back in 1986 by Tiburce, a french composer and video artist known also as mastermind behind Minamata. After several well recognized albums, the work of LA NOMENKLATUR was unfortunately suspended in 1992. It was only last year that LA NOMENKLATUR rose like phoenix brighter than before with the CD "World at War". The sound of LA NOMENKLATUR is best described as an intense mixture of old school industrial, extreme vocals, metal percussion and well-placed samples. [Chamber Music]
[soundcloud]   [soundcloud]

Meirino, Francisco -- "Undetected (Untreated Recordings From On-Site Testimonies Archives)" -- CD -- €10
2012 OtO, OtO 001, (ltd. 200)
Active since 1994 (as Phroq until 2009) in sound and live performance, Francisco Meirino explores the tension between programmable material and the potential for its failure. He works mainly with the computer, magnetic fields detectors, tape recorders, contact microphones and various electroacoustic devices. More than 150 live performances in various venues and festivals in Europe, Japan and North America. Over the years, Francisco Meirino had the honor to collaborate on studio and live with great artists such as Dave Phillips / Scott Arford / Michael Gendreau / Michael Esposito / Jason Kahn / ILIOS / Zbigniew Karkowski / Astro / Randy H.Y. Yau / Lasse Marhaug / etc... He lives and works in Lausanne, Switzerland. [label info]

Minamata -- "Cyclator" -- CD + DVD -- €12
2009 Les Nouvelles Propagandes, NP.021, (ltd. 500)
"Cyclator" is the 2009' release for this pioneer of the French industrial scene. It includes a full-length audio-CD containing material recorded in 2002-2007 and a DVD offering the complete MINAMATA' performance recorded live on Saturday, April 21st 2007 in Antwerp/Belgium plus the video of this show. Massive waves of Power-electronics are here perfectly mixed with metal sounds & percussions and heavy processed vocals, reflecting the agony of the Japanese city of MINAMATA in the 50 & 60's years. This concept release comes in a nicely designed three panel digipack, limited to 500 copies. [Nuit Et Brouillard]

Minamata -- "CyKlator - The Second Outbreak" -- CD + DVD -- €12
2009 Les Nouvelles Propagandes, NP.022, (ltd. 500)
Subtitled "An ultra video performance", "CyKlator (the second outbreak)" includes audio & video material especially composed, recorded and mixed for the "Tonwellen Konferenz 2", the Burscheid' festival (Germany) 2009. Containing fragments of tracks previously released on various productions - the two first tapes "Mit Lautem Geschrei" and "Methylmercure" and the "Cyclator" CD - mixed together with new sound-material, "The second outbreak" CD is the soundtrack of this performance. 7 tracks / 48'08 mns of massive waves of abrasive electronics & heavy processed metal sounds with vocals and sampled-voices, all mixed in studio.On the other hand, the DVD includes the complete live-performance plus fragments of interviews and other things filmed at the Burscheid' festival. "CyKlator (the second outbreak)" is nothing less than a document of this event. Comes in a DVD slimcase with full-colour cover. Limited edition to 500 copies. [Nuit Et Brouillard]

Minamata -- "Politkovskaia" -- CD + DVD -- €12
2010 Les Nouvelles Propagandes, NP.023 / L. White Records, LW-062
"Politovskaia" was released in September 2010. Dedicated to the defunct Russian journalist Anna POLITKOVSKAIA, the CD includes eight tracks, as an homage paid to all persons died for the freedom of speech. Compared to the previous releases of the band, "Politkovskaia" offers more atmospheric and more rhythmical parts as, to my point-of-view, the perfect synthesis between LA NOMENKLATUR and MINAMATA. This is a really brillant album, one of the best release of this cult french project, IF NOT the best one! The DVD contains eleven tracks extract from the "Cyclator" and the "Politovskaia" CD's, all recorded live in Russia in October 2009. Full-colour cover in standart DVD case. "Death leads to silence, Silence leads to death". [Nuit Et Brouillard]

Nebula VII -– "Dawn Of A New Era" -- CD -- €6
2014 Kadaath Records, Kadaath 68 / AREA 51, A51_016, (ltd. 500)
Space Ambient.

SiJ -- "Water Shrine" -- CD-R -- €7
2014 Pantheon, PAN005, (ltd. 25)
«This album seems to me as a fictional meditation-travel to a shrine of water. In this work I tried to reproduce a delicate, enveloping surround sound which would force the listener to dive and plunge into the atmosphere of the music. I believe that it is best to listen to this music at night or even sleep under it... This album is the first chapter in the series "Shrine", which I plan to write.» [from the author]

Tarab -- "Take All The Ships From The Harbour, And Sail Them Straight Into Hell" -- CD -- €10
2009 23five, 23five 014, (ltd. 500)
The title to this album from Tarab (nee Eamon Sprod) is striking enough in its allusions of damnation, with a watery grave a potential outcome from human activity impacting the earth. So, it may be stating the obvious that the corroded locations where mankind has scarred the surface of the earth feature prominently in the work of this Melbourne based sound artist. The residual elements of these sites become the agents for metaphor and allegory in Tarab's work, documented through field recording and sympathetic actions with found objects from those sites. One such location that features prominently in Take All of the Ships... is Angel Island in the San Francisco Bay. Once the home of an immigration station at the turn of the 20th Century and later a Nike Missile site for the US military, Angel Island now rests in the hands of the US National Park Service, which has left some of the buildings to succumb to the forces of decay. From the sounds culled from this site and others closer to his antepodean home, Tarab diligently overlays and stiches together a highly tactile composition with very little digital treatments to speak of. Take All of the Ships... opens with an ominous rumble whose frequencies appear to emerge from the center of the Earth and liquefying the surface upon impact. As these tones ebb and flow, Tarab unveils as revolving series of exaggerated details from a hyperbolic gash of two heavy pieces of metal grinding against themselves to a toxic chorale of nighttime insects to sand, wind, and surf detourned into sedimentary white noise. Tarab's compositional sensibility shifts throughout the album, at first sparsely situating these sounds into shadowy vignettes. Gradually, Tarab coalesces this sublime opus into an arcing crescendo which exhibits sustained harmonics rarely heard in the best of the contemporary dronemusik technicians much less from the realm of sound ecology. [press-release]

Tarab -- "Wind Keeps Even Dust Away" -- CD -- €10
2007 23five, 23five 010, (ltd. 500)
Eamon Sprod (aka Tarab) professes a romantic attachment to the notion that the world is falling apart, a terminal process only enhanced by the intrinsic obsolescence from the output of consumer culture. Yet, this Australian sound artist is not one to wallow in the nihilism of such poetics, rather he counterpoints these thoughts with the allegorical implications of his nom de plume. Tarab is an Arabic word that doesn’t readily translate into English, but it might be best defined as the ecstatic surrender one can experience when listening to music. Through installation, performance, and composition, Sprod reinterprets the physical detritus of the landscape within a hypothetical topography where dirt, soot, and smog emerge as privileged materials, in to which he has grafted the potential for a transcendent response... Field recordings are fundamental to this creative process, bolstered by sympathetic sounds activated by Sprod’s own hands rummaging through crumbling leaves, rusted bits of metal, broken concrete, and shattered glass, just to name some of the more obvious sources. Wind Keeps Even Dust Away is only the second documentation of Sprod’s compositions; yet, it is an accomplished work on par with the best of contemporary sound ecologists (e.g. Chris Watson, Eric La Casa, Toshiya Tsunoda, etc.). On this album, Sprod presents an intertwining series of compacted collages that tease aquatic references from abandoned and overlooked sites of the arid Australian landscape. Every sound of a pipe gurgling with water is but a mirage of sand, rust, and dirt cleverly tricking the audience’s collective ear... With its subtle transitions and evolving sound structures, Wind Keeps Even Dust Away figures into the models of psycho-geographical wandering, as Sprod explores sets of roughly cut textures, resonant frequencies, and atmospheric vibrations that are intrinsic to an imagined space and then shifts into another with its particular idiosyncrasies. While the ecstasy that the word tarab implies may not be an immediate reaction to this album, wonder and discovery certainly are as experienced through this exemplary album of re-engineered sonic dislocation. [press-release]

Tiburce -- "Accords Perdus" -- CD -- €10
1996 Les Nouvelles Propagandes, NP.020 / Multimediart, MTA001-96UAN
Tiburce is an alias of a French musician Philippe Escartin known for his projects La Nomenklatur, Minamata and Bosovo. His solo album was released in 1996 and it differs a lot from the style of his other works, sounding more quiet and melodic, with elements of dark ambient, neoclassical arrangements and tape collages. [Monochrome Vision]

Tietchens, Asmus -- "Marches Funebres" -- CD -- €10
1989/2010 Auf Abwegen, AATP32 / Die Stadt, DS 112, (ltd. 600)
The central piece on MARCHES FUNEBRES is “Grünschattiger Nachmittag”. Work on the composition began as early as 1979. A rough sketch of these first steps utilizing analogue rhythm machine and Minimoog is included as the bonus track on this disc. It became obvious that “Grünschattiger Nachmittag” was impossible to realize on the Fairlight CMI. It took nine years for the equipment at Audiplex Studios to match the technical standards needed for the recording of the orchestral version of the piece as it was originally intended. Aided by my teacher and mentor Okko Bekker and equipped with numerous samplers and a sophisticated music software the piece was finally realized in 1988 after several weeks’ hard work. The mockers would have it that I tried to have Django dancing the Bolero. Maybe they were half right. As you know, I am not not a friend of soft entertaining sounds but if it has to be kitsch then do it full-on. Hence even today I am standing in a “greenish afternoon shade”, if you know what I mean... “Linea 5” was placed on the original LP to balance out “Grünschattiger Nachmittag”. I was hoping to create something equally austere as “Linea 1-4”. But, “Linea 5” got out of hand. Carried away by delays and echochambers I lost myself in erratic mountains of sound (complete with sceneries of St. Elmo’s Fire and alpenglow) until I was wholly exhausted. For my better I was saved by some good St. Bernhards wearing their bootles of brandy around their necks. Who knows where this journey of belated psychedelia would have ended without them. This time, the mockers’ questions remained unanswered... MARCHES FUNEBRES was the second time I tried my hand at something vaguely symphonic; a slippery ground for me. It was preceeded by the “Faircomp”-series and followed by the collaborative LP “E” with Okko Bekker. Then this chapter was closed. “Cobbler, stay at your last!” as they say. Still, for such an LP as MARCHES FUNEBRES to come out shows how the scope of what was possible had broadened by 1989. From now on, at the gate to the decade of the 1990ies, there shone an alternative to the quickly fading legacy of industrial at the horizon. Computers became affordable, CD began replacing vinyl, new ideas generated a musical diversity hitherto unheard of. In 1989 the new beginning was near. [from the author]

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