CHRISTINA VANTZOU – No.1: DVD+Remixes CD+DVD The Numbered Series
DIEB13 / GUSTAFSSON / SIEWERT – (Fake) The Facts LP Editions Mego
DOME – 1 – 4 + 5 5LP box set Editions Mego
EYVIND KANG – Visible Breath LP Ideologic Organ
FLOEX – Zorya LP/CD Minority
FRANCISCO LOPEZ – Untitled #275 CD Unsounds
GROUP NIOB – Nexus 12″ Phlox
ILLUHA – Shizuku CD 12k
JACASZEK – Glimmer CD Ghostly
ROBERT LIPPOK – Redsuperstructure CD raster-noton
SUNN O))) Meets NURSE WITH WOUND – The Iron Soul of Nothing 2LP Ideologic Organ
VLADISLAV DELAY – Vantaa CD raster-noton

No.1: DVD + Remixes
CD+DVD The Numbered Series
Release date: January 23

Christina Vantzou’s debut album Nº1, recently released on Kranky, comes with a decoder. It’s a full length visual accompaniment made from 16mm footage, animation, and found materials. The images are hypnotic minimalistic and meandering, but while harmonies nearly always prevail in the soundtrack, the film offers a strange and uncanny counterpoint – not all is easy and well in this state of ambiance, and we can’t help but feel a sense of dread growing subtly from within the seemingly benign beauty. The nine subtitled chapters of the DVD and the idyllic slow moving imagery are abstract pieces that seem to connect only tangentially- text, sound, and image orbit but never lock into each other, and yet the relationship they create feels like it makes some kind of cohesive sense. The hierarchical relationship between image and sound which we’ve grown accustomed to from music videos and cinema is flipped upside down and ultimately erased; This is one of those rare projects, whose composition is visual as much as it is aural, whose sound and images are both integral and autonomous, and watching the film gives the listener vast insight into the invisible world of Vantzou’s impressive debut.

Tucked in the opposite sleeve of the DVD is a CD of remixes curated by Vantzou. These ten tracks are spun with the distinctive aesthetic yarn of the individual remixers, and the atmosphere is much more intimate and fluid than that of your typical remix comp. What emerges is an inspired full-length album in its own right. Koen Holtkamp (of Mountains) takes the spare approach and makes his case for the grace of the original sounds, slightly shuffled to reveal something like Brian Eno’s generative music. You swear this track might have been on the original album, but you’re wrong. The next two tracks by fellow Kranky stablemate Loscil and Ernest Gibson III take Vantzou’s glacial ambitions and add drops of oily electronic sheen that barely disturb the iceberg, adding that rainbow surface when petrol meets water. Montgomery Knott (Stars Like Fleas) spins in the sole original vocal layer and Ben Vida’s (Soft Circle, Town & Country) track may be the most remarkable of them all, transforming hidden vocal tracks into a majestic choral arrangement. Listen to the original, it’s all there.

If this was vinyl, you would flip to the second side now where Dustin O’Halloran’s (A Winged Victory For The Sullen) track begins as a meditation and concludes as a soaring elegy to neglected spaces. The next tracks by Robert Lippok (of To Rococo Rot) and White Rainbow (Kranky) usher in the damaged glory of recycled beats to marry with the narcotic vibe. But don’t get too excited. The final two tracks by the UK’s Isan and the Vantzou/Wiltzie (Stars of the Lid) revival, The Dead Texan, remind us all that there is a pillow that awaits us all every night and eternally. The elastic time band stretches and stretches and instead of snapping back, it just gives you “eyes are focused upon evol”, a blissful and blessed drag race to a feathered bed.

(Fake) The Facts

dieb13: Turntables, Cigar Box
Mats Gustafsson: Soprano, Slide and Tenor Sax, Live Electronics
Martin Siewert: Guitars, Ring Stinger, Electronics
Recorded at Garnisongasse 7 / Vienna, March 2011 and Rhiz / Vienna, April 2011
Mixed by Dieter Kovacic and Martin Siewert
Mastered by Martin Siewert
Cover art by Dieter Kovacic and Billy Roisz
After the runaway success of the Akita / Gustafsson / O’Rourke LP, one bird two bird (DeMEGO 016), Swedish sax legend Mats Gustafsson returns to Editions Mego with another storming collaboration. Now resident in Vienna he teamed up with experimental artists dieb13 and Martin Siewert for a live and studio session. (Fake) The Facts is the result. A dense fog of sound coming from all directions, but whereas the general impetus is a full on attack the trio do Þnd restraint to create a deeper dynamic and open the spaces between the walls of noise.

1 – 4 + 5
5LP box set Editions Mego DOME12345
Release date: December 6
Editions Mego are proud to release the complete recorded works of DOME in a deluxe vinyl box set that that also includes newly designed artwork by David Coppenhall, reproductions of the original Atelier Koninck posters that accompanied Dome 1 and Dome 2, insert with sleeve notes by Howard Jacques and Neil Martinson as well as unseen photos from the period. If that wasn’t enough it also contains a matchbox to put matches in to shake along to your favourite Dome tune!

With the demise of the group Wire in 1980, founder members BRUCE GILBERT and GRAHAM LEWIS joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of “using the studio as a compositional tool” and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. With the re-activation of Wire in 1985 it was thought that all Dome activity had ceased. Whilst no new recordings appeared Dome utilised any spare time to secretly record new pieces. In 1989 dancer/choreographer Michael Clark commissioned them to record a piece for his new ballet ‘Because We Must’. In the same year they also performed live in Rotterdam and Amsterdam. In 1999 WMO commissioned Dome to record new pieces to accompany the recordings from 1989. This compilation, entitled YCLEPT, would be the final recordings, to date, that Dome have made.

DOME 1-4 appearing on vinyl for the first time in over 30 years, whereas the recordings making up YCLEPT (DOME 5) appear for the first time on vinyl.
New artwork and layout: Dave Coppenhall

Visible Breath
LP Ideologic Organ SOMA004
Release date: December 6

Visible Breath (14:46)
Monadology (6:23)
Thick Tarragon (16:64)

Written by Eyvind Kang.

“Visible Breath” & “Monadology” recorded and mixed at Avast, Seattle, WA by Mell Dettmer November 2008.

Stewart Dempster, trombone
Julian Priester, trombone
Cuong Vu, trumpet
Taina Karr, oboe
Timb Harris, violin
Eyvind Kang, viola
Jessika Kenney, voice
Miguel Frasconi, glass
Cristina Valdez, piano
Steve Moore, electric piano
“Thick Tarragon” recorded at the Brink, Fairfax, VA by Mike Reina July 2011. Mixed by Mell Dettmer at Aleph, Seattle, WA August 2011.

Susan Alcorn, pedal steel guitar
Janel Leppin, modiÞed cello

Eyvind Kang’s tremendous efforts on Sunn O)))’s “Monoliths&Dimensions” album helped elevate the group’s presence to a new level creatively and aesthetically. We were fortunate and perhaps even destined to have this crossing. During this period Kang also premiered the pair of pieces presented on side A of this album, Visible Breath and Monodology. I was fortunate to witness an ensemble concert of these compositions titled “Grass” in Seattle which featured many of the same amazing musicians we’d been working with on the O))) record, notably the most respected elders Julien Priester and Stuart Dempster. Their presence was such an honor and also an unpredictable inspiration due to their incredibly rich lives producing new and experimental music. The “Grass” recording done at the time lie dormant for many years. It’s my pleasure to present these incredible compositions to the world theough this humble effort. Side B is a new piece recorded summer 2011 with pedal steel and cello, a beautiful excursion of harmonics, ghost tones, and integral interpretation titled “Thick Tarragon”. Delicate, enjoyable and translucent as white Þelds of grass. – Stephen O’Malley, October 2011

Ideologic Organ curation and art direction by Stephen O’Malley.
Manufactured and distributed by Editions Mego.

LP/CD Minority Records MIN28

Electronic scene in the Czech Republic is a vivid and immensely vital, yet unjustly overlooked by the world cultural centers. The exact evidence of the uniqueness of the local electronic music is Floex’s second album Zorya.

Intimate and enjoyable set of compositions, centered around clarinet and piano are accompanied by Tomás Dvorák’s electronic wizardry. Number of acoustic instruments played by guest musicians from different parts of the World were incorporated with insight into the train and significantly developed its track. Would hardly be Casanova without the trumpet of Slovak jazz mastermind Oskar Török, Precious Creature without the vocal of  Minneapolis based singer and actor James Rone, Veronika’s Dreamwithout the violoncello of Berlin philharmonic member Tomás Jamník and Nel Bluwithout the empathic vocal of Marinella Mastrosimone of Italian electronic stars Musetta.

Album which takes Slavic night guard goddess “Zorya Polunochnaya” as symbol, explores
deeper, subconscious and nightly moods of the music. Despite its soundtrack aura, this may
be Floex’s most energetic album up to date – very adventurous, ecstatic and almost story-
telling. Sounding as contemporary as it is evocative of another time and place.
Musica nocturna of these days and especially nights!

TOMAS DVORAK (*78) aka Floex – clarinetist, composer, producer and multimedia artist from
Prague (Czech Republic). While Tomá? solo works are released under his Floex moniker, the
soundtracks are released under his own name Tomá? Dvo?ák. Floex’s debut CD Pocustonehas been awarded in electronic music category in Czech Music Academy Awards (2002), nominated to European Awards (Qwartz) in the discovery category (2004). He is well known for his cooperation with Amanita Design on the soundtracks for the games Samorost 2 (2006) and Machinarium (2009). Machinarium OST gained heavy reaction by both fans and critics and was selected as the best 2009 soundtrack according World’s number one PC game magazine – PC Gamer.  The main live performances includes Stubnitz (Rotterdam, NL), Big Chill (Easton
Castle Deer Park, UK), Global Beats (Krotoszyn, Poland), and Zoobizarre (Bordeaux, France).

Untitled #275
CD Unsounds 26U

Untitled #275, the second release on Unsounds by the sound artist Francisco López, is a two part work based on a radical reconception of the piano. Movement 1 is a composition created for Reinier van Houdt that utilizes some extreme preparations, it is a 20 minute tour de force. Movement 2 is a studio sound transformation of the initial piano part, where one hears the exploded and recombined sonorities of the piano taking on an immersive sonic dimension as one has come to expect of López’s work in the last years. The collaboration with Ensemble MAE musician Reinier van Houdt has produced an intruiging and original work of instrumental music, a highlight in López’s oeuvre.

Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries, he has an extended catalog of sound pieces, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival.

Nexus EP
12″ Phlox 003

Heavy Austrian dub mechanics from Group Niob aka Phlox conspirators GERHARD POTUZNIK and MARTIN SOVINZ. This is their 2nd release to date, a dedicated follow up to last years “Vector EP”.

Opening track Nexus takes dubtechno one step further down the road to the lowlands. It manages to keep the atmosphere dread and melancholy, but balanced with light skipping percussion and whispering snippets over a four to the þoor beat, creating an uniqe kind of Bass Music. Second tune Aldo glows with warm chords over thick and dreamy rhythms, rendered in spacious minimalist dub style.

Side two starts with a vocal drenched acid-rework of Nexus by no other than Tin Man. The words “doesn’t matter who your are” will settle down deep in your subconsciousness and refuse to leave for some time. Already an anthem and that kind of tune, that should not be missed on future danceþoors. The EP ends with a Þerce and forward shifting, þoor shaking Nexus-rework by London’s bass cadets Dark Arx Soundsystem.

Here is what others say about Group Niob’s previous releases:

ZERO INCH: Viennese dub techno artist Group Niob comes through with an altogether impressive debut on Phlox. Developing a style of dub techno that pays homage to its progenitors Basic Channel while placing a greater emphasis on bass, Group Niob carves its own territory between dubstep and techno.

BOOMKAT: Group Niob tracks are essentially an update of the incremental dub tech advances made by the Chain Reaction label many moons ago. ’Vector’ Þnds its trajectory through massive metallic dub chord disturbances guided by swooping dub bass and crisp claps for skanky, perky house movements. ’Amber’ goes deeper with subaquatic synthlines like T++’s 130bpm explorations, all underpinned with a growling sea monster bassline, and ’Tangent’ ekes out another killer dubtech swimmers groove, all restless machine syncopations and dynamic, whipping dub chords. Three killer versions follow, ’Vector Version’ sounding like a lost Pole experiment, ’Amber Version’ working like BMB drowned in molten crack rocks, and ’Tangent Version’ draining away any excess for a ghostly dubtech killer. Fans of Monolake, Fluxion, Scuba or Fachwerk will be impressed.

DE:BUG: Dub ist die Klammer, die diese Compilation bestimmt. Der Titel als augenzwinkernder Wink mit dem Step-Pfahl macht aber auch Platz für grandiose 4/4-Entwürfe, die jedem Danceþoor gut tun.GDX,Dibek, Otzim Lee, Taylor Caldron, Group Niob, M Step u.a. schieben Wien mit einer Deepness-Welle in den Fokus. Mal wieder. Aber das hier, das ist was Besonderes. Unfassbar gute Tracks, jeder für sich genommen. Kann ich die alle auf Vinyl haben, bitte?

CD 12k 1967


12k presents Shizuku, the debut album from Illuha (a play off the word “island” in Portugese) comprised of Tokyo residents COREY FULLER and TOMOYOSHI DATE. Shizuku was recorded in a 100-year old church in Bellingham, Washington and the duo used ambient and quad-microphone techniques to capture the natural acoustics of the high-vaulted ceilings, wooden floors, stained glass and the natural resonances of the space.

A beautiful variety of instruments were used to create the soft tones of the album at once like liquid and at the same time like air. Pipe organ, vibraphone, dulcimer, accordion, rhodes, piano, and analog synthesizer are only a selection of what was used to create the rich, and tonally warm sound of the album. It’s as if movements and textures were dropped into the ocean to let float around and combine with others that touched. Field recordings and the most delicate touch of computer processing give a modern feel to this electro-acoustic world.

In a bit of a departure for 12k, the fourth song on the album features spoken word from renowned Japanese Tanka poet Tadahito Ichinoseki. A deeply moving poem, essentially one about Christmas; silence, god, birth, death, Ichinoseki’s raw, vulnerable voice carries over a tonal backdrop that gradually swells in intensity with plucked string harmonics and soft, echoing percussion. Artist John Friesen also adds cello on tracks 2 and 3.

The deeply encompasing and personal sound of Shizuku is by no coincidence. During the year it was recorded both artists underwent intense personal pain and happiness as well as the earthquake that rocked their lives in March of 2011. Shizuku stands as an emotional release for the artists that clearly comes through in its progressions, carefully played sounds and enveloping atmosphere.

Tomoyoshi Date and Corey Fuller, both currently residing in Tokyo, met in 2006 through their mutual friend and collaborator, Chihei Hatakeyama when Fuller was invited to play a show with Opitope in Tokyo. Living in separate places at the time (Date in Tokyo, and Fuller in Bellingham, WA) the two began collaborating when Date first visited the pacific northwest in 2008.  Recorded in a historic 100+ year old church in Bellingham, WA, Shizuku is the duo’s debut album for 12k and the world.

Born and raised in San Paulo, Brazil until the age of three, Tomoyoshi Date currently resides in Tokyo, Japan. He creates acoustic and organic sounds with a little touch of digital processing, a very original minimal music like a combination of the warmness of Brazil and the delicateness of Japan. Drawing from the influences of rock, jazz and post-rock music, he started to create electronic music in 1998. His tracks have been featured on the Fat Cat and Mille Plateaux websites and radio stations in the US. In 2003, he formed the group Opitope with Chihei Hatakeyama (Kranky, Room40) and have released their highly acclaimed 1st album Hau (2007) on the Japanese label Spekk. In 2008, Date released his first solo album Human Being from Flyrec, followed by his second solo album Otoha on Own Records in 2011. Date is a physician who practices an integrated approach of Eastern and Western Medicines. Currently, Date is researching tumor immunity, and as a lifework hopes to research the relationships between music, eastern medicine and the brain.

Born in the US and raised in Japan, Corey Fuller is a musician and multimedia artist from Tokyo. Growing up between several different cultures and traveling extensively as a child have made geography and a sense of place major components of Fuller’s music. His work is a slow and gradual music composed of infinitesimal details comprised of processed and delicately treated acoustic instruments, field recordings, and other sound sources. In addition to his work as a solo artist, Fuller finds his collaborations with other artists invaluable. In addition to his collaboration with Date, he is currently collaborating with Mathieu Ruhlmann, Tyler Wilcox, Chihei Hatakeyama of Opitope. Fuller also belongs to a trio with Hatakeyama, Date called kuukoka. The trio’s debut album is scheduled for release in 2012 from Celer’s label, Two Acorns. Hatakeyama and Fuller have a full-length album entitled Euphotic scheduled for release on Infraction Records in 2011. In December 2009, Fuller released his first solo album, Seas Between on Dragon’s Eye Recordings to critical acclaim.

LP/CD Sub Rosa SR321

Superdisque is the first album of the French trio formed by David Fenech (electric guitar) with Jac Berrocal (trumpet) and Ghédalia Tazartès (vocals).
Somewhere beyond the borders of rock, jazz, punk and sound poetry…
The vocals seem to come from another planet, with lyrics in an improvised language.
The winds are blown from Tibetan human bones and conch seashells.
Guitars sound like rubber and steel.
Expect the unexpected.

The album comes in two versions: a limited edition LP and a CD (including a special bonus track by David Fenech + Jac Berrocal). Special guest Zap Pascal (accordion) appears on one track.

DAVID FENECH is a French musician living in Paris. He has played and recorded with musicians such as Felix Kubin, Jad Fair, Tom Cora, Rhys Chatham, Bérangère Maximin, James Plotkin, Shugo Tokumaru, Ergo Phizmiz, and many others. His baroque style has been described as ‘a kind of punk musique concrète’. He is at the origin of the Superdisque recording project, using his own home studio as an instrument.

JAC BERROCAL is a cult trumpet player living in Paris. He has played with various musicians including Pascal Comelade, Jaki Liebezeit (Can), Nurse With Wound, Sunny Murray, Jacques Thollot, James Chance, Pierre Bastien, Aki Onda, Lol Coxhill, Catalogue, Christophe. He’s also known for his famous ‘Rock and Roll Station’, recorded with the black angel of rock, Vince Taylor.

GHEDALIA TAZARTES is an orchestra and a pop group in one person. His voice shifts constantly from child to diva, from African sorcerer to Tibetan monk. His hypnotic, disturbing polyphonies draw us into an emotional universe. It’s punk, sound poetry, Folklore and electroacoustics rolled into one. Ghédalia has been recording music in his Parisian home studio for more than 40 years. He has also worked for theater (La Comédie Française), dance and more recently for cinema.

LP/CD Ghostly GI-147/SMM-XV
Release date: December 5


For the past decade or so, Polish musician Michal Jacaszek has been exploring a new,
resolutely modern chapter in Eastern Europe’s long, storied love affair with classical music.
His creations are painstakingly crafted collages of electronic textures and baroque
instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart
by billowing wind the next. Ambient music-if we can generalize unnecessarily for a
second-is rarely so sonically challenging.

Jacaszek’s latest album, Glimmer, is marked by a noticeable tug between melancholy and
beauty, like it’s hovering in some gaseous grey area between both, at once both insular and
extroverted. “I tried again to create some fragile beauty glimmering behind the veil of
reality,” he says. “I built a kind of curtain out of dirts and fuzzes, and used pure sound of
clarinet and harpsichord playing beautiful melodies as a contrast to its harshness.” This
winking, push-and-pull tension runs deep and constant throughout the 40-odd-minute
journey to the end.

To parse an album so deeply experiential and deliberately cohesive track-by-track seems
unfair, almost ludicrous. But there are undisputed highlights-the apocalyptic crescendo at
the end of “Evening Strains To Be Time’s Vast,” with its crunch of nightmarish noise and bit-
crushed distortion; the dizzying, obscenely pretty tangle of Spanish guitar in “As Each
Tucked String Tells.” Glimmer is, quite simply, an album that’s easy to get lost in without
being easy to ignore. Don’t expect any eyelid drooping while it’s on.

MICHAL JACASZEK talks about his music in a very self-assured way. He lists clear moods,
behaviors, and feelings (nostalgia, misery, classical music, and contemporary ambient
electronic artists such as Tim Hecker) that influence the way he works. This is noteworthy
for two reasons-first, because the Polish artist is explaining all of this very clearly in
English, and second because the subsuming, amorphous pastiches of noise, samples, and
tones he is known for aren’t easily put into words, let alone a second language.
Jacaszek’s work, first appearing on the SMM: CONTEXT compilation, is a melange of classical
instrumentation-harpsichords, woodwinds, strings-and blurring, rubbed-down electronic
textures, all of which makes listening an intensely cathartic, exploratory experience. This is,
more than anything else, music as a mind and body exploration.

“All my artistic activity is based on the intuition that there is a hidden reality existing behind
or beside the material world,” he says. “And on a big desire to touch it, show it, [and] feel
it.” Whatever your opinions are of the supernatural, the utter heaviness of his stuff is

And if it’s all a tad too pretentious for you, then just don’t think about it that way. High-minded music doesn’t have to be consumed high-mindedly. You can just as easily listen to Jacaszek’s overtures and feel that they’re simply gorgeous, because they are. But with a
new home on Ghostly and a masterful new long-player titled GLIMMER completed, you
should just go ahead and dip into the strangely beautiful world of Michal Jacaszek.

24.11.2011 DE Berlin, C3 Festival
26.11.2011 DE Essen, C3 Festival
01.12.2011 PL Gdansk, C3 Festival

CD raster-noton R-N 134

Simple sonic events are unfolding themselves and evoke the sound of an Orffean children ensemble. Pleasant and strange noises join a bass foundation that recreates the ground shaking subsonic waves of mid-nineties drum&bass. It’s like a drum major meets a Tibetan monk. They try to do a dervish thing together, elegant and funky, which forcibly drags the slowest souls out of their torpor and forces them to run and jump. Loops radiate, something is bouncing, the universe steps out of an anti-academic cloud, into your mind and the unexplored regions of our sensibility. All is good in the noosphere – with “redsuperstructure” Robert Lippok’s new record “redsuperstructure” is based on the spectacular set he performed at raster-noton Electric Campfire at Villa Massimo in September 2010. After this event, we encouraged him (as we do every year) to re-record the material for our catalogue.

The events and structures of Lippok’s vaudeville follow scripts which Lippok notated himself with water color and pencil. Other tracks were even visualized as clay sculptures. His sensitive sound syntheses are complemented by only a few samples and field recordings. On the last track, “daylightastronomy”, the accomponying harp is played by Italian Harpist and Composer Beatrice Martini.

LP+DVD Editions Mego eMEGO 129

Vinyl = Kanal GENDYN Stereo [A = 29:53.39] + [B = 32:59.69]
DVD = Kanal GENDYN 4.0 [62:53.10] (AUDIO ONLY)
Recorded and produced by Russell Haswell & Florian Hecker, 2004-2011
Stereo Version mixed by Haswell & Hecker @ CCMIX (Centre de Création Musicale Iannis Xenakis), Paris, March 2004
Digitally Mastered by Russell Haswell @ Haswell Studio, Suffolk, England, July 2011
DVD authored by GOP , Köln, September 2011
Editions Mego is happy to announce the release of ‘Kanal GENDYN’, a Vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full length release by the artists following their highly acclaimed albums, ‘Blackest Ever Black (Electroacoustic UPIC Recordings)’ (Warner Classics, 2007), and ‘UPIC Warp Tracks’ (Warp, 2008), in addition to their remix’s of Popol Vuh, and Voice Crack.

In the late 90s, early 2000s, it became common for bands, or solo artists to perform live – often alternative – soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell & Florian Hecker chose to create a real-time soundtrack, to an unscored film, ‘Kanal Video’ (1992, 60 min.) by the Swiss artist duo Peter Fischli & David Weiss.

Core to Kanal GENDYN is Haswell & Hecker’s ongoing research on the legacies of polymath Iannis Xenakis (1922-2001) and in particular his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates ‘sound out of nothing’.

In an interview with Peter Hoffmann, the artists recall: “This video, which consists of an hour long ‘ride’ through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects – struck us both as an ideal piece to be projected in a ‘nightclub’ or music venue with a GENDYN only performance. We found twisted relations with such an hour long ‘tunnel vision’. Once with the seemingly endless amount of computer generated video projections used as visuals accompanying raves and techno parties during the 1990’s – and also to the accounts of visual hallucinations induced by Mescaline as described by Heinrich Klüver in the 1920’s – with the so called ‘form constants’ – where he mentions amongst others, ‘tunnel like’ patterns. The particularities of GENDYN, with its ever changing and meandering waveforms appeared to us as an ideal counterpart.”

Kanal GENDYN was performed on the occasion of the event ‘Musterraum 9. Dual Presentation – Peter Fischli & David Weiss – Russell Haswell & Florian Hecker’ at Musterraum, Munich, 30.01.2004. Originally constructed as an experimental building, ‘Musterraum’ – German for sample or reference room – was a freestanding cube with a base area of 10 ? 12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne.

Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12 / B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, ‘Kanal Video’ (1992, 60 min.) screened on three facing walls.

Kanal GENDYN is released as stereo vinyl LP + 4.0 DTS 24 Bit / 48 KHz DVD (audio only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30 x 30 cm 170 gramm paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich.

Its also worth noting that, with a running time of over a hour, this is one of the longest single LP releases you will come across!  Cut by Rashad ‘the Master’ Becker at Dubplates & Mastering, Berlin, Setpember 2011

The Iron Soul Of Nothing
2LP Ideologic Organ SOMA005
Release date: November 29

1.1. Dysnystaxis (19:00)
{… a chance meeting with Somnus}
2.1. Ra at Dawn Part One (14:59)
{Rapture, at last}
3.1. Ash On The Tress (17:07)
{The sudden ebb of a diatribe}
4.1. Ra at Dawn Part Two (14:16)
{Numbed by her Light}

Alchemical dialysis at IC Studio November & December 2007.
Procedures executed by Steven Stapleton & Colin Potter.
ØØVOID was originally recorded by Scott Reeder at Grandmaster Studio, Hollywood January 2000.
Produced by SUNN O))) & Scott Reeder.

Finally, available now as double vinyl set this is a must for fans of both of these legendary sonic travelers: Steven Stapleton & Colin Potter twist SUNN O)))’s 2000 album “ØØVOID” inside out on Nurse’s dissection table.
SUNN O))) “ØØVOID” CD/2LP available via Southern Lord Recordings sunn150, 2011 (originally released by Hydra Head & Rise Above, 2000)

“In 2007 we commissioned Nurse With Wound to re-work the masters of SUNN O)))’s second album “ØØVOID” to be included as a bonus CD on the Japanese reissue of said album released a year later on Daymare Recordings. We dug up the original 2″ reels from the 2000 session, had Mell Dettmer bake the tapes, made the multitrack transfers and send the drive over to IC studios. The intial brief was to hopefully come up with to come up with something in the veiin of Nurse’s legendary Soliloquoy for Lilith set (my favorite release of the collective). What was returned was way beyond our expectations, completely transformed and rediscovered material, including highlighting formerly obscured vocals of the legendary Pete Stahl (Scream, Wool, Goatsnake). A vast creepy sonic journey some part drone/depth of SUNN O))), other part concrete weirdness of Nurse, third part just downright out there in surreality and obscure referencing.” – Stephen O’Malley

Ideologic Organ curation and art direction by Stephen O’Malley.
Manufactured and distributed by Editions Mego.

CD raster-noton R-N 136
Release date: November 28

With Vantaa, Raster-Noton releases for the first time an album by Vladislav Delay aka Sasu Ripatti. Ripatti, one of the pioneers of electronic music of the last decade(s), who is known for several projects, has attracted our attention and received our respect most notably under his pseudonym Vladislav Delay. Vantaa will be the beginning of a long lasting collaboration, which will extend and deepen the spectrum of the label, whereas it falls in line with releases of, for example, William Bassinsky, Robert Lippok, or Mitchell Akiyama.

Even though complex electronic manipulations are used, Vantaa wants to sound like a piece of nature, resulting in a mixture of techno/dub and organic textures. The tracks oscillate between a decadent, greyish, post-industrial sound cloud and the intimate atmosphere of a vast and desolate Finnish landscape. Ripatti plays with tiny rhythmic bricks that drift and collapse, but nevertheless create spaces that radiate calmness and tranquility. Being an experienced producer, he uses his know-how to layer compact sound fabrics in unusual ways. In this case, these elements arouse associations with gushing water, crackling wood, or growing grass. The tracks on Vantaa merge into each other and their density escalates with
“Lauma” into an energetic climax, which is all at once the ecstatic, shamanic and truly moving peak of the album.

Vantaa’s style is sensitive and intelligent, but nevertheless subtly stirring and rich in detail. While listening to it, it is possible to completely dive into its matter and detect something new in nearly every bar, or simply let it have an effect as a particular but unobtrusive sideline. With this typical Vladislav Delay aesthetic, Ripatti has acquired an unique and distinctive style that Vantaa, his 10th Vladislav Delay album, deservingly celebrates.

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